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"ictus" Definitions
  1. a syllable or beat that is given stronger emphasis than others as a part of a rhythm in poetry
"ictus" Synonyms
accent rhythm beat stress cadence pulse accentuation force emphasis prominence timbre tone inflexion(UK) inflection(US) protraction primary stress secondary stress weight underscoring time thrombosis embolism embolus infarction blood clot stroke apoplexy blockage clotting coagulation coronary coronary thrombosis occlusion seizure heart attack fit attack collapse convulsion shock spasm bout spell paroxysm turn case access throe siege epileptic fit breakdown illness sudden illness More
"ictus" Antonyms
letting go harmony peace failure loss

223 Sentences With "ictus"

How to use ictus in a sentence? Find typical usage patterns (collocations)/phrases/context for "ictus" and check conjugation/comparative form for "ictus". Mastering all the usages of "ictus" from sentence examples published by news publications.

type: All Declarative Interrogative Exclamative

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On Friday, I found the Ictus performance incredibly sensual and, near the end, profoundly moving.
Ms. De Keersmaeker, a renowned Belgian choreographer, emerged in the 1980s with exacting, cerebral dances, performed with her company, Rosas, and often featuring live music by the Ictus Ensemble.
Each of the seven dancers from Ms. De Keersmaeker's company, Rosas, shadows a member of the Ictus contemporary music ensemble in her precise and briskly fluid physical style (1:05).
On Tuesday, I watched a powerful sextet at atrium level: the dancers of Rosas jetted past me, and sidestepped other spectators, while Ictus let loose with fortissimo bursts and scrambled aftershocks.
Originally 60 minutes, the new version is a nine-hour cycle in which each hour features a different iteration of the choreography using seven dancers from Ms. De Keersmaeker's company, Rosas, and seven musicians from the Ictus ensemble.
An interpretation of Gérard Grisey's score of the same name, "Vortex Temporum" brings together seven dancers of her company, Rosas, and seven members of the contemporary music ensemble Ictus, setting them all in motion (even the grand piano dances) on a stripped-down stage.
Anne Teresa De Keersmaeker's "Work/Travail/Arbeid" spiraled around and around the wide-open Marron Atrium for six hours a day (eight on Friday), performed by seven dancers from her estimable Brussels-based troupe, Rosas, and seven musicians from the contemporary music ensemble Ictus.
Here's what Hutchinson's version of timelessness, handed down, to some extent, from the great Caribbean poet Derek Walcott, sounds like: Noon ictus cooling the veranda's fretwork, the child sits after his harp boning burlesque in the bower, his slit of gulls' nerves silenced into hydrangea.
Unless, that is, you already know a great deal about the Battle of Lepanto, the Beat poets, kabbalah, the works of Machiavelli (referred to only as "a certain clerk of Florence"), who a haseki sultan might be, what a janissary might do, what it means for an "ictus" to suddenly come upon someone.
Teatro Ictus or ICTUS (Ictus Theatre) is the longest-running independent theatre company in Chile.Teatro Ictus. Chileescena.cl (in Spanish). Retrieved 7 January 2013.
On January 1, 2006, ICTUS released ICTUS Records' 30th Anniversary Collection, a 12-volume CD retrospective of its work. In 2010, ICTUS released its Ictus 35th Anniversary Collection on 1 CD.
ICTUS in Bologna, Italy : Andrea Centazzo and his wife at the time, Carla Lugli, founded ICTUS in Bologna, Italy, in 1976. Centazzo is a drummer, percussionist, , and composer. ICTUS folded in 1984 due to financial duress and the divorce of Centazzo and Lugli. ICTUS in Long Beach, California : Centazzo revived ICTUS in 2006 in Long Beach, California, initially, to raise funds for Bosnian refugees.
However, the use of the word ictus itself is very controversial.See e.g. Beare (1953); Bennett (1898).
There is a difference between the "textbook" definition of where the ictus of a downbeat occurs and the actual performance practice in professional orchestras. With an abrupt, loud sforzando chord, a professional orchestra will often play slightly after the striking of the ictus point of the baton stroke.
1 March 1997. Retrieved 19 May 2017. The Homeric poems arrange words so as to create an interplay between the metrical ictus—the first syllable of each foot—and the natural, spoken accent of words. If the ictus and accent coincide too frequently the hexameter becomes "sing- songy".
ICTUS Records is an avant-garde jazz record label founded in 1976 by Andrea Centazzo and Carla Lugli.
Moreover, line 4 potentially exhibits both of the other two common metrical variants: an initial reversal, and the rightward movement of the third ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic): / × × / × × / / × /(×) Thou art the fairest and most precious jewel. (131.4) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable.
Nodens Ictus are a British electronic music band formed in 1986 as a spinoff of British psychedelic rock band Ozric Tentacles.
Sum of the Parts is an album by tenor saxophonist/composer-arranger Ed Summerlin, released in 1998 on the Ictus label.
It may be regular (apart from the feminine ending) — or it may suggest a rightward movement of an ictus (resulting in a four- position figure, `× × / /`, sometimes referred to as a minor ionic), but if so, it is not clear which: × × / / × /(×) × / × × / /(×) × / × / × / × / × /(×) Which hath not figured to thee my true spirit? (108.2) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable.
Ictus Ensemble (French: Ensemble Ictus) is a Belgian orchestra, founded by Jean-Luc Plouvier in 1994, specialising in Contemporary classical music. It is based in Brussels where it is involved in frequent collaborations with the contemporary dance choreographer Anne Teresa De Keersmaeker. The orchestra specialises in music written since 1950 with an emphasis on contemporary compositions.
Line 3 exemplifies a regular iambic pentameter: × / × / × / × / × / But not to tell of good, or evil luck, (14.3) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Nodens Ictus released their third album, The Cozmik Key, on 10 December 2017. The double CD Live at Kozfest 2018 was released in April 2019.
For clarity, scansions that mark only ictus and nonictus will be called "metrical scansions", and those which mark stress or other linguistic characteristics will be called "rhythmic scansions".
The images show the most common beat patterns, as seen from the conductor's point of view. The downbeat indicates the first beat of the bar, and the upbeat indicates the beat before the first note of the piece and the last beat of the bar. The instant at which the beat occurs is called the ictus (plural: ' or ictuses), and is usually indicated by a sudden (though not necessarily large) click of the wrist or change in baton direction. In some instances, "ictus" is also used to refer to a horizontal plane in which all the ictuses are physically located, such as the top of a music stand where a baton is tapped at each ictus.
The first two lines contrast metrically: × / × / × / × / × / If thou survive my well-contented day, × × / / × / × / × /(×) When that churl Death my bones with dust shall cover (32.1-2) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable. While the first is quite regular, the second has a final extrametrical syllable or feminine ending, as well as its initial ictus moved to the right (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic).
Lines two, three, four, eight, and fourteen all begin with an initial reversal. / × × / × / × / × / (×) Suns of the world may stain when heaven's sun staineth. (33.14) :/ = ictus, a metrically strong syllabic position. × = nonictus.
A not-for-profit private company, Ictus was founded in 1955 and is known for its creative works with strong political-social commentary. Of particular note is the work Lindo país esquina con vista al mar (“Beautiful country on the corner with sea views”), premiered in 1979 at the height of the military dictatorship, with its humorous take on Chilean society as it underwent economic reform amidst political repression.El emblemático Teatro Ictus ataca por partida doble. La Nación.
Two lines have a final extrametrical syllable or feminine ending, as exemplified by line eight: × / × / × / × / × / (×) The spirit of love, with a perpetual dulness. (56.8) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable.
Ed Wynne in 2007 Nodens Ictus began life in 1986 when Ozric Tentacles guitarist Ed Wynne and keyboardist Joie Hinton were asked by the promoters of the Crypt club in Deptford, South London, to produce an ambient set for the club's "chillout" room. Essentially Ozric Tentacles minus the guitar and rhythm section, Nodens Ictus explored ethereal, Tangerine Dream-like soundscapes using synths and samples, in contrast to the driving space-rock which characterised the sound of parent band. The limited-run, independent cassette-only album The Grove of Selves was issued in 1987 - sold initially at gigs and by mail order, it has subsequently become a rare and sought-after item of Ozric memorabilia. Existing as a side-project only, Nodens Ictus played semi-frequently throughout the late '80s and early '90s, often as a support act at Ozric shows.
Baciato dalla fortuna is a 2011 Italian comedy film directed by Paolo Costella. It is based on the Vincenzo Salemme's comedy play Fiore di ictus. The film debuted at the second place on the Italian box office chart.
Line 6 features the rightward movement of the third ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic): × / × / × × / / × / (×) My nobler part to my gross body's treason; (151.6) A minor ionic also occurs in line 11.
Line 7 may also be read as exhibiting another common metrical variation, the initial reversal: / × × / × / × / × / (×) Give not a windy night a rainy morrow, (90.7) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable. Initial reversals also occur in lines 3 and 6, and potentially 2.
Ramsey, p. 153 It is convenient to scan the first four lines: / × × / × / × × / / When in disgrace with Fortune and men's eyes, × / × / × / × / × / I all alone beweep my outcast state, × / × / / × × / × / And trouble deaf heaven with my bootless cries, × / × / × / × / × / And look upon myself and curse my fate, (29.1-4) :/ = ictus, a metrically strong syllabic position. × = nonictus. Lines two and four are metrically regular, but alternate with lines (one and three) which are more metrically complex, a tendency that continues throughout the poem The first line has an initial reversal, and concludes with the fourth ictus moving to the right (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic).
Cambridge: Harvard University Press. Lines nine through fourteen form a rhetorical sestet concerning the decay of the beloved. The first line is often cited as (appropriately) displaying a metronomic regularity: × / × / × / × / × / When I do count the clock that tells the time, :/ = ictus, a metrically strong syllabic position. × = nonictus.
Cambridge, Massachusetts: Belknap of Harvard UP, 1997. Print, pg. 50. The first line illustrates a regular iambic pentameter, and the seventh illustrates a variation: an initial reversal. × / × / × / × / × / From fairest creatures we desire increase, (1.1) / × × / × / × / × / Making a famine where abundance lies, (1.7) :/ = ictus, a metrically strong syllabic position.
Preminger, Alex and T. Brogan. The New Princeton Encyclopedia of Poetry and Poetics. Princeton: Princeton University Press, 1993. pg. 894 The couplet's first line exemplifies a regular iambic pentameter rhythm: × / × / × / × / × / So long as men can breathe or eyes can see, (18.13) :/ = ictus, a metrically strong syllabic position.
As a performer Eleanor Bauer has collaborated with the choreographers Trisha Brown, Boris Charmatz, Anne Teresa de Keersmaeker/Rosas, Mette Ingvartsen, Xavier Le Roy en David Zambrano; the visual artists Matthew Barney en Emily Roysdon; the music ensemble Ictus and the electronic music duo The Knife.
Thus in the line ∈ – ∪ ⊥ ∪ – ∈ ⊥ ∪ ⊥ When to the sessions of sweet silent thought where both Attridge and Groves (and most prosodists, for that matter) would say that the first syllable is ictic, Tarlinskaja rigidly keeps the ictus in the second position, which is its "average" position across iambic pentameter.
The 6th line exemplifies a regular iambic pentameter: × / × / × / × / × / Lose all, and more, by paying too much rent, × / × / × /× / × /(×) For compound sweet forgoing simple savour, (125.6-7) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable. Lines 7 (scanned above) and 5 each have a final extrametrical syllable or feminine ending.
