Officers bridled at the ringing, declamatory tone of her announcement.
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Well, less disputatious and declamatory, which might not have suited Shylock.
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Too many stretches of dialogue are written in a declamatory, slow-moving style that becomes ponderous.
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In the intensity of its broken phrases, Rameau approaches the declamatory heights of French spoken theater.
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He vividly conveys the declamatory thrust and poignancy of the music, bringing affecting dignity to his portrayal.
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Lines segue subtly from declamatory stretches, where words dominate, to lyrical passages in which emotions take over.
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Ms. Hilty's breezy, excitable rendition of "Come Rain or Come Shine" lifted the song out of its declamatory niche.
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" The folk influences seemed particularly strong in the third section, "For skippers and boatsmen," which concluded with a declamatory "Heja!
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History painting—crowded, violent, declamatory—had to postpone its photographic update until smaller cameras made picture-taking portable and fleet.
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Mr. Groissböck's voice lacks some depth and richness, but his muscular sound and declamatory style are perfect for this portrayal.
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The gifted Devika Bhise and an unrecognizable Rupert Everett face off in this awkward, declamatory tribute to an inspirational Indian ruler.
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The scenes are generally painted with urbane, rhythmically punchy big-band-style jazz, beefed up with strings, under declamatory vocal lines.
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Much of this declamatory, infectious music comes from deep in the past; all of it feels both venerable and vibrant. 18.
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Mish Barber-Way's declamatory scream rings out, clearly and solemnly, above the fray, but said fray's volume and horsepower subsume her lyrics.
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Happily, the cast does not push the authenticity as far as using the traditional declamatory style, opting instead for a refreshing unfussiness.
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He conceives of his symphonies as developing and dramatic narratives, and that, in turn, demands an acutely conscious declamatory approach from the players.
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Against Mr. Alessandrini's intentionally minimal background, the action took on the quality of a stage play: Declamatory vividness was as important as beauty of tone.
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"Stride," unfolding in a series of fitful episodes — thickets of glassy strings, declamatory brass and contrapuntal juxtapositions that evoke Charles Ives — is both solemn and celebratory.
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Mr. Mekurya (his name is pronounced GET-a-chew Me-KUR-ya) had an imposing sound and presence, blowing in declamatory gusts with a fervent, quavering vibrato.
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With his high, declamatory voice and his way of milking words for their sonic potential as well as their meaning, Mr. Nuriddin (pronounced noo-ruh-DEEN) stood out.
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The vocalism is here more athletically florid than declamatory, little problem for the fiery mezzo Ann Hallenberg, like Ms. Mingardo unaccountably obscure in America, and her cast mates.
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At first, "Pursuit of Happiness," created by Pavol Liska and Kelly Copper, seems like more of the same, with declamatory speech and antic choreography underlying each throwaway line.
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"Creature Comfort" is perhaps definitive: the song's cheerfully affectless guitar riff plus synth squelch, combined with Butler's declamatory talk-singing, aim to evoke classic dancepop, New Order's "Temptation" maybe.
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Then the choir of eight men and women (here costumed as if out of Dutch old master paintings) sing a setting of the document of Dutch independence, rendered in block declamatory chords.
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This was an surprising honour for an artist who had earned a public profile in her hometown of Chicago only two years before, thanks to a single project as declamatory as it was thoughtful.
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Her bravery and convention-flouting spirit are undeniably inspirational; but the movie, directed by Swati Bhise (the mother of its star), is so dedicated to lionization and so declamatory in tone that it almost repels engagement.
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They investigated structured alternatives to standard song forms as well as the long, declamatory improvisations favored by New York City's jazz avant-garde, exploring dissonance, serialism and polyphony, 21967th-century concert music and non-Western idioms.
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Though both are underemployed actors, Renato is clearly the more theatrical of the two: Fond of declamatory monologues and carefully calibrated gestures, he's a man who seeks the light as instinctively as any newly liberated soul.
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Though there are flowing lines, with voices sometimes in duo, the piece comes across, overall, as declamatory — like a chorale — with short passages almost in block chords, and moments that slip into subtly intricate hints of counterpoint.
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Maybe you thought Ronstadt's chart-topping cover of "You're No Good" wasn't all that great, but its organ riff and declamatory chorus probably settled into your ears anyway, and more than 40 years later you're likely to remember it as a classic.
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Ms. Collins was the winner of talent contests in her native Oklahoma when she was 21973, and by the time she turned 21993 she was appearing onstage with her brother, a guitar prodigy who sang high harmonies above her declamatory lead vocals.
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Whether inspired by the present political situation, or by the urge to play up their seriousness coming out of retirement, or simply from ennui, they've deliberately kept and accentuated their pained, earnest, confessional elements while avoiding satire, spoken declamatory comedy, and automated drum-machine functionalism.
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Especially notable are "Francisca" (1981, showing Sunday), a story of 19th-century romantic treachery that achieves a fascinating tension in the contrast between Mr. Oliveira's burnished imagery and his actors' flat, declamatory style, and "Doomed Love" (1979, Friday and Saturday), a tale of star-crossed lovers that flaunts its stagelike backdrops, chiaroscuro compositions and unconventional shooting and editing rhythms.
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Often heard in close call and response with Waters's deep, declamatory vocals, Mr. Cotton's squalling harmonica animated dozens of recordings Waters made for the influential Chess label, including classics like "Got My Mojo Working" and "Rock Me." Curiously enough, though Mr. Cotton was hired in 1954, he did not begin to appear on Waters's recordings until late 1956.
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But Tremaine and the screenwriters Rich Wilkes and Amanda Adelson have sanded it down to a junior varsity "Bohemian Rhapsody," complete with many of the same crude devices: embarrassingly bad wigs, hilariously on-the-nose needle drops (the band plays "Take Me to the Top" as they go … to the top) and declamatory, subtext-free dialogue.
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The sparse dialogue is as mind-numbingly declamatory and unsubtle as political oratory or operatic aria.
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This has been proposed as an explanation for this work, which alternates passages of wistful longing with more robust, declamatory episodes.
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The pace was considered too slow and the declamatory sections too long.Huebner 1990, pp. 30–31, 33. Later productions were not much more successful.
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This fixed idea of the rhapsodist was delivered with animated enthusiasm, in a manner entirely declamatory, for he had plainly no skill as a dialectician.
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A dialogue recitative for bass and soprano leads to a duet aria with oboes and continuo. After a declamatory bass recitative, the work ends with another four-part chorale setting.
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Reeves was succeeded by Edward Lloyd, who between 1874 and his retirement in 1900 took part in every Handel Triennial Festival at the Crystal Palace. Braham's 'Death of Nelson' remained in Lloyd's repertoire during the 1900s: in Lloyd's declamatory style, ringing but without much vibrato, there may be an echo of the stentorian style of Braham himself. In the early twentieth century the declamatory delivery in Handel's music was maintained by Walter Widdop and Joseph Hislop among others.
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University of Illinois Press. pp. 149–154. Electric Memphis blues featured "explosive, distorted electric guitar work, thunderous drumming, and fierce, declamatory vocals." Musicians associated with Sun Records included Joe Hill Louis, Willie Johnson and Pat Hare.Palmer, Robert (1992).
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Ioana Pârvulescu, "Jurnalul unui francmason", in România Literară, Nr. 31/2000Călinescu, p.169; Cioculescu (1974), p.180 Modern philologists have therefore described the standard Rosettist discourse as a "macaronic" dialect, or a constant stream of "declamatory verbiage".Ornea (1998, II), p.
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Howarth 1997, p. 168. Whatever its cause, his persistent paralysis forced his retirement from the stage, whereupon Richelieu awarded him with a generous pension. Montdory was "an excellent businessman as well as a fine actor in the old declamatory style".
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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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The tall marble statue sits on a large cement base with a plaque that reads "ORATORY". The sculpture is a man in Roman robes. He is holding his right hand out in a declamatory gesture and he is gathering his robes in his left hand.
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Nothing could be more foreign to him than the inspiration many of his fellow poets derive from the rich folklore traditions of the northern mountain tribes and verse of social commitment. His verse is light, colloquial and much less declamatory than that of many of his predecessors.
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Joseph Benjamin Hutto (April 26, 1926 – June 12, 1983) was an American blues musician. He was influenced by Elmore James and became known for his slide guitar playing and declamatory style of singing. He was inducted into the Blues Hall of Fame two years after his death.
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Janáčkovy záznamy hudebního a tanečního folkloru, p. 380 His compositional work was still influenced by the declamatory, dramatic style of Smetana and Dvořák. He expressed very negative opinions on German neo-classicism and especially on Wagner in the Hudební listy journal, which he founded in 1884.Firkušný (2005), p.
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The motet was composed less than six months before Mozart's death. It foreshadows "aspects of the Requiem such as declamatory gesture, textures, and integration of forward- and backward- looking stylistic elements".p. 33, Wolff (1998) Christoph. Berkeley, California Mozart's Requiem: Historical and Analytical Studies, Documents, Score University of California Press.
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This may also have entailed that much of the material recorded was originally uttered in a declamatory, rhetorical, or performance style. It has not been established the degree to which such style might depart from more informal styles of Jabo speech. However, this material is the basis of what is presented below.
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In the January 9th recital, Haile seems to have introduced a new, more declamatory and more modern compositional style. A reviewer said, "The translation of the sentiment of the poems into tonal utterances is his aim ... To the lover of melody, these songs offer little"."Recital of Haile songs." The Musical Courier. 1/17/1912.
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Donald Ayler (October 5, 1942 – October 21, 2007) was a jazz trumpeter. He was best known for his participation in concerts and recordings by groups led by his older brother, saxophonist Albert Ayler. An obituary in The Wire praised his "buzzing, declamatory trumpet playing, which was part Holy Roller primitive, part avant garde firebrand".
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Available on the CD Legends of Country Blues. It consisted of the sequence of verses House later called "Death Letter Blues". House had recorded this sequence at the Paramount session as part of "My Black Mama", the song which best displays the melody, structure, guitar figures and declamatory style that Johnson used on "Walking Blues".
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8; and 15 December 1932, p. 12 Among his recordings of extracts from oratorio are examples of the declamatory 'set-pieces' such as "Sound an Alarm" (from Judas Maccabaeus) and "Love sounds the alarm" and "Love in her eyes sits playing" (Acis and Galatea). He also recorded gentler numbers such as "Waft her, angels" (Jephtha).
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The Inuit are well known for Inuit throat singing or katajjaq, an unusual method of vocalizing found only in a few cultures worldwide. Narrow-ranged melodies and declamatory effects are common, as in the Northwest. Repeated notes mark the ends of phrases. Box drums, which are found elsewhere, are common, as a tambourine-like hand drum.
