142 Sentences With "high voice" | Random Sentence Generator

She doesn't use a high voice when she talks to me.

Sprout's tremulous, high voice and guitar were hardly his only contributions to GBV.

She had a high voice and had lived at Slab for 10 years.

He has long black hair; a squeaky, high voice; and the wispy pallor of an indoor kid.

His high voice can be sweetly androgynous but can also rise to a cutting, rasping, bluesy howl.

Avery worries about her girlishly high voice and whether her grandmother thinks she's doing a good job at work.

Craig Silverstein, a twenty-seven-year-old with a small frame and a high voice, sat by the far wall.

" His sweet, high voice was malleable, effective on a slow blues like "Sidewalks" or an erotic caper like "Might Not.

The real Farinelli was a castrato, his high voice resulting from childhood castration, a once common procedure starting in the 1500s.

"Back in the days of the rhythm-and-blues groups, the high voice was the big thing," Mr. Williams explained years later.

Lead singer Alicia Bognanno's high voice vacillates between a soft coo and a howl; she's able to scream with the best of them.

The Kentucky singer Joan Shelley's clear, high voice and beautifully understated songwriting have made her a rising star in the folk scene and beyond.

Ms. Rei, a vocalist hailing from Argentina, sings in a windblown, mountains-high voice, but she often sounds like she might be withholding something, too.

""It's always surprising to see someone like Ariana Grande with that silly high voice, a very wholesome voice, slithering around on a couch looking so ridiculous.

As a teenager she knew only one boy who was openly gay, Big Gay Mick with his thin body and baseball cap and camp too-high voice.

Because I mean the words are going to be the same but when an egg tweets me it's like [cute, high voice], 'Go back to Africa, Trevor!

She talked constantly, in a scratchy, high voice, while gesturing with her hands; at practice, her coach regularly threatened to kick her out if she didn't stop talking.

She was trained as an opera singer and she just has a really ethereal, beautiful, incredibly high voice—it is something you'd hear on early 60s pop records.

In his trademark ballcap and thick-framed glasses held on with a strap around the back of his head, he belted through his set with his high voice and off-key singing style.

The production applies the reverential tone and cavernous reverberations of Sigur Ros — tolling piano notes, slow cymbal crescendos, shivery string tremolos — while Jónsi's high voice hovers, in wordless oohs and ahs, like a distant benediction.

Yet Ms. Faludi can't help but notice that when Stefánie imitates other Jews — like those she tried to enlist to help get her family property back — she speaks in a high voice and uses mincing gestures.

RUSSONELLO Working toward self-forgiveness after a divorce, "Moral of the Story" seesaws between fragility and pomp: from Ashe's quavery high voice and parlor-song piano tinkling to a hefty, lurching beat and a massed chorus.

When Unbreakable Kimmy Schmidt star Tituss Burgess stopped by The Late Late Show Monday night, Corden coaxed him into singing on the flimsiest of pretexts: Burgess has a high voice, but fellow guest John Stamos has a low voice.

Her soft, high voice seems to contain a plea for sympathy — or at least tolerance — from what she assumes will be a hostile reception, particularly from Sharon, who was angry at Donald for even inviting her to the service.

" (The Fuller House star has regularly performed in concert with The Beach Boys since the mid-1980s.) "Aruba, Jamaica, oh I wanna take ya – Bermuda, Bahamas …," Stamos, 52, began to sing, before turning to Burgess: "You have a high voice, right?

The song, about learning from mistakes and starting over, moves between spaciousness and saturation: verses that often suspend her high voice over just a beat and a bass line, proceeding slowly and unflappably toward a chorus infused with churchy chords.

Here's the backstory: Glover portrayed the eccentric Perkins, in white face with a high voice, during the sixth episode of the second season of the series, sparking buzz among viewers because the dramatic nature of it was a total departure from the show's usual vibe.

These include images in paintings like "High Voice and Slight Lisp," which is double-dated 213/13 — the artists began working together in 224 — and elements of the show's centerpiece installation, "Temple of Onan," a homage to self-pleasuring in the form of genitally enhanced parlor furniture.

Still, her body is not quite as central as that first trailer made it out to be, and the film attempts to balance any focus on it with spotlights on other characters' insecurities — from Michelle Williams' character's shame over her high voice, to Scovel's character's instinct to have sex in the dark just in case Renee doesn't want to look at him naked.

Back then, you were either a teenage girl swooning at the sound of his smooth, high voice; a grown-up amused by his so-called Cinderella tale, smiling every time "Baby" came on the radio; or one of those people who rolled their eyes and waited until yet another child pop star inevitably burned out, blew up, or faded away.

At the end of that temporary stint — during which Glick's deep skills as one of New York's best contemporary character actors (namely, his ability to channel his own inherent strangeness, his high voice often cracking, his knees seemingly quaking) were on full, glorious display — the director, Michael Mayer, asked if he wanted to take over the role after Groff finished his contract.

Temple of the Dog, "Quicksand" Temple of the Dog, a band itself formed out of a tragic death — members of Soundgarden and Pearl Jam came together to honor Andrew Wood, a shared friend from the Seattle music scene who died of a heroin overdose — is also one of the bands best equipped to tackle a Bowie tune, thanks to singer Chris Cornell's skyscraper-high voice.

With his high voice and studly physique, he was all male, yet whimperingly feminine.

The syndrome prevented him from reaching classic puberty and left him with a high voice and unusual timbre.

The songs were first written for a medium voice and piano; the composer himself revised them in 1928 for high voice and orchestra.

Aldridge holds degrees in both composition and English literature.Carman, Judith. "Lovesongs. Fifteen Songs For High Voice And Piano." Journal of Singing 69.1 (2012): 106.

Eight Hungarian Folksongs, Sz. 64, BB 47 () is a song cycle for high voice and piano by Hungarian composer Béla Bartók. It was composed between 1907 and 1917.

If it is true that he was castrated before puberty, it would explain his high voice, but it would also suggest that he should not have been able to grow his beard.

Brahms dedicated them to Max Klinger. Written for a low voice, they were also transcribed for high voice. They have been orchestrated by Detlev Glanert (whose orchestration adds linking preludes) and Günter Raphael.

Neal Newman, the company's artistic director, asked Colby and Markoe (both Jewish) to write a Christmas show for the company. The result was Ludlow Ladd, an all-sung, all-rhymed musical whose Dickensian plot unfolds through original Christmas carols. In the cast was a soprano recommended by Neal Newman: Mara Beckerman, whose unusually high voice impressed the writers. Colby and Markoe had such fun on that show, they decided to write a sequel spotlighting Mara Beckerman's high voice, and revolving around other holidays: St. Valentine's Day and New Year's Eve.

The individual's quiet repetition of the Amidah is said afterwards, not before. This practice is commonly referred to as heikha kedusha (, lit. "high (loud) kedushah"), and sometimes as bekol ram (Hebrew בקול רם, lit. "in a high voice").

