These are all imitative of their experience in the womb.
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At present it alternates between two modes: imitative and eye contact.
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Atlas/Marvel produced many comics, but they were nearly all imitative.
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From this wobbly and imitative origin Paley's voice grew distinct—and multitudinous.
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They see it as very imitative, and that's part of what's annoying about it.
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Is this overstuffed rendering of an overstimulated culture what they call the fallacy of imitative form?
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" One reader encouraged young people to use "that energy, imitative and creativity" in a "productive way.
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A French judo master, Klein's work focused on representing the unrepresentable, challenging Western principles of imitative art.
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Unfortunately, I can't read novels while I'm writing them because of the imitative nature of the brain.
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How, he wondered, could he bring some of their feeling into his work without being too imitative?
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There's a fine line between taking on a genre from outside your country, and slipping into imitative minstrelsy.
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Audiences then fashion themselves in relationship to these expectations -- sometimes in an imitative gesture, other times in opposition.
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TV can't help but respond to other television—for its entire history, it's been an imitative, self-conscious medium.
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Rakos aptly relays Judy's excitement in those scenes, and she is at her vocal best without being slavishly imitative.
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The theory of imitative behavior was now empowered by the authority of science as well as by common outrage.
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Winters's go-to examples when discussing the fallacy of imitative form were Walt Whitman, the ultimate redskin, and James Joyce.
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The court found that Mr. Saderup was liable because his drawings were too imitative, failing to "transform" the Stooges' likeness.
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The lovely, imitative lines offer evocative introductions to the work by these celebrated poets, and function as writing prompts, too.
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In imitative mode the positions of the viewer's eyebrows and eyelids, and the position of their head, are mirrored by SEER.
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As a result, Marvel in the 1970s and 1980s became increasingly imitative of its earlier success, with fewer new characters created.
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He observed my life during the '70s very closely and he got it right, without being imitative to a boring degree.
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According to the Prison Policy Imitative, an advocacy group, some prisoners working in industry earn as little as five cents an hour.
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But imitative or not, this is a very well made play, and Austin Pendleton, the director, gets the most out of it.
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That it's the others who are unoriginal and haven't a thought, that they're the ones who are imitative and full of platitudes?
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The third movement's opening is announced by Minimalist harp figures and muted tones — suggestive of jazz, but not imitative — in the brasses.
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I had a very bookish older sister who I was always trying to get into conversation with, so my early reading was imitative.
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An international imitative that encourages farmers to capture atmospheric carbon in plants and increase the amount of carbon in soil, has also been shortlisted.
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Last month, Google announced that it would give priority to articles that broke news or that had invested considerable resources into reporting over imitative aggregation.
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It was a moment that upset many viewers because the show portrayed an imitative relationship for shock value rather than developing characters with queer relationships.
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Lloyd Webber, in wanting to write a musical about Puccini, once composed an imitative tune that he hoped could be a hit for the show.
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Moments after it goes online, another media organization posts an imitative article recycling the scoop that often grabs as much web traffic as the original.
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To the theory of imitative behavior Breen added the practice of moral compensation: sin could be shown in movies, but it had to be punished.
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In his book Mirroring People, Iacoboni says the concept of imitative violence, powered by mirror neurons, is evident in children who watch violence in the media.
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As he believed that American institutions played a part in frustrating his efforts to reverse that catastrophe, he had ample incentive to engage in imitative reprisals.
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But last year, when I saw "Girl" on its opening night in London, with a British ensemble straining for Americanness, the script often felt labored and imitative.
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" Mimetic theory, the concept that humans are fundamentally imitative, has had a profound effect on Thiel, who calls Girard "the one writer who has influenced me the most.
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Maleficent tried to give Sleeping Beauty's villain a tragic backstory, and wound up as a pretty but uncomfortably imitative merging of Disney's film and the Broadway hit musical Wicked.
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Their Pleurobot is a bio-imitative robot that both walks and swims with the distinctive swiveling gait of many amphibious animals — a good place to start for a crocobot.
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"StartUp" is trying to meld the high-finance sheen of series like "Billions" with the gee-whiz digital jargon of, say, "Scorpion," but it never seems innovative, only imitative.
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He is becoming more interested in sort of archaic styles — certainly imitative counterpoint — that he was trained in, and blending it with the experience of studying with Morton Feldman.
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While Picasso is celebrated for his quotations from African sculpture and pre-classical Iberian art, indigenous artists are dismissed as derivative or imitative when they borrow from European art.
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It was easy to think poorer economies would naturally catch up with rich ones, because imitation is easier than innovation, especially when innovative firms build plants in imitative countries.
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Faced with a crowded and imitative market, beauty obsessives have created a culture, discussed on forums and in Instagram posts, around the search for affordable alternatives to their favorite products.
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"Everybody is watching Abadi drag his feet in carrying out real reforms.... Moqtada al-Sadr is now trying to take the imitative and be the winner in the reform race".
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Imitative skills are essential in a place where storytelling, and the caricaturing of your fellow citizens, is what transforms a seemingly uneventful backwater into a soap opera of endless fascination.
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This imitative quality and its attendant "pluralism" (noted to some degree or another by most of the critics assembled here) doesn't only bother art historians; it's readily apparent to those less schooled.
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What we do know is that there is lots of evidence showing that graphic depictions of such behavior in the media can be very harmful to viewers and potentially lead to imitative behavior.
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Neural networks have been trained to identify images and objects in ways imitative of human perception, and there's more than a passing resemblance between finding the gestalt of an image and that of a sentence.
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Global climate change is not being caused by a lack of imitative thinking or miniaturized, meditative art, yet most of the works seem pleased with themselves for nodding in the direction of our spectacle society.
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"'StartUp' is trying to meld the high-finance sheen of series like 'Billions' with the gee-whiz digital jargon of, say, 'Scorpion,' but it never seems innovative, only imitative," Neil Genzlinger wrote in The Times.
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His compositions are imitative—on YouTube, you can find his Piano Concerto in E-Flat Minor, which mashes together Rachmaninoff, Scriabin, Prokofiev, and a few others—but they give evidence of a restless, creative mind.
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Both lead characters have difficulty communicating the enormity of their experiences in space, and in a weird meta touch (or maybe just an imitative fallacy), their movies have communication failures as well, especially in their scripting.
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They learned of its demolition only after they begun the project, and it added not only a sense of urgency but a desire to allow the place to live on, albeit in a virtual, imitative space.
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Which isn't to say there's anything imitative about Chytilová's art, but rather that she has the force and the imagination that have brought far more fame to her male counterparts, and is due some major recognition.
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"I think they can do it because, remember, they are a powerful force — maybe the most powerful, especially when it comes to data centers, of almost any company on Earth," the "Mad Money" host said about the new imitative.
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" In an article titled "The Diversity of Origin of the Human Races," published one month after the photos were taken, Agassiz described Africans as "submissive, obsequious, (and) imitative" and said they possessed "a peculiar indifference to the advantages afforded by civilized society.
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Although the business stemming from China's Belt and Road Imitative in the region was relatively "nascent" so far, HSBC expects to benefit from an estimated $2 trillion China plans to spend on the scheme globally over the next 15 to 20 years, he said.
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By embracing white identity politics, they're being bigoted but also, in their own eyes, imitative: Trump's protectionist argle-bargle boils down to a desire to once again have policies that specifically benefit lower-middle-class whites — welfare for legacy industries and affirmative action for white men.
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The characters engage in an imitative form of art by creating improved replicas of themselves, but thanks to this act they're able to achieve a greater form of expression — finding a way out of their misery and a higher meaning of art, beyond formalism and mimesis.
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The same pattern has prevailed in the presidential campaign, in his complicated relationship to Trump — obsequious at first, cynically imitative on issues where Trump's demagogy has worked, and finally self-righteous and dudgeon-filled now that the name-calling and scandal-mongering have been turned against his reputation and his family.
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"Today, President Trump and the Office of American Innovation are hosting Foxconn, a world leader in manufacturing for computers, communications, and consumer electronics, at the White House for a technology manufacturing imitative announcement that will bring jobs and billions of dollars in investments to our country," a White House spokesman said.
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And the operatives' surprise at American credulity — "I created all these pictures and posts, and the Americans believed that it was written by their people" — was itself a testament to the essentially imitative quality of their work: People believed the trolls were real Americans because so many totally real, born-in-the-U.
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That's because politics often works in an imitative cycle: Were Trump defeated by someone whose charisma, star wattage and mastery of the celebrity-politics nexus outstripped his, the impulse on the right would be to double down on those qualities next time, to enter an arms race to build a better class of demagogue.
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China's official Xinhua news agency said Xi had encouraged the United States to take part in the "One Belt, One Road" plan, Xi's signature foreign policy imitative aimed at infrastructure development across Asia, Africa and Europe, seen in some policy circles as a partial answer to the pivot to Asia strategy of Trump's predecessor Barack Obama.
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It's as if the prose siphoned the light of the poems over time, such that the late poetry retreats into the colder abstraction of this poem from 2007: Tonight I think no poetry will serve Syntax of rendition: verb pilots the plane adverb modifies action verb force-feeds noun submerges the subject noun is choking verb disgraced goes on doing Rich never really suffered the indignity common to poets with long careers: merely self-imitative late poems that strain for effects the poet discovered decades ago.
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" Another study, just published in JAMA Psychiatry, showed a suicide bump among 10- to 19-year-olds (both boys and girls, but a larger increase in girls) at the time of the release of the Netflix series "13 Reasons Why"; the study shows association, not causation, but raises the question of "media contagion" — that is, the possibility that the show and the intense discussion of it on social media may have led to some imitative behavior, and cites "the need for safer and more thoughtful portrayal of suicide in the media.
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As in the first movement, the lower voices sing imitative lines.
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Their subjects are typical ricercar subjects: slow, sustained, moving in whole, half- and quarter notes. In two section fugues either both sections are imitative, or the second one is in free counterpoint. Fuga quinta's three sections are all imitative, but the rest of three-section fugues feature an imitative section, a stretto/canzona subject section and a free counterpoint section for the ending.
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The song is richer, more varied and imitative than that of its relative.
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He leaves an abundant body of work for the organ: varied Christmas, imitative works, storms, battles, harmonizations.
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The name comes from (), the word kho is imitative of the sound invoked while playing the game.
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This type of play includes two elements: imitative and imaginative. Imitative is when the child imitates a real person and a real situation., which includes imitation of the actions and speech of a person or thing. Imaginative is when children use their imagination to create what they are imitating.
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Colonial literature is a prolongation of the parental literature and is at first commentative and imitative of that.
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Thomas, M.L. 2000. An Imitative Unsealed Semis from Northern Etruria. American Journal of Numismatics 12: 113-118. Thomas, M.L. 2000.
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Since the Renaissance period in European music, much contrapuntal music has been written in imitative counterpoint. In imitative counterpoint, two or more voices enter at different times, and (especially when entering) each voice repeats some version of the same melodic element. The fantasia, the ricercar, and later, the canon and fugue (the contrapuntal form par excellence) all feature imitative counterpoint, which also frequently appears in choral works such as motets and madrigals. Imitative counterpoint spawned a number of devices, including: ;Melodic inversion: The inverse of a given fragment of melody is the fragment turned upside down—so if the original fragment has a rising major third (see interval), the inverted fragment has a falling major (or perhaps minor) third, etc.
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The tiento was a polyphonic form of instrumental music that originated in the Iberian peninsula, and has been linked to both tastar de corde (an improvisatory prelude) and the ricercar (an improvisatory prelude or, at a later stage of development, a strict imitative composition). Twenty- nine tientos by Cabezón survive. Fourteen appeared in Libro de cifra nueva: these works are all written out in long note values, alternating between imitative counterpoint and non-imitative sections. Usually there are three or four themes, and the first to be presented is also the most developed.