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Thomas Rackett (1757–1840) was an English clergyman, known as an antiquary. George Romney in a declamatory pose. At the age of 14 he recited to David Garrick the latter's ode for the Shakespearean jubilee and Garrick presented him with a gilt copy of it. Next year (1771) Garrick gave him a folio copy of Shakespeare with a laudatory inscription.
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Example 1: Poulenc, La voix humaine (1959), 3 after no. 24 Poulenc's writing for the voice is recitative-like in style, representing the natural inflections of speech and, in the case of this particular drama, imitating a phone conversation through its frequent pauses and silences. Poulenc rejects his previous lyricism, opting for a fragmentary, declamatory approach to the voice.Daniel, p.
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Pravda Publishers. Moscow, 1973. Vol.I, pp.467-472 Originally titled The 13th Apostle (but renamed at the advice of a censor) Mayakovsky's first major poem was written from the vantage point of a spurned lover, depicting the heated subjects of love, revolution, religion and art, taking the poet's stylistic choices to a new extreme, linking irregular lines of declamatory language with surprising rhymes.
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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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Călinescu, who criticizes the poet for his difficulties with the language, describes him as "not accomplished". Elaborating on this, he states: "[Cerna is] declamatory, banal and dry in his use of metaphors, although he displays a touch of the sublime here and there." Lovinescu thought many of the expressions Cerna used in his poetry to be "unacceptable", and argued that they were characterized by banality.Călinescu, p.
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Inupiaq drummers in Utqiagvik, Alaska The Inuit of Alaska, Northwest Territories, Yukon Territory, Nunavut and Greenland are well known for their throat-singing, an unusual method of vocalizing found only in a few cultures worldwide. Throat-singing is used as the basis for a game among the Inuit. Narrow-ranged melodies and declamatory effects are common, as in the Northwest. Repeated notes mark the ends of phrases.
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Nine of Seneca's tragedies survive, all of which are fabulae crepidatae (A fabula crepidata or fabula cothurnata is a Latin tragedy with Greek subjects) Seneca appears as a character in the tragedy Octavia, the only extant example of fabula praetexta (tragedies based on Roman subjects, first created by Naevius), and as a result, the play was mistakenly attributed as having been authored by Seneca himself. However, though historians have since confirmed that the play was not one of Seneca's works, the true author remains unknown. Senecan Tragedy put forth a declamatory style, or a style of tragedy that emphasized rhetoric structures. It was a style characterized through paradox, discontinuity, antithesis, and the adoption of declamatory structures and techniques that involved a aspects of compression, elaboration, epigram, and of course, hyperbole, as most of his plays seemed to emphasize such exaggerations in order to make points more persuasive.
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Following without a pause from the previous number, Variation 15, marked forte, is a bravura variation building relentlessly toward an exciting climax. It consists of a one-bar pattern, varied only slightly, of two declamatory chords in eighth notes in the higher registers, followed by lower sixteenth notes that echo Handel's original turns. A prominent upbeat creates syncopated energy. It has been called an étude for Brahms's Piano Concerto No. 2.
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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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As the play ends, he slaughters all around him (in the words of the text) "like mosquitoes." The extreme simplification of characters to mythic types, choral effects, declamatory dialogue and heightened intensity would become characteristic of later Expressionist plays. The first full-length Expressionist play was The Son by Walter Hasenclever, which was published in 1914 and first performed in 1916.Rorrison (1998, 475) and Schürer (1997b, ix, xiv).
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New York: PolyGram Records. "It's a Man's Man's Man's World" became a staple of Brown's live shows for the rest of his career. Its slow, simmering groove and declamatory vocal line made it suitable for long, open-ended performances incorporating spoken ruminations on love and loss and sometimes interpolations from other songs. It appears on almost all of Brown's live albums starting with 1967's Live at the Garden.
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But LoF's mystical and declamatory prose, and its love of paradox, make it a challenging read for all. Spencer-Brown was influenced by Wittgenstein and R. D. Laing. LoF also echoes a number of themes from the writings of Charles Sanders Peirce, Bertrand Russell, and Alfred North Whitehead. The entire book is written in an operational way, giving instructions to the reader instead of telling them what "is".
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Gabriel-Vincent Thévenard Gabriel-Vincent Thévenard (10 August 1669 – 24 August 1741) was a French operatic baritone (basse taille). Thévenard was born at Orléans or possibly Paris. Arriving in Paris in 1690, he studied under the composer André Cardinal Destouches and went on to become a member of the Académie Royale de Musique. He was notable for playing tragic roles that made use of his skill at declamatory recitatives.
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Probably meant to be recited at elite gatherings, they differ from the Greek versions in their long declamatory, narrative accounts of action, their obtrusive moralising, and their bombastic rhetoric. They dwell on detailed accounts of horrible deeds and contain long reflective soliloquies. Though the gods rarely appear in these plays, ghosts and witches abound. Senecan tragedies explore ideas of revenge, the occult, the supernatural, suicide, blood and gore.
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The central movement, the Credo, is the longest. It features static, syllabic, and declamatory text-setting with a limited harmonic and rhythmic vocabulary. Long stretches of text often repeat a single chord, evoking the reciting tone of Gregorian chant or the Orthodox liturgical chant that Stravinsky would have known from his childhood in Saint Petersburg. Clear setting of the text is favored over an expressive interpretation of its meaning.
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Adam Smith criticized Yvon's article on "Amour" (love) as being too declamatory. He said of the article that it "will tend little to the edification either of the learned or the unlearned reader, and might, one should think, have been omitted even in an Encyclopedia of all arts, sciences and trades". In Yvon's article on "Freedom", he said that if man is free, he has a spirit. If he has a spirit, he is immortal.
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Perplexing, fascinating, and difficult to classify in a literary sense, he succeeds in transmitting a certain mystique to the inquisitive reader. At one moment he seems coolly logical and shows an admirable ability to reason deductively, and the next moment he is overcome by absurd flights of fancy into a surrealistic world where apparently nothing makes any sense. His verse is light, colloquial and much less declamatory than that of many of his predecessors.
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"Funky Drummer" was recorded on November 20, 1969 in Cincinnati, Ohio. The piece takes the form of an extended vamp, with individual instruments (mostly the guitar, tenor saxophones and organ) improvising brief licks on top. Brown's ad-libbed vocals on "Funky Drummer" are sporadic and declamatory, and are mostly concerned with encouraging the other band members. The song is played in the key of D minor, though the first verse is in C major.
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It uses saxophone or other brass instruments and the guitar in the rhythm section to create a jazzy, up-tempo sound with declamatory vocals. Jump blues tunes by Louis Jordan and Big Joe Turner, based in Kansas City, Missouri, influenced the development of later styles such as rock and roll and rhythm and blues.Garofalo, p. 76. Dallas-born T-Bone Walker, who is often associated with the California blues style,Komara, p. 120.
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Longepierre's tragedies aimed in fact to regain the perfect purity of Greek theater. His best play, Medea (1694), was first greeted coldly but triumphed when it was revived in 1728 and every time a talented actress undertook the title role. This tragedy, devoid of love, has terrifying passages, but it is static and the style is hard, verbose and declamatory. Longepierre then gave Sesostris (1695) and Electra (1702) which had little performances.
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He produced many songs (over sixty, some with orchestral arrangements) for voice and piano in a romantic and dramatic, sometimes declamatory style, using post- Wagnerian harmony, mostly published by the Hermann Seemann Nachfolger Verlag to texts by such poets as Carl Busse, Ada Negri, Otto Roquette and Emil zu Schönaich-Carolath, whose almost exact contemporary he was. Lindner was sometimes attracted to exotic or eastern subjects, typified by the short song cycle "Lieder des Saidjah".
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The language in Ledig's second novel comes across as highly laconic and staccato. The rapid narrative pace is reminiscent of the postwar TrümmerliteraturTrümmerliteratur = literally "rubble literature" employed by Günter Eich in the lyric piece . Much the same can be said of Gert Ledig's use of parataxis, declamatory statements, ellipsis and the relatively low level of visual imagery. Value related adjectives and adverbs are applied sparingly, in order to reinforce the impression of realism and the impact of facts.
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Like Dering's continuo madrigals, its dramatic, declamatory style shows the influence of the new Italian Baroque and demonstrates Dering's ability to embrace new musical styles ahead of his English contemporaries. It is also noted as being one of the few anthems in the English choral repertoire to mention a dragon (symbolising Satan). Factum est Silentium has been published in two modern music collections, The Treasury of Church Music 1545-1650 and the Oxford Book of Tudor Anthems.
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Sound and music are diagetic only. Part of a broader artistic movement, it includes Naturalism and Socialist realism. Russia's first professional playwright, Aleksey Pisemsky, along with Leo Tolstoy (in his The Power of Darkness of 1886), began a tradition of psychological realism in Russia. A new type of acting was required to replace the declamatory conventions of the well-made play with a technique capable of conveying the speech and movements found in the domestic situations of everyday life.
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Mythology is at a minimum and there is no celebration of Britain or the crown. Where the octosyllabic couplets of Dyer's poem celebrate the natural beauty of a mountain view and are quietly meditative, the declamatory blank verse of Thomson's winter meditation is melancholy and soon to establish that emotion as proper for poetic expression. A William Blake illustration for Edward Young's Night Thoughts. A notable successor in that line was Edward Yonge's Night Thoughts (1742-1744).
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The speaker should therefore create > strong visual images, through expression and gesture, which will fix the > impression of his words. All the rhetorical textbooks contain detailed > advice on declamatory gesture and expression; this underscores the > insistence of Aristotle, Avicenna, and other philosophers, on the primacy > and security for memory of the visual over all other sensory modes, > auditory, tactile, and the rest.Carruthers 1990, pp. 94-95 This passage emphasizes the association of the visual sense with spatial orientation.
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She sings her own rage in music much more declamatory than lyrical, and the scene is suddenly and violently brought to an end. Scene 2: Fanny and Jean's house at Ville-d'Avray Jean has returned to their house and finds a box belonging to Fanny containing letters from her past lovers. Fanny has followed him. He forces her to burn the letters after reading them first, learning that she has an illegitimate child whose father is a convicted forger.
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This first movement, a sonata form movement in G minor and common time, begins immediately with the first theme, a declamatory statement in straight quarter-notes, stated in octaves for the piano alone. This theme is the opening cell that governs the content of the rest of the musical material in the movement. The other instruments soon join in to develop this initial theme and cadence in G minor. There are four other themes in the exposition.