Perfect Angel went gold and Riperton was finally revered as the "lady with the high voice and flowers in her hair." The album also featured the song "Every Time He Comes Around", with Deniece Williams singing the background vocals.

Pee Wee Lambert (born Darrell Lambert; August 5, 1924 – June 15, 1965) was a mandolinist who worked with The Stanley Brothers. He left the group in 1950. He sang in a "high voice" like Bill Monroe. He highly admired Monroe.

Sandee Heap is the youngest of the Heaps. She is a preschooler that was previously lonely until Klutter came around and brighten up her day. She is often noted for her extremely high voice. She was voiced by Sandy Fox, whose name is just like Sandee's name.

The high velocity of Doofenshmirtz's flying machine propels the tent up into the air, destroying the machine and sending Doofenshmirtz flying off (with a high voice). Jeremy gives a CD to Candace, but Candace is not at the house, but Candace then gets the CD from Jeremy.

Sindhi songs from the Sindh include many different varieties. Sindhi music is generally performed in either the “Baits” or “Waee” styles. The Baits style is vocal music in Sanhoon, low voice, or Graham, high voice. Waee music is instrumental, performed in a variety of ways using a string instrument.

In 2007 American singer and composer Gary Bachlund set the text of Margaret Free's reading version of "Chicken Little" (The Primer, 1910) for high voice and piano. In his note to the score Bachlund makes it clear that he intends a reference to alarmism and its tragic consequences.

"Befreit" ("Released" or "Liberated") is an art song for voice and piano composed by Richard Strauss in 1898, setting a poem by the German poet Richard Dehmel. The song is part of the collection ' (Five songs for high voice with piano accompaniment). Strauss orchestrated the song in 1933.

The Usher Waltz has been recorded by John Williams and Elena Papandreou. The American composer James Poulsen composed "Five Poems of Edgar Allan Poe" for medium high voice and piano in 1986. The song cycle was orchestrated in 1998 with a commission from Jack and Dawn Taylor of Des Moines, Iowa.

"Der Arbeitsmann" (English: The workman) is an art song for voice and piano composed by Richard Strauss in 1889, setting a poem by the German poet Richard Dehmel. The song is part of the collection ' (English: Five songs for high voice with piano accompaniment). Strauss orchestrated the song in 1918.

When his voice began to change, he worked to retain his ability to sing notes in a high range. For a while he was quite shy about singing using his high range, as it was unusual in Israel—which he explains used to be "quite a machoistic country—for someone to sing with such a high voice, and he had no one to imitate as no Israeli men sang in such a high voice, but he says that now it is "part of me." "[I]t was like using [only] part of me", he said. "I could sing low and I could sing high; [I]t's like using only one hand...you have two hands, and you're using only your right hand.

Arcady Ensemble has seven music publications including Volume 1: Songs and Arias (2008), Volume 2: Works for Organ (2008), Volume 3: Symphony No. 2 (2016), Volume 4: Songs and Song Cycles for High Voice (2020), Volume 5: These are Thy Glorious Works (2018), Volume 6: Woodwind Quintet (1986), Volume 7: An Offering of Songs (2011).

1, from the cycle Three songs for high voice and piano, op. 67; La flûte de jade, op. 39, for tenor, soprano, flute, violin, and piano (“Since she left” (“Od kada je otišla”) and “In the shade of an orange leaf” (“U senci narandžina lista”); and “Spring rain,” (“Prolećna kiša”), op. 45, no. 2.

The group eschewed the "high-voice technique" that was common for the era. Backing strings were important to the group's sound. Billboard commented positively about group, stating it deserved "as much exposure as possible." Rudy Gay Sr. later went on to both father the famous basketball player and become music director for The Stylistics.

The album went Gold on the strength of "Lovin' You" and remains the only Gold Album in Riperton's career. Minnie Riperton was finally revered as the "lady with the high voice and flowers in her hair." The album also featured the song "Every Time He Comes Around", with Deniece Williams singing the background vocals.

In 1805 Ingalls published The Christian Harmony. Ingalls served as a deacon in the church, but in 1810, he was excommunicated from that congregation. In 1819 he moved to Rochester, Vermont and then Hancock, Vermont. Ingalls was described as short and corpulent with a high voice and an advanced skill at the bass viol.

In Mario Golf, Mario Tennis, and Mario Party 3, his voice returned to a lower state. Since then, with the exceptions of Mario Kart: Super Circuit and Super Smash Bros. Melee, Luigi has consistently had a medium-pitched voice. In Mario Kart: Super Circuit, Luigi's voice was the same high voice from the Japanese Mario Kart 64.

Retrieved 5 March 2018 Although a favorite with black vaudeville audiences at the time, Anderson has tended to be dismissed as a curiosity by later critics because of his high voice and clear diction, which Abbott and Seroff say "conflict with modern tastes and stereotypes." Anderson is thought to have died in Pittsburgh, Pennsylvania, after 1937.

Annas has an important role in Jesus Christ Superstar, as one of the two main antagonists of the show (the other being Caiaphas) spurring Pontius Pilate to take action against Jesus. In almost all versions, Annas has a very high voice (almost reaching falsetto) to contrast against Caiaphas' bass. Despite being Caiaphas' father- in-law, Annas is generally played by a younger actor.

Later, Oskar Sala toured Germany with the Trautonium; in 1931 he was the soloist in a performance of Hindemith's Concerto for Trautonium with String Quartet. He also soloed in the debut of Hindemith's student Harald Genzmer's Concerto for Trautonium and Orchestra. Mixtur-Trautonium, 1952. Paul Hindemith wrote several short trios for three Trautoniums with three different tunings: bass, middle, and high voice.

Music from Sindh province is sung in Sindhi, and is generally performed in either the "Baits" or "Waee" styles. The Baits style is vocal music in Sanhoon (low voice) or Graham (high voice). Waee instrumental music is performed in a variety of ways using a string instrument. Waee, also known as Kafi, is found in the surrounding areas of Balochistan, Punjab, and Kutch.

D. A. E. Cross, Salisbury: a history and celebration of the city (Teffont: Frith Book Co., 2004, ) p. 80The Vly be on the Turmut at wiltshire.gov.uk, accessed 22 October 2011 The musical score is given in Tom Gibson's The Wiltshire Regiment and in Granville Bantock's 100 Songs of England for High Voice. The song also appears with variations in Oxfordshire and Gloucestershire.

''''' (German for Dreams of Love) is a set of three solo piano works (S.541/R.211) by Franz Liszt, published in 1850. Originally the three ' were conceived as lieder after poems by Ludwig Uhland and Ferdinand Freiligrath. In 1850, two versions appeared simultaneously as a set of songs for high voice and piano, and as transcriptions for piano two-hands.

