Beck's devotion to this impossible recreation is a funeral hymn full of whimsical visual notes, a gentle reminder of human waste and greed.
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As I crossed into the city, an old jazz band's haunting version of the funeral hymn "Just a Closer Walk With Thee" played on the radio.
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When the funeral procession of one such victim passes by the two girls, Laura joins in the funeral hymn. Carmilla bursts out in rage and scolds Laura, complaining that the hymn hurts her ears. When a shipment of restored heirloom paintings arrives, Laura finds a portrait of her ancestor, Mircalla, Countess Karnstein, dated 1698. The portrait resembles Carmilla exactly, down to the mole on her neck.
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The first part of the album comprises Despair demo's songs. Musically, the Despair songs showcase oppressive and sorrowful death/doom similar to that of than 1994's Martyrium, albeit darker in atmosphere. Despair was released by Strawberry Records and printed 600 copies of it. The last song on the demo, "Jesus, Jesus Ver Du Hjå Meg" is a cover of an old Norwegian funeral hymn.
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He wrote two hymns on the Ten Commandments, "" and "Mensch, willst du leben seliglich". His "Gelobet seist du, Jesu Christ" ("Praise be to You, Jesus Christ") became the main hymn for Christmas. He wrote for Pentecost "Nun bitten wir den Heiligen Geist", and adopted for Easter "" (Christ is risen), based on Victimae paschali laudes. "", a paraphrase of Nunc dimittis, was intended for Purification, but became also a funeral hymn.
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Kjetil Molnes' vocals are mostly deep, guttural death growls but he does some depressed clean singing. Apart from the folk influenced intro and the funeral hymn the demo features very few keyboards by Lars Stokstad. The Defeat of Satan demo was recorded during time when the band was known as Crush Evil. The material differs from their other releases musically: The Defeat of Satan features minimalistic hybrid of thrash metal and death metal with death growl vocals.
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The original sheet music for "God Defend New Zealand" "God Defend New Zealand" is a poem that was written by Thomas Bracken in the 1870s. It was set to the tune of the Presbyterian funeral hymn "Raise Up Our Souls, Oh Lord", and first publicly performed in 1876. A Māori translation of the original English was produced in 1878 by Thomas Henry Smith. In 1940 the New Zealand Government bought the copyright and made it New Zealand's 'national hymn' in time for that year's centennial celebrations.
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10.154 is a funeral hymn, asking for that the departed may join those who attained heaven through tapas. Padas 1 cd is reminiscent of the Norse concept of Valhalla: :To those for whom the meath flows forth, even to those let him depart. (Griffith) 10.155 is against the "one-eyed limping hag" Arayi. 10.166, attributed to Anila, is a spell for the destruction of rivals, similar to 10.145, but this time to be uttered by men who want to be rid of male rivals.
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In 1976 became Organist and Director of Music at Southwark Cathedral, and in 1989 moved on to become Director of the Royal School of Church Music. He has been noted as an influential composer of modern church music. His compositions include settings of the ancient Latin Christian hymns O Salutaris and Tantum Ergo; I will receive the cup of salvation, a setting of poetic text by St. Teresa of Avila; Alleluya. This is the day; an arrangement of the Eastern Orthodox funeral hymn Kontakion of the Departed; a set of preces and responses; and music for Advent and Christmas.
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A reworked version of the song, intended as a funeral hymn, was written by A. P. Carter and released in 1935 by the Carter Family. The Carter version, titled "Can the Circle be Unbroken", uses the same music and the same verse structure but with different verse lyrics and a modified chorus. That version has often been recorded as "Will the Circle be Unbroken", including the 1972 performance by Mother Maybelle Carter and ensemble on the Nitty Gritty Dirt Band album of the same title. The original version of the song does not insert "Lord" in lines 2 and 4 of the chorus, though the Carter version does.
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An example from after the Second World War is found in Part I of Leonard Bernstein's The Age of Anxiety: Symphony No. 2, a theme-and-variations movement in which "Variation X: Più mosso" is notated in regularly alternating and bars, each pair amounting to one bar. Compositions entirely or predominantly in septuple meter are less common. Five of Holst's settings of English translations of hymns from the ancient Sanskrit Rig Veda, composed between 1907 and 1912, are in septuple meter, specifically "Song of the Frogs" and "Creation" (songs 6 and 8 from his Hymns from the Rig Veda, Op. 24, for voice and piano, composed in 1907–08) as well as "Funeral Hymn" (Choral Hymns from the Rig Veda, Op. 26, Group 1, No. 3 for SATB chorus and orchestra or piano, composed between 1908 and 1910), "Hymn to the Waters" (Choral Hymns from the Rig Veda Group 3 no.
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The documentary Family Across the Sea — made by South Carolina Public Television — documents this historic homecoming and President Momoh's groundbreaking visit to South Carolina the year before.Review of "Family Across the Sea" Video Rating Guide, UC Berkeley Library Moran Family Homecoming (1997) -- Opala and ethnomusicologist Cynthia Schmidt located a Gullah family in coastal Georgia that has preserved a song in the Mende language of Sierra Leone for over 200 years. The 5-line song, an ancient funeral hymn, is likely the longest text in an African language known to have been preserved by a black family in the US.The Language You Cry In California Newsreel website The song was first recorded by African American linguist Lorenzo Dow Turner in 1931. Opala and Schmidt found that the Georgia family still remembered the song when they met them in 1990; and later, working with Sierra Leonean linguist Tazieff Koroma, they found a Mende woman living in a remote rural area of southern Sierra Leone whose family has preserved a similar song.
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