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In his series of books entitled Hangi …, he questioned the imitative intellectualism which dominated the cultural and political life of Turkey.
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"Vroom" is an example of a cross-linguistic onomatopoeia, in that its pronunciation and imitative qualities are consistent throughout many different languages.
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Z is the standard designation, continuing from Barthel (1958). Fischer (1997) numbers it among the imitative pieces made for tourists as T4.
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Teaching apes to ape language: Explaining the imitative and nonimitative signing of a chimpanzee (Pan troglodytes). Journal of Comparative Psychology, 99(2), 197.
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Other works by Brewer include A Dictionary of Miracles: Imitative, Realistic and Dogmatic (1884?), and The Historic Notebook, With an Appendix of Battles.
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Most species nest in holes. Some species have become well known for their imitative skills; the common hill myna is one of these.
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Must Ireland have no character of its own but be servilely imitative of its neighbor in all things and be nothing of itself?
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The first part, written out entirely in tablature, is titled and contains 32 short versets, four for each church mode, so that each mode has an (toccata-like, with extensive use of pedal point), secunda (imitative), tertia (toccata-like) and quarta (imitative). The second part contains eight toccatas, all of which are sectional pieces that make heavy use of pedal point and contain much imitative counterpoint as well as free writing. Other works include sacred and secular vocal music; and there is evidence that a set of lute suites was published in Augsburg, but those pieces are lost.
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There is no formal test for diagnosing echopraxia. It is easier to distinguish in individuals over the age of five, because younger children frequently imitate others' actions. Imitation can be divided into two types: imitative learning and automatic imitation. Imitative learning occurs when a person consciously mimics an observed action in order to learn the mechanism behind that action and perform it themselves.
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Green Highlander, a classic salmon fly In broadest terms, flies are categorised as either imitative or attractive. Imitative flies resemble natural food items. Attractive flies trigger instinctive strikes by employing a range of characteristics that do not necessarily mimic prey items. Flies can be fished floating on the surface (dry flies), partially submerged (emergers), or below the surface (nymphs, streamers, and wet flies).
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Meanwhile, Elizabeth Edwards, wife of fellow Democratic candidate John Edwards, said it was too imitative of Edwards' plan, which had come out seven months earlier.
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All gender is parodic in the sense that it is all imitative, but some forms are more parodic than others because that imitativeness is exposed.
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"Painting is essentially an imitative art; it cannot subsist for a moment on empty generalities ... . Mr. Crabbe ... paints in words, instead of colours."Hazlitt 1930, vol.
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Babies begin copying movements soon after birth; this behavior begins to diminish around the age of three. Before that, it is not possible to diagnose echopraxia, because it is difficult to differentiate between imitative learning and automatic imitation. If the imitative behavior continues beyond infanthood, it may be considered echopraxia. Echopraxia may be more easily distinguished in older individuals, because their behaviors in relation to prior behaviors can be differentiated.
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Imitative learning is a type of social learning whereby new behaviors are acquired via imitation. Imitation aids in communication, social interaction, and the ability to modulate one's emotions to account for the emotions of others, and is "essential for healthy sensorimotor development and social functioning". The ability to match one's actions to those observed in others occurs in humans and animals; imitative learning plays an important role in humans in cultural development. Imitative learning is different from observational learning in that it requires a duplication of the behaviour exhibited by the model, whereas observational learning can occur when the learner observes an unwanted behaviour and its subsequent consequences and as a result learns to avoid that behaviour.
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Echolalia is common in young children who are first learning to speak. Echolalia is a form of imitation. Imitation is a useful, normal and necessary component of social learning: imitative learning occurs when the "observer acquires new behaviors through imitation" and mimicry or automatic imitation occurs when a "reenacted behavior is based on previously acquired motor (or vocal) patterns". Ganos et al (2012) define echolalia as an "automatic imitative action without explicit awareness".
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Variation 1 features imitative counterpoint in three voices and an ornamented version of the chorale "Was Gott tut, das ist wohlgetan". Following the example of Christus, der ist mein Leben, Variation 2 uses the melody in diminution, accompanied by longer note values in the lower voices and Variation 3 reverses this, using shorter note values in the bass to accompany the unadorned chorale. Variation 4 is the chromatic variation and its somber mood contrasts with Variation 5, which features a heavily ornamented version of the melody in the soprano, mirrored in imitative passages in lower voices. During the next two variations, the original melody serves as a background for the intricate imitative counterpoint in other voices (in Variation 6) and fast arpeggios (the two-part Variation 7).
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Some examples of related compositional techniques include: the round (familiar in folk traditions), the canon, and perhaps the most complex contrapuntal convention: the fugue. All of these are examples of imitative counterpoint.
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Many species of songbirds learn their songs through imitation, and it has been hypothesized that chimpanzees' understanding of intentionality of action in other members of a social group influences their imitative behaviors.
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For example, humans are typically quicker at making imitative responses relative to comparable non- imitative responses. This effect is widely believed to be a product of the human mirror system: Action observation is thought to excite a subset of the premotor neurons responsible for the execution of an action, thus priming execution of the matching response. However, following periods of training during which the execution of one action (e.g. hand open) is paired with the observation of another action (e.g.
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Somewhat unusual for French music of the era are two ostinato variations – a passacaglia (Christe of the Messe du Deuxième ton) and a chaconne (Christe of the Messe du Sixième ton). Both are much shorter than their German and Italian equivalents. Some 20 years later Johann Sebastian Bach used the bass from Raison's passacaglia for his famous Passacaglia and Fugue in C minor, BWV 582 (the bass from Trio en chaconne was also possibly used by Bach for the same piece). A sample of fugal themes from Raison's Premier livre d'orgue (click the image for details) Many of the pieces are notable for their consistent employment of imitative counterpoint: for example, the Fugue grave of the third mass is fully imitative, a strict four- voice fugue, and even the passacaglia begins with an imitative passage.
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While not common in Dutch, reduplication does exist. Most, but not all (e.g., pipi, blauwblauw (laten), taaitaai (gingerbread)) reduplications in Dutch are loanwords (e.g., koeskoes, bonbon, (ik hoorde het) via via) or imitative (e.g.
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The etymology of dap is uncertain, and there are various theories. Most simply, it may be imitative (compare tap, dap), and is sometimes explained as an acronym for dignity and pride, possibly a backronym.
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The number of imitative verbal aggressions exhibited by the boys was 17 times and 15.7 times by the girls. Additionally, the results indicated that the boys and girls who observed the non-aggressive model exhibited much less non-imitative mallet aggression than those in the control group, which did not have a model. Lastly, the evidence demonstrates that males tend to be more aggressive than females. When all instances of aggression are tallied, males exhibited 270 aggressive instances compared to 128 aggressive instances exhibited by females.
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The most important pieces, a number of ricercars from the so-called Bourdeney Codex, were attributed to Brunel by Anthony Newcomb in 1987. These works are of considerable importance in the evolution of the genre: there are frequent instances of advanced contrapuntal techniques such as inversion and augmentation, hexachord transpositions (inganno) of the subjects; some of the pieces even employ countersubjects.Hudson, Grove. Two ricercares also appear in another mansucript: one imitative, structured like a motet, and the other completely devoid of any imitative passages.
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In Variation 1, the melody is ornamented slightly and basic imitative patterns are used in lower voices. A more elaborate melodic ornamentation is used in Variation 2, accompanied by longer note values. The next four variations all employ the original melody unadorned, accompanied by passages in shorter note values, sometimes engaging in imitative counterpoint. Variation 7 is the chromatic variation of the set; it is followed by the energetic two-part Variation 8 which is based on parallel thirds arranged in fast-paced passages.
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The striding quaver figures in the pedal part, however, are unusual and are a response to Bach's development from a baroque to a more modern style. 600px In the second section, the pedal and the separate hands again play the chorale line by line in inverted canon, separated by an interval of a second and then a ninth, with a free imitative part in the hand playing the canon and a free running semiquaver part in the other hand. The semiquavers occur first in the right hand with the imitative part above the left hand; then in the left hand with the imitative part this below the canon. With the quaver canonic voices now accompanied by continuously flowing semiquavers, the feeling of endless movement in Variatio III and IV is now experienced in Variatio V, a new form of moto perpetuo.
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Godt, Irving. "A New Look at Palestrina's Missa Papae Marcelli". College Music Symposium 23 (1) (Spring, 1983), pp. 22–49. (subscription required) The Kyrie consists of imitative polyphony in Palestrina's earlier style, based on the main motif.
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At the same time, the commentary elucidates a series of fundamental aspects of the music, including the model of imitative interaction, the concept of permanent fleetingness, the concept of polyaesthestics, and the question of musico-literary intermediality.
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He is mentioned disparagingly in Book X of the Republic, in which the reasons for banishing some forms of poetry and 'imitative art' from his ideal city are outlined, with Plato alluding to his name meaning 'meathead'.
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Cavazzoni would also employ innovative structures in his works. For example, in Magnificat settings he treats portions of the chant imitatively, and since each verse is different and presenting a decorated form of the melody, Cavazzoni's settings are effectively miniature variation sets. In hymn settings, Cavazzoni sometimes employs fore-imitation: anticipatory imitative sections before the actual chant is set, and/or between verses. The most historically important works by Cavazzoni are his ricercars and canzonas, from which the history of imitative ricercars and canzonas starts, as far as is known.
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The vast majority are shorter, with the discursive imitative paragraphs of the earlier motets giving place to double phrases in which the counterpoint, though intricate and concentrated, assumes a secondary level of importance. Long imitative paragraphs are the exception, often kept for final climactic sections in the minority of extended motets. The melodic writing often breaks into quaver (eighth-note) motion, tending to undermine the minim (half-note) pulse with surface detail. Some of the more festive items, especially in the 1607 set, feature vivid madrigalesque word-painting.
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Historically, fly pattern types have evolved along with fly fishing itself and today there are generally recognized pattern types. However, none are absolute, as there is much crossover in patterns and pattern types. Typically the fly tyer will encounter patterns classified as dry flies, wet flies, soft hackles, emergers, nymphs, terrestrials, bucktails and streamers, salmon (Atlantic) flies, steelhead and salmon (Pacific) flies, bass flies and bugs, poppers, panfish flies, saltwater flies, or pike flies. Even within these categories, there can be many sub-categories of imitative and non-imitative flies.
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Her writing evinced a mind which has derived its thoughts chiefly from secondary sources. Her style was always imitative, yet the pathos which usually belongs to her themes, and her mode Of treating them, was attractive and endearing.
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Meltzoff A. 1988. Infant imitation after a one-week delay: long term memory for novel acts and multiple stimuli. Dev. Psychol. 24:470-76 According to Tomasello, imitative learning is necessary for learning the symbolic conventions of language.
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'Ceramics Glaze Technology.' J.R.Taylor & A.C.Bull. The Institute Of Ceramics & Pergamon Press. Oxford. 1986 However many of the imitative types, such as Delftware, have brownish earthenware bodies, which are given a white tin-glaze and either inglaze or overglaze decoration.
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It consists of a variable, imitative series of notes, sometimes lark-like and sometimes whistling, pouring out in a continual stream. It is sung from a perch on a rock or other high place or in the air during flight.
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Sandqvist, p.217, 345-370 Writing at the time, both Vinea and Benjamin Fondane looked back critically on Romanian Symbolism, describing it as imitative, in whole or in part, of France's model, and as such detrimental to Romanian authenticity or spontaneity.
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Screenshot illustrating the film's use of black and white images mixed with colour, and of characters interacting with back projections Europa employs an experimental style of cinema, combining largely black and white visuals with occasional intrusions of colour, having actors interact with rear-projected footage, and layering different images over one another to surreal effect. The voice-over narration uses an unconventional second-person narrative imitative of a hypnotist (e.g. "On the count of ten, you will be in Europa."). The film's characters, music, dialogue, and plot are self-consciously melodramatic and ironically imitative of film noir conventions.