Martin sang two songs with Monroe and was hired instantly. Beginning in 1949 Martin was lead vocalist for Bill Monroe's "Blue Grass Boys". Martin's high voice mixed with Monroe's tenor came to be known as the "high lonesome" sound. His influence radically changed Monroe's music from the fast-paced but smooth style of the "original" 1945 band with Flatt and Scruggs.

Like Koželuch, Beethoven and Weber after him, Haydn made a great number of arrangements of Scottish and Welsh folksongs for British publishers (including Napier, George Thomson, and William Whyte); this activity began in 1791 and continued from time to time to the very end of Haydn's compositional career, ca. 1804.Hughes 1950, 123 The arrangements are set for high voice and piano trio.

"Ständchen" ("Serenade") is an art song composed by Richard Strauss in 1886, setting a poem of the same title by the German poet Adolf Friedrich von Schack. It is the second song in his collection Six songs for high voice and piano, Op. 17, TrV 149, which were all settings of Schack poems. The song is written for voice and piano.

The group completes 190 two-reel shorts from 1934 to 1957, released until 1959. Comical sound effects are added to accent physical acts such as a slap in the face, a punch in the stomach, a pull on the nose and a hammer to the head. Curly becomes famous for his high voice and other vocal sound riffs. The movie recreates many famous iconic Stooges scenes.

After finishing from high school, Sugihara moved to Tokyo. Thinking of how she could use her low height and her high voice, she decided to give gravure a go.光文社「FLASH」2013年3月19日号（60 - 61ページ）より Sugihara likes Thailand, and her skill is capoeira. Webマガジン月刊チャージャー2010年1月号 She is left-handed.

When a member of the group wrote a new song, each of the four singers individually decided his or her own part to create the harmony. John Hutchinson later recalled, > Judson had a naturally high voice, a pure tenor. My voice was a baritone, > though I sang falsetto easily, and Asa had a deep bass. Abby had an old- > fashioned "counter" or contralto voice.

After his father died, Wolfsohn developed a close relationship with his mother, who comforted him by singing, using a high voice to depict an angel and a low voice for St Peter. Wolfsohn asserted that hearing his mother express both unpleasant screams and beautiful singing contributed to his belief that the human voice should be able to express the complete spectrum of human emotion.

She usually speaks in a high voice that sounds very much like that of a man imitating a woman. The Pepperpots are given different names in various sketches: Mrs Premise, Mrs Conclusion, Mrs Nesbitt, Mr. Smoker, Mr. Non- Smoker, Mrs Thing, Mrs Entity, Mr. Cutout etc. The main influence for the Pepperpots was the character Mrs Pepperpot from the children's stories of author Alf Prøysen.Larsen, p. 13.

High-voice male singers are often cast in preference to female contraltos in HIP opera productions, partly as a substitute for castrato singers. Alfred Deller is considered to have been a pioneer of the modern revival of countertenor singing. Leading contemporary performers include James Bowman, David Daniels, Derek Lee Ragin, Andreas Scholl, Michael Chance, Drew Minter, Daniel Taylor, Brian Asawa, Yoshikazu Mera, and Philippe Jaroussky.

Brownlee was, at first, replaced by Roscoe Robinson and, after Robinson left the group to go out on his own, by the very able lead Henry Johnson, who, like Brownlee, made devastating screams. Quartet veteran Willmer Broadnax took the position of second lead. He was later replaced by Willie Mincey. Broadnax, in particular, had a high voice which was comparable, in some respects, to Brownlee's.

Richard Strauss wrote a new cadenza for her high voice, for her to sing as Zerbinetta in Ariadne auf Naxos. In 1931, she sang Norina in Donizetti's Don Pasquale at Bielefeld Opera, where her voice made a great impression and her gifts were immediately recognised. The Theater Wiesbaden engaged her in 1932, and in that year she also made several radio broadcasts and recordings.

Sarrasine gives us a closer look at the role of castrati in both common opera and in religious tradition. Catholicism in Italy dictated that there could be no female singers, and the high voice parts were usually played by either prepubescent boys or castrati. In order to become a castrato, a boy had to give up his "manhood", i.e., have his testes removed at a very early age.

But other than that, Mackintosh's sound is very much her own. She has a multi octave range, but uses two distinctly different voices to emote her music. Her lower voice is more bluesy in character and has a full warm sound, her high voice has a husky feel to it; it's melancholic with a little rough edge to boot. Mackintosh is instantly recognizable and her timing and phrasing are exemplary.

Beals wrote in his autobiography, Think Big, that his high voice and boyish appearance were due to a glandular problem; he did not go through puberty (much like Walter Tetley, who had provided the voice for Sherman on The Bullwinkle Show). Beals was 4 foot 7 inches (just under 140 cm) tall and weighed just under 70 pounds (about 31 kg). Despite his short stature, he flew planes using modified controls.

Art dealer and proprietor of the Bender Gallery, Joe Bender is a friend and business partner of John Halliday, who makes a brief appearance in A Pelican at Blandings. He is 28 years old, has a high voice and wears tortoisesehell spectacles, giving him an appropriately artistic appearance. He inherited the gallery from his father, and struggles to maintain its respectability in the face of fake nude portraits by the famous French artist Claude Robichaux.

There are solutions in market which has big data capabilities to analyse huge geographical test data received from app-based RF tools. Voice quality measurement - Such tools are used for assessing voice quality (MOS, POLQA), echo minimization, reduction in noise while permitting easy speaker recognition. Load Generator – Load generators are deployed to generate high voice and data traffic into a network and test its ability to handle high level congestion/traffic in a network.

In contrapuntal inversion, two melodies, having previously accompanied each other once, accompany each other again but with the melody that had been in the high voice now in the low, and vice versa. The action of changing the voices is called textural inversion. This is called double counterpoint when two voices are involved and triple counterpoint when three are involved. The inversion in two-part invertible counterpoint is also known as rivolgimento.

In Europe, when women were not permitted to sing in church or cathedral choirs in the Roman Catholic Church, boys were castrated to develop a special high voice and to prevent their voices breaking at puberty. The first documents mentioning castrati are Italian church records from the 1550s.John Rosselli, "Castrato" article in The New Grove Dictionary of Music and Musicians, 2001. In the baroque and classical music eras these singers were highly appreciated by opera composers as well.

The album was poorly received by Jon Landau when first released; in a contemporary review for Rolling Stone magazine, Landau felt that Mayfield was "confusing his strengths with his weaknesses", and was writing pretentious and embarrassing lyrics, and that his high voice didn't work well when singing solo. Retrospective reviews have been more enthusiastic: Bruce Eder for Allmusic asserting it is "one of the greatest concert albums ever cut on a soul artist, and one of the legendary live albums of all time".