The 4th line may be scanned with a rightward movement of the first ictus (the resulting four-position figure, `× × / /`, is sometimes referred to as a minor ionic): × × / / × / × / × / And my sick Muse doth give another place. (79.4) The meter calls for a 2-syllable pronunciation of "worthier" in the 6th line.
Line 4 contains two of the most common: an initial reversal and a final extrametrical syllable or feminine ending: / × × / × / × / × / (×) Weeds among weeds, or flowers with flowers gather'd. (124.4) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable. Line 2 (as required by the rhyme scheme) also has a feminine ending.
Though this is not the only possible scansion of the first two lines, the extra emphasis demanded by "thou" to prevent the ictus from resting on "bear'st", and the extra emphasis falling on "who" in an initial reversal, may be seen as pointing up the accusatory tone in the poem.
Since the words are used in contradictory ways, the authority on Greek metre Martin WestWest, M.L. (1982) Greek Metre (Oxford). recommends abandoning them and using substitutes such as ictus for the downbeat when discussing ancient poetry.Martin Drury (1986 [1985]), in The Cambridge History of Classical Literature, vol. 1 part 2, p. 203.
Sonnet 26 is a typical English or Shakespearean sonnet, formed of three quatrains and a couplet, having a rhyme scheme of ABAB CDCD EFEF GG. It is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions per line. The seventh line exemplifies a regular iambic pentameter line. The next contains a final extrametrical syllable or feminine ending, of which this sonnet has six; it also exhibits an ictus moved to the right (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic): But that I hope some good conceit of thine In thy soul's thought, all naked, will bestow it: (26.7-8) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Line 9 has a minor ionic. The first ictus of line 14 might fall on any one of the first three syllables, rendering a slightly different shade of meaning with each choice. The meter demands that line 4's "spirit" function as one syllable, as distinct from its two-syllable appearance in line 2.
The concept was based around the Chinese I Ching (book of changes). Invisible Mother has the trio playing with the Ictus Ensemble, a European chamber band. The music showcases a dark, chamber string-quartet side of the band and lays the groundwork for the follow-up albums in the trilogy. Invisible Sun is an eleven-piece big band.
The modern Solesmes editions of Gregorian chant follow this interpretation. Mocquereau divided melodies into two- and three-note phrases, each beginning with an ictus, akin to a beat, notated in chantbooks as a small vertical mark. These basic melodic units combined into larger phrases through a complex system expressed by cheironomic hand-gestures.Apel, Gregorian Chant p. 127.
Rubus ictus is a rare North American species of flowering plants in the rose family. It is native to the southeastern United States, in the States of Mississippi, Alabama, Florida, and Georgia.Biota of North America Program 2014 county distribution mapBailey, Liberty Hyde. 1925. Gentes Herbarum; Occasional Papers on the Kinds of Plants 1(5): 231, figure 104.
Sonnet 141 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 11th line exemplifies a regular iambic pentameter: × / × / × / × / × / Who leaves unsway'd the likeness of a man, (141.11) Line 5 (potentially) exhibits all three of iambic pentameter's most common metrical variants: an initial reversal, the rightward movement of the third ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic), and a final extrametrical syllable or feminine ending: / × × / × × / / × / (×) Nor are mine ears with thy tongue's tune delighted; (141.5) :/ = ictus, a metrically strong syllabic position.
The most recent productions are Work / Travail / Labor (Anne Teresa De Keersmaeker / Rosas, 2015) and Così fan tutte (Anne Teresa De Keersmaeker / Rosas and Opéra national de Paris, 2017). She also participated in the restaging of the Rosas productions Rosas danst Rosas (Anne Teresa De Keersmaeker / Rosas, 1983), Elena's Aria (Anne Teresa De Keersmaeker / Rosas, 1984), Bartók / Mikrokosmos (Anne Teresa De Keersmaeker / Rosas, 1987), Achterland (Anne Teresa De Keersmaeker / Rosas, 1990), Drumming (Anne Teresa De Keersmaeker / Rosas and Ictus, 1998) and Rain (Anne Teresa De Keersmaeker / Rosas and Ictus, 2001). The Rosas productions tour worldwide.Overview of past Rosas performances on the website of RosasOverview of upcoming Rosas performances on the website of Rosas She can also be seen in a number of movies and videos made about or based on Rosas productions.
Sonnet 23 is considered an English or Shakespearean Sonnet. It contains 14 iambic pentameter lines. The rhyme scheme is ABAB CDCD EFEF GG. The form consists of three quatrains and a couplet. All of the lines, including the fifth line are examples of iambic pentameter: × / × / × / × / × / So I, for fear of trust, forget to say (23.5) :/ = ictus, a metrically strong syllabic position.
The rhyme scheme of the sonnet is abab cdcd efef gg, the typical rhyme scheme for an English or Shakespearean sonnet. There are three quatrains and a couplet which serves as an apt conclusion. The fourth line exemplifies a regular iambic pentameter line: × /× / × / × / × / And being frank, she lends to those are free (4.4) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Two of the added strophes may be quoted here to illustrate the possible reason (but also a misconception of doctrine in the apparent assumption of the lines) for the modification of the original hymn: :Velut infirma vascula :Ictus inter lapideos :Videntur sancti martyres, :Sed fide durant fortiter. :Non fidunt suis meritis, :Sed sola tua gratia :Agnoscunt se persistere :In tantis cruciatibus.
Sonnet 25 is an English or Shakespearean sonnet, formed of three quatrains and a final couplet in iambic pentameter, a type of metre based on five pairs of metrically weak/strong syllabic positions. The 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / And all the rest forgot for which he toil'd: (25.12) :/ = ictus, a metrically strong syllabic position. × = nonictus. The 10th line begins with a common metrical variant, the initial reversal: / × × / × / × / × / After a thousand victories once foil'd, (25.10) The 6th line also has a potential initial reversal, as well as the rightward movement of the fourth ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic): / × × / × / × × / / But as the marigold at the sun's eye, (25.6) Potential initial reversals also occur in lines 1 and 11, with line 8 potentially exhibiting both an initial and midline reversal.
The distinctive clinical features particularly lengthy seizures and ictus emeticus means that the diagnosis of Panayiotopoulos syndrome is easy. However, these are frequently mistaken as nonepileptic conditions such as acute encephalitis, syncope, migraine, cyclic vomiting syndrome, motion sickness, sleep disorder, or gastroenteritis.Covanis A. Panayiotopoulos Syndrome: A Benign Childhood Autonomic Epilepsy Frequently Imitating Encephalitis, Syncope, Migraine, Sleep Disorder, or Gastroenteritis. Pediatrics 2006; 118(4):e1237-e1243 .
The ICTUS record label was founded in 1976 by Centazzo and his wife, Carla Lugli. Its first release was Clangs by Centazzo and Steve Lacy. Subsequent albums also featured Andrew Cyrille and Lol Coxhill, among others. The label was wound up after eight years owing to financial difficulties, "Andrea Centazzo Interview", by Klemen Breznikar, It's Psychedelic, Baby (blog of Klemen Breznikar), March 13, 2012.
The band occasionally ventured into electronica/dance territory following the addition of Ozric drummer Merv Pepler to the lineup, until being put on the backburner for nearly a decade as Wynne focused on the increasingly commercially successful Ozrics. Pepler and Hinton meanwhile concentrated on their techno-trance act Eat Static, which had become successful enough in its own right for them to leave the Ozrics permanently in 1994. Nodens Ictus returned in 2000 with the release of Spacelines, a collection of old and new studio tracks along with a handful of live cuts dating back as far as 1988. Released on the Ozrics' own Stretchy Records label, the album generated reasonable interest, and Nodens Ictus soon returned to the live arena, again as an occasional support act at Ozric gigs, most notably at their "Pongmaster's Ball" extravaganzas held in London in 2002, 2004 and 2006.
Sonnet 34 is an English or Shakespearean sonnet, composed of three quatrains and a final couplet. It follows the form's typical rhyme scheme: ABAB CDCD EFEF GG. It is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. Line 12 exemplifies a regular iambic pentameter: × / × / × / × / × / To him that bears the strong offence's loss. :/ = ictus, a metrically strong syllabic position.
Experimental theatre groups from Universidad de Chile and Pontifical Catholic University of Chile were restricted by the military regime to performing only theatre classics. Some established groups like Grupo Ictus were tolerated while new formations like Grupo Aleph were repressed. This last group had its members jailed and forced into exile after performing a parody on the 1973 Chilean coup d'état. In the 1980s a grassroots street theatre movement emerged.
An appearance at the Glastonbury Festival was made in 2003, and Nodens Ictus continued with a pair of small-scale headline shows in Exeter and London in 2005. 2007 saw the band play at the Solfest in Cumbria, alongside Mixmaster Morris and System 7. MantisMash joined the band as a touring member in 2014. Wynne's son, Silas Neptune, joined the band as a full time member in 2017.
Sonnet 8 follows standard English or Shakespearean sonnet form, with 14 lines of iambic pentameter sectioned into three quatrains and a couplet, with the rhyme scheme ABAB CDCD EFEF GG. The iambic pentameter's metrical structure is based on five pairs of metrically weak/strong syllabic positions per line (as exemplified in the fourth line): × / × / × / × / × / Or else receiv'st with pleasure thine annoy? (8.4) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable.
A possible alternative way of rhythmizing the Seikilos song, in order to preserve the iambic ('rising', di-dum) feel of the rhythm, was recently suggested by Armand D'Angour, with the barlines displaced one quaver to the right, as in the following transcription:, similarly suggests that the theses were placed on the long syllables of the song. A variation of the Seikilos epitaph with barlines as suggested by Armand D'Angour (2018) D'Angour adds: "In practice, it is open to listeners to switch their perception of ictus to either manner of execution. When one attempts to sing the piece according to such dynamic accentuation ..., the resulting cross-rhythms give the performer a different (and arguably more interesting) sense of melodic movement from that achieved by stressing the words solely according to the regular alternation of ictus." Stefan Hagel, discussing an example in the Anonymus Bellermanni, suggests the possibility of a similar transcription with displaced barlines of a line of music with this same rhythm.
Thus in general, word breaks occur in the middle of metrical feet, while ictus and accent coincide more often near the end of the line. The first line of Homer’s Iliad—"Sing, goddess, the anger of Peleus’ son Achilles"—provides an example: : Dividing the line into metrical units: : dactyl, dactyl, spondee, dactyl, dactyl, spondee. Note how the word endings do not coincide with the end of a metrical foot; for the early part of the line this forces the accent of each word to lie in the middle of a foot, playing against the ictus. This line also includes a masculine caesura after , a break that separates the line into two parts. Homer employs a feminine caesura more commonly than later writers: an example occurs in Iliad I.5 "...and every bird; thus the plan of Zeus came to fulfillment": : : : Homer’s hexameters contain a higher proportion of dactyls than later hexameter poetry.
Sonnet 100 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 5th line exemplifies a regular iambic pentameter: × / × / × / × / × / Return, forgetful Muse, and straight redeem (100.5) :/ = ictus, a metrically strong syllabic position.
Monica Echeverria and her husband accepted an invitation of the University of Cambridge to join their teaching staff in 1973. The next they were at England, while Cristián and Carmen fought clandestinely against the dictatorship of Augusto Pinochet. They returned in 1978. During her time in the university, she became a fan of the theater and was the director of children's shows, writing pieces and, in 1955, co-founding the Teatro ICTUS.