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Imitative learning has been well documented in humans; they are often used as a comparison group in studies of imitative learning in primates. A study by Horner and Whiten compared the actions of (non-encultured) chimpanzees to human children and found that the children over-imitated actions beyond necessity. In the study, children and chimpanzees between the ages of 3-4 were shown a series of actions to open an opaque puzzle box with a reward inside. Two of the actions were necessary to open the box, but one was not, however this was not known by the subjects.
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Apel 1972, 663. Non-imitative pieces in the collection also have a fair share of interesting characteristics. The Chaconne in G minor marks the earliest known instance of an eight-bar ostinato pattern, as opposed to the more traditional four-bar pattern.
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The third movement, "", speaks of the mercy of the Lord for all who fear him. Both mercy and fear are expressed in a dense tecture of imitative music, with chromatic lines and leaps of minor sixths and major sevenths, called "anguished intervals".
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Use of the word mimicry dates to 1637. It derives from the Greek term mimetikos, "imitative", in turn from mimetos, the verbal adjective of mimeisthai, "to imitate". Originally used to describe people, "mimetic" was used in zoology from 1851, "mimicry" from 1861.
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Guglielmo's musical tastes were conservative for the day. He enjoyed imitative contrapuntal music but was concerned to maintain clarity of text, thereby showing the influence of Tridentine reforms. Upon his death, his son Vincent invited followers of the more modern trends to his court.
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The final movement incorporates imitative polyphony in a fugal section. Milhaud’s fourth little symphony is approximately 6 minutes in duration and contains the following movements: # Ouverture (approx. 0’45’’) # Choral (approx. 3’25’’) # Etude (approx. 1’50’’) This little symphony was originally published by Dover Publications in 1922.
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The macaques showed weak evidence of imitative learning compared to the adult humans. It was hypothesized that because the macaques were adults, they were less likely to imitate than juvenile monkeys, as accurate imitation may be an adaptation that is more useful to juveniles.
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The book's contents have not been substantiated by any evidence beyond Smith's testimony. Despite this, the book allegedly inspired imitative accusations throughout the world, against members of the Church of Satan, other occultists, and others who seemed to have no association with the occult.
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"Violone" is also the name given to a non-imitative string-tone pipe organ stop, constructed of either metal or wood, and found in the pedal division at 16′ pitch (one octave below written pitch), or, more rarely, 32′ (2 octaves below written pitch).
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The word is derived from the sound of the effect itself; an imitative or onomatopoeia word. The effect's "wa-wa" sound was noted by jazz player Barney Bigard when he heard Tricky Sam Nanton use the effect on his trombone in the early 1920s .
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She derides the "derivative, prescriptive, imitative, and affected" and celebrates the "natural, innovative, [and] imaginative".Myers, 131. Evincing a particular regard for the works of Thomas Holcroft, such as Anna St. Ives (1792), Wollstonecraft celebrated their championing of innate nobility and virtue over aristocratic titles.
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Such systems are rather common in South American languages. There is little direct onomatopoeia recorded by Bridges, despite descriptions of highly animated imitative behavior on the part of speakers being recorded in the late 19th century. Several bird names are perhaps reduplications of calls (or other nonvocal behavior), and there are a couple of imitative cries and sound words. Most words denoting sounds end in an unproductive verb-deriving suffix -sha (in at least one case -ra, and r is known to alternate with sh), which may be derived from the Yahgan root ha:sha 'voice, language, uttered words, speech, cry', or vra 'to cry' — e.g.
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These sentence types include: declarative, as there is a fall in pitch at the end; interrogative, as there is a rise in pitch for a yes/no question and a drop when there is an interrogative pronoun; and imperative sentence types where there is even pitch until a rise of intensity is made at the end of the command. Research thus far has focused primarily on motoric-imitative and cognitive-linguistic approaches to prosody treatment. In a motoric-imitative approach, the client imitates clinician-modeled sentences produced with target emotional prosody. Modeling and cueing is gradually reduced following a six-step hierarchy until the client reaches independent production.
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Traubner, Richard. "The Edwardsian Era", Operetta: a Theatrical History, Psychology Press, 2003, pp. 183–84 Sullivan's music, while containing much to admire, is "reminiscent rather than fresh", while German's contributions to the score, though partly imitative of Sullivan, marked him as a comic opera composer of promise.
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The outer sections are dominated by the cantorial soloist and imitative choral entrances in Phrygian mode. The canonic heterophony, however, maintains relative stasis and calm evoking the peaceful, nighttime elements of the prayer. The a cappella middle section is composed polychorally with Stravinsky-like rhythmic intensity.
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The top of the square column was adorned with imitative cannons on each side. Within a few years, the monument became dilapidated. The sculpted bas-reliefs proved "unable to withstand Carmarthen's inclement weather", according to local antiquarians. Although Baily made replacements, they were never put up.
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Accordingly, "I also looked at his written lyrics and realized that he didn't capitalize his letters. He was trying to copy e.e. cummings and, while it was transparently imitative, I thought it was a good position."By 1964, Parks was growing more and more interested in songwriting.
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" Brooks rewrote the part for Streep. "Comedy is rhythms. Writing is rhythms," he explained. "If you're writing and you have a specific person in mind, the imitative part of you copies that person a little bit and you get closer to that person's rhythms than your own.
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The label pressured Ben to hastily record songs imitative of his debut, along with cover songs, resulting in the three albums within the span of 18 months and a strain on the singer's relationship with Philips. He left the label after his 1965 album Big Ben.
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They are the most species-rich group of lizards, with about 1,500 different species worldwide. The New Latin gekko and English "gecko" stem from the Indonesian-Malay gēkoq, which is imitative of sounds that some species make.gecko, n. Oxford English Dictionary Second edition, 1989; online version September 2011.
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The review by Allmusic's Ron Wynn said: "Morgan's biting, yet sensitive and rich alto has rightly been traced to Charlie Parker, but Morgan long ago rid his style of any imitative excesses. He was excellently supported on this program of duets by an amazing lineup of rotating pianists".
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After the album's release, Brooks & Dunn began touring as well. Brand New Man received a positive review from Allmusic, whose critic Daniel Gioffre thought that the album showed the duo's diversity of musical influences. Alanna Nash of Entertainment Weekly was less positive, criticizing the duo's sound for being "imitative".
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The second type of ricercar, the imitative, contrapuntal type, was to prove the more important historically, and eventually developed into the fugue. Marco Dall'Aquila (c.1480–after 1538) was known for polyphonic ricercars. Examples of both types of ricercars can be found in the works of Girolamo Frescobaldi, e.g.
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While in Florida, a talent scout spotted the Olates and brought them to California. They worked in commercials and films, and performed for celebrities. Using mostly rescue dogs, the Olates continued to build up their act. To train his dogs, Richard uses imitative play and a lot of patience.
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Vocal imitation is not uniquely human as well. Songbirds seem to acquire species-specific songs by imitating. Because nonhuman primates do not have a descended larynx, they lack vocal imitative capacity, which is why studies involving these primates have taught them nonverbal means of communication, e.g., sign language.
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Nightwatch, originally Nighteater, is a fictional character appearing in American comic books published by Marvel Comics. He exists in Marvel's main shared universe, known as the Marvel Universe. Masquerading as a superhero, his original costume and characterization are strongly imitative of the character Spawn as seen in Image Comics.
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Johnson (2014), 232; Gilson (2005), 127. The first French critic who paid notice to Austen was Philarète Chasles in an 1842 essay, dismissing her in two sentences as a boring, imitative writer with no substance.King, Noel "Jane Austen in France" from Nineteenth-Century Fiction pp. 1–28, Vol.
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That same year, Crane was named a Distinguished Service Professor Emeritus of English at the University of Chicago. The School has often been called “Neo-Aristotelian,” though in the introduction to Critics and Criticism (and in other works, such as “Toward a More Adequate Criticism of Poetic Structure”) Crane argued strongly against that title. Regardless, Aristotle's Poetics and the method of inquiry he created played an important and obvious role in their works: Crane emphasized Form and Matter in his writings as inseparable entities within poetry, and frequently referred to Aristotle's distinction between imitative and non- imitative poetry. The prefix “Neo” is applied because of the modifications Crane makes to Aristotle's original theories in Poetics.
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Mosquitoes did not receive notable critical response at the time of its publishing, but following Faulkner's rise to a place of prominence in American Literature, the book has garnered a significant body of reviews, interpretations, and analyses. With little exception, critics of Faulkner consider Mosquitoes to be his weakest and also most imitative work, citing his use of the literary styles of Aldous Huxley, T.S. Eliot, and James Joyce.Bassett, "Mosquitoes," 49. Following this observation of Mosquitoes' imitative qualities, the book has also been considered by many to represent a period in Faulkner's life where he begins to cultivate, though not yet successfully, the personal literary style for which he later becomes famous.
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For example, the learner may observe an unwanted behavior and the subsequent consequences, and thus learn to refrain from that behavior. For example, Riopelle (1960) found that monkeys did better with observational learning if they saw the "tutor" monkey make a mistake before making the right choice. Heyes (1993) distinguished imitation and non-imitative social learning in the following way: imitation occurs when animals learn about behavior from observing conspecifics, whereas non-imitative social learning occurs when animals learn about the environment from observing others. Not all imitation and learning through observing is the same, and they often differ in the degree to which they take on an active or passive form.
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Reviewer Richie Unterberger, of Allmusic, described it as "imbued with the characteristic droll, wry wit and knack for pastiche of all manners of pop music that typify Innes' work", and noted that it veered "more to Ray Davies territory than comedy rock, though Innes isn't at all imitative of the Kinks.".
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John's coins were minted at Bury St Edmunds, Canterbury, Carlisle, Chichester, Durham, Exeter, Ipswich, King's Lynn, Lincoln, London, Northampton, Norwich, Oxford, Rhuddlan (although many of the short-cross coins minted there were doubtless imitative issues by Llywelyn ap Iorwerth, prince of Wales, John's son-in-law), Rochester, Winchester, and York.
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Firminus Caron (fl. 1460–1475) was a French composer, and likely a singer, of the Renaissance. He was highly successful as a composer and influential, especially on the development of imitative counterpoint, and numerous compositions of his survive. Most of what is known about his life and career is inferred.
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Skinner is known for his imitative French Horn stop, which is the only sonic creation that he patented. Ernest M. Skinner & Company built large organs for Cathedral of St. John the Divine (op. 150, 1906); Saint Luke's Episcopal Church, Evanston, Illinois (op. 327, 1922); Sage Chapel at Cornell University (op.
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An important agenda for infancy is the progressive imitation of higher levels of use of signs, until the ultimate achievement of symbols. The principal role played by parents in this process is their provision of salient models within the facilitating frames that channel the infant’s attention and organize his imitative efforts.
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Wah-wah (or wa-wa) is an imitative word (or onomatopoeia) for the sound of altering the resonance of musical notes to extend expressiveness, sounding much like a human voice saying the syllable wah. The wah-wah effect is a spectral glide, a "modification of the vowel quality of a tone" .
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Dyer frequently visited Greece and Italy, and wrote several "topographical" works which Britannica felt were his best. These books included Pompeii, its History, Buildings and Antiquities (1867, new ed. in Bohn's Illustrated Library) and Ancient Athens, its History, Topography and Remains (1873). Dyer's last publication was On Imitative Art (1882).
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According to art critic Jerry Saltz, "Neo-Mannerism" (new Mannerism) is among several clichés that are "squeezing the life out of the art world". Neo-Mannerism describes art of the 21st century that is turned out by students whose academic teachers "have scared [them] into being pleasingly meek, imitative, and ordinary".