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Any cultural element of apparent African origin was suppressed in the name of promoting Christianity. Legal restrictions furthered this goal by banning parties on Sundays, the Christian day of rest, as well as dances like the outdoors fertility dance, Jean and Johnnie. Traditional African music continued in spite of legal restrictions, including the use of drums and rattles, and declamatory and improvised call and response vocals. Much African music was used in Obeah, an African religion found throughout the island.
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Together with his friend Fyodor Volkov he inaugurated the first Russian theatre in his native Yaroslavl (1750), later moving with the rest of the troupe to St Petersburg (1756). His tragic parts in Alexander Sumarokov's plays were admired by Catherine the Great and her friend Ekaterina Dashkova. Later, he delivered lectures on theatre in the Russian Academy, of which he was a member. In his writings and plays, Dmitrevsky emphasized reason over emotions, propagating "the loud, artificial declamatory acting style" of French Neoclassicism.
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Literary critics regard "Ode on Indolence" as inferior to Keats's other 1819 odes. Walter Evert wrote that "it is unlikely that the 'Ode on Indolence' has ever been anyone's favorite poem, and it is certain that it was not Keats's. Why he excluded it from the 1820 volume we do not know, but it is repetitious and declamatory and structurally infirm, and these would be reasons enough."Evert 1965 p. 305 Bate indicated that the poem's value is "primarily biographical and not poetic".
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The third movement (15–20 minutes) is structured much like the second, with a slow initial theme, a faster middle section that evokes the first movement, and a recapitulation of the initial theme. Shostakovich stated elsewhere that he had hoped to portray Leningrad by twilight, its streets and the embankments of the Neva River suspended in stillness. Woodwinds begin with slow, sustained notes, accentuated by the horns. This simple theme cadences, and is followed by a declamatory theme played by violins.
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Until 1760 all of Voltaire's tragedies had been written in rhyming Alexandrine couplets, the normal form of dramatic poetry in the French theatre of the time. Tancrède however was written in 'vers croisés' which gave the language a somewhat more natural and less declamatory quality. Voltaire also concentrated on filling the action with pathos, tenderness and chivalric sentiment. When Jean-François Marmontel visited Ferney before the manuscript was sent to the actors in Paris, Voltaire gave him a copy to read.
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He had bought the camera Willamson make for his film production, which he used for his first five Phalke Films. In creating the mythological themes for his films, Phalke was influenced by Raja Ravi Varma, the famous king and painter of mythological themes. He also introduced the screen play format for the film and rehearsed his actors before recording the scenes. Departing from "declamatory" style of Sanskrit drama (where mythological themes were prevalent), Phalke used nataka (folk theater) dividing the screenplay into acts.
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André Bonne, Paris, 1953. Although described as a baritone, he created roles for Debussy and Ravel in the Baryton-Martin register. His was a declamatory art, and he created convincing characters with the help of his clear diction and his ability as an actor. In addition to his opera career, he acted in several films between 1900 and 1938. His voice on one of the seven published recordings he made (Act 2 of Véronique, 1904) is described as dry and husky.
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After the Ba'athist/Nasserist-led pro- reunification coup of March 1963, Al-Hourani went into exile in Lebanon. As a radical military-backed Ba'ath faction purged other political groups in Syria, he was decided to remain in opposition outside the country, and would never return. His position against military coups is based on his strong belief in declamatory. The Arab Socialist Party split into competing factions, some of which aligned with the Ba'ath, some of which opposed it, but Hawrani's own influence dwindled.
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Carl Sigmon writes that, "a declamatory cry dominates the movement- a cry so stark that it must be repeated; there is no answer but itself." Its tone center is G, but with A and C above (a whole tone above G and B): "In this fashion, the incipient whole- tone element of the Quintet is embedded in the global tone-center relations."Swift (1982-1983), p.276. It contains a viola, cello, and violin cadenza in the second, third, and fourth variations, respectively.
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In September 1955, she was cast as "Mamá Dolores" in a stage production of Félix B. Caignet's radio drama El Derecho de nacer (The Right of Birth), which played at the Teatro Santurce, located at 1421 5th Avenue, near 116th Street. In 1956, she performed in the Recital de Poesía Afro-Antillana sponsored by the Puerto Rican Society of Journalists and Writers and held at The Town Hall and in 1958, she recited at Fairfield University, winding down her declamatory career.
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With everything going on nowadays, it's about accountability." Musically, the song was described by Revolver as having a " slow-build up from a deceptively placid piano foundation to an intense, declamatory chorus", with Loudwire adding that the song was built around guitars with a "washed out heaviness" over Keenan's moody vocals. Spin described its sound as an "ominous mini-epic". MetalSucks described the song's sound as "a perfect hybrid of 2003's The Thirteenth Step and 2000's slightly heavier/moodier predecessor, Mer de Noms.
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It also explains "'Something's Coming' does not follow a standard song structure such as verse and chorus. Instead it is held together by three ideas or themes which are heard throughout the song and presented in different ways." The first theme has a "tritone between the bass note C and the F sharp in the vocal line. The F sharp resolves onto a G.", the second has "declamatory repeated notes and the use of accents", and the third has "long sustained notes, legato phrases and rising intervals".
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In the second verse, Clapton describes the happy and joyful heart his son has been given and tells his son Conor, what he would do with him, if he would be still alive. The chorus features the pain Clapton felt and Conor's friends, who would all gather one last time, since the circus left the town, New York City. In the song, Clapton expresses what a deep and personal connection the songwriter felt with his son as he uses declamatory descriptions like "eyes on fire".
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Elbert Hubbard Little Journeys to the Homes of Good Men and Great (1894–1918) William E. Gladstone The full quote is: : Then he asked if we were going to London. On being told that we were, he spoke for five minutes about the things we should see in the Metropolis. His style was not conversational, but after the manner of a man who was much used to speaking in public or to receiving delegations. The sentences were stately, the voice rather loud and declamatory.
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7 It's not uncommon now to hear the Puerto Rican declamatory exclamation "le-lo-lai" in salsa.Manuel, Caribbean Currents, p. 74 Politically and socially activist composers have long been an important part of salsa, and some of their works, like Eddie Palmieri's "La libertad - lógico", became Latin, and especially Puerto Rican anthems. The Panamanian-born singer Ruben Blades in particular is well known for his socially-conscious and incisive salsa lyrics about everything from imperialism to disarmament and environmentalism, which have resonated with audiences throughout Latin America.
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The fruits of their labors was a declamatory melodic singing style known as monody, and a corresponding staged dramatic form: a form known today as opera. The first operas, written around 1600, also define the end of the Renaissance and the beginning of the Baroque eras. Music prior to 1600 was modal rather than tonal. Several theoretical developments late in the 16th century, such as the writings on scales on modes by Gioseffo Zarlino and Franchinus Gaffurius, led directly to the development of common practice tonality.
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226 Ten years later Shaw highlighted as a feature of the "Bayreuth style" the "intolerably old-fashioned tradition of half rhetorical, half historical-pictorial attitudes and gestures", and the characteristic singing, "sometime tolerable, sometimes abominable".Shaw, p. 135 The subordination of the music to text, diction and character portrayal was a specific feature of the Bayreuth style; Cosima, according to Spotts, turned the principle of clear enunciation into "a fetish ... The resulting harsh declamatory style came to be derided as ... the infamous Bayreuth bark".Spotts, p.
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Middle Anatolia is home to the bozlak, a type of declamatory, partially improvised music by the bards. Neşet Ertaş has so far been the most prominent contemporary voice of Middle Anatolian music, singing songs of a large spectrum, including works of premodern Turkoman aşıks like Karacaoğlan and Dadaloğlu and the modern aşıks like his father, the late Muharrem Ertaş. Around the city of Sivas, aşık music has a more spiritual bent, afeaturing ritualized song contests, although modern bards have brought it into the political arena.
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His work is good in the sense of good quality and also in the sense of goodness, a humanly right relation of parts to whole ... It's about pleasure as a habit ...".(Introduction, "The Home Plate Show" 1983) The poet Ron Padgett, a friend and long-time collaborator, has written of Schneeman's art that, "It is beautiful – mild, balanced, well-drawn, firm, straightforward, and sometimes serene. It is also light, modern, attractive, clear, and likeable. It is not outrageous, declamatory, shocking, sneering, trendy, bizarre, or shrill.
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The beginning of the last movement is proclaimed, in a declamatory fashion, on brass only to introduce the robust and energetic main theme which persists throughout. Following the introduction the orchestra leads into a rondo-like section with alternatingly rousing and flowing treatments, where the main theme dominates. After several louder expositions the main theme is played out faster on strings building up a heroic atmosphere and leading to a bursting crescendo of kinetic energy after which a drumroll leads the movement to the spirited closing diminuendo.
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The choice of libretto has been regarded as to express the situation of the existentialism of the post-war era. The composer said that his work, as Kafka's novel, was to express like a parable aspects of the problem of existential guilt, turning to a psychological interpretation of original sin in dialogue ("... das Problem existentieller Schuld, um eine Hinwendung zu einer tiefenpsychologischen und dialogischen Ausdeutung der Erbsünde"). The opera is scored for soloists and orchestra. The vocal lines are declamatory, using moderately modern harmony including elements of twelve-tone serialism.
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A reviewer of The Guardian described the musical language as neo-expressionist, with writing for voices in declamatory style and with demanding coloraturas. A reviewer of the premiere, writing for the weekly Die Zeit, found the vocal writing for the three main characters convincing, and compared the work's expressivity to Alban Berg's Lulu and its atmosphere to Debussy's Pelleas et Melisande, noting the similarities of the three female characters. In 2016, a production by the Berlin University of the Arts, where Reimann had been a professor of contemporary Lied, honoured the composer's 80th birthday.
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Anerio was a conservative composer, who largely used the style of Palestrina as a starting point, at least after his youthful period of writing secular works, such as madrigals and canzonettas, was done. Nevertheless, he achieved an expressive intensity which was his own. Some influence of the Northern Italian progressive movements is evident, though muted, in his work. For instance, the use of double choirs (polychoral works were the norm in Venice): quick homophonic declamatory textures, quick melodic passages in the bass line (which were an influence from monody).
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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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A cantata consisted first of a declamatory narrative or scene in recitative, held together by a primitive aria repeated at intervals. Fine examples may be found in the church music of Giacomo Carissimi; and the English vocal solos of Henry Purcell (such as Mad Tom and Mad Bess) show the utmost that can be made of this archaic form. With the rise of the da capo aria, the cantata became a group of two or three arias joined by recitative. George Frideric Handel's numerous Italian duets and trios are examples on a rather large scale.