The first line can be scanned as a regular iambic pentameter. × / × / × / × / × / As fast as thou shalt wane, so fast thou grow'st (11.1) The tenth-line irregularity alluded to by Atkins consists of two quite ordinary pentameter variations: a midline reversal, and a final extrametrical syllable (or feminine ending). However, their coincidence, together with their context, makes them stand out: × / × / × / / × × /(×) Harsh, featureless, and rude, barrenly perish: (11.10) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 36 is a typical English or Shakespearean sonnet, constructed from three quatrains and a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The second line exemplifies a regular iambic pentameter: × / × / × / × / × / Although our undivided loves are one: (36.2) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 92 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ' and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 5th line exemplifies a regular iambic pentameter: × / × / × / × / × / Then need I not to fear the worst of wrongs, (92.5) :/ = ictus, a metrically strong syllabic position.
Sonnet 2 is an English or Shakespearean sonnet, which consists of three quatrains followed by a couplet. It follows the form's typical rhyme scheme: ABAB CDCD EFEF GG. Like all but one sonnet in the sequence, it is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions: × / × / × / × / × / How much more praise deserved thy beauty's use, (2.9) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 55 is an English or Shakespearean sonnet. The English sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The fifth line exemplifies a regular iambic pentameter: × / × / × / × / × / When wasteful war shall statues overturn, (55.5) :/ = ictus, a metrically strong syllabic position.
Sonnet 66 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The tenth line exemplifies a regular iambic pentameter: × / × / × / × / × / And folly doctor-like controlling skill, (66.10) :/ = ictus, a metrically strong syllabic position.
The 3rd line features one (potentially two; the second can be otherwise scanned) rightward movements of an ictus (resulting in a four- position figure, `× × / /`, sometimes referred to as a minor ionic): × × / / × / × × / / And the just pleasure lost, which is so deem'd (121.3) A similar minor ionic is potentially present in line 12's "By their rank thoughts", though not if "their" receives contrastive accent. The meter demands that line 13's "general" function as two syllables.
Sonnet 96 is an English or Shakespearean sonnet, which is composed of three quatrains, and a final rhyming couplet. The poem's lines follow the rhyme scheme ABAB CDCD EFEF GG, and are written in iambic pentameter: Five feet, each with two syllables accented weak/strong. The 3rd line is an example of a regular iambic pentameter: × / × / × / × / × / Both grace and faults are lov'd of more and less: (96.3) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Line 8 potentially features a rightward movement of the first ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic): × × / / × / × / × / And in my will no fair acceptance shine? (135.8) Lines 4 and 11 also potentially contain minor ionics. The meter demands a few variant pronunciations: line 5's "spacious" and line 7's "gracious" must each fill out three syllables, while line 11's "being" functions as one.
Sonnet 112 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 2nd line exemplifies a regular iambic pentameter: × / × / × / × / × / Which vulgar scandal stamped upon my brow; (112.2) :/ = ictus, a metrically strong syllabic position.
Sonnet 67 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The third line exemplifies a regular iambic pentameter: × / × / × / × / × / That sin by him advantage should achieve (67.3) :/ = ictus, a metrically strong syllabic position.
Sonnet 123 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a regular iambic pentameter: × / × / × / × / × / To me are nothing novel, nothing strange; (123.3) :/ = ictus, a metrically strong syllabic position.
Sonnet 62 is an English or Shakespearean sonnet, with three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is composed in a type of poetic metre known as iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The sixth line exemplifies a regular iambic pentameter: × / × / × / × / × / No shape so true, no truth of such account, (62.6) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 69 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The fifth line exemplifies a regular iambic pentameter: × / × / × / × / × / Thy outward thus with outward praise is crown'd; (69.5) :/ = ictus, a metrically strong syllabic position.
Sonnet 44 is an English or Shakespearean sonnet, which contains three quatrains followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The fifth line exemplifies a regular iambic pentameter: × / × / × / × / × / No matter then although my foot did stand (44.5) :/ = ictus, a metrically strong syllabic position. × = nonictus.
The sonnet is quite regular metrically (for example, a three-syllable "injurious" maintains regularity in line two), but implements a few variations, for example in the first and last lines: × × / / × / × / × / If the dull substance of my flesh were thought, (44.1) × / × / / × × / × / But heavy tears, badges of either's woe. (44.14) ...which contain, respectively, a rightward movement of the first ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic), and a mid-line reversal ("badges").
Sonnet 39 is an English or Shakespearean sonnet, composed of three quatrains and a final rhyming couplet for a total of fourteen lines. It follows the rhyme scheme ABAB CDCD EFEF GG. It is written in iambic pentameter, a metre based on five pairs of syllables accented weak/strong. The second line is one example of a line of regular iambic pentameter: × / × / × / × / × / O, how thy worth with manners may I sing :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 27 is an English or Shakespearean sonnet, which consists of three quatrains followed by a final couplet. It follows the rhyme scheme ABAB CDCD EFEF GG, and is written in iambic pentameter, a metre in which each line has five feet, and each foot has two syllables accented weak/strong. Most of the lines are regular iambic pentameter including line three: × / × / × / × / × / But then begins a journey in my head (27.3) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 22 is a typical English or Shakespeare sonnet. Shakespearean sonnets consists of three quatrains followed by a couplet, and follow the form's rhyme scheme: ABAB CDCD EFEF GG. They are written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions per line. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / My glass shall not persuade me I am old, (22.1) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 79 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG, and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 2nd line: × / × / × / × / × / My verse alone had all thy gentle grace; (79.2) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 80 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 10th line: × / × / × / × / × / Whilst he upon your soundless deep doth ride; (80.10) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 82 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 2nd line: × / × / × / × / × / And therefore mayst without attaint o'erlook (82.2) :/ = ictus, a metrically strong syllabic position. × = nonictus.
The poem takes the form of a Shakespearean sonnet: fourteen decasyllabic, iambic pentameter lines, that form three quatrains and a concluding rhyming couplet. It follows the form's rhyme scheme: ABAB CDCD EFEF GG. Each line of the first quatrain of Sonnet 3 exhibits a final extrametrical syllable or feminine ending. The first line additionally exhibits an initial reversal: / × × / × / × / × / (×) Look in thy glass and tell the face thou viewest (3.1) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 60 is an English or Shakespearean sonnet. The Shakespearean sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme, abab cdcd efef gg and is written a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The thirteenth line exemplifies a regular iambic pentameter: × / × / × / × / × / And yet to times in hope my verse shall stand, (60.13) :/ = ictus, a metrically strong syllabic position.
Sonnet 74 is an English or Shakespearean sonnet, which contains three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG, and is composed in iambic pentameter, a poetic metre in which each line has five feet, and each foot is a pair of weak/strong syllables. The tenth line exemplifies a regular iambic pentameter line: × / × / × / × / × / The prey of worms, my body being dead; (74.10) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 105 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a regular iambic pentameter: × / × / × / × / × / Since all alike my songs and praises be (105.3) :/ = ictus, a metrically strong syllabic position.
Sonnet 109 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / To leave for nothing all thy sum of good; (109.12) :/ = ictus, a metrically strong syllabic position.
Sonnet 110 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 7th line exemplifies a regular iambic pentameter: × / × / × / × / × / These blenches gave my heart another youth, (110.7) :/ = ictus, a metrically strong syllabic position.
Sonnet 150 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / With others thou shouldst not abhor my state: (150.12) :/ = ictus, a metrically strong syllabic position.
Sonnet 127 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 4th line exemplifies a regular iambic pentameter: × / × / × / × / × / And beauty slander'd with a bastard shame: (127.4) :/ = ictus, a metrically strong syllabic position.
Sonnet 129 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 8th line exemplifies a regular iambic pentameter: × / × / × / × / × / On purpose laid to make the taker mad: (129.8) :/ = ictus, a metrically strong syllabic position.
Sonnet 128 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 2nd line exemplifies a regular iambic pentameter: × / × / × / × / × / Upon that blessed wood whose motion sounds (128.2) :/ = ictus, a metrically strong syllabic position.
Sonnet 143 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 7th line exemplifies a regular iambic pentameter: × / × / × / × / × / To follow that which flies before her face, (143.7) :/ = ictus, a metrically strong syllabic position.
Sonnet 140 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a regular iambic pentameter: × / × / × / × / × / Lest sorrow lend me words, and words express (140.3) :/ = ictus, a metrically strong syllabic position.
Sonnet 139 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 6th line exemplifies a regular iambic pentameter: × / × / × / × / × / Dear heart, forbear to glance thine eye aside: (139.6) :/ = ictus, a metrically strong syllabic position.
Sonnet 137 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 5th line exemplifies a regular iambic pentameter: × / × / × / × / × / If eyes, corrupt by over-partial looks, (137.5) :/ = ictus, a metrically strong syllabic position.
Sonnet 136 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 7th line exemplifies a regular iambic pentameter: × / × / × / × / × / In things of great receipt with ease we prove (136.7) :/ = ictus, a metrically strong syllabic position.
Sonnet 71 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / No longer mourn for me when I am dead (71.1) :/ = ictus, a metrically strong syllabic position.
Sonnet 91 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 11th line exemplifies a regular iambic pentameter: × / × / × / × / × / Of more delight than hawks and horses be; (91.11) :/ = ictus, a metrically strong syllabic position.
Sonnet 153 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / And thither hied, a sad distemper'd guest, (153.12) :/ = ictus, a metrically strong syllabic position.
Sonnet 117 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a regular iambic pentameter: × / × / × / × / × / Forgot upon your dearest love to call, (117.3) :/ = ictus, a metrically strong syllabic position.
Sonnet 122 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic pentameter: × / × / × / × / × / Thy gift, thy tables, are within my brain (122.1) :/ = ictus, a metrically strong syllabic position.
Sonnet 101 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 11th line exemplifies a regular iambic pentameter: × / × / × / × / × / To make him much outlive a gilded tomb (101.11) :/ = ictus, a metrically strong syllabic position.
Sonnet 134 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic pentameter: × / × / × / × / × / So, now I have confess'd that he is thine (134.1) :/ = ictus, a metrically strong syllabic position.
Sonnet 95 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 11th line exemplifies a regular iambic pentameter: × / × / × / × / × / Where beauty's veil doth cover every blot (95.11) :/ = ictus, a metrically strong syllabic position.
Sonnet 138 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 6th line exemplifies a regular iambic pentameter: × / × / × / × / × / Although she knows my days are past the best, (138.6) :/ = ictus, a metrically strong syllabic position.
Further emphasizing and elevating the artistry of the language of the plays of Plautus is the use of meter, which simply put is the rhythm of the play. There seems to be great debate over whether Plautus found favor in strong word accent or verse ictus, stress. Plautus did not follow the meter of the Greek originals that he adapted for the Roman audience. Plautus used a great number of meters, but most frequently he used the trochaic septenarius.
Sonnet 154 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic pentameter: × / × / × /× / × / The little Love-god lying once asleep (154.1) :/ = ictus, a metrically strong syllabic position.
Her works have been performed internationally. Finsterer has composed for films and electro–acoustic events for the Music Biennale Zagreb, Nouvel Ensemble Moderne, Ensemble InterContemporain, and Ictus Ensemble for performance in Lille and Brussels. She worked as an orchestrator on the 2007 film Die Hard 4.0. Her film music for the 2010 feature film South Solitary received a Film Critics Circle of Australia nomination in 2010, and has since been released on the CD label ABC Classics.