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Anthony Davis describes the score for Wakonda’s Dream: > Generally, what I’m doing is a synthesis. I have created something new from > many diverse sources. My background draws on the African American tradition, > jazz particularly. I developed my own voice as an opera composer that > hopefully is not imitative or derivative.
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Neutopia II received mostly positive reviews although some have criticized it as very derivative and imitative of The Legend of Zelda series. Famitsu gave the game a score of 27 out of 40. Nintendo Life gave the game a score of 8/10. Eurogamer gave it a 7/10 score.
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Towards the end of the piece, Bach fills out the accompaniment in the final virtuosic semiquaver solo episode by adding imitative quaver figures in the lower parts. compares the dramatic ending—with its chromatic fourths descending in the pedal part—to that of the keyboard Sinfonia in D minor, BWV 779.
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The extended instrumental ritornello presents the musical material of the whole movement. The voices enter in unison, first imitating timpani, then trumpets. In the following section, the vocal lines are mostly homophonic and sometimes imitative, while the instrumental forces drive the movement. The second section is a modified repeat of the first.
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The opening line shows the lyrical use of imitative counterpoint. The work was composed during Josquin's service at the North Italian court at Milan. It was initially thought to have been copied into the manuscript Munich 3154 by 1476. Subsequent work by Joshua Rifkin established the date of publication to about 1485.
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Israel Tsvaygenbaum (; ; born February 1, 1961), is a Russian-American artist of Jewish descent. A number of his works are in the Museum of Imitative Arts,A new name of the museum is: Historic and Archaeologist Museum ReserveTwo graphical works (ink on paper) The Sarcasm of Fate and The Grief of People Derbent.
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Some of the chansons are akin to the typical French style of the early 16th century—quick, light, and imitative; others are more in line with the Burgundian style of the formes fixes. De Orto also wrote an early setting of Dido's lament, Dulces exuviae, from the Aeneid (iv.651–4), containing extensive chromatic writing.
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The series has received a mixed response, with many film critics giving negative reviews. The drama has been criticized for its lack of historical accuracy and tendency to portray the characters in a simplistic way as either "good guys" or "bad guys". It was also thought to be heavily imitative of the film Gladiator (2000).
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The steeple above the five-stage tower reaches . At its base is a doorway with Purbeck marble shafts. Inside the church is a west gallery supported by cast iron columns with timber cladding. A replica of the church exists in Thames Town, a suburb of Shanghai built in a style imitative of English architecture.
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Oxford 'bada bings' its latest dictionary , ABC News Online, August 21, 2003, Accessed August 29, 2007 Bada bing is imitative of the sound of a drumroll or rim shot, or may also derive from the "bada-bing" sound effect that James Caan's character, Sonny Corleone, makes to describe an up-close shooting in The Godfather.
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Striggio mentioned an ornamented four voice madrigal for three sopranos and a dialogue with imitative diminutions for two sopranos. He added that he had forgotten the intabulation for the madrigal in Mantua, and noted that the skilled singer Giulio Caccini could play the bass part on either lute or harpsichord.Newcomb 1980, pp. 54–55.
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The motet is written for four voices, soprano, alto, tenor, and bass. The style is reminiscent of a canzona, in an ABB structure. The a section, rendering the text "Mary said to the angel", is set in imitative polyphony. The B section, repeated with a slightly modified ending, sets Mary's words, beginning in homophony.
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The Golden Bough: A Study in Magic and Religion. Chapter 62: The Fire-Festivals of Europe. According to Frazer, the fire rituals are a kind of imitative or sympathetic magic. According to one theory, they were meant to mimic the Sun and to "ensure a needful supply of sunshine for men, animals, and plants".
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Clereau wrote only vocal music, or perhaps only vocal music has survived. He wrote both sacred and secular music, including mass settings, a Requiem mass, motets, Cantiques spirituels (spiritual songs: chansons with sacred texts), and numerous chansons. Unusually for a French composer, he also composed Italian madrigals. Clereau wrote his masses in an imitative style.
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Roseberry, 14. The "Pleni sunt caeli" section features free imitative polyphony in the voices with the original twelve-tone melody transferred to the organ pedals. The Benedictus is a bitonal duet for two soloists, the first in G major, and the second in C major. This results in parallel fourths and false relations between F-sharp and F natural.
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This style is less imitative than small&big; Luohan quan style and has given up or, at least, transformed many of the famous Luohan-imitating postures. 18 Luohan quan, though very famous, is rarely known. Even inside Shaolin, only a few people in each generation inherit this style completely. There are different versions of 18 Luohan quan.
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The club was founded and incorporated in Miami, Florida, in 1964 by several individuals led by Stephen Paul Ross, a local political consultant. The name and format were copied later in other Florida cities without permission from the original club. The name of the city of those imitative clubs usually precedes the name copied from the original.
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Mechanisms that support imitative learning have been studied on the neurological level. Roberts et al. performed research on zebra finches (Taeniopygia guttata) that explored the importance of neural motor circuitry on birdsong learning. If the premotor nucleus was disrupted while a juvenile finch was learning a song from an older finch, the song was not copied.
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114–115 The characteristics of this entire area include short iterative phrases; reverting relationships; shouts before, during, and after singing anhemitonic pentatonic scales; simple rhythms and meter and, according to Nettl, antiphonal or responsorial techniques including "rudimentary imitative polyphony". Melodic movement tends to be gradually descending throughout the area and vocals include a moderate amount of tension and pulsation.
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Sonnet 24 is one of 154 sonnets written by the English playwright and poet William Shakespeare, and is a part of the Fair Youth sequence. In the sonnet, Shakespeare treats the commonplace Renaissance conceit connecting heart and eye. Although it relates to other sonnets that explore this theme, Sonnet 24 is considered largely imitative and conventional.
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Peking opera does not aim to accurately represent reality. Experts of the art form contrast the principles of Peking opera with the principle of Mo, mimes or imitation, that is found in western dramas. Peking opera should be suggestive, not imitative. The literal aspects of scenes are removed or stylized to better represent intangible emotions and characters.
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Gioia (pp. 360-69) again discusses why so many West Coast players have tended to be written out of jazz history. Much of the music produced on the West Coast in those years, as Robert Gordon concedes, was in fact imitative and "lacked the fire and intensity associated with the best jazz performances".Gordon, p. 1.
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First known use was in 1774, adopted from Malay geko or gekok, imitative of its cry. ; Gibbon : long-armed apes of Southeast Asia. The English word 'gibbon' is said to be a reborrowing from French, and folk etymology (cf. Gibbon (surname))Skeat, Walter William (1910), “gibbon”, in An etymological dictionary of the English language, Oxford: Clarendon, page 778.
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The crimson-breasted shrike (Laniarius atrococcineus) or the crimson-breasted gonolek, ('gonolek' - supposedly imitative of its call), or the crimson- breasted boubou, is a southern African bird. It has black upper parts with a white flash on the wing, and bright scarlet underparts. The International Union for Conservation of Nature has rated it as a "least-concern species".
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The exposition closes with a codetta and is followed by the development which begins in B minor, using the rhythmic pattern of the second half of the theme. The development ends with the full orchestra. In the recapitulation, the first theme is heard again in D Major. It uses imitative patterns of the woodwinds in the second theme.
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3 common imitative patterns Eckerman found were reciprocal imitation, follow-the-leader and lead-follow. Kenneth Kaye's "apprenticeship" theory of imitation rejected assumptions that other authors had made about its development. His research showed that there is no one simple imitation skill with its own course of development. What changes is the type of behavior imitated.
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For the statistics see Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 114. In addition to the prize amphoras, imitative forms known as Pseudo-Panathenaic prize amphoras were also manufactured.On the Panathenaic prize amphoras see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 180–183; Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 113–117.
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Two slender fluted Corinthian columns, supported on pedestals of imitative marble, add greatly to the beauty of the stage-boxes. A series of arches, supporting the roof, and sustained by caryatides, runs entirely round the upper part of the theatre. ... The tout ensemble of the house is light and brilliant. It looks like a fairy palace.
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The piece makes extensive use of imitative polyphony and incremental building of melodies. The work is divided into five sections. The first and third share a similar texture of rapid piano, cello, and bass clarinet figures, while the second and fourth sections are marked by sustained tones in the cello. The fifth and final section combines these materials.
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"The Burden of Egypt", J. A. Wilson, p. 302, University of Chicago Press, 4th imp 1963 The kings of Egypt were associated with Osiris in death – as Osiris rose from the dead so they would be in union with him, and inherit eternal life through a process of imitative magic."Man, Myth and Magic", Osiris, vol. 5, pp.
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There were two reasons for doing so. First, the imitative gestures of non- signers are similar to classifiers. Second, very many types of movement and locations can be used in these constructions. Liddell suggested that it would be more accurate to consider them to be a mixture of linguistic and extra- linguistic elements, such as gesture.
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It is common over much of its breeding range and expanding its distribution in some areas. However, in Britain it is now virtually extinct as a breeding bird.British Trust for Ornithology, BirdFacts: Marsh Warbler accessed 21 February 2010. This insectivorous warbler can be easily confused with several close relatives, but the imitative song of the male is highly distinctive.
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A Dictionary of Miracles: Imitative, Realistic, and Dogmatic (Chatto and Windus, 1901), p.11. Chromatius and Tiburtius converted; Chromatius set all of his prisoners free from jail, resigned his position, and retired to the country in Campania. Marcus and Marcellian, after being concealed by a Christian named Castulus, were later martyred, as were Nicostratus, Zoe, and Tiburtius.Butler, Alban.
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It is not possible to distinguish the imitative learning form of echolalia that occurs as part of normal development from automatic imitation or echolalia characteristic of a disorder until about the age of three, when some ability for self-regulation is developed. A disorder may be suspected if automatic imitation persists beyond the age of three.
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Possibly related to the corno is the mano cornuta or "horned hand." This is an Italian hand-gesture (or an amulet imitative of the gesture) to ward off the evil eye. Mano means "hand" and corno means "horn." This gesture is performed with the hand leveled or pointing down, or at least slightly downward, usually with a swiveling or oscillating motion.
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The etymology of gibberish is uncertain. The term was first seen in English in the early 16th century. It is generally thought to be an onomatopoeia imitative of speech, similar to the words jabber (to talk rapidly) and gibber (to speak inarticulately). It may originate from the word jib, which is the Angloromani variant of the Romani language word meaning "language" or "tongue".
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Girolamo (Hieronimo) Cavazzoni (c. 1525 – after 1577) was an Italian organist and composer, son of Marco Antonio Cavazzoni. Little is known about his life except that he worked at Venice and Mantua, and published two collections of organ music. These collections only contain music written before about 1549, but are of high quality, and established the traditional form of imitative ricercars and canzonas.
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The family name Tettigoniidae is derived from the genus Tettigonia, first described by Carl Linnaeus in 1758. In Latin tettigonia means a kind of small cicada, leafhopper; it is from the Greek τεττιγόνιον tettigonion, the diminutive of the imitative (onomatopoeic) τέττιξ, tettix, cicada., . All of these names such as tettix with repeated sounds are onomatopoeic, imitating the stridulation of these insects.
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Derived from Malay toke' or tokek, of imitative origin. First known use was in 1696. ; Tombac : any of various brittle alloys containing copper and zinc and sometimes tin and arsenic: used for making cheap jewellery. A French term derived from Dutch tombak, in turn from Malay tĕmbaga ('copper'), apparently from Sanskrit tāmraka, from the root word tāmra ('dark coppery red').
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One decade after the film's initial release, The Encyclopedia of Fantasy praised the film's early scenes as a "beautifully effective" urban fantasy, but criticized the later scenes as "cliché-ridden and turgid". Seeing the film as an attempt to emulate The NeverEnding Story (1984), it summed up Mio in the Land of Faraway as a "tired, imitative and cynical" adaptation of Lindgren's novel..