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Contrasting passages in monodies could be more melodic or more declamatory: these two styles of presentation eventually developed into the aria and the recitative, and the overall form merged with the cantata by about 1635. The parallel development of solo song with accompaniment in France was called the air de cour: the term monody is not normally applied to these more conservative songs, however, which retained many musical characteristics of the Renaissance chanson. An important early treatise on monody is contained in Giulio Caccini's song collection, Le nuove musiche (Florence, 1601).
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In an interview with the Poetry Society that took place when the Carcanet edition was published he was asked about this book: PS: I don't know very much about The Greek Anthology. Would you tell me something about it, how the idea came together and what appealed to you so much about it? GD': The original Greek Anthology is made up of sixteen books of short poems attributed to many different authors, ranging from the seventh century BC to the tenth century AD. The poems are amatory, religious, dedicatory, humorous, sepulchral, hortatory, declamatory, and satirical.
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She converted to Anglicanism, abandoned socialism and instead of focusing on a wide range of issues that concerned women she focused her efforts on women's suffrage. She was baptised into the Anglican Church at All Souls, Blackman Lane Leeds in 1890. Ford then transferred her suffrage society membership to London and expressed the desire that her art works should be hung "where they could speak". By that time declamatory art by women artists had reached a wide audience outside the institutions of culture and scholarship through the women's suffrage banners.
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The accompaniment comprises flowing triplets in the flute, "the palpitations of an excited heartbeat", over repeated chords in the strings. The tenor recitative adopts the voice of a pastor preaching to his followers. The movement is "short but operatically declamatory" and modulates from the minor mode to G major to set up the final movement. Unusual for Bach who often closes cantatas with a simple four-part setting of a chorale, the closing chorus reprises the music of the first movement, with a text entreating the listener to sing and dance.
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Sandell has mentioned the painter Odd Nerdrum as an important influence for this direction away from modernism. The first Nerdrum painting he saw was Return of the Sun, through which he realised which qualities modernism was missing: "the pathetic, the heroic, the sentimental, the nostalgic, the decadent, the Luciferian, the declamatory, the dramatic, the Dantean! (Dantesque?), the Gothic, late Manierism, Romanticism, historicism, symbolism, etc." A volume of Sandell's poetry titled Dog Star Notations: Selected Poems 1999 - 2016 appeared in English in 2016, translated by Bill Coyle and published by Carcanet Press.
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Francis Aickin (died 1805), was an Irish actor, who worked at the Edinburgh Theatre in Scotland, and the between 1765 and 1792 in theatres in the West End of London. Francis Aickin first appeared in London in 1765 as Dick Amlet in John Vanbrugh's The Confederacy at Drury Lane. He acted there, and at Covent Garden, until 1792. His repertory consisted of over eighty characters, and among his best parts were the Ghost in Hamlet and Jaques in As You Like It. His success in impassioned declamatory roles obtained for him the nickname of "Tyrant".
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He was of pleasing person, good judgement, his voice was sonorous and distinct, and from his success in the impassioned declamatory parts of tragedy he obtained the nickname of "Tyrant Aickin"—"a character in private life no man was more the reverse of, either in temper or the duties of friendship". Nor did all his merit lie in tragedy; in the serious parts of comedy, such as Sir John Flowerdale in the School for Fathers, the pleasing harmony of his tones, and his precision of expression were of great service to the performance.
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On the contrary, Madame Quéruel (Chapter: L'idole déchue. 1815–1831, pp. 147–159), basing herself primarily on research conducted in the archives of the Opéra and the Conservatoire (to which she summarily refers in footnotes), comes to quite different conclusions, as related in the present article. At the express wish of Louis XVIII he was again expelled – this time for good – from the new Chapelle Royale, but in return, in 1816, he was named professor of declamatory singing at the École royale de Musique et de Déclamation, which had replaced the Conservatoire.
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At that time Crali was researching signs and scenery, leading in 1933 to his participation in the film exhibition Futuristi Scenotecnica in Rome. In 1936 he exhibited with Dottori and Prampolini in the International Exhibition of Sports Art at the Berlin Olympics. Crali’s declamatory abilities and his friendship with Marinetti led him to organise Futurist evenings at Gorizia, Udine and Trieste, where he read the manifesto Plastic Illusionism of War and Protecting the Earth which he had co-authored with Marinetti. He also published a Manifesto of Musical Words - Alphabet in Freedom.
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The son of a farmer and the youngest – by eight years – of 13 children, Evans heard the voice of Enrico Caruso over the radio when he was a young boy. From then on his only ambition was to be a singer, despite his father's ambitions for him to become a banker or an architect. Completely untaught, Evans practised both 'preaching' in the declamatory 'Welsh chapel' style and singing in a barn-cum- boilerhouse on the farm. He received no encouragement as a boy – being always told that he sang too loudly.
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The Bridge comprises 15 lyric poems of varying length and scope. In style, it mixes near-Pindaric declamatory metre, free verse, sprung metre, Elizabethan diction and demotic language at various points between alternating stanzas and often in the same stanzas. In terms of its acoustical coherence, it requires its reader, novelly, to follow both end- paused and non end-paused enjambments in a style Crane intended to be redolent of the flow of the Jazz or Classical music he tended to listen to when he wrote. Though the poem follows a thematic progress, it freely juggles various points in time.
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This epic film was set in 326 BC when Alexander the Great, having conquered Persia and the Kabul Valley, descends on the Indian border at Jhelum and encounters Porus (Modi), who stops the advance with his troops. Sikander's lavish mounting, huge sets, and production values equalled Hollywood's best, particularly in its rousing and spectacular battle scenes. The movie was rated by a British writer as "well up to the standard of that old masterpiece The Birth of a Nation." Its dramatic, declamatory dialogue gave both Prithviraj Kapoor and Sohrab Modi free rein to their histrionic proclivities.
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The music of the Desperate Bicycles has been described as: "Spindly, fuzzy, guttural guitars through puny amplifiers, reedy, wheezy organs, out of tune electric pianos, cardboard box drums and monotonous declamatory yet somehow utterly reasonable sounding vocals".‘No More Time for Speculating’, by Richard Mason, November 1999, Perfect Sound Forever (on-line music magazine) (accessed 4 March 2009). Another reviewer described them as "a shambling wreck of a psychedelic post-punk band". (Note the differently- spelled name) The writer Simon Reynolds states that the group's music "was almost puritan in its unadorned simplicity, its guitar sound frugal to the point of emaciation".
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Johann Mattheson Bach's complex musical style had been criticized by some of his contemporaries. The composer, organist and musicologist Johann Mattheson remarked in "Die kanonische Anatomie" (1722): Until 1731, apart from his celebrated ridiculing in 1725 of Bach's declamatory writing in Cantata No.21, Mattheson's commentary on Bach had been positive. In 1730, however, he heard by chance that Gottfried Benjamin Hancke had been commenting unfavourably on his own keyboard technique: "Bach will play Mattheson into a sack and out again." From 1731 onwards, his vanity pricked, Mattheson's writing became critical of Bach, whom he referred to as "der künstliche Bach".
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Briggs was succeeded on the Sundays by Emanuel "Mac" Raboy, while the daily strip was revived in 1951 by Dan Barry. Barry also took over Sunday duties after Raboy's death in 1967. Run above Flash Gordon, Raymond's Jungle Jim is described by Armando Mendez as "a thing of beauty... always more than just a topper or a shallow response to Hal Foster's exquisite Tarzan". The companion strip evolved over time, morphing from an initial "two tiers and up to six panels [layout], with speech balloons" into "a single row, of four very tall panels with declamatory text and static, vertical composition".
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In the first passage preserved, Encolpius is in a Greek town in Campania, perhaps Puteoli, where he is standing outside a school, railing against the Asiatic style and false taste in literature, which he blames on the prevailing system of declamatory education (1–2). His adversary in this debate is Agamemnon, a sophist, who shifts the blame from the teachers to the parents (3–5). Encolpius discovers that his companion Ascyltos has left and breaks away from Agamemnon when a group of students arrive (6). Encolpius then gets lost and asks an old woman for help returning home.
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Whatever his opponents thought of his political views, according to Khulusi no one questioned Rusafi's abilities as a poet or disputed that he attained the apogee of his ability in his declamatory poetry. English rendering of one such poem is best articulated by Arthur John ArberryArthur J. Arberry, Modern Arabic Poetry, An Anthology with English Verse Translation (London: Taylor's Foreign Press, 1950), Cambridge Oriental Series, No.1, pp. 3–4 (Arabic) and 3–4 (English). Monument to Ma'ruf al- Rusafi, in the heart of the old town in Baghdad, close to where the poet was born.
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Epica Etica Etnica Pathos (Epic, Ethics, Ethnic, Pathos) is the last studio album released by the Italian punk rock band CCCP Fedeli alla linea in 1990. It sounds completely different from their previous works, and could be considered as the “real” first album by C.S.I.. The short, fast, hard music, with stripped-down instrumentation and punk rock melodies were substituted by a more melancholic and declamatory vein. The album sessions made use of original, and unique techniques for recording instruments and sound effects in rock music. It was directly played, and recorded in a farmhouse in the Emilia Romagna countryside.
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In 1877, O'Donnell secured a more permanent election to the House of Commons of the United Kingdom as MP for Dungarvan, County Waterford; he held the seat until 1885, when the constituency was abolished. He struck a colourful and controversial figure in parliament and became renowned for his declamatory speech-making. He was a prominent obstructionistStanford, Jane, That Irishman: the Life and Times of John O'Connor Power, Part Two, Parliamentary Manoeuvres, pps. 81, 246 and claimed credit for inventing the tactic of obstructionism which was to yield such results for the Home Rule League under Charles Stewart Parnell.
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The concerto is in two movements, each featuring a slow and a fast section. Echoing the Baroque slow- fast-slow-fast Sonata da chiesa,Breier, Albert (2005), 20th Century Bassoon Concertos, (Capriccio Records - 67-139), liner notes (translated by Janet and Michael Berridge). it also displays influence from neo-classicism and jazz.Musicweb-international.com CD Review - Jonathan Woolf The opening Recitativo displays the large range of the bassoon in a sparsely accompanied tirade by the soloist, beginning with quiet, tense and angular statements in the high range, but becoming more and more agitated, frenetic and declamatory, often running up and down the instrument vigorously.
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Born in Madrid, the son of a celebrated pediatrician, he returned drama to reality by way of social criticism: declamatory verse giving way to prose, melodrama to comedy, formula to experience, impulsive action to dialogue and the play of minds. Benavente showed a preoccupation with aesthetics and later with ethics. A liberal monarchist and a critic of socialism, he was a reluctant supporter of Francoist Spain as the only viable alternative to what he considered the disastrous republican experiment of 1931–1936. In 1936 Benavente's name became associated with the assassination of the Spanish poet and dramatist Federico García Lorca.