Sonnet 57 is an English or Shakespearean sonnet. The English sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The sixth line exemplifies a regular iambic pentameter: × / × / × / × / × / Whilst I, my sovereign, watch the clock for you, (57.6) :/ = ictus, a metrically strong syllabic position.
Sonnet 59 is an English or Shakespearean sonnet. The Shakespearean sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / If there be nothing new, but that which is (59.1) :/ = ictus, a metrically strong syllabic position.
Sonnet 53 is an English or Shakespearean sonnet. The Shakespearean sonnet contains three quatrains followed by a final rhyming couplet. It follows the typical rhyme scheme of this form, abab cdcd efef gg and is composed in a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The seventh line exemplifies a regular iambic pentameter: × / × / × / × / × / On Helen's cheek all art of beauty set, (53.7) :/ = ictus, a metrically strong syllabic position.
Sonnet 68 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The second line exemplifies a regular iambic pentameter: × / × / × / × / × / When beauty lived and died as flowers do now, (68.2) :/ = ictus, a metrically strong syllabic position.
After studying film at the Institut des Arts de Diffusion, he continued to studying music composition and contemporary dance after meeting Fernand Schirren, for whose works he has written original incidental music. He works primarily with Rosas & Anne Teresa De Keersmaeker, Wim Vandekeybus and Michèle Anne De Mey, his youngest sister. He is the founder of the contemporary music ensemble Maximalist!, and he has participated in other important projects such as and Ictus Ensemble, for which he has composed several works.
Sonnet 78 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme, abab cdcd efef gg and is composed in iambic pentameter, a metre based on five feet in each line, and two syllables in each foot, accented weak/strong. Most of the lines are regular iambic pentameter, including the 5th line: × / × / × / × / × / Thine eyes, that taught the dumb on high to sing (78.5) :/ = ictus, a metrically strong syllabic position.
Sonnet 16 is an English or Shakespearean sonnet. This type of sonnet consists of three quatrains followed by a couplet. It follows the English sonnet's typical rhyme scheme: ABAB CDCD EFEF GG. The sonnet is written in iambic pentameter, a type of metre in which each line is based on five pairs of metrically weak/strong syllabic positions. The fifth line exhibits a regular iambic pattern: × / × / × / × / × / Now stand you on the top of happy hours, (16.5) :/ = ictus, a metrically strong syllabic position.
Sonnet 38 is an English or Shakespearean sonnet, composed of three quatrains and a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG. Like other Shakespearean sonnets the poem is composed in a type of poetic metre known as iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The final line exemplifies a regular iambic pentameter: × / × / × / × / × / The pain be mine, but thine shall be the praise. (38.14) :/ = ictus, a metrically strong syllabic position.
Sonnet 21 is a typical English or Shakespearean sonnet. It consists of three quatrains followed by a couplet, nominally rhyming abab cdcd efef gg — though this poem has six rhymes instead of seven because of the common sound used in rhymes c and f in the second and third quatrains: "compare", "rare", "fair", and "air". The sixth line exemplifies a regular iambic pentameter: × / × / × / × / × / With sun and moon, with earth and sea's rich gems, (21.6) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 24 is an English or Shakespearean sonnet. English sonnets contain fourteen lines, including three quatrains and a final couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG, and is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions per line. Line ten exemplifies a regular iambic pentameter: × / × / × / × / × / Mine eyes have drawn thy shape, and thine for me (24.10) :/ = ictus, a metrically strong syllabic position.
Sonnet 19 is a typical English or Shakespearean sonnet. The English sonnet consists of three quatrains followed by a couplet. It follows the form's typical rhyme scheme: ABAB CDCD EFEF GG. Like all but one of Shakespeare's sonnets, Sonnet 19 is written in a type of metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The eighth line exemplifies a regular iambic pentameter: × / × / × / × / × / But I forbid thee one most heinous crime: (19.8) :/ = ictus, a metrically strong syllabic position.
Sonnet 106 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 4th line famously exemplifies a regular iambic pentameter: × / × / × / × / × / Of hand, of foot, of lip, of eye, of brow, (106.4) :/ = ictus, a metrically strong syllabic position.
Sonnet 7 is a typical English or Shakespearean sonnet. This type of sonnet consists of three quatrains followed by a couplet, and follows the form's rhyme scheme: abab cdcd efef gg. The sonnet is written in iambic pentameter, a type of metre based on five pairs of metrically weak/strong syllabic positions per line, as exemplified in line five (where "heavenly" is contracted to two syllables): × / × / × / × / × / And having climbed the steep-up heavenly hill, (7.5) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Probably the line should be scanned: × / × / / × × / × / Resembling strong youth in his middle age, (7.6) A reversal of the third ictus (as shown above) is normally preceded by at least a slight intonational break, which "strong youth" does not allow. Peter Groves calls this a "harsh mapping", and recommends that in performance "the best thing to do is to prolong the subordinated S-syllable [here, "strong"] ... the effect of this is to throw a degree of emphasis on it".Groves 2013, pp 42-43.
Because it has some selectivity for cerebral vasculature, nimodipine's main use is in the prevention of cerebral vasospasm and resultant ischemia, a complication of subarachnoid hemorrhage (a form of cerebral bleed), specifically from ruptured intracranial berry aneurysms irrespective of the patient's post-ictus neurological condition. Its administration begins within 4 days of a subarachnoid hemorrhage and is continued for three weeks. If blood pressure drops by over 5%, dosage is adjusted. There is still controversy regarding the use of intravenous nimodipine on a routine basis.
Sonnet 76 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of metre based on five feet in each line, and each foot composed of a pair of syllables accented weak/strong. The 7th line is an example of a regular iambic pentameter: × / × / × / × / × / That every word doth almost tell my name, (76.7) :/ = ictus, a metrically strong syllabic position.
Sonnet 77 is an English or Shakespearean sonnet. The English sonnet contains three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG, and is composed in iambic pentameter lines, a type of poetic metre in which each line as five feet, each foot has two syllables, and each syllable is accented weak/strong. Most of the lines are regular iambic pentameter including the first: × / × / × / × / × / Thy glass will show thee how thy beauties wear :/ = ictus, a metrically strong syllabic position.
The consequence is avoidable misdiagnosis, high morbidity, and costly mismanagement. Autonomic seizures and autonomic status epilepticus as occur in Panayiotopoulos syndrome have not been described in other epileptic syndromes in that sequence though 10–20 per cent of children with the same seizure semiology may have cerebral pathology. The major problem is to recognize emetic and other autonomic manifestations as seizure events and not to dismiss them or erroneously to consider them as unrelated to the ictus and a feature of encephalitis, migraine, syncope or gastro-enteritis.
Sonnet 15 is typical of an English (or "Shakespearean") sonnet. Shakespeare's sonnets "almost always consist of fourteen rhyming iambic-pentameter lines",(Cohen 1745) arranged in three quatrains followed by a couplet, with the rhyme scheme abab cdcd efef gg.(Cohen 1746) Sonnet 15 also contains a volta, or shift in the poem's subject matter, beginning with the third quatrain. The first line of the couplet exemplifies a regular iambic pentameter: × / × / × / × / × / And all in war with Time for love of you, (15.13) :/ = ictus, a metrically strong syllabic position.
Sonnet 37 is an English or Shakespearean sonnet. The English sonnet is constructed with three quatrains and a final rhyming couplet. The poem follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and like other Shakespearean sonnets is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions per line. The second line exemplifies a regular iambic pentameter: × / × / × / × / × / To see his active child do deeds of youth, (37.2) :/ = ictus, a metrically strong syllabic position.
The apex beat (lat. ictus cordis), also called the apical impulse, is the pulse felt at the point of maximum impulse (PMI), which is the point on the precordium farthest outwards (laterally) and downwards (inferiorly) from the sternum at which the cardiac impulse can be felt. The cardiac impulse is the vibration resulting from the heart rotating, moving forward, and striking against the chest wall during systole. The PMI is not the apex of the heart but is on the precordium not far from it.
In 2008, Fresh released the updated Freddy Fresh Presents The Rap Records Book Revised Edition that contains thousands of full-color photos from the independent rap scene. In 2014, Fresh taught DJ techniques at the McNally Smith College of Music in St. Paul, Minnesota. He began work on his next album, Play The Music, with a launch of various singles starting with the song "Hardcore Rocka" done with Andy Ictus feat. Jamaica reggae stars Tanto Metro & Devonte with a video released in October 2014.
Born in Bruges, Van Parys studied at the Royal Conservatory of Ghent, piano with Johan Duijck and composition with Luc Brewaeys. She composed in 2001 Phrases V for guitar, harp, piano and percussion. The piece of about 9 minutes was written for the Ictus-seminarie and premiered in Brugge by the ensemble Contr'Art. It was awarded the prize Vlaanderen/Quebec and was performed in Montreal on 15 May 2002. In 2005, she wrote Méditation, a piece of about 7 minutes for a double wind quintet.
Sonnet 130 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic pentameter: × / × / × / × / × / My mistress' eyes are nothing like the sun; / × × / × / × / × / Coral is far more red than her lips' red: (130.1-2) :/ = ictus, a metrically strong syllabic position.
An initial reversal also occurs in line 7, with potential initial reversals occurring in lines 5, 11, and 12. Line 3 contains two occurrences of the rightward movement of an ictus (resulting in a four- position figure, `× × / /`, sometimes referred to as a minor ionic): × / × × / / × × / / As subject to Time's love or to Time's hate, (124.3) Minor ionics are also potentially present in lines 1 and 10. The meter demands a few variant pronunciations: in line 4 "flowers" first functions as one, then as two syllables.
Sonnet 144 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 4th line exemplifies a regular iambic pentameter: × / × / × / × / × / The worser spirit a woman colour'd ill. × / × / × / × / × /(×) To win me soon to hell, my female evil (144.4-5) :/ = ictus, a metrically strong syllabic position.
Sonnet 97 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 6th line exemplifies a regular iambic pentameter: × / × / × / × / × / The teeming autumn, big with rich increase, / × × / × / × / × / Bearing the wanton burden of the prime, (97.6-7) :/ = ictus, a metrically strong syllabic position.
Sonnet 54 is an English or Shakespearean sonnet. The English sonnet contains three quatrains followed by a final rhyming couplet. This poem follows the rhyme scheme of the English sonnet, abab cdcd efef gg and is composed in iambic pentameter, a type of metre in which each line has five feet, and each foot has two syllables that are accented weak/strong. The fifth line exemplifies a regular iambic pentameter: × / × / × / × / × / The canker blooms have full as deep a dye :/ = ictus, a metrically strong syllabic position.
The Proto-Indo- European accent was completely reworked in Balto-Slavic, with far-reaching consequences for accentual systems of the modern daughter languages. The development was conditioned by several delicate factors, such as the syllable length, presence of a laryngeal closing the syllable, and the position of PIE ictus. There is still no consensus among Balto-Slavists on the precise details of the development of Balto-Slavic accentual system. All modern research is based on the seminal study of Stang (1957), which basically instituted the field of comparative Balto-Slavic accentology.