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Boucher and McComas received Universe Maker quite poorly, saying it "sounds like the work of an imitative neophyte who had read too much van Vogt and absorbed the weaknesses without the strength.""Recommended Reading," F&SF;, February 1954, p.94. Groff Conklin said that van Vogt's story "has been rewritten full of L. Ron Hubbard's 'scientology' — but it's still good reading".
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Theatre organ in State Cinema, Grays. (Compton Organ) The theatre organ or cinema organ was designed to accompany silent movies. Like a symphonic organ, it is made to replace an orchestra. However, it includes many more gadgets, such as mechanical percussion accessories and other imitative sounds useful in creating movie sound accompaniments such as auto horns, doorbells, and bird whistles.
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Herman (2002) suggested that bottlenose dolphins produce goal- emulated behaviors rather than imitative ones. A dolphin that watches a model place a ball in a basket might place the ball in the basket when asked to mimic the behavior, but it may do so in a different manner seen.Herman, L. M. (2002). Vocal, social, and self-imitation by bottlenosed dolphins.
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The cantata begins with a chorale fantasia. Unusually, the ritornello is not immediately followed by the chorale melody, but by a three-part or even four-part imitative preparation. The first phrase of the chorale melody appears in the soprano over further imitation in the lower voices and by staccato chords in the accompaniment. The other lines of the chorale are handled similarly.
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A convert to the Christian religion, he sheltered Christians in his home and arranged for religious services inside the palace of the emperor. Among those he sheltered were Mark and Marcellian.Ebenezer Cobham Brewer, A Dictionary of Miracles: Imitative, Realistic, and Dogmatic (Chatto and Windus, 1901), 11. He is one of the saints associated with the life and legend of Saint Sebastian.
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The little curlew (Numenius minutus) is a wader in the large bird family Scolopacidae. It is a very small curlew, which breeds in the far north of Siberia. It is closely related to the North American Eskimo curlew. The word "curlew" is imitative of the Eurasian curlew's call, but may have been influenced by the Old French corliu, "messenger", from courir , "to run".
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Leontovych had an original style. Many of his works have "deft use of imitative counterpoint" and impressionistic harmony." He had a strong desire for his music to arouse the senses, especially sight, saying, "I'm interested in which colours you used for high tones, and which for the low ones. I myself often think about that, to combine sound and colour.
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122 Mimetic theory posits that mimetic desire leads to natural rivalry and eventually to scapegoating, which Girard called the scapegoat mechanism. In his study of history, Girard formed the hypothesis that societies unify their imitative desires around the destruction of a collectively agreed-upon scapegoat. The Colloquium on Violence & Religion is an international organization of scholars and practitioners interested in mimetic theory.
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His music is influenced by Italian and French styles; fugues and fantasias are reminiscent of Johann Jakob Froberger and quite a few pieces contain typical French registration indications: pieces for plein-jeu, fantasies pour cornet, for cromorne or dessus de tierce. Sectional preludes with alternating free and imitative counterpoint, harmonically rich and expansive, are reminiscent of the northern German organ tradition.
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Because of this, the change from his earlier style as exhibited in the first book of madrigals to that of his more mature style of the fourth might appear startling. His use of chromaticism and a highly imitative musical language is experimental for its time, and mirrored in the work of Gesualdo, indicating a close working relationship between the two. Nenna uses dissonance to build tensions that intimately reflect the passions expressed in the texts, and he employs imitative melodic and rhythmic patterns among the parts as they move towards points of conflict that then frequently resolve suddenly. The chromatic structures are sometimes surprising, as in the beginning of "La mia doglia s'avanza", whose opening chords move from G minor to F-sharp major then D minor and finally C-sharp major, commencing a series of descending chromatic figures.
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During the Middle Ages, Renaissance, and Baroque—that is, through the early 18th century—any kind of imitative musical counterpoints were called fugues, with the strict imitation now known as canon qualified as fuga ligata, meaning "fettered fugue" (; ; ). Only in the 16th century did the word "canon" begin to be used to describe the strict, imitative texture created by such a procedure . The word is derived from the Greek "κανών", Latinised as canon, which means "law" or "norm", and may be related to 8th century Byzantine hymns, or canons, like the Great Canon by St. Andrew of Crete. In contrapuntal usage, the word refers to the "rule" explaining the number of parts, places of entry, transposition, and so on, according to which one or more additional parts may be derived from a single written melodic line.
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Each suite of Musikalische Ergötzung begins with an introductory Sonata or Sonatina in one movement. In suites 1 and 3 these introductory movements are Allegro three-voice fughettas and stretti. The other four sonatas are reminiscent of French overtures. They have two Adagio sections which juxtapose slower and faster rhythms: the first section uses patterns of dotted quarter and eighth notes in a non-imitative manner.
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Also, the first and second violins are the same in the second movement. The last movement is "Haydn's first attempt at a symphonic rondo and is characterized by a preoccupation with imitative processes."William E. Grim, Haydn's Sturm und Drang Symphonies: Form and Meaning. Lewiston: The Edwin Mellen Press (1990): 95 It is the only one of Haydn's symphonies that contains no repeat signs.
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Examples of the northern styles include changquan and xingyiquan. Examples of the southern styles include Bak Mei, Wuzuquan, Choy Li Fut, and Wing Chun. Chinese martial arts can also be divided according to religion, imitative-styles (), and family styles such as Hung Gar (). There are distinctive differences in the training between different groups of the Chinese martial arts regardless of the type of classification.
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Assandra composed a number of motets and organ pieces. She studied counterpoint with Benedetto Re, one of the leading teachers at Pavia Cathedral. She composed a collection of motets in the new concertato style in Milan in 1609, an imitative eight-voice Salve Regina in 1611, and a motet, Audite verbum Dominum, for four voices in 1618. She composed traditional pieces and more innovative works.
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436 The opera was initially well received in Monte Carlo, but in a Paris production the following year it was less successful. André Messager criticized the purposely imitative nature of the music, but Francis Poulenc and Les six were impressed. His cat duet Duo miaulé is often seen as a parody of Wagner, which was quite controversial, although Arthur Honegger praised this piece in particular.
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The main melody of this is stated at first in a diatonic manner, but quite surprisingly is elaborated later with more complex harmonic language, which includes intermittent whole-tone inflections and crunchy parallel seventh chords. There is only one contrasting episode and some fluent sections of imitative counterpoint (though not becoming a formal fugato). The impetus is never relaxed, and the movement feels like a moto perpetuo.
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The opening chorus, "" (They will all come forth out of Sheba), depicts, that "" (all), not just the wise men, gather and move to adore. Horn signals call first and prevail throughout the movement. Canonical and imitative developments depict the growing of a crowd. The central section is an extended choral fugue, framed by two sections with the voices embedded in a repeat of the instrumental introduction.
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The saint died about 570 AD and was buried by the city poor in a place where the homeless and strangers were buried. While the body of Saint Simeon was carried, several people heard a wondrous church choir. Only after his death did the secret of his imitative foolishness come to light. Some inhabitants remembered his acts of kindness and reportedly strange and powerful miracles.
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Attesting to the popularity of the Shikoku pilgrimage, from the eighteenth century a number of smaller imitative versions have been established. These include a circuit on Shōdo Island northeast of Takamatsu; a course on the grounds of Ninna-ji in Kyoto; a route on the Chita Peninsula near Nagoya; and circuits in Edo and Chiba Prefecture. Outside Japan, another version is on the Hawai'ian island of Kaua'i.
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Some are monophonic, while others are set in two to four parts of usually non-imitative polyphony. The monodic songs can be sung as two- or threefold canons. The relative simplicity, the dance rhythm, and the strong melodies of the songs have given the music collected in the Red Book a lasting appeal, and these songs are some of the most frequently recorded pieces of early music.
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The first poet to whom such poems are ascribed was Thaletas of Crete: their character must have been in accordance with the playfulness of the dance which bore the same name, and by which they were accompanied. The fragments of the hyporchemata of Pindar confirm this supposition, for their rhythms are peculiarly light, and have a very imitative and graphic character.Bockh, de Meir. Find. p. 201, &c.
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The opening chorus on the first verse of the psalm, "" (Praise the Lord, my soul.), is quite short, using imitative fanfare figures without much harmonic development. It employs a ritornello theme on the tonic and dominant chords, incorporating a descending-third sequence. The voices sing mostly in homophony. The soprano chorale, "" (O Prince of peace, Lord Jesus Christ), is accompanied by a violin obbligato.
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Technologically, the Covenant are described in The Flood and First Strike to be imitative rather than innovative—most of the Covenant's sophisticated weaponry and propulsion systems are based on Forerunner artifacts, rather than the Covenant's own research.Nylund (2003), 101. Covenant weapons are generally based on Forerunner technology and utilize plasma. These weapons are built around a battery that generates plasma and discharges it at a target.
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He also describes "a more fully developed central section, serving to place less emphasis on the themes at their reappearance" and a coda that "draws on more imitative means to less forceful ends". The critic Robert Markow for the music publication Fanfare suggests that the Rondo "sounds far more like Haydn than like the Bruckner we know from the symphonies that were soon to follow".
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This criterion concerns the training focus of a particular style. Religious affiliation of the group that found the style can also be used as a classification. The three great religions of Taoism, Buddhism and Confucianism have associated martial arts styles. There are also many other criteria used to group Chinese martial arts; for example, imitative-styles () and legendary styles; historical styles and family styles.
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Subspecies hermonensis (sometimes including woltersi) breeds in Turkey, Syria and Egypt. Subspecies artemisiana (considered by some to be synonymous with longipennis) breeds in Asia Minor and winters in southern west Asia. Subspecies longipennis breeds in Ukraine, Mongolia and Manchuria and winters in South Asia mainly in the drier zone of north-western India. The song varies between a dry twittering and a more varied and imitative melody.
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The kittens conducting the task through trial and error never acquired the response. This result suggests that the kittens learned from imitating a model. The study also speculates whether the primacy of imitative learning, as opposed to trial end error, was due to a social and biological response to the mother (a type of learning bias). Whether true imitation occurs in animals is a debated topic.
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The period up to 1591 also saw important additions to Byrd's output of consort music, some of which have probably been lost. Two magnificent large-scale compositions are the Browning, a set of 20 variations on a popular melody (also known as "The leaves be green") which evidently originated as a celebration of the ripening of nuts in autumn, and an elaborate ground on the formula known as the Goodnight Ground. The smaller-scale fantasias (those a3 and a4) use a light-textured imitative style which owes something to Continental models, while the five and six-part fantasias employ large-scale cumulative construction and allusions to snatches of popular songs. A good example of the last type is the Fantasia a6 (No 2) which begins with a sober imitative paragraph before progressively more fragmented textures (working in a quotation from Greensleeves at one point).
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The improvisatory interludes, free sections and postludes may all employ a vast array of techniques, from miscellaneous kinds of imitative writing (the technique discussed above, or "fugues" that dissolve into homophonic writing, etc.) to various forms of non-motivic interaction between voices (arpeggios, chordal style, figuration over pedal point, etc.). Tempo marks are frequently present: Adagio sections written out in chords of whole- and half-notes, Vivace and Allegro imitative sections, and others. Example 2: Fugue subjects from BuxWV 137, BuxWV 140, BuxWV 142 (two) and BuxWV 153 The number of fugues in a prelude varies from one to three, not counting the pseudo-fugal free sections. The fugues normally employ four voices with extensive use of pedal. Most subjects are of medium length (see Example 2), frequently with some degree of repercussion (note repeating, particularly in BuxWV 148 and BuxWV 153), wide leaps or simplistic runs of 16th notes.