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For and subsequent commentators like , however, the motif represented the "uncertain, tottering steps ... of the wretched ones who are being supported and led into the house." After the closing cadence of the sinfonia, there is a reprise of the ritornello in the orchestra in a slightly expanded form. Immediately the chorus enters in pairs with their own musical material, singing in homphonic form. The word "brich" (break) in their initial declamatory phrase "Brich dem hungrigen dein Brot" is echoed in the pauses in the musical setting, pauses already present in the fragmentary detached quavers of the accompaniment.
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However, there is already a tendency in the opera to move away from a strict numbers form and to present the singers with long challenging passages. Recurring themes or simple leitmotifs associated with characters and situations already show a tendency towards something that Wagner would later use in a far more sophisticated manner in his mature works. Another anticipation of the composer's mature manner is how orchestra often carries the tune while vocal parts are declamatory. Of the various arias, Blyth picks out Ada's "huge Act 2 scene, which calls for a genuine dramatic soprano" noting that Birgit Nilsson had recorded it.
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The Migjeni Theatre in Shkodër. If there is no hope, there are at least suffocated desires and wishes. Some poems, such as Të birtë e shekullit të ri ("The sons of the new age"), Zgjimi ("Awakening"), Kanga e rinis ("Song of youth") and Kanga e të burgosunit ("The prisoner's song"), are assertively declamatory in a left-wing revolutionary manner. Here we discover Migjeni as a precursor of socialist verse or rather, in fact, as the zenith of genuine socialist verse in Albanian letters, long before the so- called liberation and socialist period from 1944 to 1990.
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France was on the verge of anarchy. A monarchien believing in a constitutional monarchy for France, Chénier believed that the Revolution was already complete and that all that remained to be done was the inauguration of the reign of law. Though his political viewpoint was moderate, his tactics were dangerously aggressive: he abandoned his gentle idyls to write poetical satires. His prose "Avis au peuple français" (24 August 1790) was followed by the rhetorical "Jeu de paume", a somewhat declamatory moral ode occasioned by the Tennis court oathThe indoor tennis court at Versailles was the jeu du paume.
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Where the octosyllabic couplets of Dyer's poem celebrate the natural beauty of a mountain view and are quietly meditative, the declamatory blank verse of Thomson's winter meditation is melancholy and soon to establish that emotion as proper for poetic expression. One notable successor in that line was Edward Yonge's Night Thoughts (1742-1744). It was, even more than "Winter", a poem of deep solitude, melancholy and despair. In these poems, there are the stirrings of the lyric as the Romantics would see it: the celebration of the private individual's idiosyncratic, yet paradigmatic, responses to the visions of the world.
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Vaughan was born in the West of England on 14 October 1795, to Anglican parents. He came under the influence of William Thorp (1771–1833), Independent minister at Castle Green, Bristol, who trained him for the ministry: Thorp influenced his early style of preaching, which was declamatory and active. While still a student he was invited (1819) by the Independent congregation in Angel Street, Worcester, accepted the call in April, and was ordained on 4 July, among his ordainers being William Jay and John Angell James. He became popular, and in March 1825 accepted a call to Hornton Street, Kensington, London, in succession to John Leifchild.
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In the last his declamatory powers as a reciter, particularly of Shakespeare's plays, made a furore, and the poet-actor was given the appointment of manager of the Josefstädter theatre in the last-named city. Though proud of his successes both as actor and reciter, Holtei left Vienna in 1836, and from 1837 to 1839 conducted the theatre in Riga. Here his second wife died, and after wandering through Germany reciting and accepting a short engagement at Breslau, he settled in 1847 at Graz, where he devoted himself to a literary life and produced the novels Die Vagabunden (1851), Christian Lammfell (1853) and Der letzte Komödiant (1863).
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This was the case of Gastone, the subject of a skit titled "Il bell'Arturo" in the 1915 revue Venite a sentire, subsequently performed on several occasions and developed into a tragicomedy, Gastone, in 1924. Gastone was both a parody of the stars of the declining world of silent films and of singers of the time, such as Gino Franzi, with their repertory of dramatic songs lamenting sad farewells and unrequited loves. Another character that started as a skit – "l'Antico romano" – was Nerone, who developed as a parody both of imperial political rhetoric and of the emphatic declamatory style of the "great actors" of the day.
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He finds fault with them for allowing these to continue, and also for their drunkenness; nor do the monks escape his censures. Zhidiata writes in a more vernacular style than many of his contemporaries; he eschews the declamatory tone of the Byzantine authors. And here may be mentioned the many lives of the saints and the Fathers to be found in early East Slavic literature, starting with the two Lives of Sts Boris and Gleb, written in the late eleventh century and attributed to Jacob the Monk and to Nestor the Chronicler. With the so-called Primary Chronicle, also attributed to Nestor, begins the long series of the Russian annalists.
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The Sixth Symphony was originally planned to be a large-scale "Lenin Symphony" - a project which was often announced, but never materialised. Shostakovich had announced once in September 1938 that he was anxious to work on his Sixth Symphony, which would be a monumental composition for soloists, chorus and orchestra employing the poem Vladimir Ilyich Lenin by Vladimir Mayakovsky, but the declamatory nature of the poem made it difficult to set. He later tried to incorporate other literature about Lenin in his new symphony, but without success. In January 1939, he spoke about the Sixth Symphony in a radio address, with no mention of Lenin or any extramusical associations.
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A progressive and humanist poet, he chose to approach history and reality directly and his verse combined oratorical vigour with a declamatory diction The theme of Urvashi revolves round love, passion, and relationship of man and woman on a spiritual plane, distinct from their earthly relationship. Wednesday, 11 January 2017 His Kurukshetra is a narrative poem based on the Santi Parva of the Mahabharata. It was written at a time when the memories of the Second World War were fresh in the mind of the poet. Krishna Ki Chaetavani is another poem composed on events that led to the Kurukshetra war in the Mahabharata.
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Jenkins is known for "simple structures" which "are never sentimental", for "broad multicultural gestures", and "a particular take on the textures of older British band music". A review notes that he structured the Gloria in contrasting movements, some "big, brassy, quartal-sounding", others quiet "in which the choir circles around a core of three or four notes". The reviewer believes the insertions of short "readings of scripture from Hindu, Buddhist, Taoist, and Islamic traditions" and "'ethnic percussion' vaguely associated with these faiths" as suggesting "a sincere ecumenism on the composer's part". Movement III is reminiscent of Jenkins' popular Adiemus, "with its primeval- sounding harmonies, declamatory choral style and pounding drummed rhythms".
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University of Nebraska Press, 1994. Both works open with a declamatory fanfare marked Grave, sharing a distinct combination of dotted rhythms, melodic contour, and texture. Furthermore, the first four notes of the Partita's Andante (G-C-D-Eb, prominently repeated throughout the work) are found in the Pathétique as the first notes of important themes – first in the hand-crossing second subject of its first movement (initially transposed), then in the main theme of the Rondo. It is known that Beethoven was familiar with the works of Bach, studying The Well-Tempered Clavier as a youth and returning to his predecessor's compositional styles later in life.
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After the soloist sings a series of melismatic lines, three groups of strings and oboes are introduced as counterpoint and echoing response in a score with motifs from the opening ritornello. The refrain is again taken up in the second stollen, but with significant variations due to the differing text: "It leads me after my torments to God in the Promised Land". After a repeat of the opening ritornello, the final abgesang contains the words, "There at last I will lay my sorrow in the grave, there my Savior himself will wipe away my tears." Declamatory triplets, spanning the bass register, are responded to in the accompaniment by sighing motifs.
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The fourth movement, "" ("I stand ready to receive the inheritance of my divinity with desire and longing from Jesus' hands"), is a recitativo accompagnato with strings. It begins as a declamatory recitative, with sustained string accompaniment. After seven bars the time signature changes from 4/4 to 3/4, resuming a simple, calm version of the second half of the abgesang from the first movement and repeating words related to the Book of Revelation in a triplet rhythm. Gardiner describes this change: " ... now slowed to adagio and transposed to F minor, and from there by means of melisma floating effortlessly upwards, for the first time, to C major".
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Moreover, there are variants of the text which do not follow the 628-page layout, and in these, the quotation cannot be found on page 556. describing the darkest part of the night, and the activities of the characters, each written in a style reflecting their personalities. It follows the lyrical account of Infantina Isobel, who "night by silentsailing night [...] evencalm lay sleeping", which Cage used earlier in The Wonderful Widow of Eighteen Springs. Joyce switches to guttural Germanic language, to describe Joe Sackerson, the drunken Scandinavian watchman of the pub: The vocal line is declamatory and uses a small number of high pitches.
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Pruzhansky The premiere established traditions that have influenced subsequent Russian productions (and many abroad as well): 1) Cuts made to shorten what is perceived as an overlong work; 2) Declamatory and histrionic singing by the title character, often degenerating in climactic moments into shouting (initiated by Ivan Melnikov, and later reinforced by Fyodor Shalyapin); and 3) Realistic and historically accurate sets and costumes, employing very little stylization.Emerson, Oldani (1994: p. 91) 1879, Saint Petersburg – Cell Scene The Cell Scene (Revised Version) was first performed on 16 January 1879 in Kononov Hall, at a concert of the Free School of Music, in the presence of Mussorgsky.Lloyd-Jones (1975: p.
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Grove Music Online, 2001 (subscription required). It is primarily a six-voice mass, but voice combinations are varied throughout the piece; Palestrina scores Agnus II for seven voices, and the use of the full forces is reserved for specific climactic portions in the text. It is set primarily in a homorhythmic, declamatory style, with little overlapping of text and a general preference for block chords such that the text can clearly be heard in performance, unlike many polyphonic masses of the 16th century. As in much of Palestrina's contrapuntal work, voices move primarily in stepwise motion, and the voice leading strictly follows the rules of the diatonic modes codified by theorist Gioseffo Zarlino.
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The plays have often been drastically adapted in performance. During the 18th and 19th centuries, the era of the great acting stars, to be a star on the British stage was synonymous with being a great Shakespearean actor. Then the emphasis was placed on the soliloquies as declamatory turns at the expense of pace and action, and Shakespeare's plays seemed in peril of disappearing beneath the added music, scenery, and special effects produced by thunder, lightning, and wave machines. Editors and critics of the plays, disdaining the showiness and melodrama of Shakespearean stage representation, began to focus on Shakespeare as a dramatic poet, to be studied on the printed page rather than in the theatre.