He performs contemporary music as well as the classical and Romantic repertoires that he often associates into his programs. He collaborates regularly with the Ictus Ensemble. Ginsburgh has performed and premiered pieces by Newton Armstrong, Vykintas Baltakas, Guy Barash, Philippe Boesmans, Renaud De Putter, Jean-Luc Fafchamps, Fabian Fiorini, Panayiotis Kokoras, Pierre Kolp, György Kurtág, Philipp Maintz, Benoît Mernier, Stefan Prins, André Ristic, Frederic Rzewski, François Sarhan, Sabrina Schroeder, Matthew Shlomowitz, and Juan Carlos Tolosa. He has been awarded the Belgian composers' union prize for his achievements in performing Belgian contemporary music.
Sonnet 20 is a typical English or Shakespearean sonnet, containing three quatrains and a couplet for a total of fourteen lines. It follows the rhyme scheme of this type of sonnet, ABAB CDCD EFEF GG. It employs iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. "Only this sonnet about gender has feminine rhymes throughout." The first line exemplifies regular iambic pentameter with a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) A woman's face with nature's own hand painted, (20.1) :/ = ictus, a metrically strong syllabic position.
The Don Heckman–Ed Summerlin Improvisational Jazz Workshop is the first and only album released by the group of the same name, led jointly by alto saxophonist Don Heckman and tenor saxophonist Ed Summerlin, recorded in September 1965 and March 1966, and released in 1967 on their own, recently established Ictus label, with Heckman and Summerlin each composing two of the album's four tracks. The eponymous LP would be re-released the following year on the English Jazz Workshop label as Jax or Bettor."Jax or Bettor (Musical LP, 1968)". WorldCat. Retrieved March 27, 2013.
Sonnet 73 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme of the English sonnet form, ABAB CDCD EFEF GG. It is composed in iambic pentameter, a poetic metre that has five feet per line, and each foot has two syllables accented weak then strong. Almost all of the lines follow this without variation, including the second line: × / × / × / × / × / When yellow leaves, or none, or few, do hang (73.2) :/ = ictus, a metrically strong syllabic position.
Sonnet 145 is — in most respects — a fairly typical English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme of the form ABAB CDCD EFEF GG. However this sonnet is unique in the collection because, instead of iambic pentameter, it is written in iambic tetrameter, a poetic metre based on four (rather than five) pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic tetrameter: × / × / × / × / Those lips that Love's own hand did make (145.1) :/ = ictus, a metrically strong syllabic position.
Sonnet 83 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 7th line: × / × / × / × / × / How far a modern quill doth come too short, / × × / × / × / × / Speaking of worth, what worth in you doth grow. (83.7-8) :/ = ictus, a metrically strong syllabic position.
Sonnet 9 is an English or Shakespearean sonnet. Sonnets of this type comprise 14 lines, containing three quatrains and a final couplet, with the rhyme scheme ABAB CDCD EFEF GG. They are composed in iambic pentameter a metrical line based on five pairs of metrically weak/strong syllabic positions. Ambiguity can exist in the scansion of some lines. The weak words (lacking any tonic stress) beginning the poem allow the first line to be scanned as a regular pentameter: × / × / × / × / × / Is it for fear to wet a widow's eye (9.1) :/ = ictus, a metrically strong syllabic position.
A conductor, Gerald Wilson, leads a jazz big band Articulation may be indicated by the character of the ictus, ranging from short and sharp for staccato, to long and fluid for legato. Many conductors change the tension of the hands: strained muscles and rigid movements may correspond to marcato, while relaxed hands and soft movements may correspond to legato or espressivo. Phrasing may be indicated by wide overhead arcs or by a smooth hand motion either forwards or side-to-side. A held note is often indicated by a hand held flat with palm up.
The gesture leading up to the ictus is called the "preparation", and the continuous flow of steady beats is called the "" (the German word for bar, measure and beat). If the tempo is slow or slowing, or if the time signature is compound, a conductor will sometimes indicate "subdivisions" of the beats. The conductor can do this by adding a smaller movement in the same direction as the movement for the beat that it belongs to. Changes to the tempo are indicated by changing the speed of the beat.
The 12th line exhibits an initial reversal, which can also be found in line 13 (and potentially in lines 6, 7, and 10): / × × / × / × / × / Crowning the present, doubting of the rest? (115.12) Finally, the 9th line exhibits the rightward movement of the third ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic): × / × / × × / / × / Alas! why, fearing of Time's tyranny, (115.9) The meter demands a few variant pronunciations: line 2's "even" functions as one syllable, line 5's "reckoning" and line 8's "altering" as two, and line 8's "to the" is contracted to "to th'".
Sonnet 114 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 7th line exemplifies a regular iambic pentameter: ×/ × / × / × / × / Creating every bad a perfect best, (114.7) Lines 6, 8, 9, and 11 have a final extrametrical syllable or feminine ending: × / × / × × / / × / (×) Such cherubins as your sweet self resemble, (114.6) :/ = ictus, a metrically strong syllabic position.
This can most easily be understood through the principle of relative stress: an unstressed syllable between 2 even slightly weaker syllables may be perceived as a beat; and the reverse is true of a stressed syllable between 2 even slightly stronger syllables. These phenomena are called "promotion" and "demotion". Thus a syllable, regardless of its level of stress, that realizes a beat is ictic; and a syllable, regardless of its level of stress, that does not is nonictic. Ictus refers to the position within a line that is experienced as a beat, or to the syllable that fills it.
Sonnet 46 is an English or Shakespearean sonnet, composed of three quatrains followed by a final rhyming couplet, written in a type of metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / Mine eye and heart are at a mortal war, (46.1) :/ = ictus, a metrically strong syllabic position. × = nonictus. While this sonnet (like others) is based on an ABAB CDCD EFEF GG rhyme scheme, here rhymes f and g are identical—which, as critic Philip C. McGuire writes, is unusual in an English sonnet.
Allison Cook, mezzo-soprano, interpreted the Marquise de Merteuil, alternating with Sinead Mulhern; Robin Adams, baritone, was Vicomte de Valmont. The conductor was Susanna Mälkki. This production was revived in 2012 in Vienna (Wiener FestWochen: conductor: Peter Rundel), in 2013 at the Nederlandse Opera in Amsterdam (the opening of the Holland Festival; conductor: Susanna Mälkki) and at the Opera di Lille (Ensemble Ictus: conductor: Georges-Elie Octors), and in 2014 in Lisbon (Gulbenkian Foundation: conductor: Susanna Mälkki). Quartett was performed in concert form at the Cité de la Musique in Paris by Ensemble Intercontemporain (March 2013).
Hippolytus and Pergamon Museum, c. 300 CE Cf. English-Latin poem: Hic jacet porcus fulgure ictus - On a pig killed in thunder-storm While the inscription is noteworthy for its description of the Via Egnatia and information on Phallic processions, the main controversy concerns the interpretation of the word CHOIROS, inscribed like the rest of the poem in Greek majuscule. Is the inscription about a pig (choiros) or a man named Choiros? Choirilos is attested as a name, as are other personal names such as Choiron, Choirothyon ("pig-sacrificer"), Choiridion, Choirine (-a), Choiro, Choiris (female) and around twenty males were named Choiros.
Sonnet 40 is an English or Shakespearean sonnet, composed of three quatrains followed by a final couplet. It follows the typical rhyme scheme of the English sonnet, ABAB CDCD EFEF GG. It is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. Line four exemplifies a regular iambic pentameter: × / × / × / × / × / All mine was thine, before thou hadst this more. (40.4) All four lines in the second quatrain have a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) But yet be blam'd, if thou thy self deceivest (40.7) :/ = ictus, a metrically strong syllabic position.
Sonnet 31 is a typical English or Shakespearean sonnet, with three quatrains followed by a final couplet. It follows the form's typical rhyme scheme: ABAB CDCD EFEF GG. Like other Shakespearean sonnets it is written in iambic pentameter, a type of metre based on five pairs of metrically weak/strong syllabic positions per line. Metrically the sonnet is fairly regular, but demands several syllabic contractions and expansions. The first two lines each contain one expansion (marked with è below): × / × / × / × × / / Thy bosom is endearèd with all hearts, × / × / × / × / × / Which I by lacking have supposèd dead; (31.1-2) :/ = ictus, a metrically strong syllabic position.
Sonnet 81 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 5th line: × / × / × / × / × / Your name from hence immortal life shall have, (81.5) The 2nd and 4th lines feature a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) Or you survive when I in earth am rotten; (81.2) :/ = ictus, a metrically strong syllabic position. × = nonictus.
More lineup changes than ever before occurred around this time, most notably the addition of the front-man, "Jumping" John Egan and the departure of keyboardist Tom Brooks in 1987. This created a sonic gap for Ed Wynne to fill. Coincidentally, earlier in the year, Ed was busy writing "chill-out music" with his side-project Nodens Ictus, so the idea of improving his own synth skills inspired him. Despite more changes and collaborations, they managed to release Sliding Gliding Worlds in 1988, shortly before drummer Tig Velder departed from the band and was replaced with 21-year-old Merv Pepler.
Sonnet 152 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / Or made them swear against the thing they see; (152.12) The 2nd line has a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) But thou art twice forsworn, to me love swearing; (152.2) :/ = ictus, a metrically strong syllabic position.
Sonnet 84 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 11th line: × / × / × / × / × / And such a counterpart shall fame his wit Line 12 has a variation in the first foot – a reversal of the accent: / × × / × / × / × / Making his style admired every where. (84.11-12) :/ = ictus, a metrically strong syllabic position.
Line 13 contains both an initial reversal and a rightward movement of the fourth ictus (resulting in a four- position figure, `× × / /`, sometimes referred to as a minor ionic): / × × / × / × × / / Hence, thou suborn'd informer! a true soul (125.13) An initial reversal is also found in line 8, while a mid-line reversal occurs in line 4. Due to the flexibility of emphasis in monosyllables, the beginning of line 11 may be scanned as regular, an initial reversal, or a minor ionic. The meter demands that line 9's "obsequious" function as three syllables, and line 12's "mutual" as two.
A mid-line reversal occurs in line 8 — "thus to" — "threefold", while typically stressed on the first syllable, does not constitute a reversal because it is a double-stressed word, and in context the stress can shift to the second syllable. Line 2 begins with the rightward movement of the first ictus (resulting in a four- position figure, `× × / /`, sometimes referred to as a minor ionic): × × / / × / × / × / For that deep wound it gives my friend and me! (133.2) Lines 4 and 6 also contain minor ionics, and line 9 potentially does. The meter demands that line 13's "being" function as one syllable.
The 8th line exhibits a common metrical variation, an initial reversal; it potentially also features a rightward movement of the fourth ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic): / × × / × / × × / / Wooing his purity with her foul pride. (144.8) However, Shakespeare's frequent implied emphasis of pronouns may render the second half of this line regular. Lines 6 and 8 also feature initial reversals, and line 2 potentially does. Line 11 has a potential mid-line reversal, but if a somewhat playful contrastive accent on "to" is inferred, this would render the line regular.
Sonnet 135 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. Nominally, it follows the rhyme scheme of the form ABAB CDCD EFEF GG, although (unusually) rhymes a, e, and g feature the same sound. It is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 2nd line exemplifies a regular iambic pentameter: × / × / × / × / × / And "Will" to boot, and "Will" in overplus; / × × / × / × / × / More than enough am I that vex thee still, (135.2-3) :/ = ictus, a metrically strong syllabic position.