She has appeared as concert soloist with various ensembles including the St. Louis Symphony Orchestra, the Minnesota Orchestra, the Milwaukee Symphony Orchestra, Mostly Mozart Festival Orchestra, and the New York Chorale Society. In 1977, she recorded Arthur Shepherd's Triptych, for High Voice and String Quartet with the Emerson String Quartet for New World Records. In 1987, she recorded an album of "Cantatas & Arias," with trumpeter Bob Haley, for Crystal Records. Norden married Bob Haley on December 10, 1972, and has two sons.

The Poet's Echo (Russian title: Эхо поэта) is a song cycle composed by Benjamin Britten (191376) in August 1965 during a holiday visit to the Soviet Union, in Dilizhan, Armenia. It consists of settings for high voice and piano of six poems by the Russian poet Alexandr Pushkin (17991837), in their original language. It was published as his Op. 76. The cycle is dedicated to his Russian friends Galina Vishnevskaya ("Galya") (soprano) and her husband Mstislav Rostropovich ("Slava") (cellist, pianist and conductor).

A subject of castration who is altered before the onset of puberty will retain a high voice, non- muscular build, and small genitals. He may well be shorter than average, as the production of sex hormones in puberty—more specifically, estrogen via aromatization of testosterone—stops long bone growth. The person may not develop pubic hair and will have a low sex drive or none at all. Castrations after the onset of puberty will typically reduce the sex drive somewhat or even eliminate it altogether.

In 2004, the Real Book material was acquired by publisher Hal Leonard and licensed for legal sale. Many new volumes were eventually added to the series, and some of the famous errors in the original volumes were corrected. These books also inspired a similar series, offered by the Sher Music Co., called The New Real Book. The Real Book is published in editions to suit B, E, F, and C (concert pitch) instruments, as well as bass clef and voice editions ("low" and "high" voice, with lyrics).

The woman answers that she agrees, and that this is where he is buried.Fantastic Fables, Ohio State University Press 2000 p.142 Marc Chagall included an etching of the grieving widow among the set of illustrated fables he published in 1952.Goldmark Gallery In 1995 Ida Gotkovsky (1933-) included it in her Hommage à Jean de La Fontaine for children's choir and orchestra; in 1999 Isabelle Aboulker set the fable for high voice and piano as the first of her four Femmes en fables.

Due to his position as vice-chapel master he mostly composed sacred works, although there are also two books known with French and German non-sacred songs. In his work the alto (high voice) is almost always the dominant one, maybe because he was an alto himself. He also used the madrigal fashion in his compositions, which is typical for the late or High Renaissance. All the original sacred compositions of Utendal still exist and they are conserved in many archives and libraries throughout Europe.

As a composer, he participated in the project Mainzer Bistumsmesse (Mass of the Diocese of Mainz), a collaboration of six regional cantors to create a mass in German for choir, a high voice (children's choir or soprano) and organ. He composed Herr, erbarme dich, Nicolo Sokoli Ehre sei Gott, Thomas Gabriel Ich glaube an Gott, Andreas Boltz Gottheit tief verborgen, Ralf Stiewe Heilig, Ruben J. Sturm Lamm Gottes. He recorded the complete organ works by Robert Schumann and works by Petr Eben, among others.

As Armatha Broadnax is unmentioned after the 1930 census, it is possible Armatha took on Willmer's name after his death and truly was William's younger sibling. This would mean that Willmer Broadnax as known today was born in 1922 in Louisiana to Augustus Flowers and Gussie Frazier. It is also possible that Willmer was in fact the older brother and had already started using male pronouns by age thirteen, and that later he was mistaken as the younger brother because of his high voice and short stature.

Puppet of Manchester United striker Eric Cantona England manager Bobby Robson was a senile worrier nicknamed 'Rubbisho'. Emlyn Hughes was portrayed with a high pitched and annoying voice. England midfielder Paul Gascoigne appeared, frequently crying – a parody of the 1990 World Cup semi-final against West Germany, in which he famously cried after being booked, which would have ruled him out of the final had England won the game. Ian Botham was a violent drug addict, while Mike Gatting spoke with a high voice.

171–74 In the years between the 1711 premiere and the 1717 revival, Handel made various adjustments to the score and the vocal parts, often to accommodate the requirements of new singers. Details of these changes are difficult to establish since the performing librettos and scores for these years no longer exist. For 1717, more significant revisions were made; the role of Eustazio was merged with that of Goffredo, and Argante's part was rewritten to accommodate an alto voice. Thus in this revival all the principal parts were sung in high voice ranges.

34 Britten received a commission to compose a work involving orchestra for the 1936 Norfolk and Norwich Triennial Music Festival. Auden assembled the text for an orchestral song cycle, writing some of it and adapting other sections from existing poems. The work, described as a "symphonic cycle for high voice and orchestra", was composed between May and July 1936 and titled Our Hunting Fathers. On 19 September 1936, less than a week before the premiere, Britten rehearsed the work with the soprano Sophie Wyss and the London Philharmonic Orchestra in the loft at Covent Garden.

For example, there are three enemies firing, one would be assigned a low voice, another a medium voice, and the third a high voice. This allows all the weapons being fired in any particular scene to harmonise and deliver a distinct sound for the game. Blacks sound was nominated for Best Audio at the 2006 BAFTA Video Games Awards, and won Best Art & Sound jointly with Burnout Revenge at the 2006 Develop Industry Excellence Awards. The music for Black was composed by Chris Tilton, using a theme co-authored with Oscar- winning composer Michael Giacchino.

Despite translating many Chinese and Japanese classical texts into English, Waley never travelled to either country, or anywhere else in East Asia. In his preface to The Secret History of the Mongols he writes that he was not a master of many languages, but claims to have known Chinese and Japanese fairly well, a good deal of Ainu and Mongolian, and some Hebrew and Syriac. The composer Benjamin Britten set six translations from Waley's Chinese Poems (1946) for high voice and guitar in his song cycle Songs from the Chinese (1957).

His brothers, Alfred Womack and Larry Womack, were minor league pitchers who never reached the major leagues. Alfred, also known as "Al", pitched in the Cleveland Indians and Washington Senators systems in 1955 and 1956. Larry pitched in the Yankees' system in 1968. Womack, who acquired his nickname "Dooley" as a child from a friend of his family and claimed, "I prefer it to my real name, which is Horace," was described as having a "high voice, a serious drawl and a giddy laugh", by Maury Allen in his book Where Have You Gone?.

The play is in the form of verses that are metered and lyrical, sung by vocalists whose voice has been trained to various melodies (raga), music and synchronized with the dance-acting on the stage. The vocalists not only deliver the lines, but help set the context and express the inner state of the character by modulating their voice. For example, anger is expressed by the use of sharp high voice and pleading is expressed by the use of a tired tone. Music is central to a Kathakali performance.