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Sammarco possessed a strong voice with a powerful upper register; but of all the celebrated singers preserved on early recordings, Sammarco's are regarded as the most disappointing. The technical quality of his singing disappoints and the timbre of his voice can sound rough; at best he is merely dull. On record, according to Scott and Steane, he has a singular inability to sing less than mezzo forte and has no concept of legato. He impresses most when delivering declamatory passages in verismo operas (see Scott, cited below) including an early (celebrated or notorious) recording with the soprano Emma Carelli from Tosca, complete with peals of laughter; even in these "specialist" roles, his singing is unimaginative and crude.
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In addition to his copious output of madrigals and chansons, Arcadelt produced three masses, 24 motets, settings of the Magnificat, the Lamentations of Jeremiah, and some sacred chansons – the French equivalent of the madrigale spirituale. The masses are influenced by the previous generation of Franco-Flemish composers, particularly Jean Mouton and Josquin des Prez; the motets, avoiding the dense polyphony favored by the Netherlanders, are more declamatory and clear in texture, in a manner similar to his secular music. Much of his religious music, except for the sacred chansons, he probably wrote during his years in the papal chapel in Rome. Documents from the Sistine Chapel archives indicate that the choir sang his music during his residence there.
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The musical structure of the Ashkenazi Kol Nidrei is built upon a simple groundwork, the melody being an intermingling of simple cantillation with rich figuration. The opening of Kol Nidre is what the masters of the Catholic plainsong term a "pneuma", or soul breath. Instead of announcing the opening words in a monotone or in any of the familiar declamatory phrases, a hazzan of South Germany prefixed a long, sighing tone, falling to a lower note and rising again, as if only sighs and sobs could find utterance before the officiant could bring himself to inaugurate the Day of Atonement.Abraham Zvi Idelsohn analyzed the melody of Kol Nidre in his article "Der Juedische Tempelsang" in Guido Adler ed.
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This opera constitutes the last of three short serious operas by this composer, the other two being A Feast in Time of Plague and Mademoiselle Fifi. The musical setting of the text of Mateo Falcone has a declamatory-melodic character, in keeping with the composer's veneration, if not slavish emulation, of Alexander Dargomyzhsky's method of "melodic recitative," which had been most thoroughly demonstrated in The Stone Guest. There are no extractable "numbers" from this opera to speak of, although highlights include the orchestral passages that suggest the rustic scenery with a kind of barcarolle, and the intimate Latin prayer near the end (a setting of "Ave Maria"), which is reminiscent of the composer's art songs.
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Open vocals with monophony are common in the Pacific Northwest and British Columbia, though polyphony also occurs (this the only area of North America with native polyphony). Chromatic intervals accompanying long melodies are also characteristic, and rhythms are complex and declamatory, deriving from speech. Instrumentation is more diverse than in the rest of North America, and includes a wide variety of whistles, flutes, horns and percussion instruments. Nettl describes the music of the Kwakwaka'wakw, Nuu-chah-nulth, Tsimshian, Makah, and Quileute as some of the most complex on the continent, with the music of the Salish nations (Nlaka'pamux, Nuxálk, and Sliammon, and others directly east of the Northwest tribes) as being intermediary between these Northwest Coast tribes and Inuit music.
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Open vocals with monophony are common in the Pacific Northwest and British Columbia, though polyphony also occurs (this is the only area of North America with native polyphony). Chromatic intervals accompanying long melodies are also characteristic, and rhythms are complex and declamatory, deriving from speech. Instrumentation is more diverse than in the rest of North America, and includes a wide variety of whistles, flutes, horns and percussion instruments. Nettl describes the music of the Kwakwaka'wakw, Nuu-chah-nulth, Tsimshian, Makah, and Quileute as some of the most complex on the continent, with the music of the Salish nations (Nlaka'pamux, Nuxálk, and Sliammon, and others directly east of the Northwest tribes) as being intermediary between these Northwest Coast tribes and Inuit music.
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According to the New York Times critic, "[t]he scenery, costumes and effects were all designed and executed with great art and caused admirable results." Of particular note was the performance of Joseph Beck who sang Alberich: "a fine example of Wagnerian declamatory singing, His delivery of the famous curse of the ring was notably excellent in its distinctness and dramatic force". On 4 March 1889, with largely the January cast, Seidl conducted Das Rheingold to begin the first American Ring cycle. Thereafter, Das Rheingold, either alone or as part of the Ring, became a regular feature of the international opera repertory, being seen in St Petersburg (1889), Paris (1901), Buenos Aires (1910), Melbourne (1913),, and Rio de Janeiro (1921), as well many other major venues.
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The cycles include two canzoni by Petrarch and a capitolo by Ariosto; they are set in a declamatory manner, thereby including a treatment of vocal lines which foreshadowed monody, and Wert's own later works.Fenlon, Grove onlineEinstein, p. 518. Einstein (1949) alone claims that these cyclic compositions are in his third madrigal book of 1563; both Carol MacClintock and Iain Fenlon find them in the sixth madrigal book of 1577. Once Wert made the acquaintance of the virtuoso singing ladies of Ferrara, the concerto delle dame, he began to write madrigals for them in an appropriate style – with elaborate parts for three high voices, often containing separate blocks for high and low voices, and the most virtuosic singing required in the topmost part.
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Russian national anthem being performed, 2010 Ceremonial music is by nature, occasional, and usually in honor of a dignified person such as a head of state, or a nobleman. The arrival of a king, for example, is normally heralded with a fanfare - a declamatory and often brief musical announcement, which is far more effective and audible than a vocal announcement. Such music has evolved to accompany the splendour of the personage for whom it was meant, in a suitably dignified style and tempo (majestic; stately, etc.). An anthem will extol the virtues of a nation, or a monarch, and originally was conceived as choral music, but in the case of the National Anthem, is more likely to be heard played by a military band, or an orchestra.
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By the late 1930s, Delmar was an announcer on such major radio series as The March of Time and Your Hit Parade. He played multiple roles in The Mercury Theatre on the Air's October 1938 radio drama The War of the Worlds. His main role was that of Captain Lansing, the National Guardsman who collapses in terror when confronted by the Martian invaders, although he also is noted for his address to the "citizens of the nation" as the Secretary of the Interior, in which role he spoke in a stentorian, declamatory style deliberately reminiscent of then-President Franklin Roosevelt.Kelly, Ray, Celebrating the 70th Anniversary of Orson Welles's panic radio broadcast The War of the Worlds. Wellesnet, October 26, 2008; retrieved April 10, 2012.
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Three poems from the Greek Anthology refer to an otherwise unrecorded fable in which a hare on the run from hunting dogs leaps into the sea, only to be seized there by a 'sea-dog', a Mediterranean shark.Book IX, Declamatory Epigrams Fables 17, 18 and 371 The first two poems are by Germanicus Caesar, the second of which ends poignantly, ::Beasts of water and land rage against me alike. ::Hares, may the air be your recourse; yet I fear ::You too, O Heaven, have a dog among your stars! In the course of his first poem, Germanicus refers directly to the Greek equivalent of the proverbial idiom that was to develop into the modern-day 'Out of the frying pan into the fire'.
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He became a Whig, but was sustained by his constituents. Wise was re-elected as a Whig in 1836, 1838, and 1840. While in Congress, Wise was the "faithful" opponent of John Quincy Adams. Adams described Wise in his diary as "loud, vociferous, declamatory, furibund, he raved about the hell-hound of abolition..." On February 24, 1838, Wise served as the second to William J. Graves of Kentucky during the latter's duel with Jonathan Cilley of Maine at the Bladensburg Dueling Grounds, in which Cilley was mortally wounded. He later wrote an account of the event that was published by his son John in the Saturday Evening Post in 1906. In 1840 Wise was active in securing the nomination and election of John Tyler as Vice President on the Whig ticket.
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Sir Henry Wood compared the caressing nature of his voice with Richard Tauber's, adding, 'I never hear the title of Deeper and deeper still (Handel) without thinking of his lovely inflection and quality.'H.J. Wood, My Life of Music (London: Victor Gollancz Ltd 1946 edition), p. 82-83. In the Handel tenor roles, his immediate successor in the Crystal Palace performances, until 1900, was the English tenor Edward Lloyd, who recorded "Sound an Alarm", "Lend me your Aid" (Gounod – "Reine de Saba"), the tenor solos from Elijah, Braham's Death of Nelson, Dibdin's Tom Bowling and ballads of the declamatory style (such as Frederic Clay's "I'll sing thee songs of Araby"; "Alice, Where art thou?" and "Come into the Garden, Maud") – all closely identified with Reeves – in the first years of the twentieth century.Scott 1977.
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Her Metropolitan Opera debut came in 1908 with an acclaimed performance of Aida, after she was released from her contract with the Berlin Court Opera. Two years later at the Met, she created the role of Minnie in the premiere of Puccini's La fanciulla del West, again opposite Caruso, and under the direction of Arturo Toscanini. Memorial of Emmy Destinn near Třeboň While she was highly successful in the lighter roles of Wagner's operas, her spinto voice—although large in size, with a ringing top register—was better suited to German music of a less declamatory type. She also excelled in the French part of Carmen, in which she was said to rival Calvé, and in the Italian roles of Aida, Madama Butterfly and Leonora (in Il trovatore).
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In addition, he showed a preference for a declamatory, homophonic style, which he refined later in his career into a seconda prattica manner influential on Monteverdi, and he also showed a liking for high voices – something which turned out to be a defining characteristic of the music-making at the Este court in Ferrara. The poems he chose to set for his early books include examples by Pietro Bembo, Petrarch and Ariosto. Wert's style at mid-career began to change away from the Rore manner towards one more closely aligned with the Venetians, such as Andrea Gabrieli. Pure homophony became more common in his works, and he began to exploit registral and textural contrasts rather than switch from polyphony to homophony; in addition, his lines became more lyrical.
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He had been coached in the role by the actor and playwright Charles Macklin and his natural performance, which rejected the declamatory acting style so prevalent in the period, soon was the talk of London. Of his performance at Goodman's Fields, Horace Walpole remarked, "there was a dozen dukes a night at Goodman's Fields". Following his rousing performance, Garrick wrote to his brother requesting withdrawal from the partnership to devote his time completely to the stage. Having found success with Richard III, Garrick moved onto a number of other roles including Tate's adaptation of Shakespeare's King Lear and Pierre in Otway's Venice Preserv'd as well as comic roles such as Bayes in Buckingham's The Rehearsal; a total of 18 roles in all in just the first six months of his acting career.
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Jarl Lage Kulle (28 February 1927 - 3 October 1997) was a Swedish film and stage actor and director, and father of Maria Kulle. Kulle was born in the village of Truedstorp, outside Ekeby, Sweden, and was the son of the merchant Nils Kulle and Mia Bergendahl. Kulle was one of the leading Swedish stage actors of his generation and often appeared in TV productions, at the Royal Dramatic Theatre of Stockholm as well as in a number of films, several of these directed by Ingmar Bergman. Taking on many star parts of the classical and modern repertory, appearing in contemporary TV drama and musicals and armed with remarkable gifts for both comedy, romantic drama and slightly declamatory but controlled pathos, he was one of Sweden's most loved modern actors.