Paz Eufrasia Yrarrázaval Donoso (May 16, 1931 in Santiago – April 11, 2010) was a Chilean actress, best known for her work in television series during the 1980s and 1990s. Her credits included Mi nombre es Lara, La madrastra and La torre 10. His mother Ana Donoso Foster and Elena Errázuriz Mackenna Paz, daughter of Joaquín Yrarrázaval Larraín, of Basque descent, and Ana Donoso Foster, served as the former director of the Escuela de Teatro at Pontifical Catholic University of Chile (UC), where she studied acting. She also founded two Chilean theater companies: Ictus and Teatro de Cámara.
At the beginning of 1997, Anne Teresa De Keersmaeker created, together with Steve Paxton and The Wooster Group, 3 solos for Vincent Dunoyer. In November 1997, Just Before, to a live performance by the Ictus Ensemble of music composed by Magnus Lindberg, John Cage, Iannis Xenakis, Steve Reich, Pierre Bartholomée and Thierry De Mey, was presented in La Monnaie. In February 1998, Anne Teresa De Keersmaeker made her debut as an opera director at La Monnaie with Bartók's Duke Bluebeard's Castle. In August 1998, the Impuls Festival in Vienna premièred Drumming, a production to Steve Reich's composition of the same name.
There is no fixed number of beats per line: the first one cited has three (Oft SCYLD SCEFING, with ictus on the suffix -ING) whereas the second has two (SCEAþena ÞREATum). The poet has a choice of epithets or formulae to use in order to fulfil the alliteration. When speaking or reading Old English poetry, it is important to remember for alliterative purposes that many of the letters are not pronounced in the same way as in modern English. The letter , for example, is always pronounced (Hroðgar: ), and the digraph is pronounced , as in the word edge.
Teleamiga is a Colombian local television station, licensed by the Fundación Ictus and the La Gran Colombia University, based in Bogotá. It broadcasts family-oriented programmes, mostly with a Catholic stance. In July 2017, the Episcopal Conference of Colombia issued an official statement against Teleamiga, in particular against its weekly program Un Café con Galat with the channel's founder and president Dr. José Galat who calls Pope Francis a "false pope", due to the involvement of the St. Gallen Group in his selection and has questioned the orthodoxy of his encyclicals. In Teleamiga's reply to the bishops' statement, Galat reiterated his position.
81 As Mudra shared its housing with the Ballet of the 20th century, today P.A.R.T.S. shares its accommodation with Rosas and Ictus, the contemporary music ensemble. Mudra teacher Fernand Schirren even became one of the teachers at P.A.R.T.S.. And like Mudra, P.A.R.T.S. has become a meeting place for different generations of dancers and choreographers from all over the world. Anne Teresa De Keersmaeker designed the pedagogical curriculum of P.A.R.T.S.. Originally, the program lasted three years. This changed in 2000, when some changes were made and the program was extended, with the option to specialize as a dancer or as a choreographer.
Sonnet 58 is an English or Shakespearean sonnet. The Shakespearean sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter; the second adds a final extrametrical syllable or feminine ending: × / × / × / × / × / That God forbid, that made me first your slave, × / × / × / × / × / (×) I should in thought control your times of pleasure, (58.1-2) :/ = ictus, a metrically strong syllabic position.
Sonnet 61 is an English or Shakespearean sonnet, containing three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The seventh line exemplifies a regular iambic pentameter: × / × / × / × / × / To find out shames and idle hours in me, (61.7) The first and third lines have a final extrameterical syllable or feminine ending: × / × / × / × / × /(×) Dost thou desire my slumbers should be broken, (61.3) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 118 is a typical English or Shakespearean sonnet. It consists of three quatrains followed by a couplet, with the characteristic rhyme scheme ABAB CDCD EFEF GG. It is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 13th line exemplifies a regular iambic pentameter: × / × / × / × / × / But thence I learn, and find the lesson true, (118.13) Lines 5, 6, 7, and 8 each have a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) To bitter sauces did I frame my feeding; (118.6) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 75 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 4th line exemplifies a regular iambic pentameter: × / × / × / × / × / As 'twixt a miser and his wealth is found. (75.4) The 6th line exhibits two common variations: an initial reversal and a final extrametrical syllable or feminine ending: / × × / × / × / × / (×) Doubting the filching age will steal his treasure; (75.6) :/ = ictus, a metrically strong syllabic position.
Sonnet 28 is an English or Shakespearean sonnet. It consists of 14 lines arranged by the rhyme scheme to form three quatrains (lines 1–12) and a couplet (lines 13–14). The rhyme scheme is ABAB CDCD EFEF GG. It is written in iambic pentameter, a metre based on five feet in each line, with each foot containing two syllables accented weak/strong: × / × / × / × / × / But day by night and night by day oppressed, (28.4) The two lines of the couplet, and perhaps lines ten and twelve, each has a final extra syllable or feminine ending: × / × / × / × / × / (×) But day doth daily draw my sorrows longer, (28.13) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 119 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a regular iambic pentameter: × /× / × / × / × / Applying fears to hopes and hopes to fears, (119.3) An unusual number of lines (5, 6, 7, 8, 10, and 12) feature a final extrametrical syllable or feminine ending, as for example: / × × / / × × / × / (×) How have mine eyes out of their spheres been fitted, (119.7) :/ = ictus, a metrically strong syllabic position.
Sonnet 88 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme, abab cdcd efef gg and is composed in iambic pentameter lines, which is a poetic metre in which each line has five feet, and each foot has two syllables accented weak/strong. Most of the lines are regular iambic pentameter, including the first line: × / × / × / × / × / When thou shalt be disposed to set me light, (88.1) Each line of the second quatrain ends with an extra syllable known as a feminine ending: × / × / × / × / × / × That thou in losing me shalt win much glory (88.8) :/ = ictus, a metrically strong syllabic position. × = nonictus.
The sonnet exhibits a few variations of the meter, some of which will depend on interpretation. The following lines may be read with metrical regularity, but also may be read with a rightward movement of the first ictus in line 4 (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic); and an initial reversal in line 5: × × / / × / × / × / Of their fair subject, blessing every book. / × × / × / × / × / Thou art as fair in knowledge as in hue, (82.4-5) A reversal and minor ionic may be found in lines 6 and 8, respectively. The meter calls for line 10's "strainèd" to be pronounced with 2 syllables.
Sonnet 94 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 6th line exemplifies a regular iambic pentameter: × / × / × / × / × / And husband nature's riches from expense; (94.6) The 7th line exhibits two fairly common metrical variations: an initial reversal, and a final extrametrical syllable or feminine ending: / × × / × / × / × /(×) They are the lords and owners of their faces, (94.7) :/ = ictus, a metrically strong syllabic position.
Sonnet 151 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a regular iambic pentameter: × / × / × / × / × / Then, gentle cheater, urge not my amiss, (151.3) The 8th line features two common metrical variations: an initial reversal and a final extrametrical syllable or feminine ending: /× × / × / × / × / (×) Triumph in love; flesh stays no farther reason, (151.8) :/ = ictus, a metrically strong syllabic position.
Sonnet 85 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 1st line: × / × / × / × / × / My tongue-tied Muse in manners holds her still This is followed in line 2) by a reversal of the accents in the word "richly": × / × / × / / × × / While comments of your praise richly compiled (85.1-2) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 133 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic pentameter: × / × / × / × / × / Beshrew that heart that makes my heart to groan (133.1) Line 5 exhibits two common metrical variations: an initial reversal, and a final extrametrical syllable or feminine ending: / × × / × /× / × /(×) Me from myself thy cruel eye hath taken, (133.5) :/ = ictus, a metrically strong syllabic position.
Sonnet 142 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 14th line exemplifies a regular iambic pentameter: × / × / × / × / × / By self-example mayst thou be denied! (142.14) The 2nd line contains three common metrical variants: an initial reversal, a mid-line reversal, and a final extrametrical syllable or feminine ending: / × × / / × × / × /(×) Hate of my sin, grounded on sinful loving: (142.2) :/ = ictus, a metrically strong syllabic position.
The indication of entries, when a performer or section should begin playing (perhaps after a long period of rests), is called "cueing". A cue must forecast with certainty the exact moment of the coming ictus, so that all the players or singers affected by the cue can begin playing simultaneously. Cueing is most important for cases where a performer or section has not been playing for a lengthy time. Cueing is also helpful in the case of a pedal point with string players, when a section has been playing the pedal point for a lengthy period; a cue is important to indicate when they should change to a new note.
A mid-line reversal occurs in line 5. The metrical interpretations of the beginnings of lines 5 and 9 are especially dependent upon the rhetorical emphasis chosen. In line 5, any of the first three syllables could potentially take the first ictus. In line 9 any of four readings is rhetorically possible: / × × / [initial reversal] × / / × [2nd position reversal; rare] / × / × [double reversal; generally considered unmetrical] × / × / × / × / × / [regular] Then, soul, live thou upon thy servant's loss, (146.) The relative frequency of initial reversals and regular lines, and a characteristically Shakespearean use of metrical expectations to emphasize pronouns, suggest that readings with only an initial reversal or a regular meter may be the most appropriate.
Sonnet 121 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic pentameter: × / × / × / × / × / 'Tis better to be vile than vile esteem'd, (121.1) Four lines (2, 4, 9, and 11) have a final extrametrical syllable or feminine ending, as for example: / × × / × / × / × /(×) Not by our feeling, but by others' seeing: (121.4) :/ = ictus, a metrically strong syllabic position.
Later that year, Rosas created Mozart Concert Arias, un moto di gioia for the Avignon Festival. A production made in collaboration with the Orchestre des Champs Elysées, directed by Philippe Herreweghe. In 1993, Rosas created Toccata, to the music of J.S. Bach, for the Holland Festival. In May 1994, the KunstenFESTIVALdes Arts in Brussels premièred Kinok, produced in collaboration with Thierry De Mey and the Ictus Ensemble. At the end of 1994, this collaboration resulted in a new creation: Amor Constante más allá de la muerte. In November 1995, La Monnaie premièred Verklärte Nacht, a choreography that was part of a production of Schönberg music Erwartung/Verklärte Nacht.
A third track, a cover of "O Fortuna", was released as a Sonja Kristina solo track on the b-side to "Walk on By", but was withdrawn due to objections from the Carl Orff estate. Yet another track, "As Long as There's a Spark", was originally recorded by Way and Kristina, but released as a Darryl Way solo track, with Way performing the vocals himself. Way and Kristina followed these recordings with a short tour in 1988, again under the Curved Air name. In 1990 the original Kristina, Way, Monkman and Pilkington-Miksa quartet gave a one- off reunion concert at the London's Town & Country, supported by Noden's Ictus.
Sonnet 42 is an English or Shakespearean sonnet. This type of sonnet consists of three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written in a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. Line 10 exemplifies a regular iambic pentameter: × / × / × / × / × / And losing her, my friend hath found that loss; (42.10) The first three lines may be scanned: × / × / × × / / × / That thou hast her it is not all my grief, × / × / × / × / × / (×) And yet it may be said I loved her dearly; × / × / × / × / × / That she hath thee is of my wailing chief, (42.1-3) :/ = ictus, a metrically strong syllabic position.
Shakespeare's sonnets conform to the English or Shakespearean sonnet form. The form consists of fourteen lines structured as three quatrains and a couplet, rhyming abab cdcd efef gg and written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. While Shakespeare's versification maintains the English sonnet form, Shakespeare often rhetorically alludes to the form of Petrarchan sonnets with an octave (two quatrains) followed by a sestet (six lines), between which a "turn" or volta occurs, which signals a change in the tone, mood, or stance of the poem. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / Those pretty wrongs that liberty commits, (41.1) :/ = ictus, a metrically strong syllabic position.