Sechs Hölderlin-Fragmente (English: Six Hölderlin Fragments) is a song cycle for high voice and piano composed in 1958 by Benjamin Britten (191376), and published as his Op. 61. It consists of settings of six short poems and verse fragments by the German lyric poet Friedrich Hölderlin (17701843). Britten had been introduced to the poetry of Hölderlin by Prince Ludwig of Hesse, and the cycle is dedicated to him. It was recorded by Peter Pears (tenor) and the composer (piano) and broadcast by the BBC in November 1958.

For half a year Gerasimov forbade Rumyanova to talk even in a whisper, and they communicated through writing. When her voice recovered, Rumyanova suddenly discovered that she could now speak in a very high voice, which came to be familiar to millions of moviegoers. In 1953, Klara graduated from VGIK and became an actress of the National Film Actors' Theatre. As a student she started acting in film, her cinematic debut took place as an episodic role in the film The Rural Doctor (1951), by the same Gerasimov.

Gerald Humel's song cycle Circe (1998) grew out of his work on his 1993 ballet with Thomas Höft. The latter subsequently wrote seven poems in German featuring Circe's role as seductress in a new light: here it is to freedom and enlightenment that she tempts her hearers. Another cycle of Seven Songs for High Voice and Piano (2008) by the American composer Martin Hennessey includes the poem "Circe's Power" from Louise Glück's Meadowlands (1997). There have also been treatments of Circe in popular music, in particular the relation of the Odysseus episode in Friedrich Holländer's song of 1958.

Tosi was born in Cesena, Italy in 1653 or 1654. There is a disagreement among sources whether he was the son of composer Giuseppe Felice Tosi. He was castrated before puberty to preserve his high voice. While it is not known where he received his rudimentary music training, he sang at a church in Rome from 1676 to 1677 and at the Milan cathedral from 1681 until 1685, when he was dismissed for “misconduct.” Thereafter, he made his one recorded appearance in opera at Reggio nell’Emilia in 1687 (in Varischino’s Odoacre) and was based for a time in Genoa.

His first concert after recovery from his illness took place in 1953. The illness greatly affected Kumar's singing in later years – he was to be known for powerful short phrases and his very high voice. Kumar also experimented with other forms of singing such as Nirguni bhajans (devotional songs), folk songs, and with both ragas and presentation, often going from fast to slow compositions in the same raga. He is remembered for his great legacy of innovation, questioning tradition without rejecting it wholesale, resulting in music in touch with the roots of Indian culture, especially the folk music of Madhya Pradesh.

"And We Run" was the band's first track ever to contain rap vocals in an unexpected duet with American rapper Xzibit. According to den Adel, the main fact that the band decided to invite him was his open-mind for experimenting. The song introduces itself with a piano and den Adel's clean singing right to chorus when she uses her high voice until Xzibit enters, contrasting with his rap vocals and dark, deep voice. Xzibit was allowed to do his parts in his own way as the band wanted it to be original and coming from the rapper's perspective.

The chords are created by the movement of the three voices: the low voice starts at C#; the high voice starts at E. Both the low and high voices are moved up or down the D harmonic minor scale at the same time, with the direction of the movement depending on the position within the sequence. The middle voice starts at A and plays a different pattern (A, E, E, C, C, C, C, A, A, E, E, C, C, A). The generated chords create harmonic ambiguity, since both C# and C are present, yielding an A major or A minor feel.

In Saudi Arabia, animated commercials display Fulla's life, such as showing the doll reciting her morning Fajr, baking a cake to surprise her friend, or reading a book at bedtime. Abidin says that these scenes are "designed to convey Fulla's values" and show what behaviour Fulla is promoting. Often, her commercials begin with her singing in a high voice in Arabic: "She will soon be by my side, and I can tell her my deepest secrets". Another series of commercials advertises her to be family- orientated, showing a group of Syrian actresses displaying Fulla silverware, stationery, and accessories.

Applying for a job, Lamb, who identifies himself in the dialogue as a "physicist" (231), is given a psychological test by Miss Piffs. She "attaches" "electrodes" and "earphones" to him and Lamb is subjected to a "piercing high pitched buzz-hum" (232). Before he has recovered, Miss Piffs bombards him with social, medical and sexual questions (232–34), in response to which he says "in a high voice", "Well, it depends what you mean really—" (234). At the climax of her interrogation she "presses the other button and the piercing buzz-hum is heard again" (234).

Mulaney noted that often adults talk down to kids, telling Entertainment Weekly: "When I see people interact with kids, I was always like, 'Why are you talking down to them? Why are you crouching on the floor talking in a high voice?' I don’t recall needing that as a kid." He theorizes that "kids think that they’re older than they’ve ever been. They believe they’re adults"; as such, he wanted a special that children and adults could watch together and laugh at the same jokes instead of the normal "this joke's for adults and this joke's for kids" approach often seen in children's entertainment.

Front cover of "A Perfect Day" for low voice "A Perfect Day" (first line: "When you come to the end of a perfect day") is a parlor song written by Carrie Jacobs-Bond (1862–1946) in 1909 at the Mission Inn, Riverside, California.The place is indicated in a line inserted above the title on p. 3 of the high voice (soprano) edition published in 1938 by the Boston Music Company; this version is in the key of C. Jacobs-Bond wrote the lyrics after watching the sun set over Mount Rubidoux from her 4th-floor room. She came up with the tune three months later while touring the Mojave Desert.

She served disguised as a man during the Napoleonic Wars in Germany from 1813 to 1815 in the first company of the Kolbergsches Infanterieregiment (renamed the 9th Grenadier regiment in 1914). Trained as a tailor, at 23 years old she cut off her hair, put on a male costume she had designed herself and obeyed a mobilisation proclamation. Owing to the speed of mobilisation there were no medical examinations and so she was not discovered at first. Her comrades admired her courage very much and were loyal to her, but during one attack her high voice caused the others to realize that she was female.

British magazine Fact ranked Visions the 26th best album of 2012 and commented it "moved beyond the circumstantially lo-fi character of her early offerings Geidi Primes and Halfaxa for a profoundly inventive and just plain weird take on electro-pop. While the shifty rhythms can get a bit repetitive, they're usually voiced differently, and they're always paired with otherworldly synth-work that darts into uneasy, industrial territory". Rolling Stone placed Visions at number 33 on its 50 Best Albums of 2012 list, noting the album "uses EDM extremism, medieval chants, sugar-crusted melodies and her own sky-high voice to rethink pop music".

Colfer has stated in interviews that when his voice began to change at puberty he sang in a high voice "constantly" in an effort to retain his range. Actor and singer Alex Newell has soprano range. Voice actor Walter Tetley may or may not have been a castrato; Bill Scott, a co-worker of Tetley's during their later work in television, once half-jokingly quipped that Tetley's mother "had him fixed" to protect the child star's voice-acting career. Tetley never personally divulged the exact reason for his condition, which left him with the voice of a preteen boy for his entire adult life.