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If this option is chosen, a Two-Part Exposition is produced; if not, TR leads directly to the essential expositional closure (described below), producing a Continuous Exposition. The medial caesura (MC or ’), if present, is an abrupt gap in the musical texture, either a complete gap in sound or covered over by light "filler" material. The MC is often triggered by repeated, declamatory ("hammer blow") chords and follows either a half cadence or authentic cadence in the tonic or secondary key. (The first level default is to build an MC around a half cadence in the new key; by far the least common option is to set the MC up by an authentic cadence in the tonic.) This moment of punctuation serves one purpose: to announce the impending arrival of the sonata's secondary theme.
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Although De Lucia's stage career was closely tied to works by his contemporaries Mascagni and Leoncavallo, the vocal method that he exhibited in their operas was not the strenuous, declamatory mode of singing normally associated by modern listeners with the verismo movement. Because his voice was not overly powerful or extensive in range, he needed to rely on his histrionic skills to project the drama fully. When it came to his actual singing, he delivered the music at hand in a flowery and fluttery way that has no modern equivalent. De Lucia's recordings of arias and duets from Rossini's Barber of Seville ('Ecco ridente', 'Se il mio nome' and 'Numero quindici', for example) show off his vocal characteristics to an even greater extent than do his records of verismo pieces (or even lyrical Verdian parts, such as Alfredo in La traviata).
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In 1986, Bad Brains signed with SST Records and released I Against I, which, in addition to their hardcore punk and reggae sounds, introduced a heavy metal/funk hybrid sound. H.R. provided the vocals for "Sacred Love" over the phone from the Lorton Reformatory while doing a bid for a cannabis charge. Also critically praised was H.R.'s performance: Rick Anderson wrote on AllMusic that, "[HR] digs deep into his bag of voices and pulls them all out, one by one: the frightening nasal falsetto that was his signature in the band's hardcore days, an almost bel canto baritone, and a declamatory speed-rap chatter that spews lyrics with the mechanical precision of a machine gun". The title track's video was shown on MTV's then-new 120 Minutes program, for which the band appeared in promotional footage.
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The great writer Miroslav Krleža said they presented Kranjčević as a genuine "standard-bearer of freedom". More recently, the literary historian said that the prophetic and bitter energy of its poems, although occasionally falling into pathos and rhetoric, embraced universal and cosmic themes, which made the young Kranjčević stand out among his contemporaries, such as August Harambašić, whose main themes were declamatory patriotism or romantic love. Bugarkinje tried to formulate a poetic and political program, with the dedicatory poem to August Šenoa expressing the poetic credo of Kranjčević, while the poems to Croatia, the People and the Worker stood as three pillars of the poet's national and political beliefs. Kranjčević used Biblical and classical parables, as well as symbols from the history of Christianity and Judaism; their allegorical nature suited his poems about the fundamental human issues.
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Finale: Allegro molto 2/2 D major The finale is in extended sonata form. It begins with a strong declamatory unison phrase (Excerpt 12), whose argument continues like a 'window frame' between the panes of the main subjects from the previous three movements: Excerpt 9 from the third movement, Excerpt 6 from the second movement, and Excerpt 1 from the first movement. This 'summary' is similar to the finale from Beethoven's ninth symphony; Franck himself had used the same method in his organ piece Grande Pièce Symphonique. Since the three main subjects contrast strongly (in different ways) with their frame, one might also think of the second movement of Beethoven's 4th piano concerto with its dialogue between 'angry' orchestra and 'pacifying' piano, which had previously inspired the opening of Franck's 'Symphonic Variations' for piano and orchestra.
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The verismo opera style featured music that showed signs of more declamatory singing, in contrast to the traditional tenets of elegant, 19th century bel canto singing that had preceded the movement, which were purely based on markings in the written music of authors preceding this “era”. Opera singers adapted to the demands of the “new” style. The most extreme exponents of verismo vocalism sang habitually in a vociferous fashion, were focusing on the passionate aspect of music. They would 'beef up' the timbre of their voices, use greater amounts of vocal fold mass on their top notes, and often employ a conspicuous vibrato in order to accentuate the emotionalism of their ardent interpretations (this kind of proper “chiaroscuro” technique singing, which promised a great longevity of the voice, that a lot of preceding singers used up to this point in time).
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Reszke was equally successful at singing in German, and his appearances as Lohengrin, Walther von Stolzing, Siegfried, and Tristan were lauded by music critics, who praised him for demonstrating how the extremely demanding and often declamatory music that Wagner wrote for his heldentenors could be sung with beauty of tone and, wherever practicable, a smooth legato line. American-born Lillian Nordica was the most illustrious of the dramatic sopranos that partnered him in Wagner's operas. During his heyday, Reszke sang Italian operas less frequently than French or Wagnerian ones. Indeed, in 1891, his keenly awaited interpretation of the title role in Verdi's last tragic masterpiece, Otello, had disappointed the critics somewhat; while expertly sung, it lacked the clarion ring and elemental force that his main tenor rival, Francesco Tamagno (1850–1905), had brought to the part.
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His madrigals use from four to six voices, and show the influence of several of the prominent stylistic trends of the time. There is a gradual progression from an early dense imitative and polyphonic style, to one making use of most of the trends current at Mantua and Ferrara, including the seconda pratica style of declamatory writing, which was one of the musical characteristics defining the beginning of the Baroque era. Unlike Monteverdi, for whom it was a defining characteristic of his polyphonic madrigals, Pallavicino generally ignored the possibilities for dramatic characterization inherent in the texts he set, especially in his earlier books. This was the period in which the precursors of opera were being written, and one of the prominent madrigalian trends was to take dialogue, monologue, or straight narrative texts and set them with appropriate characterization.
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In the 1950s, the critical reaction in West Germany to Vergeltung was sharply negative. There were one or two more positive reactions from a handful of reviewers in the East German papers, as well as in one or two lower tier West German publications. At that time the dominant opinion formers in the world of German-language literature were writing for the leading newspapers, and these condemned the novel unanimously. As an example, Peter Hornung in Die Zeit criticised Ledig's prose style as "over-simplified to the point of desolation"„auf ein wahres Existenzminimum vereinfacht und verödet“Peter Hornung: Zuviel des Grauens ("Too much gruesomeness"). In: Die Zeit, 15. November 1956. Writing in the Frankfurter Allgemeine Zeitung, Wolfgang Schwerbrock found the novel "excessively emotional and declamatory"„zu pathetisch und zu deklamatorisch“Wolfgang Schwerbrock: Im Stil von Malaparte. In: Frankfurter Allgemeine Zeitung, 22. September 1956.
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The roots of hard rock can be traced back to the mid to late 1950s, particularly electric blues,Simon Frith, Will Straw. The hard rock genre is originally from Glasgow. John Street, The Cambridge Companion to Pop and Rock, page 19, Cambridge University Press which laid the foundations for key elements such as a rough declamatory vocal style, heavy guitar riffs, string-bending blues-scale guitar solos, strong beat, thick riff-laden texture, and posturing performances.Michael Campbell & James Brody (2007), Rock and Roll: An Introduction, page 201 Electric blues guitarists began experimenting with hard rock elements such as driving rhythms, distorted guitar solos and power chords in the 1950s, evident in the work of Memphis blues guitarists such as Joe Hill Louis, Willie Johnson, and particularly Pat Hare, who captured a "grittier, nastier, more ferocious electric guitar sound" on records such as James Cotton's "Cotton Crop Blues" (1954).
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Nevertheless, the use of neither the Präteritum nor especially the genitive case is totally unusual in daily language, though it is considered rare, and might be dependent on a region's dialect and/or the grade of education of the speaker. People of higher education use the genitive more regularly in their casual speech and the use of perfect instead of Präteritum is especially common in southern Germany, where the Präteritum is considered somewhat declamatory. The German Konjunktiv I / II ("er habe" / "er hätte") is also used more regularly in written form being replaced by the conditional ("er würde geben") in spoken language, although in some southern German dialects the Konjunktiv II is used more often. Generally there is a continuum between more dialectical varieties to more standard varieties in German, while colloquial German nonetheless tends to increase analytic elements at the expense of synthetic elements.
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It is in his sixth book of madrigals, published in 1600, the year traditionally (and arbitrarily) marking the end of the musical Renaissance, that his shift to the new style of the seconda pratica is most prominent. The madrigals, mostly based on texts by Giovanni Battista Guarini – by far the favorite poet of madrigal composers of the time – are written in a largely homophonic and declamatory style which is highly attentive to text accentuation and rhythm. It is also in this book that he uses some of the musical devices that were to make Monteverdi famous, such as the unprepared dissonance that so horrified Artusi, as well as previously forbidden melodic intervals such as diminished fourths; he also exploits cross relations for expressive effect. Curiously, he also frequently uses the interval of the falling sixth, a characteristic of Monteverdi's – though which learned it from the other is uncertain.
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Gladkov, Law p. 155 and branded his style "declamatory singsong a la Ostuzhev".Gladkov, Law p. 156 In late 1900s Ostuzhev gradually moved from juvenile, romantic parts of his early days to modern drama, particularly exploring mother and son relationships in a duo with Maria Yermolova (Neznamov in Guilty without Guilt1908 photograph of the duo is stored at RIA Novosti photo bank, and Zhadov in A Profitable Place by Aleksandr Ostrovsky, Oswald in Ghosts by Henrik Ibsen). Ostuzhev's career could have ended there: around 1908 his hearing, damaged by Ménière's disease, declined, and by 1910 the actor was completely deaf. But Ostuzhev defied disability and remained on stage: in August 1909, approaching deafness, he played the tragic part of False Dmitriy I in False Dmitry and Vasily Shuisky by Aleksandr Ostrovsky (August 1909); already deaf, he played in the new Maly productions of Shakespeare's comedies – Ferdinand in The Tempest, Orlando in Twelfth Night (1912) and Bassanio in The Merchant of Venice (1916).
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The style of Phylarchus is strongly censured by Polybius, who blames him for writing history for the purpose of effect, and for seeking to harrow up the feelings of his readers by the narrative of deeds of violence and horror. This charge is to some extent supported by the fragments of his work; but whether he deserves all the reprehension which Polybius has bestowed upon him may well be questioned, since the unpoetical character of this great historian's mind would not enable him to feel much sympathy with a writer like Phylarchus, who seems to have possessed no small share of imagination and fancy. It would appear that the style of Phylarchus was too ambitious; it was oratorical, and perhaps declamatory; but at the same time it was lively and attractive, and brought the events of the history vividly before the reader's mind. He was, however, very negligent in the arrangement of his words, as Dionysius has remarked.