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Curry's method of teaching elocution (or what today we would call speech or public speaking) emphasized individuality, intellectual engagement, spontaneity, creativity, and rigorous technical training. He developed a system that centered on the idea that all expression comes from within, and that vocal intonation, posture, and gesture cannot be dictated, but must happen naturally as a reaction to genuinely felt emotion. This was in contrast to many elocutionists of his day, who favored mechanistic methods that were rule-based, artificial, and imitative. Curry “believed that his greatest contributions to students were in his ideas for encouraging positive attitudes toward life and his method for training the mind. He wanted his students develop a way of thinking that ensured the words, when spoken, would have inner content” Curry's rejection of the imitative method is evident in his writing: > Action cannot be improved by one human being prescribing a gesture for > another.
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Postvention is for people affected by an individual's suicide. This intervention facilitates grieving, guides to reduce guilt, anxiety, and depression and to decrease the effects of trauma. Bereavement is ruled out and promoted for catharsis and supporting their adaptive capacities before intervening depression and any psychiatric disorders. Postvention is also provided to minimize the risk of imitative or copycat suicides, but there is a lack of evidence based standard protocol.
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The composer Giovanni Pierluigi da Palestrina (1525?–1594) wrote masses using modal counterpoint and imitation, and fugal writing became the basis for writing motets as well. Palestrina's imitative motets differed from fugues in that each phrase of the text had a different subject which was introduced and worked out separately, whereas a fugue continued working with the same subject or subjects throughout the entire length of the piece.
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At the same time, he was also painting landscapes. While clearly inspired by the Suffolk countryside, they were only rarely views of actual places. Gainsborough's early landscapes were imitative of 17th-century Dutch landscape painting, with their careful observation of nature and meticulous technique. By 1752, Gainsborough had probably exhausted the circle of potential patrons around Sudbury and moved to the larger town of Ipswich, then a flourishing port.
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This probably grew out of the practice of church organists improvising after a service. Later, the voluntary began to develop into a more definite form, though it has never been strictly defined. During the late 17th century, a 'voluntary' was typically written in a fugal or imitative style, often with different sections. In the 18th century the form typically began with a slow movement and then a fugue.
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There is a clear contrast of textures between a small group of soloists and the tutti orchestra, reminiscent of the Baroque concerto grosso. The melodic material presented by the group of soloists is commonly imitative fugato. Bartók's harmonic language throughout the movement is typically very chromatic and contains modal inflections. There are several spots within the movement where harmony seems to imitate common Baroque harmony, explicit evidence supporting the work's neoclassicism.
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Echopraxia is the involuntary mirroring of an observed action. Imitated actions can range from simple motor tasks such as picking up a phone to violent actions such as hitting another person. Imitative learning and emulation of physical and verbal actions are critical to early development (up to the age of two or three), but when these behaviors become reactions rather than a means for learning, they are considered echophenomena (copying behaviors).
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By three years old, the child needed no help developing his vocabulary because he was learning from others. Thus, language is imitative. Watson goes on to claim that, "words are but substitutes for objects and situations." In his earlier baby experiment, the baby learned to say "da" when he wanted a bottle, or "mama" when he wanted his mom, or "shoe-da" when he pointed to his father's shoe.
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The story is related in the legend of St. Sebastian that Agrestius Chromatius, allegedly prefect of Rome,Both Chromatius and Fabianus are not inserted in the historical list of prefects of Rome. condemned several Christians to death. The prefect, however, was converted by Tranquillinus, father of Mark and Marcellian, and baptized by Polycarp.Ebenezer Cobham Brewer, A Dictionary of Miracles: Imitative, Realistic, and Dogmatic (Chatto and Windus, 1901), 11.
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A variant: The Holy Family with the Mayfly (NGA 1943.3.3453) The exact date of creation is not known. It may have been an imitative piece from his apprenticeship, a copy of older master such as Martin Schongauer. The precise shape of Dürer's monogram is most similar to works dated 1494-95, and the presence of a gondola in the background places it after his 1494 trip to Venice.
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He was born in Zanjan. After education and living in Tehran for some years, he came back to his hometown. His father Mohammad Monzavi was also a poet that had written some poems in the same languages that wrote imitative poem for Mohammad-Hossein Shahriar's Heydar Babaya Salam.:az:حسین منزوی Hüseyn Münzəvi Homayoun Shajarian, a Persian traditional singer, has used lyrics of Hossein Monzavi in Setareh-ha (The Stars) music album.
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Most of Buxtehude's chorale settings are in this form. Here is an example from chorale Ein feste Burg ist unser Gott BuxWV 184: Opening bars of Ein feste Burg ist unser Gott BuxWV 184. The ornamented chorale in the upper voice is highlighted, original melody for the two lines present here is shown on separate staves. Note the basic imitative lines in bars 6–8 and 13–15.
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He wrote around 20 chansons, 15 motets, and 2 masses.The Harvard Biographical Dictionary of Music, edited by Don Michael Randel (Belknap Press, 1996), p. 182. Courtois’ work exhibits the varied imitative procedures and shifting textural treatment which typify the Franco-Netherlandish motet style. The chansons, for 4 voices, are in the "Parisian" style of the day; the works for 5 or 6 voices are in the more contrapuntal "Netherlandish" style.
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Literary criticism is thought to have existed as long as literature. In the 4th century BC Aristotle wrote the Poetics, a typology and description of literary forms with many specific criticisms of contemporary works of art. Poetics developed for the first time the concepts of mimesis and catharsis, which are still crucial in literary studies. Plato's attacks on poetry as imitative, secondary, and false were formative as well.
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The aria is introduced by a flowing oboe d'amore solo melody. The closing chorale is similar to the version that appeared twice in Die Elenden sollen essen, BWV 75, the first cantata that Bach performed in his position as Thomaskantor. Compared to the previous work, in this one Bach added horns and timpani for more festivity and for symmetry with the opening movement, and expanded the imitative instrumental entries.
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Fischer (1997) reports that in strong light four lines of imitative (crude, non-boustrophedon) script are visible on both sides, but that "in indirect light there are fainter traces of smaller rongorongo glyphs in six or seven lines on each side." The smaller hand implies a second scribe. Even the cruder glyphs are only partially legible, with some 55 "trace elements" remaining. ;Barthel Barthel did not transcribe this text.
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In Nomines are typically consort pieces for four or five instruments, especially consorts of viols. One instrument plays the theme through as a cantus firmus with each note lasting one or even two measures; usually this is the second part from the top. The other parts play more complex lines, often in imitative counterpoint. Usually they take up several new motifs in turn, using each one as a point of imitation.
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John Dewey describes an important distinction between two different forms of imitation: imitation as an end in itself and imitation with a purpose. Imitation as an end is more akin to mimicry, in which a person copies another's act to repeat that action again. This kind of imitation is often observed in animals. Imitation with a purpose utilizes the imitative act as a means to accomplish something more significant.
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A mirror neuron is a neuron that fires both when an animal acts and when the animal observes the same action performed by another. Thus, the neuron "mirrors" the behavior of the other, as though the observer were itself acting. Such neurons have been directly observed in primate species. Birds have been shown to have imitative resonance behaviors and neurological evidence suggests the presence of some form of mirroring system.
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Its arrangement and extended coda encouraged many imitative works through to the early 1970s. In 2013, Billboard magazine named it the 10th "biggest" song of all time in terms of chart success. McCartney has continued to perform "Hey Jude" in concert since Lennon's death in 1980, leading audiences in singing the coda. Julian Lennon and McCartney have each bid successfully at auction for items of memorabilia related to the song's creation.
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Dean (1965), pp. 170–71 Mina Curtiss, in her book on Bizet, dismisses the text as banal and imitative. Donal Henahan of The New York Times, writing in 1986, said that the libretto "rank[ed] right down there with the most appallingly inept of its kind". The writers themselves admitted its shortcomings: Cormon commented later that had they been aware of Bizet's quality as a composer, they would have tried harder.
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In the late Baroque period (late 18th century), many classical architectural elements lost their simple shapes and became increasingly complex, offering variety of forms and exuberant decoration. One of such elements where these changes were most visible was the altarpiece, where a special column commonly known as stipe, was introduced. Its shaft consists of various superimposed shapes serving as support for highly ornate decoration, mainly imitative of vegetation.
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"Blyth, A (1984) Review of Sawallisch version of Die Feen Gramophone 7/1984, available at . Link checked 7 August 2007. In The New York Times, critic John Rockwell acknowledges the presence of passages imitative of Weber and Marschner but says that there are "wonderfully original passages too... Some of the instrumental writing is exquisite. And especially in the final two acts, there are ensembles and scenes of undeniable strength of personality.
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It may also range into foothills (up to about 1,500 m elevation), second-growth, open woodlands (including plantations) and is sometimes seen around meadows, but they always require trees-etc., for their camouflaged imitative perch. In the day they are normally found perching or nesting usually higher than 12 meters above ground level within big trees. The branches they choose to perch usually are nearly 20 to 30 centimeters in diameter.
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The Indonesian Broadcasting Commission (KPI) issued a warning to the producers of Anak Jalanan on November 24, 2015 for the use of explicit violence in the November 11, 2015 episode. The show also often depicts scenes of motorcycle racing. The KPI deemed this type of material to be unsuitable for broadcast due to the potential of imitative behaviour by audience members, especially as the show is mainly watched by teenagers.
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When this song was first released, it was thought to be too long to air on the radio, but now the song is popular in Japan. Every summer, NHK air a shorter version as a symbol of the 'No War Campaign'. In the song, an imitative word 'Zawawa' is repeated 66 times, because of this, it is often called 'Zawawa'. Moriyama often called "Satokibi Batake" 'Zawawa' as a joke.
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The third single by the Stones, Buddy Holly's "Not Fade Away", reflecting Bo Diddley's style, was released in February 1964 and reached No. 3. Oldham saw little future for an act that lost significant songwriting royalties by playing songs of what he described as "middle-aged blacks", limiting the appeal to teenage audiences. Jagger and Richards decided to write songs together. Oldham described the first batch as "soppy and imitative".
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Los Angeles Times, film review, "Lost Embrace: This poignant film resonates with unexpected charm," February 4, 2005. Last accessed: January 13, 2008. Peter Keough, critic for the Boston Phoenix, also liked Burman's direction, though at times he said the film felt a bit derivative, and wrote, "Burman captures with an affection and an irony that match François Truffaut's, though his stylistic mannerisms can seem a little imitative."Keough, Peter.
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Some idea of the rich variety of forms found in the Sonatinae may be gleaned from the following examples: Sonata IX is a passacaglia in which the main theme is presented as a canon at the fifth in the first and the last sections; and statements of the ostinato sometimes overlap with formal sections of the sonata. Sonata XII, the last in the cycle, consists entirely of imitative movements, unlike other sonatas, in which imitative movements are either absent or are surrounded by free sections, such as slow lyrical arias, toccata-like movements with rapid passagework over sustained bass notes, etc. Albertini's sonatas are very demanding technically, with frequent instances of difficult fast passages, leaps, sudden changes of register and, particularly in the last sonata, double stopping. Apart from the Sonatinae, two works are known by name from catalogues: Sonata hyllaris ex C à 10 (from a 1699 inventory) and a suite of 7 pieces à 4.
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Since many of the motet texts of the 1589 and 1591 sets are pathetic in tone, it is not surprising that many of them continue and develop the 'affective-imitative' vein found in some motets from the 1570s, though in a more concise and concentrated form. Domine praestolamur (1589) is a good example of this style, laid out in imitative paragraphs based on subjects which characteristically emphasise the expressive minor second and minor sixth, with continuations which subsequently break off and are heard separately (another technique which Byrd had learnt from his study of Ferrabosco). Byrd evolved a special "cell" technique for setting the petitionary clauses such as miserere mei or libera nos Domine which form the focal point for a number of the texts. Particularly striking examples of these are the final section of Tribulatio proxima est (1589) and the multi-sectional Infelix ego (1591), a large-scale motet which takes its point of departure from Tribue Domine of 1575.