Shakespeare's Sonnets. Bloomsbury, New York. 96-97. Print. This is shown when the speaker moves from speaking about the young man's loss of identity to age with words like "hold in lease" and "yourself's decease" before the end of the octave to speaking about the regenerative nature of husbandry and the duty to one's parents to continue the line with words such as "Who lets so fair a house fall to decay" and "dear my love you know: / You had a father; let your son say so." Line eleven may be taken as an example of regular iambic pentameter: × / × / × / × / × / Against the stormy gusts of winter's day (13.11) :/ = ictus, a metrically strong syllabic position.
In November Anne Teresa De Keersmaeker created The Lisbon Piece, for the Portuguese Companhia Nacional de Bailado: her first experience as a guest choreographer. In March 1999, Anne Teresa De Keersmaeker created, together with Rosas dancer Cynthia Loemij and Jolente De Keersmaeker and Frank Vercruyssen from the theatre company STAN, Quartett; a dance-theatre performance based on the text by Heiner Müller. One month later, she choreographed and danced a duet with Elizabeth Corbett for the production with/for/by. In May 1999, Rosas premiered I said I, a collaboration with Jolente De Keersmaeker for the direction, with the Ictus Ensemble, Aka Moon and DJ Grazzhoppa for the music composition and execution.
Jan Joris Lamers designed the set and lighting and Dries van Noten the costumes. For In Real Time in 2000, Rosas again collaborated with Stan, as well as with the jazz-ensemble Aka Moon for the composition and live interpretation of the music. In January 2001, Anne Teresa De Keersmaeker created Rain, another performance to a score by Steve Reich, his Music for 18 Musicians. 2002 saw the celebration of twenty years of Rosas and ten years of residence at La Monnaie, with the re-run of the text-pieces, the creation of (but if a look should) April me and Rain live, the two latter accompanied by Brussels contemporary music ensemble Ictus.
The BAUER HOUR channel on VimeoPage about BAUER HOUR on the website of the KaaitheaterMarin Media Lab, Eleanor Bauer: Bauer Hour. Eleanor Bauer discusses her show Bauer Hour at AMERICAN REALNESS 2014, 2014 In the autumn of 2015, she developed two PROTO TALKS (Eleanor Bauer/GoodMove, 2016) with artists in the Kaaitheater: one with choreographer / dancer Michiel Vandevelde and one with choreographer / dancer Mette Ingvartsen.Page about PROTO TALKS on the website of the KaaitheaterThe PROTO TALKS channel on Vimeo In the spring of 2016, she premiered Meyoucycle , a concert performance in collaboration with composer / musician Chris Peck and the contemporary music ensemble Ictus. Both Meyoucycle and Tentative Assembly (the tent piece) were featured at the Brussels Kunstenfestivaldesarts.
Ciciliani's music has been performed in more than 45 countries in Europe, Asia, Oceania and the Americas. It has been programmed by festivals and concert series of alternative experimental music like Experimental Intermedia/NYC, Club Transmediale/Berlin, SuperDeluxe/Tokyo, Findars/Kuala Lumpur, Ibrasotope/São Paulo or the NowNow Series/Sydney; just as much as by festivals for post- avantgarde music as Donaueschinger Musiktage, Wien Modern, Huddersfield Contemporary Music Festival, Maerzmusik, Condit and many more. His music has been performed by high ranking ensembles like ICTUS ensemble, ensemble Intégrales, ASKO, Zeitkratzer, piano possible and many more. In his recent work, however, Ciciliani has focused on works for smaller settings, solo works and works for live-electronics alone.
Wynne collaborated with Joie Hinton in Nodens Ictus, after being asked by the promoters of the Crypt club in Deptford, South London, to produce an ambient set for the club's "chillout" room. Wynne has also appeared as a guest musician in works by artists such as Jordan Rudess, Amon Düül UK, Eat Static, and Invisible System, among others. He (along with ex-bandmate Merv Pepler) composed and programmed a track named "Sphere Wave's" for the Cognition Factor soundtrack. His gear includes synthesizers such as Novation Supernova II, Korg M50, Roland S760, Roland Fantom XR, Roland D-50, Korg Wavestation EX, Korg Prophecy, Sequential Pro-1, guitars Ibanez JEM, Ibanez Artist, Ibanez EGEN18, Yamaha Acoustic, pedals Boss GT-3 and Boss GT-10, and Marshall Amplification.
Sonnet 87 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 2nd line exemplifies a regular iambic pentameter: × / × / × / × / × / And like enough thou know'st thy estimate, (87.2) However, (along with Sonnet 20) Sonnet 87 is extraordinary in Shakespeare's insistent use of final extrametrical syllables or feminine endings, which occur in all but lines 2 and 4; for example, in the first line: × / × / × / × / × / (×) Farewell! thou art too dear for my possessing, (87.1) :/ = ictus, a metrically strong syllabic position.
The 9th line presents a case of metrical ambiguity. Probably the simplest scansion features only one metrical variation, a reversal of the accents in the third foot: × / × / / × × / × / How many lambs might the stern wolf betray, (96.9) However, the line may be read differently, depending upon the reader's interpretation. The line may be scanned with an initial reversal, and with the rightward movement of the third ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic): / × × / × × / / × / How many lambs might the stern wolf betray, (96.9) The meter calls for a few variant pronunciations: line 5's "thronèd" is two syllables, and line 14's "being" is one. In lines 8 and 10 "translated" and "translate" are both stressed on the second syllable.
A number of musicians began to record Bley's compositions: George Russell recorded "Bent Eagle" on his 1960 release Stratusphunk in 1960; Jimmy Giuffre recorded "Ictus" on his album Thesis; and Paul Bley's Barrage consisted entirely of her compositions. Throughout her career Bley has thought of herself as a writer first, describing herself as 99 percent composer and one percent pianist.Review of Andando el Tiempo (2017), The Irish Times June 2, 2016 In 1964 she was involved in organising the Jazz Composers Guild, which brought together the most innovative musicians in New York at the time. She then had a personal and professional relationship with Michael Mantler, with whom she had a daughter, Karen, now also a musician in her own right.
His work is sometimes associated with the New Complexity. Cassidy's work has been performed by a wide range of leading contemporary music specialists, including ELISION Ensemble, Ensemble SurPlus, the Ictus Ensemble, the Kairos Quartet, Quatuor Diotima, ensemble recherche, Mieko Kanno, Garth Knox, Ian Pace, Christopher Redgate, Carl Rosman, and Peter Veale, at many venues and festivals including the Gaudeamus International Music Week (where he was a Jurors Prize nominee, in 2002 and 2004), the Huddersfield Contemporary Music Festival, the Bludenzer tage zeitgemäßer musik, the Bienal Internacional de Musica y Tecnología (Mexico City), the Samtida Musik Stockholm, the festival June In Buffalo, and the ISCM World Music Days (Zagreb 2005), as well as being broadcast by radio stations in Britain, France, Germany and Austria.
In early 1965, Villagra was hired by the Theatre ICTUS of Santiago, and moved to the capital with his family. Among several works that cast Villagra as an actor, the most memorable was undoubtedly his brilliant interpretation of the African-American Randall in the play Slow Dance Towards the Gallows by William Hanley (Slow Dance on the Killing Ground). Villagra subsequently worked in various theatre groups in Santiago - including The Council (formed by himself and four companions of the TUC) as well as on television and in seven Chilean films, most famously Three Sad Tigers (1968) and El Chacal de Nahueltoro (1969). On 11 September 1973, his artistic career was interrupted when he was forced into exile in Paris, owing to his social and political activities in Chile.
Similar laws which have been discovered in the dactylic hexameter are that if a word ends the fifth or fourth foot it is almost never, or only rarely, a spondee (– –). The philologist W. Sidney Allen suggested an explanation for all these laws in that it is possible that the last long syllable in any Greek word had a slight stress; if so, then to put a stress on the first element of the last iambic metron, or the second element of the 4th or fifth dactylic foot in a hexameter, would create an undesirable conflict of ictus and accent near the end of the line.W. Sidney Allen (1974) Vox Graeca (2nd edition), pp. 120-123. An alternative hypothesis, supported by Devine and Stephens in their book The Prosody of Greek Speech,A.
In some cases, such as where there has been little rehearsal time to prepare a piece, a conductor may discreetly indicate how the bars of music will be beat immediately before the start of the movement by holding up their fingers in front of their chest (so only the performers can see). For example, in a piece that the conductor will beat "in two" (two ictus points or beats per bar, as if it were ), the conductor would hold up two fingers in front of his chest. In most cases, there is a short pause between movements of a symphony, concerto or dance suite. This brief pause gives orchestra or choir members time to turn the pages of their part and ready themselves for the start of the next movement.
While the third line's rhythm is unusual, it is not in itself (pace Ramsey) apocalyptic; line six of Sonnet 7 exhibits precisely the same rhythm under much tamer circumstances. Both "deaf" and "heaven" (here scanned as one syllable) have tonic stress, but that of "deaf" is normally subordinated to that of "heaven", allowing them comfortably to fill odd/even positions, but not even/odd. A reversal of the third ictus (as shown above) is normally preceded by at least a slight intonational break, which "deaf heaven" does not allow. Peter Groves calls this a "harsh mapping", and recommends that in performance "the best thing to do is to prolong the subordinated S-syllable [here, "deaf"] ... the effect of this is to throw a degree of emphasis on it".
Eleanor Bauer has also created or contributed to a number of special projects. In 2011, she participated together with choreographer / dancer Daniel Linehan in the Kaaitheater in Walk + Talk, a programme series by choreographer / dancer Philipp Gehmacher in which choreographers talk about their movement language.Page about Walk + Talk on the website of the Kaaitheater She participated in Hannah Hurtzig's Black Market for Useful and Non-Useful Knowledge at the In-Presentable Festival in Madrid in 2012. In 2014, she collaborated with composer Chris Peck on This is Not a Pop Song (II), for which the music ensemble Ictus asked five composers to write a new work for instruments that are typically for pop music and that has the length of a pop song, but without the pop music.
Attridge's scansion is intended to be broadly applicable, using a few symbols and rules to describe a wide range of English lines consistently, without a priori reducing them to one metrical system. Like Tarlinskaja, he considers that ictus and nonictus (in his notation B for "beat" and o for "offbeat") always alternate, but matches beats to prominent syllables by allowing offbeat positions to be filled by 0, 1, or 2 syllables (represented by ô, o, and ǒ respectively). The top line represents his "single-line" scansion from 1995, and the lower lines uses his original two-line system of 1982 (these are theoretically identical, only graphically different). _/_ x x _/_ x x _/_ [x] _/_ x _/_ When to the sessions of sweet silent thought +s -s -s +s -s -s +s +s -s +sAs scanned by Attridge 1982, p 261.