Apparently, the whole restaurant was in on the joke. After filming was completed, the producers decided that Brian Reddy's high voice was not high enough, and hired a voice actress to dub over all his lines. The banker's line "Wait, we can do this over the phone" was also added in post by a different actor, since the show's producers realized that the episode made it look like the banker was to blame for Nana's dangerous adventure, which was not the intent. A number of sequences were filmed but deleted before broadcast, including George demonstrating high-pitched talking and Kramer finding his own greeting card for Jerry in the trash.

Fellow musicians began to resent his cocksure attitude, and according to one Jersey city musician, Sam Lefaso, Sinatra was mocked for displaying little talent and having a "tight, high voice", which sounded "awful". When they told him that he was a lousy singer, Sinatra would flare up, angrily cursing and swearing at the others. It was while working at The Cabin that he became involved in a dispute between his girlfriend Toni Della Penta, who suffered a miscarriage, and Nancy Barbato, a stonemason's daughter, in 1939. Sinatra had met Barbato in Long Branch, New Jersey, where he spent most of the summer working as a lifeguard.

About fifteen Lieder composed in France in 1917 after the lyrics by French poets were influenced by Impressionism, the most well known among them Berceuse triste (Tužna uspavanka). From his later period, significant are The Three songs for high voice (Tri pesme za visoki glas), the most remarkable being “A very hot day” from 1924 (“Vrlo topli dan”), composed upon German lyrics, and Haikai (Hai-kai), after the poetry of Japanese poet Matsuo Bashō, from 1942. These works merge impressionistic and expressionistic elements. A Field feast (Gozba na livadi), “a lyrical symphony for voice and orchestra” (1939) represents the first example of symphonic Lied in Serbian music.

His time machine is a heavily armed tank called the 'Time Crapper', when he travels through time he "kicks time's arse" by shooting everything at the time vortex... this somehow has not altered history. In episode three he is revealed to have amblyopia and can not stand bright light, in which he cowers and hisses like a vampire. Minky Steve is the other co-presenter of the '9 o'clock Fork', who has a high voice, is androgynous and is only ever wearing a vest and blue short shorts. Minky's time machine is a giant pink, apparently marsupial bunny who when not in use eats big carrots.

Punch also gave his "reflections on the French" that was a breach of "the Moral", as was King Harry (Henry VIII) resting his leg on his queen in an immodest manner. Little else on the performance can be gleaned, except that the hero's role (i.e., Punch's role) was performed in a squeaky high voice, just like the lead of the Italian opera Rinaldo and Armida, the rival draw at the time at Covent Garden which the anonymous reviewer was simultaneously critiquing. The reviewer concludes "as the Wit of both pieces are equal, I must prefer...Mr Powell, because it is in our own language".

In the same year, he obtained first prize in an international competition in Italy with music for a short film by Wim Wenders. He returned to South Africa in 1992, and in 1997 won two major international composition competitions, the Queen Elisabeth Music Competition of Belgium (with 'Raptus' for violin and orchestra) and the first edition of the Dimitris Mitropoulos Competition in Athens (with 'Byzantium' for high voice and orchestra). His 'Incantesimo' for solo flute was selected to represent South Africa at the ISCM World Music Days in Croatia in 2005. In 2008 he was honoured with a Kanna award by the Kleinkaroo National Arts Festival.

The Choral Fantasy, Op. 80 (1808), basically a piano concerto movement, brings in a choir and vocal soloists near the end for the climax. The vocal forces sing a theme first played instrumentally, and this theme is reminiscent of the corresponding theme in the Ninth Symphony (for a detailed comparison, see Choral Fantasy). Going further back, an earlier version of the Choral Fantasy theme is found in the song "" (Returned Love) for piano and high voice, which dates from before 1795. According to Robert W. Gutman, Mozart's K. 222 Offertory in D minor, "Misericordias Domini", written in 1775, contains a melody that foreshadows "Ode to Joy".

She has also said that Quinn's high voice "was kind of [her] fault, since [she] spoke high in the audition because we were supposed to be teenagers." During the hiatus between filming Glee in the summer of 2009, Agron wrote, starred in, directed, and executive-produced a short comedy film called A Fuchsia Elephant. The plot revolves around Agron's character, Charlotte Hill, who recreates her eighth birthday party on the day before she turns eighteen with her friend Michael, played by Dave Franco. As well as Agron and Franco, the film stars performers including Max Crumm, Rowly Dennis, Christina McDowell, Mikey Post and Shelby Rabara.

Under the influence of R.H. Harris of the Soul Stirrers, Brownlee moved away from the jubilee style of singing and towards a more popular hard gospel style. Even though Harris' influence was persuasive—the Blind Boys at first covered Soul Stirrers songs almost exclusively—Brownlee's high voice, which could move from a sweet croon to a devastating scream, was one of the most recognizable in gospel. Though blind from birth, he would also sometimes leap from a stage into the audience below . With the addition of hard gospel shouter Rev. Percell Perkins (1917-2003) (who replaced Henderson), the Blind Boys moved into their period of greatest fame.

Themes that can be developed in this way without violating the rules of counterpoint are said to be in invertible counterpoint. Invertible counterpoint can occur at various intervals, usually the octave, less often at the tenth or twelfth. To calculate the interval of inversion, add the intervals by which each voice has moved and subtract one. For example: If motif A in the high voice moves down a sixth, and motif B in the low voice moves up a fifth, in such a way as to result in A and B having exchanged registers, then the two are in double counterpoint at the tenth (6 + 5 – 1 = 10).

He is the most frequent vocalist in Gwar, after Oderus, having sung lead on "Cool Place to Park", "The Road Behind", "Pussy Planet", "Jack the World" (during the chorus), "Eat Steel", "Bad Bad Men" (during the chorus, and also the "Yeehaw" at the beginning) "Fight", (by Bishop) "Crush, Kill, Destroy", "Hate Love Songs" (by Orr, originally slated to be performed by Mike Derks, who wrote the song), "The Bonus Plan" (by Evans), "Metal Metal Land", "The Price of Peace" and "Beat You to Death" (the latter two also by Orr). Beefcake has always had a relatively high voice, in sharp contrast to his large size.

Illus. 6: Extract from the 1764 Statutes of the Royal Patriarchal Music Seminary of Lisbon, Chapter 1, p. 4. Collection of the Biblioteca Nacional de Portugal. The process and criteria by which students were selected in the Seminary's early years are not clear, but the standards as stated in the 1764 Statutes show that by that time students were required to have a "voz clara, suave e agudissima" (clear, pleasant and high voice),Translation is problematic because the word "agudissima" is not in usage in modern Portuguese and its relationship with "suave" has to be taken into account. The Cambridge Dictionary's Portuguese- English online service (.