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If so the art is non-representational—also called abstract. Realism and abstraction exist on a continuum. Impressionism is an example of a representational style that was not directly imitative, but strove to create an "impression" of nature. If the work is not representational and is an expression of the artist's feelings, longings and aspirations, or is a search for ideals of beauty and form, the work is non-representational or a work of expressionism.
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To read it, a musician must know the instrument's tuning, number of strings, etc. Renaissance and Baroque forms of lute music are similar to keyboard music of the periods. Intabulations of vocal works were very common, as well as various dances, some of which disappeared during the 17th century, such as the piva and the saltarello. The advent of polyphony brought about fantasias: complex, intricate pieces with much use of imitative counterpoint.
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Howard Caygill, Kant Dictionary (). This genius is a talent for producing ideas which can be described as non-imitative. Kant's discussion of the characteristics of genius is largely contained within the Critique of Judgment and was well received by the Romantics of the early 19th century. In addition, much of Schopenhauer's theory of genius, particularly regarding talent and freedom from constraint, is directly derived from paragraphs of Part I of Kant's Critique of Judgment. E.g.
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They object but acquiesce. Stefan-Brook Grant has proposed the term "fugue",Grant, S., Samuel Beckett's Radio Plays: Music of the Absurd an imitative compositional technique, to describe the initial attempts of Joe and Bob to work together. At the very least there is a contrapuntal aspect to the repetitions and echoes that eventually combine in mutual performance. The term fugue may be stretching things a bit but is not far off the mark.
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Lexová set out classifications for the various dances of the period: the purely movemental dance, the gymnastic dance, the imitative dance, the pair dance, the group dance, the war dance, the dramatic dance, the lyrical dance, the grotesque dance, the funeral dance and the religious dance. Dance scholar and performer Elizabeth "Artemis" Mourat also categorized dances into six types: religious dances, non-religious dances, banquet dances, harem dances, combat dances and street dances.
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Both in his original and imitative works Slaveykov further developed the Bulgarian language. He wrote patriotic songs and poems, love and landscape lyric poetry under the influence of Russian poets Aleksandr Pushkin, Afanasy Fet and Nikolay Karamzin. Parts of his historical patriotic poems likely influenced by Paisius' Istoriya Slavyanobolgarskaya have been preserved: Krumiada, Kralev Marko, Samuilka, Gergana. He issued two collections of folk songs, in 1860 and 1868, and restored the collected proverbs, numbering 17,000.
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Those who differentiate individual capital tend to see it as something that one can invest in, directly, and see growth, directly. For individual skill, even skill at a highly imitative enterprise, like sports or mastery of a musical instrument, this is very often quite measurable. Many enterprises, for instance, a music conservatory or circus school or creative writing coach, are clearly making a living on the identification and (somewhat) measurable enhancement of the individual.
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The five- part scoring and imitative textures employed in most of the chansons suggest that Van Wilder took a Flemish stylistic model, contrasting with the lighter, more homophonic style favoured by native French composers. A number of them are resttings of texts already set, sometimes several times, by other composers. The fragmentary En despit des envyeulx (a7) is a canonic treatment of a 15th-century monophonic chanson, and is one of five polyphonic surviving settings.
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Lawrence Cohn of Variety wrote, "Split Second is an extremely stupid monster film, boasting enough violence and special effects to satisfy less-discriminating vid fans." Chris Willman of the Los Angeles Times wrote, "It's hard to think of a less satisfying creature feature in recent memory than the simply terrible Split Second." Stephen Holden of The New York Times called it "fairly dull". Doug Brod of Entertainment Weekly called it "utterly soulless and imitative".
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Thus, queer pornography can disassemble the pornographic norm by mimicking it. Additionally, queer pornography clearly reveals the imitative process of gender identification when introducing the figure of the transgender man. Compared to trans woman(male-to-female) individuals depicted across other types of pornography, female-to-male trans men appear significantly in feminist and queer pornography. Films of queer pornography make "deviant" sexualities more visible by simultaneously starting a process of their normalization.
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It is often referred to as synchronous behavior, mimetic behavior, imitative behavior, and social facilitation. Allelomimetic behavior is displayed in all animals and can occur in any stage of life, but usually starts at a young age. This behavior will continue throughout life, especially when an individual is living in a large group that emphasizes group cohesion. Cohesion is seen as a prerequisite for group living, with synchronous activity being crucial for social cohesion.
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Melpomene is a rich and lush work reminiscent of Wagner, and the comedy overture Thalia is imitative of Mendelssohn's light and lively style. A choral/orchestral piece, The Lily Nymph, presents a mixture of techniques borrowed from Mendelssohn and Impressionism. Among his chamber works, the First String Quartet and Second String Quartet demonstrate a solid knowledge of developmental procedures as well as inventiveness, while the Third String Quartet (1882?-1886) displays more mastery in instrumentation.
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Variation 1 uses basic ornamentation of the melody in the soprano, while the two lower voices engage in imitative counterpoint. Variation 2 uses the melody in diminution in the soprano, lower voices provide support in longer note values. Variation 3 utilizes the same principle in reverse, the chorale supported by shorter note values in the bass. Variation 4 consists of rapid arpeggios distributed between hands and based on the harmonic structure of the original melody.
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He listed the dominant tastes in all children to include, but not limited to: #Rummaging or inclination to handle everything, examine everything, look through everything, to constantly change occupations; #Industrial commotion, taste for noisy occupations; #Aping or imitative mania. #Industrial miniature, a taste for miniature workshops. #Progressive attraction of the weak toward the strong. Fourier was deeply disturbed by the disorder of his time and wanted to stabilize the course of events which surrounded him.
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Agnus Dei II begins as if the cantus firmus is present on 'A', but proceeds to a freely composed trio. Agnus Dei III places the now-familiar tune in extremely long notes sung by the highest voice. Beginning on 'A', an indication instructing the soprano to "sing without ceasing" is present, which means, without rests. The other three voices in this movement sing closely woven, motivic, imitative passages around the climatic top voice.
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The chorale "Wie schön leuchtet der Morgenstern", associated variously with Epiphany, Whit, Annunciation, and Sundays after Trinity, is set by Pachelbel as a three-voice prelude with the chorale in the bass voice. Pachelbel uses fore-imitation throughout the piece: whenever the next phrase of the chorale is about to begin, the upper voices anticipate its melodic contour in brief imitative passages.Welter, pp. 145–46. First bars of Wie schön leuchtet der Morgenstern.
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Surra (Trypanosoma evansi infection) in a Tunisian dog Surra (from the Marathi sūra, meaning the sound of heavy breathing through nostrils, of imitative origin) is a disease of vertebrate animals. The disease is caused by protozoan trypanosomes, specifically Trypanosoma evansi, of several species which infect the blood of the vertebrate host, causing fever, weakness, and lethargy which lead to weight loss and anemia. In some animals the disease is fatal unless treated.
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Contrived example of a canon in three voices at the unison, two beats apart. In music, a canon is a contrapuntal (counterpoint-based) compositional technique that employs a melody with one or more imitations of the melody played after a given duration (e.g., quarter rest, one measure, etc.). The initial melody is called the leader (or dux), while the imitative melody, which is played in a different voice, is called the follower (or comes).
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The Daily Telegraph Neil McCormick characterized the album as "charming but inconsequential", while Mark Richardson of The Wall Street Journal described it as "earnest, forthright and delivered with polish", but "more imitative than original" and offering "no fresh perspective". In a mixed review, Jeremy D. Larson of Pitchfork described the "actual sound" of Fine Line as "incredible" as Styles' influences permeate the record, but considered his songwriting shallow and lacking in imagination.
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During his last decade, Mozart frequently exploited chromatic harmony. A notable instance is his String Quartet in C major, K. 465 (1785), whose introduction abounds in chromatic suspensions, giving rise to the work's nickname, the "Dissonance" quartet. Mozart had a gift for absorbing and adapting the valuable features of others' music. His travels helped in the forging of a unique compositional language.. Discussion of the sources of style as well as his early imitative ability.
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However, after his house, with his library of 7000 volumes, had been destroyed by fire, he returned to the USA in 1917, to serve as an adviser to Breitkopf & Härtel and editor of the Concert Exchange. He lectured widely, wrote for magazines and newspapers, published three books of poetry and a novel, and composed numerous pieces in various forms. His works are in a Romantic style, sometimes using themes and timbres imitative of Indian music.
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Paustovsky began writing while still in Gymnasium. His first works were imitative poetry but he restricted his writing to prose after Ivan Bunin wrote in a letter to him: "I think that your sphere, your real poetry, is prose. It is here, if you are determined enough, that I am sure you can achieve something significant." His first stories to be published were “Na vode” (“On The Water”) and “Chetvero” (“The Four”) in 1911 and 1912.
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By 1952, Ted White had mimeographed a four- page pamphlet about Superman, and James Taurasi issued the short-lived Fantasy Comics. In 1953, Bhob Stewart published The EC Fan Bulletin, which launched EC fandom of imitative EC fanzines. A few months later, Stewart, White and Larry Stark produced Potrzebie, planned as a literary journal of critical commentary about EC by Stark. Among the wave of EC fanzines that followed, the best-known was Ron Parker's Hoo-Hah!.
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Michael Kennedy (Oxford and New York: Oxford University Press, 1996). In this sense, a fugue is a style of composition, rather than a fixed structure. The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars, capriccios, canzonas, and fantasias. The famous fugue composer Johann Sebastian Bach (1685–1750) shaped his own works after those of Johann Jakob Froberger (1616–1667), Johann Pachelbel (1653–1706), Girolamo Frescobaldi (1583–1643), Dieterich Buxtehude (c.
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The same imitative or mimetic interaction with the natural sound world may also be mediated through the use of traditional musical instruments. Calm, mimetic singing in reproduction of the sounds of a certain place is believed to be the best possible offering to spirit-masters. This region is also famous for its indigenous shaman population. Shamans commonly created music in order to call upon spirits, conjure ancestors, discover birthplaces, connect with natural surroundings, and to attract spirits for hunters.
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Official temples also contained images of Confucius himself. However, there was opposition to this practice, which was seen as imitative of Buddhist temples. It was also argued that the point of the imperial temples was to honour Confucius's teachings, not the man himself. The lack of unity in likenesses in statues of Confucius first led Emperor Taizu of the Ming dynasty to decree that all new Confucian temples should contain only spirit tablets and no images.
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ArtNews described Payne Bowles in 1925 as "one of the most creative designers working in America" at that time. She opposed to art that is too imitative or structure-based, preferring instead to make free-form pieces in the Arts-and- Crafts-style that were well-proportioned, harmonious, and balanced.Newton and Weiss, pp. 21–22. In the 1920s, Payne Bowles entered a gold chalice in an art competition sponsored by Italian art patron J. Bossilini and won first place.
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The four ricercares of Intavolatura libro primo are multi-sectional works consisting essentially of series of imitative expositions of different subjects. The two surviving ensemble ricercares by Cavazzoni do not share these characteristics: there are no sections, no clearly defined cadential points, and the works are quite short compared to their keyboard counterparts. Cavazzoni's two canzonas, also contained in Intavolatura libro primo, are similar in design. They employ short, lively subjects derived from those in works by other composers.
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One category of tasks uses a preferential looking paradigm, with looking time as the dependent variable. For instance, 9-month-old infants prefer looking at behaviors performed by a human hand over those made by an inanimate hand-like object.Woodward, Infants selectively encode the goal object of an actor's reach, Cognition (1998) Other paradigms look at rates of imitative behavior, the ability to replicate and complete unfinished goal-directed acts, and rates of pretend play.Leslie, A. M. (1991).