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Ruffo's repertoire included most of the major baritone roles in French and Italian opera, including among others Rigoletto, Di Luna, Amonasro, Germont, Tonio, Rossini's Figaro, Valentin, Iago, Carlo (in both Ernani and La forza del destino), Nabucco, Vasco, Don Giovanni, Barnaba, Scarpia, Marcello, and Renato in Un ballo in maschera. He was also renowned for his interpretations of several baritone parts in operas that are largely forgotten today, namely, the title roles in Ambroise Thomas's Hamlet and Franchetti's Cristoforo Colombo plus Cascart in Leoncavallo's Zazà and Neri in Giordano's La cena delle beffe. Like his tenor contemporary Enrico Caruso, Ruffo was said to embody a new style of singing in which power, declamatory force and a rich, chesty tone eclipsed the previous generation's emphasis on vocal grace, flexibility and technical finesse. Consequently, some conservative commentators compared Ruffo unfavorably with his elegant Italian predecessor Mattia Battistini, who was a master of bel canto and the possessor of a leaner, more silvery timbre than Ruffo's.
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Marrash often included poems in his works, written in muwashshah and zajal forms according to the occasion.. Shmuel Moreh has stated that Marrash tried to introduce "a revolution in diction, themes, metaphor and imagery in modern Arabic poetry",. sometimes even mocking conventional poetic themes.. In the introduction to his poetry book Mir'at al-Hasna' (The Mirror of the Beautiful One), which was first published in 1872, Marrash rejected even the traditional genres of Arabic poetry, particularly panegyrics and lampoons.. His use of conventional diction for new ideas marked the rise of a new stage in Arabic poetry which was carried on by the Mahjaris. Shmuel Moreh has also considered some passages from Ghabat al-haqq and Rihlat Baris to be prose poetry, while Salma Khadra Jayyusi has described his prosaic writing as "often Romantic in tone, rising sometimes to poetic heights, declamatory, vivid, colourful and musical", calling it the first example of poetic prose in modern Arabic literature.; .
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In Khulusi's view, Rusafi was ruthless, harsh, impulsive and tactless in his satires particularly when attacking the authority of a monarch or exploring uncomfortable themes in poems such as al- Yatim fi 'l-'id (The Orphan on the Day of Festival), al-Faqr wa 'l-Suqam (Poverty and Illness), Umm al-Yatim (The Orphan's Mother) and al-Mutallaqa (The Divorced Woman). Arguably the most powerful of these is al-Sijnu fi Baghdad (The Prison in Baghdad), in which he describes the miserable condition of the prisoners and their ill treatment. It's in this poem that Rusafi makes his famous statement, “Li anna‘l-Haqqa lam yata Baghdadi (Because justice is not yet a Baghdadi)” in answer to a complaint from a prisoner demanding to know why he had been imprisoned for no reason. In all of these poems his language is closer to the colloquial than in the declamatory poems, where the style and vocabulary are sophisticated and highly classical.
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The baroque taste in ornate restorations of antiquities had favoured finely pumiced polished surfaces, coloured marbles and mixed media, and highly speculative restorations of sometimes incongruous fragments.Jennifer Montagu, Roman Baroque Sculpture: the Industry of Art (New Haven: Yale University Press) 1989. Only in the nineteenth century, would collectors begin for the first time to appreciate fragments of sculpture: a headless torso was not easily sold in eighteenth-century Rome. In the competition for a permanent marble of Saint Norbert for the last available niche in St. Peter's Basilica, Cavaceppi, the candidate favoured by Cardinal Albani, lost out in the end to the more conservative declamatory Baroque manner of Pietro Bracci, who received the commission.The details of the story, which "admirably documents the workings of power politics and intrigue in matters of taste, traditional factors in the competition for lucrative commissions in the art capital of Western Christendom" has been detailed by Seymour Howard, "Bartolomeo Cavaceppi's Saint Norbert" The Art Bulletin 70.3 (September 1988), pp. 478-485.
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But some of the best compositions are in the duets of the same volume, where, at times, a painful lack of melodic invention is compensated by the excellent triple counterpoint between the voices and the constant in a declamatory style that anticipates the duets of Monteverdi on the same text. Works: \- Canzonette a tre voci, libro I, Venezia, Giacomo Vincenti, 1602 \- Sacrae Cantiones Vna, Duabusque vocibus concinendae, Modena, Giuliano Cassiani, 1618 \- Dolcissimi frutti spirituali...da cantarsi à Doi Voci con il Basso continuo, Venezia, Gardano, 1625 \- Sonate artificiose a doi voce di Canto e Basso, Venezia, Gardano, 1625 o 1627 (ed. destroyed in World War II); Venezia, Gardano, 1638 \- 5 mottetti in Symbolae diversorum musicorum binis, trinis, quaternis et quinis vocibus cantandae...Ad Admodum D. Laurentio Calvo..., Venezia, Alessandro Vincenti, 1620 \- 1 litania, in Rosarium Litaniarum B.V.M., Venezia, Alessandro Vincenti, 1626 \- 2 composizioni, in Ghirlanda sacra scielta...a voce sola, libro I, op.
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Eric Clapton in Barcelona, 1974 Rock and blues have historically always been closely linked, with driving rhythms and electric guitar techniques such as distortion and power chords already used by 1950s blues guitarists, particularly Memphis bluesmen such as Joe Hill Louis, Willie Johnson and Pat Hare.Robert Palmer, "Church of the Sonic Guitar", pp. 13–38 in Anthony DeCurtis, Present Tense, Duke University Press, 1992, pp. 24–27. . Characteristics that blues rock adopted from electric blues include its dense texture, basic blues band instrumentation,Michael Campbell & James Brody, Rock and Roll: An Introduction, pages 80–81 rough declamatory vocal style, heavy guitar riffs, string-bending blues-scale guitar solos, strong beat, thick riff-laden texture, and posturing performances.Michael Campbell & James Brody (2007), Rock and Roll: An Introduction, page 201 Precursors to blues rock included the Chicago blues musicians Elmore James, Albert King, and Freddie King, who began incorporating rock and roll elements into their blues music during the late 1950s to early 1960s.
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Aspiz, E.M. "A.I. Kuprin in Balaklava". Krym, 23 (1959), pp. 131–36. The Black Sea Fleet commander, Admiral Grigory Chukhnin, generally seen as responsible for the tragedy, ordered Kuprin to leave Sevastopol within 48 hours and instituted legal proceedings for defamation. In June 1906 Chukhnin was assassinated, but the case was not closed and two years later in Zhitomir Kuprin was sentenced to a fine and ten days' house arrest. Among his better known stories of the mid-1900s were "Dreams", "The Toast", "Art" and "The Murderer", the latter taking upon the issue of violence that swept over Russia at the time. "Junior Captain Rybnikov" (1906) which told the tale of a Japanese spy posing as a Russian officer, was praised by Gorky. Much discussed were "An Insult" (1906) and "Gambrinus" (1907), an emotional summation of many motifs of his writing after 1905, echoing the declamatory tone of "Events in Sevastopol", according to Luker.
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Many loans were reported: the scene of recognition was drawn entirely from the opera Iphigénie by Duché in 1704 ; the one where Iphigénie asks Orestes about the fate of the family of Atreus, whose background is in Euripides, recalled by some details Oreste et Pylade by Lagrange-Chancel (1697), but improving it. The author was also criticized for exaggerating Thoas' stupid ferocity uselessly for the action, and for not having enough prepared nor motivated the outcome. As for style, it was said that the heavy, monotonous, versification, the declamatory pieces and Iphigénie en Tauride language mistakes were saved by the energy and heat that animated all of the work that was printed several time (Paris, 1758, 1784, 1811, 1815, 1818, in-8°). Guimond de La Touche also left an Épître à l’amitié (London, 1758, in-8°) ; les Soupirs du cloître, ou le Triomphe du fanatisme (1765, in-8°), a satire against his former colleagues, the Jesuits.
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Upon release, Legendary Hearts received favourable reviews from music critics. Writing for The Village Voice, music journalist Robert Christgau gave the album an A, and stated that "If The Blue Mask was a tonic, the follow-up's a long drink of water, trading impact and intensity for the stated goal of this (final?) phase of Reed's music: continuity, making do, the long haul." In a retrospective review for AllMusic, critic Mark Deming wrote of the album, "On Legendary Hearts, Reed was writing great songs, playing them with enthusiasm and imagination, and singing them with all his heart and soul, and if it wasn't his best album, it was more than good enough to confirm that the brilliance of The Blue Mask was no fluke, and that Reed had reestablished himself as one of the most important artists in American rock." NME agreed it was, "possibly the purest, most fluid and spiritual musical unity you’ll hear in rock and roll for some time to come – with Reed’s cleansed, declamatory vocals well up front".
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A semiotics of acting recognises that all forms of acting involve conventions and codes by means of which performance behaviour acquires significance—including those approaches, such as Stanislvaski's or the closely related method acting developed in the United States, that offer themselves as "a natural kind of acting that can do without conventions and be received as self-evident and universal." Pavis goes on to argue that: > Any acting is based on a codified system (even if the audience does not see > it as such) of behaviour and actions that are considered to be believable > and realistic or artificial and theatrical. To advocate the natural, the > spontaneous, and the instinctive is only to attempt to produce natural > effects, governed by an ideological code that determines, at a particular > historical time, and for a given audience, what is natural and believable > and what is declamatory and theatrical. The conventions that govern acting in general are related to structured forms of play, which involve, in each specific experience, "rules of the game."Pavis (1998, 8-9).
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Journal of the American Musicological Society 55 (2002), pp. 1–37. Starting in the late 16th century, a legend began that the second of these points, the threat that polyphony might have been banned by the Council because of the unintelligibility of the words, was the impetus behind Palestrina's composition of this mass. It was believed that the simple, declamatory style of Missa Papae Marcelli convinced Cardinal Carlo Borromeo, on hearing, that polyphony could be intelligible, and that music such as Palestrina's was all too beautiful to ban from the Church. In 1607, the composer Agostino Agazzari wrote: Jesuit musicians of the 17th century maintained this rumor, and it made its way into music history books into the 19th century, when historian Giuseppe Baini, in his 1828 biography of Palestrina, couched him as the "savior of polyphony" from a council wishing to wipe it out entirely: An entry in the papal chapel diaries confirms that a meeting such as the one described by Baini occurred, but no mention is made of whether the Missa Papae Marcelli was performed there or what the reaction of the audience was.
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