In the stage musicals, Usagi was portrayed by Anza Ohyama, Fumina Hara, Miyuki Kanbe (who played the character with a "cute and high voice"), Marina Kuroki, , Hotaru Nomoto, Sayuri Inoue, Mizuki Yamashita, Kanae Yumemiya, Natsuki Koga and Tomomi Kasai. In the SuperS Musicals, Sanae Kimura, who played Sailor Uranus, provided the voice of Neo-Queen Serenity during Over the Moon, a duet between Sailor Moon and Neo-Queen Serenity. A third, unknown person, was on stage in Serenity's costume while both Sailor Moon and Uranus were onstage. Uncredited body doubles are common in the musicals to allow the character to appear to transform instantly.

The Pilot is a metaphor for God, whom the speaker hopes to meet face to face. Tennyson explained, "The Pilot has been on board all the while, but in the dark I have not seen him…[He is] that Divine and Unseen Who is always guiding us." The words were set to music in April 1890 as a song for high voice and piano by Charles_Villiers_Stanford and as a hymn, 'Freshwater', for four-part chorus by Sir Hubert Parry (publ. 1893). Other settings include those by Sir Joseph Barnby, Geoffrey Shaw, Dr. George Hewson (organist at St Patrick's Cathedral Dublin), Charles Ives,Music of Charles Ives - Compositions - VI Works for Choral Ensembles A: Sacred Works.

In 1588 and 1589 Byrd also published two collections of English songs. The first, Psalms, Sonnets and Songs of Sadness and Pietie (1588) consists mainly of adapted consort songs, which Byrd, probably guided by commercial instincts, had turned into vocal part-songs by adding words to the accompanying instrumental parts and labelling the original solo voice as "the first singing part". The consort song, which was the most popular form of vernacular polyphony in England in the third quarter of the sixteenth century, was a solo song for a high voice (often sung by a boy) accompanied by a consort of four consort instruments (normally viols). As the title of Byrd's collection implies, consort songs varied widely in character.

Structurally, Fratres consists of a set of nine chord sequences, separated by a recurring percussion motif (the so-called "refuge"). The chord sequences themselves follow a pattern, and while the progressing chords explore a rich harmonic space, they have been generated by means of a simple formula. Fratres is driven by three main voices. The low and high voice are each restricted to playing notes from the D harmonic minor scale (D, E, F, G, A, Bb, C#); the middle voice is restricted to the notes of the A minor triad (A, C, E). The entire piece is accompanied by drones in A and E, which are primarily heard in the refuge between each sequence.

James Speyer, Item 12241, high voice in E-flat (Philadelphia: Theodore Presser Company, 1914). American composers of art songs such as Ethelbert Nevin and Carrie Jacobs Bond wrote songs to his verses; composer Oley Speaks also set at least four of his poems to music: "The Hills of Dawn", "In Maytime", "Morning", That Frank Lebby Stanton is the "Frank L. Stanton" of the authorship is clear from p. 3 of the published score, which has an asterisk by his name, leading to "From the 'Atlanta Constitution;' used by permission". This work was also published as To see other pages of the Australian online edition, switch the number in the URL's "s3-e" to the page desired.

Housman’s poem was among the first to be set by composers, beginning with Arthur Somervell’s as part of his Songcycle from A Shropshire Lad and the single setting by Stephen Adams, both in 1904.Trevor Hold, Parry to Finzi: Twenty English Song-composers, Woodbridge 2002 p.91 Two frequently performed versions are George Butterworth’s, from his Six Songs from A Shropshire Lad for medium high voice and piano (1911),A performance on You Tube and Ivor Gurney’s from Ludlow and Teme (1919).A performance on You Tube The style of setting varies from the simplicity of the traditional tune fitted to it by Butterworth to the “chromatically overwrought” music of Arnold Bax.

McGregor described the film as having a somewhat similar appeal as that film, and noted that he was familiar with Beatrix Potter's illustrations and stories, which he said he reads to his children. To prepare for the role, McGregor studied photographs of Norman Warne and visited the modern-day Warne publishing house. Zellweger read actual letters between Beatrix Potter and Norman Warne and Millie to prepare for the role, but had difficulty with the accent, which she said was very different from Bridget Jones'. As there were no records of Beatrix Potter's speaking voice, they had to guess; ultimately the voice was softened so as not to irritate contemporary audiences with the tight, high voice a woman of Beatrix Potter's standing at that time may have had.

Since September rehearsals began for a Domsingschule to be built under his direction, following the example of the Thomasschule in Leipzig. As a composer, he participated in the project Mainzer Bistumsmesse (Mass of the Mainz Diocese), a collaboration of six regional cantors to create a mass in German for choir, a high voice (children's choir or soprano) and organ. Dan Zerfaß composed Herr, erbarme dich, Nicolo Sokoli Ehre sei Gott, Thomas Gabriel Ich glaube an Gott, Boltz Gottheit tief verborgen, Ralf Stiewe Heilig, Ruben J. Sturm Lamm Gottes. On 3 November 2012, he played in the cathedral the organ part of Colin Mawby's Missa solemnis Bonifatius-Messe in the work's second performance by the Chor von St. Bonifatius, conducted by Gabriel Dessauer.

Kim and Ron use his annual open dog show, with Rufus as an entrant, as cover to recover the diamond. Compared to Kim's recurring enemies, Jones is a much more competent villain, not giving into the clichéd "traditional" methods (such as instead of leaving Kim and Ron to perish in a trap, he chooses to stay and make sure they die). After Ron questions why he is called "Falsetto," Kim explains that he's called this because of his unusually high voice that was caused by a "freak helium accident." While he was not shown in the episode being arrested by the police, the second Game Boy Advance video game confirms that he was later arrested by the police and sent to prison.

PSQM uses a psychoacoustical mathematical modeling (both perceptual and cognitive) algorithm to analyze the pre and post transmitted voice signals, yielding a PSQM value which is a measure of signal quality degradation and ranges from 0 (no degradation) to 6.5 (highest degradation). In turn, this result may be translated into a mean opinion score (MOS), which is an accepted measure of the perceived quality of received media on a numeric scale ranging from 1 to 5. A value of 1 indicates unacceptable, poor quality voice while a value of 5 indicates high voice quality with no perceptible issues. The PSQM algorithm converts the physical-domain signal(s) into the perceptually meaningful psychoacoustic domain through a series of nonlinear processes such as time- frequency mapping, frequency warping and intensity warping.

Until the early 1980s a called party could instantly recognize an incoming long-distance call by its hiss or low level, due to the inherent signal loss and introduction of noise. The deployment of digital technologies such as pulse-code modulation and T-carrier circuits in the 1970s and 1980s let long-distance calls match the high voice quality of local calls. Improvements in switching technology, the deployment of high-capacity optical fibre and an increase in competition substantially lowered long-distance rates at the end of the 20th century. Using the Internet, the distinction between local and long-distance communication is fading to the point where an Internet call from the United States to Beijing carries a lower wholesale cost than a domestic landline call to a rural independent in small-town Iowa.