Lauba won First Prize for composition in the class of Michel Fuste-Lambezat and the Medal of Honor of the City of Bordeaux. In 1994 he won first prize in the Berlin International Composition Competition (Institut für Neue Musik), and his Neuf études pour saxophones (Nine études for saxophones), commissioned by Jean- Marie Londeix and composed between 1992 and 1994, won the SACEM prize in composition. He has received commissions both from the French state and from a variety of contemporary classical music ensembles (Diotima Quartet, Cuarteto Casals, Percussion de Strasbourg, Belcea Quartet, Ensemble Court-Circuit, Ictus Ensemble, and the Netherlands Wind Ensemble) as well as from larger orchestras, including the Orchestre Symphonique de Mulhouse, Orchestre Poitou- Charentes, Orchestre Régional de Cannes, Orchestre Colonne, MDR Symphony Orchestra, Orchestre National Bordeaux Aquitaine, and the Opéra National de Bordeaux.Bordeaux Magazine.
Sonnet 99 is one of only three irregular sonnets in Shakespeare's sequence (the others being Sonnet 126 which structurally is not a sonnet at all but rather a poem of six pentameter couplets, and Sonnet 145 which has the typical rhyme scheme but is written in iambic tetrameter). Whereas a typical English or Shakespearean sonnet has three quatrains, followed by a final rhyming couplet, with the rhyme scheme ABAB CDCD EFEF GG, this sonnet begins with a quintain yielding the rhyme scheme ABABA CDCD EFEF GG. Like the other sonnets (except Sonnet 145) it is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 8th line exemplifies a regular iambic pentameter: × / × / × / × / × / The roses fearfully on thorns did stand, (99.8) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Francesconi composed various works for ensemble which were performed in Cagliari (Onda sonante, for eight instruments, commissioned by the Nieuw Ensemble; conductor: Ed Spanjaard (1985)), Paris (Tracce, for flute (1986)), Città di Castello (Da capo, for nine instruments (1988)), Middelburg (Finta-di-nulla, for soprano and nineteen instruments on a text by Umberto Fiori; Xenakis Ensemble; conductor: Diego Masson; and soprano: Marie Duisit (1991)), and Brussels (Encore/Da capo, for 9 instruments; Ictus Ensemble, conducted by the composer (1995)). In 1984 Casa Ricordi became Francesconi's publisher and since then has published all his works. In 1985 he was invited to the Festival Musica ‘900 in Trent for a series of public conversations with Franco Donatoni. This meeting proved extremely important; talking with the great Verona composer, both in their public conversations and during train trips together, Francesconi felt that he reached a solution for a number of unresolved problems.
Occurring after much metrical tension throughout the quatrains, the couplet exhibits a quite regular iambic pentameter pattern: × / × / × / × / × / But if the while I think on thee, dear friend, × / × / × / × / × / All losses are restored and sorrows end. (30.13-14) :/ = ictus, a metrically strong syllabic position. × = nonictus. The first line is a frequent target for metrists, possibly because of the ease with which the initial triple rhythm can be carried right through the line, producing this unmetrical reading: / × × / × × / × × / When to the sessions of sweet silent thought (30.1) Differences in scansion, however, tend to be conditioned more by metrists' theoretical preconceptions than by differences in how they hear the line. Most interpretations start with the assumption that the syllables in the sequence "-ions of sweet si-" increase in stress or emphasis thus: 1 2 3 4 When to the sessions of sweet silent thought :1 = least stress or emphasis, and 4 = most.
In English verse, "alexandrine" is typically used to mean "iambic hexameter": × / × / × / ¦ × / × / × / (×) /=ictus, a strong syllabic position; ×=nonictus ¦=often a mandatory or predominant caesura, but depends upon the author Whereas the French alexandrine is syllabic, the English is accentual-syllabic; and the central caesura (a defining feature of the French) is not always rigidly preserved in English. Though English alexandrines have occasionally provided the sole metrical line for a poem, for example in lyric poems by Henry Howard, Earl of Surrey and Sir Philip Sidney, and in two notable long poems, Michael Drayton's Poly-Olbion and Robert Browning's Fifine at the Fair, they have more often featured alongside other lines. During the Middle Ages they typically occurred with heptameters (seven-beat lines), both exhibiting metrical looseness. Around the mid-16th century stricter alexandrines were popular as the first line of poulter's measure couplets, fourteeners (strict iambic heptameters) providing the second line.
Eleanor Bauer's work is at the intersection of choreography, dance, text, music and performance. Her productions vary in size and used media, and focus on questioning categories, production methods and ways of thinking performance.Biography of Eleanor Bauer on the website of the Kunstenfestivaldesarts In her work, she utilizes the strict codes and concepts of contemporary dance in a shrewd and subtle way, with an expressive directness that tends toward cabaret and vaudeville.Page about Meyoucycle (Eleanor Bauer and Chris Peck /GoodMove & Ictus, 2016) on the website of the Kunstenfestivaldesarts Eleanor Bauer created her first solo production, ELEANOR! (Eleanor Bauer/GoodMove, 2005) while still studying at P.A.R.T.S.. Afterwards, a wide range of productions followed, including a trilogy consisting of A Dance for the Newest Age (the triangle piece) (Eleanor Bauer/GoodMove, 2011), Tentative Assembly (the tent piece) (Eleanor Bauer/GoodMove, 2012) and Midday and Eternity (the time piece) (Eleanor Bauer/GoodMove, 2013).
He has since won more than twenty international prizes for his work, which has been performed and broadcast throughout Europe, USA, Canada, Australasia, China, and Asia. He has worked in a number of prestigious European studios, including EMS (Stockholm, Sweden), Ina-GRM and IRCAM (Paris, France), Césare (Reims, France), and Heinrich Strobel Studio (Freiburg, Germany). In the early 1990s, Adkins concentrated predominantly on acousmatic concert music, electronic works for contemporary dance, multimedia works, and electroacoustic music. What he was particularly drawn to in writing such works is the collaborative process that evolves between the composer and artist/performers. The most notable of these have been Neurotransmission (1998), an hour-long acousmatic dance score written for Wayne McGregor and Random Dance in 1998, Still Time (2001) for the flutist Alejandro Escuer, Symbiont (2002) a multimedia collaboration with Miles Chalcraft, and nights bright daies (2003) for the Ictus piano and percussion quartet; the latter premiered in June 2004 at the Festival Agora No 7 at IRCAM (Paris, France).
He wrote two books in Hebrew: The first one was a non-fiction called Hatehom, translated to English as The Abyss: Bridging the Divide between Israel and the Arab World (2015) The Abyss spans across six decades and explains why the main diplomatic initiatives have so far failed to solve the Israeli–Palestinian conflict, and what needs to be done to break out of the vicious circle of ignorance and mutual suspicion that characterizes the conflict. Avidar uses his experience as the diplomatic advisor to former Foreign Minister Ariel Sharon, and as head of Israel's representative office in Qatar, to reveal secret diplomatic meetings, as well as the dynamics of the unique and complex diplomacy of the Middle East. He also tells about the activities of the 504 division of the Israel Defense Forces Intelligence Unit, in which he served as an operator of agents. The second book was published in Hebrew, in 2015, called Ictus, a historical novel about the Roman Empire in 200 AD.
Syncopations and cross-accents are characteristic of his rhythmic idiom, giving ictus to his otherwise seamless, enduring lines. Harmonically, Gombert's compositions stressed the traditional modal framework as a baseline, but especially in dense textures of six or more voices, he wrote polymodal sections wherein a subset of voices would sing the lowered pitches of F or B while another subset would sing the raised pitches of F or B: a D major and D minor chord or a G major and a G minor chord might be simultaneously sounded . Melodic motion in one voice that, to retain melodic and harmonic coherence with the other voices, employed musica ficta, or an extended set of pitches from the basic modal framework, was very prominent in his musical stylings. The false relations, usually between an F and an F or a B and B, create a dissonance that Gombert employed for emotional effect while adhering to traditional rules of counterpoint.
In 1997 he also worked with playwright Anna Deavere Smith on House Arrest, First Edition, which premiered at the Arena Stage Theater in Washington, DC. Gordon's percussion sextet Timber was written for the percussion ensembles Slagwerk Den Haag and Mantra Percussion. This work, an evening-length piece for six 2x4s, toured with dance throughout 2009–10 and was premiered in its concert-version in June 2011. The full percussion sextet was released on Cantaloupe Music in 2011, and, in 2014–15, it was heard all around the world, in Walt Disney Concert Hall, performed by So Percussion and members of the Los Angeles Philharmonic, in Belgium, by Ictus, and in Scandinavia, by Nordic Seks. Other recent pieces for single-instrument ensembles include Rushes for seven bassoons and Amplified for four electric guitars, in which he pushes the boundaries of the sonic possibilities of both instruments. Decasia, a large-scale symphony with projections, commissioned by the Europäischer Musikmonat 2001 for the Basel Sinfonietta, was also staged by the Ridge Theater.
Isungset with Agbaland at Nattjazz, May 30, 2015 Isungset and Arve Henriksen performing glass music at Victoria, 2015 Isungset with glass drums at Victoria, December 2015 Isungset with glass instruments at Victoria, December 2015 Isungset was raised in Geilo where he played traditional dance music with his father (accordion) during his high school days. Moving to Bergen in 1984 led him to be a popular member of a number of Bergen groups, such as Ictus and Tordenskjolds soldater (1984–85), Growl and Gruv (1984-88), Saksbehandlerne and Night and Day (1985–86), Salsa Pati (1985–87), and Supply (1985–88), in addition to periods within the Big Band Emanon from 1986, and his recording debut Amalgamation (1985) with Kenneth Sivertsen. Isungset is, after more than two decades on the jazz scene, one of Europe's most accomplished and innovative percussionists. With more than 25 years experience in jazz and Scandinavian traditional music he raises these narrow forms of music far beyond their traditional boundaries, becoming more like a crossover between a sound artist and a shaman.
The Cité Catholique is a Traditionalist Catholic organisation created in 1946 by Jean Ousset, originally a follower of Charles Maurras (founder of the monarchist Action Française in 1899) and Jean Masson (1910–1965), not to be confused (as F. Venner did) with Jacques Desoubrie, who also used the pseudonym Jean Masson.F. Venner, Extrême France, Grasset, 2006 (extract Despite the presence of Roman Catholic clergy in some of its meetings, the Cité catholique is not officially recognised by the Roman Catholic Church. It first took the name of Oeuvres de la Cité Catholique (Works of the Catholic City) and then of Office international des Oeuvres de formation civique et d'action culturelle selon le droit naturel et chrétien (ICTUS, International Office of Works of Civic Formation and Cultural Action According to Natural Christian Law) before being known under the name Cité Catholique.Stéphane Joly , Green deputy, 6 June 2007 It is now presided by Jacques Trémollet de Villers, a former associate of the far-right politician Jean-Louis Tixier- Vignancour and former defence attorney for accused war criminal Paul Touvier.
His research on Balto-Slavic comparative accentology culminated with work Slavonic Accentuation (Oslo, 1957) which, according to Kortlandt, "...marked an era in the study of the subject. The importance of this book can hardly be overestimated." Stang proved in this work that # de Saussure's law did not operate in Slavic # the neoacute is due to a retraction of the ictus from a stressed jer or from a non-initial vowel with falling intonation # the neo-circumflex was not the result of a Common Slavic development Furthermore, he demonstrated that # the acute is restricted to paradigms with fixed stress # the neoacute is characteristic of paradigms where the next syllable is stressed in other forms # the circumflex occurs on the first syllable of paradigms with final stress in other forms In this way Stang replaced the classical doctrine, which derived the stress pattern of a paradigm from the intonations of the root vowel and the ending, by a doctrine which derives the intonation of the root vowel, when accented, from the stress pattern of the paradigm. Stang also published several important contributions to comparative Indo-European linguistics.

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