Early hip hop hype men included Cowboy and Creole of Grandmaster Flash and the Furious Five. Kool Moe Dee calls Creole “the original hype man”. American rapper Flavor Flav hyping up a crowd in May 2008 The quintessential hype man, for many fans and musicians of the era, was Public Enemy's hype man Flavor Flav, whose exuberant approach to the art in the group's recordings and videos made him the first household-name hype man, a figure more famous than many MCs. He established many of the conventions of the craft, such as an outlandish sense of style (epitomized by his wearing of large clocks around his neck) and a vocal style that contrasted dramatically with that of the MC (his rasping high voice was a counterpoint to Chuck D's booming baritone).

He composed in 2005 Missa mundi (Mass of the world) for the final mass of the World Youth Day in Cologne on 21 August 2005, representing five continents in style and instrumentation: a European ' influenced by the style of Bach, a South American ' with guitars and pan flutes, an Asian ' with sitar, an African ' with drums, and an Australian ' with didgeridoos. It was premièred by a project choir from the Würzburg Cathedral, conducted by Martin Berger, with Gabriel at the keyboard. He participated in the project ' (Mass of the Diocese of Mainz), a collaboration of six regional cantors to create a mass in German for choir, a high voice (children's choir or soprano) and organ. Dan Zerfaß composed ', Nicolo Sokoli ', Thomas Gabriel ', Andreas Boltz ', Ralf Stiewe ', Ruben J. Sturm '.

Ned Rorem's King Midas: a cantata for voice(s) and piano on ten poems of Howard MossNed Rorem, King Midas, Boosey and Hawkes, New York, 1970 (1961) is one of several settings of Moss's poetry by American composers. Allen Shearer composed his cantata King Midas (1990)Robert Commanday, "Baritone Strikes Gold for Himself," review in the San Francisco Chronicle, April 25, 1991, E5 on the same set of poems with addition of ancient texts. Morten Lauridsen's A Winter ComeMorten Lauridsen, A Winter Come, Peer Southern Music Publishing, New York, 1985 (1967) is a setting of six poems of Howard Moss for high voice and piano, while Francis Thorne's Nature Studies: Three Poems of Howard MossFrancis Thorne, Nature Studies, Composers Recordings, CD 586 (1981) is for mezzo- soprano, flute and harp.

Bridge was impressed with the boy, and after they had gone through some of Britten's compositions together he invited him to come to London to take lessons from him. Robert Britten, supported by Thomas Sewell, doubted the wisdom of pursuing a composing career; a compromise was agreed by which Britten would, as planned, go on to his public school the following year but would make regular day-trips to London to study composition with Bridge and piano with his colleague Harold Samuel. Bridge impressed on Britten the importance of scrupulous attention to the technical craft of composing and the maxim that "you should find yourself and be true to what you found."Mitchell (2004) The earliest substantial works Britten composed while studying with Bridge are the String Quartet in F, completed in April 1928, and the Quatre Chansons Françaises, a song-cycle for high voice and orchestra.

1938) is in Eisenhüttenstadt. His lion lies on its back with its legs bound and is perched on a plinth round the sides of which is carved a translation of Ivan Krylov's version of the fable.Photo on Panoramio This dates the work back to the days of the Communist administration. Among musical settings have been one published in New York by Mabel Wood Hill in her Aesop's Fables Interpreted Through Music (1920) for high voice and piano and Werner Egk's Der Löwe und die Maus for small orchestra and children’s choir, performed in 1931. The fable was also included in Edward Hughes' Songs from Aesop's fables for children’s voices and piano (1965), as the second of Anthony Plog's set for narrator, piano and horn (1989/93)A performance on You Tube and among the fables set by Yvonne Gillespie for narrator and full orchestra (2001).

"A Perfect Day" was phenomenally successful when first published in 1910.When first published in 1910 by Carrie Jacobs- Bond & Son in Chicago, it came out in transcriptions for high voice (soprano, tenor) in the key of A-flat and low voice (contralto, bass) in the key of F. Later, a medium-voice (low soprano / high alto, baritone) transcription appeared, in the key of G. Publication information and the sheet music (including notes and lyrics) are part of the Lester S. Levy Collection of the Johns Hopkins University Peabody Institute, online at Johns Hopkins University site (accessed 2009 September 03). Eight million copies of the sheet music and five million recordings sold within a year;Library of Congress Jacobs-Bond site. 25 million copies of the sheet music sold during Jacobs-Bond's lifetime, and many millions of recordings circulated as various artists performed the song on the fast-growing means of audio duplication.

6 March—the date of the world premiere in 2012). As the seconds start ticking, an offstage voice sings verses chanted by the 'human cockcrow' (雞人) above the Song palace gates before daybreak. "A second ensemble of high voice, panpipes, ocarinas, membrane flutes, mouth organs, zithers, bells, chimes, and other percussion, play the festive odes 'Yü li' (魚麗) and 'Nan you jia yü' (南有嘉魚) from the ancient Book of Songs (詩經), using melodies, ornaments, orchestration, instrumental ranges, seating plan, accompaniment, and tuning systems documented in Song and later sources. The odes are sung in Late Middle Chinese pronunciation, and conceal a second 'clock' in broad 4/2 superimposed on the rapid 3/4 of the first. "The third ensemble executes a series of quarter-tone glissandi that are geometrically exact musical transcriptions of seven characters from the Song Emperor Huizong’s (宋徽宗) 'Slender Gold' calligraphy (瘦金體), chosen to form seven of the eight words of a Tang emperor’s verse in praise of a clock: 「制器垂象，永鑒無惑」.

Elizabethan love songs, sets I and II. London: Boosey & Hawkes. which achieved popularity in their day. These free arrangements for piano and low or high voice were intended to fit the tastes and musical practices associated with art songs of the time. In 1935, Australian-born composer Percy Grainger, who also had a deep interest in music made before Bach, arranged Dowland's Now, O now I needs must part for piano. Some years later, in 1953, Grainger wrote a work titled Bell Piece (Ramble on John Dowland's 'Now, O now I needs must part'), which was a version scored for voice and wind band, based on his previously mentioned transcription. In 1951 Alfred Deller, the famous counter- tenor (1912–1979), recorded songs by Dowland, Thomas Campion, and Philip Rosseter with the label HMV (His Master's Voice) HMV C.4178 and another HMV C.4236 of Dowland's "Flow my Tears". In 1977, Harmonia Mundi also published two records of Deller singing Dowland's Lute songs (HM 244&245-H244/246).Pierre-F. Roberge: Alfred Deller (1912–1979) – A discography Dowland's song "Come Heavy Sleepe, the Image of True Death" was the inspiration for Benjamin Britten's Nocturnal after John Dowland, written in 1963 for the guitarist Julian Bream.