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Malcolm Willits and Jim Bradley started The Comic Collector's News in October 1947. In 1953, Bhob Stewart published The EC Fan Bulletin, which launched EC fandom of imitative EC fanzines. Among the wave of EC fanzines that followed, the best-known was Ron Parker's Hoo-Hah! In 1960, Richard and Pat Lupoff launched their science fiction and comics fanzine Xero and in 1961, Jerry Bails' Alter Ego, devoted to costumed heroes, became a focal point for superhero comics fandom.
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His thirty chansons show a diversity of style, some being akin to the late Burgundian style (for example, as seen in Hayne van Ghizeghem or Gilles Binchois), and others using a more current imitative polyphonic style. Since La Rue never spent time in Italy, he never picked up the Italian frottola style which featured light, homophonic textures (which Josquin used so effectively in his popular El Grillo and Scaramella), and which so charmed the other members of his generation.
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Satire made occasional use of elements from spoken Greek. The period from the Fourth Crusade to the Fall of Constantinople saw a vigorous revival of imitative classicizing literature, as the Greeks sought to assert their cultural superiority over the militarily more powerful West. At the same time there was the beginning of a flourishing literature in an approximation to the vernacular Modern Greek. However the vernacular literature was limited to poetic romances and popular devotional writing.
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Several of the movements are named after organ solo stops or mixtures (bassoon, cornet, trumpet, sesquialtera, flute, twelfth, etc.). Many composers wrote voluntaries, including Orlando Gibbons, John Blow, Henry Purcell, William Boyce, John Stanley, Handel and Thomas Arne. Often, when English music printers published continental organ music, they would, by default, title the works as 'voluntaries', though the word was not used by composers in mainland Europe. Typically, these continental works were fugues or other imitative forms.
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An imitative adoption of the red-figure technique only developed in Etruria around 490 BC, nearly half a century after that style had been invented in Greece. Early produce is described as pseudo-red-figure Etruscan vase painting, due to its differing technique. Only by the end of the 5th century was the true red- figure technique introduced to Etruria. For both pseudo- and true red-figure, numerous painters, workshops and production centres have been recognised.
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In particular, cultural neuroscience shares common research goals with social neuroscientists examining how neurobiological mechanisms (e.g., mirror neurons), facilitate cultural transmission, (e.g., imitative learning) and neuroanthropologists examining how embedded culture, as captured by cross-species comparison and ethnography, is related to brain function. Cultural neuroscience also shares intellectual goals with critical neuroscience, a field of inquiry that scrutinizes the social, cultural, economic and political contexts and assumptions that underlie behavioral and brain science research as it is practiced today.
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Echopraxia is a typical symptom of Tourette syndrome but causes are not well elucidated. Frontal lobe animation One theoretical cause subject to ongoing debate surrounds the role of the mirror neuron system (MNS), a group of neurons in the inferior frontal gyrus (F5 region) of the brain that may influence imitative behaviors, but no widely accepted neural or computational models have been put forward to describe how mirror neuron activity supports cognitive functions such as imitation.
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In European classical music, imitative writing was featured heavily in the highly polyphonic compositions of the Renaissance and Baroque eras. A more improvisatory form of imitation can be found in Arab and Indian vocal music where the instrumentalist may accompany the vocalist in a vocal improvisation with imitation. In pop music a much clichéd form of imitation consists of a background choir repeating – usually the last notes – of the lead singer's last line. See: fill (music).
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For example, in Frank Gehry's Venice Beach House, the neighboring houses have a similar bright flat color. This vernacular sensitivity is often evident, but other times the designs respond to more high-style neighbors. James Stirling's Arthur M. Sackler Museum at Harvard University features a rounded corner and striped brick patterning that relate to the form and decoration of the polychromatic Victorian Memorial Hall across the street, although in neither case is the element imitative or historicist.
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An example of Japanese sound symbolism Japanese has a large inventory of sound symbolic or mimetic words, known in linguistics as ideophones. Sound symbolic words are found in written as well as spoken Japanese. Known popularly as onomatopoeia, these words are not just imitative of sounds but cover a much wider range of meanings; indeed, many sound-symbolic words in Japanese are for things that don't make any noise originally, most clearly demonstrated by , meaning "silently".
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Postvention includes procedures to alleviate the distress of suicidally bereaved individuals, reduce the risk of imitative suicidal behavior, and promote the healthy recovery of the affected community. Postvention can also take many forms depending on the situation in which the suicide takes place. Schools and colleges may include postvention strategies in overall crisis plans. These strategies are designed to prevent suicide clusters and to help students cope with the emotions of loss that follow the suicide of a friend.
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Perëndi is especially invoked by Albanians in incantations and songs praying for rain. Rituals were performed in times of summer drought to make it rain, usually in June and July, but sometimes also in the spring months when there was severe drought. In different Albanian regions, for rainmaking purpose, people threw water upwards to make it subsequently fall to the ground in the form of rain. This was an imitative type of magic practice with ritual songs.
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The parodic elements of Bach's "Cantate burlesque", Peasant Cantata are humorous in intent, making fun of the florid da capo arias then in fashion.Tilmouth, Michael. "Parody (ii)", Grove Music Online, Oxford Music Online, accessed 19 February 2012 Thereafter "parody" in music has generally been associated with humorous or satiric treatment of borrowed or imitative material. Later in the 18th century, Mozart parodied the lame melodies and routine forms of lesser composers of his day in his Musical Joke.
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GushiGushi: is the style based upon older forms of shi, but allowing new additions to the corpus (unlike the fixed corpus of the "classic shi" of the Shijing). One type of poetry imitative of "old" poetic forms is the Literary Yuefu. The literary yuefu include imitations in the style of original Han Dynasty ballad lyrics or imitations of the original "Southern-style" ballad lyrics from the Six Dynasties.Yip, 67 The gushi form begins with the Nineteen Old Poems.
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Pitcairne was a good classical scholar, and wrote Latin verses, occasionally with something more than mere imitative cleverness and skill. He was the joint author of a comedy, The Assembly, or Scotch Reformation, originally entitled The Phanaticks (1691),First published as "by a Scots Gentleman", London, 1722; Pitcairne identified as author in 1817 ed. and of a satirical poem Babel, containing witty sketches of prominent Presbyterian divines of the time, whom, as a loudly avowed Jacobite, he strongly disliked.
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His organ chorale preludes survive in numerous manuscript copies that circulated in Germany for decades after Armsdorff's death. Writing in 1758, Jakob Adlung praised Armsdorff's music as "agreeable to the ear."Apel 1972, 679. He was particularly known for his fugal writing, and traces of advanced imitative technique are present in the surviving works, particularly the two chorale preludes that employ the rare form of chorale canon: Allein Gott in der Höh and Es spricht der Unweisen Mund.
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The Bimaran casket, representing the Buddha surrounded by Brahma (left) and Śakra (right) was found inside a stupa with coins of Azes inside. British Museum. Several of them are toilet trays (also called Stone palettes) roughly imitative of earlier, and finer, Hellenistic ones found in the earlier layers. Marshall comments that "we have a praiseworthy effort to copy a Hellenistic original but obviously without the appreciation of form and skill which were necessary for the task".
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The term originates from the French gargouille, which in English is likely to mean "throat" or is otherwise known as the "gullet"; cf. Latin gurgulio, gula, gargula ("gullet" or "throat") and similar words derived from the root gar, "to swallow", which represented the gurgling sound of water (e.g., Portuguese and Spanish garganta, "throat"; gárgola, "gargoyle"). It is also connected to the French verb gargariser, which shares a Latin root with the verb "gargle" and is likely imitative in origin.
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462) the Operas of Mozart. London, Cassell. phrase outlines a circle of fifths chord progression:Don Giovanni Overture bars 133-141 violins and bass onlyDon Giovanni Overture bars 133-141 violins and bass only Simultaneously, Mozart adds to the mix and continues to develop the imitative counterpoint that grew out of the first phrase. In the words of Willam Mann, this development “unites both halves”Mann, W. (1977, p. 462) the Operas of Mozart. London, Cassell. of the theme.
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All of his extant music is contained in the print Recerchari, motetti, canzoni [...] libro primo, which was published in Venice in 1523. Included are the earliest known ricercars—they are not yet imitative, and are essentially written down improvisations, but there is a considerable amount of thematic development. The rest of the works in the collection are either arrangements of vocal pieces by Cavazzoni or other composers. Their style is firmly rooted in the Renaissance vocal chanson tradition.
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Realism and abstraction exist on a continuum. Impressionism is an example of a representational style that was not directly imitative, but strove to create an "impression" of nature. If the work is not representational and is an expression of the artist's feelings, longings and aspirations, or is a search for ideals of beauty and form, the work is non-representational or a work of expressionism. An iconographical analysis is one which focuses on particular design elements of an object.
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Barrios's compositions can be divided into three basic categories: folkloric, imitative and religious. Barrios paid tribute to the music and people of his native land by composing pieces modeled after folk songs from South America and Central America. Implementing the compositional style and techniques of the Baroque and Romantic periods was another side to his craftsmanship. Una Limosna por el Amor de Dios (Alms for the Love of God) is an example of a religiously-inspired work.
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The movement opens with a presentation of two instrumental themes, which repeat when the soprano enters with the chorale melody. The instrumental lines are complex compared to the vocal part. The alto and tenor duet, according to Ludwig Finscher, reflects the "Italian chamber duet (Steffani, Handel) on account of the motet-style arrangement of the text and the imitatory interweaving of the vocal parts". The melody enters in imitative layers based on the ascending-fourth interval.
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BELBIC, which is a model free controller, suffers from the same drawback of all intelligent model free controllers: it cannot be applied on unstable systems or systems with unstable equilibrium point. This is a natural result of the trial and error manner of the learning procedure, i.e. exploration for finding the appropriate control signals can lead to instability. By integrating imitative learning and fuzzy inference systems, BELBIC is generalized in order to be capable of controlling unstable systems.
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Robert Christgau wrote that Kid A is "an imaginative, imitative variation on a pop staple: sadness made pretty". The Village Voice called it "oblique oblique oblique ... Also incredibly beautiful." Brent DiCrescenzo of Pitchfork gave Kid A a perfect score, calling it "cacophonous yet tranquil, experimental yet familiar, foreign yet womb-like, spacious yet visceral, textured yet vaporous, awakening yet dreamlike". He concluded that Radiohead "must be the greatest band alive, if not the best since you know who".
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After thirty years of experimentation, Finkenbeiner's imitative prototype consisted of clear glasses and glasses later equipped with gold bands mimicking late 18th-century designs. The historical instruments with gold bands indicated the equivalent of the black keys on the piano, simplifying the multi-hued painted bowl rims with white accidentals as specified by Franklin. Finkenbeiner Inc., of Waltham, Massachusetts, continues to produce versions of these instruments commercially , featuring glass elements made of scientific formulated fused- silica quartz.
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Mintz and his studio began producing the cartoons in sound beginning with 1929's Ratskin. In 1930, he moved the staff to California and ultimately changed the design of Krazy Kat. The new character bore even less resemblance to the one in the newspapers. Mintz's Krazy Kat was, like many other early 1930s cartoon characters, imitative of Mickey Mouse, and usually engaged in slapstick comic adventures with his look-alike girlfriend and loyal pet dog.Maltin 207.
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Georgy Vladimirovich Ivanov (; in Puki Estate, Seda Volost, Kovno Governorate – 26 August 1958 in Hyères, Var, France) was a leading poet and essayist of the Russian emigration between the 1930s and 1950s. As a banker's son, Ivanov spent his young manhood in the elite circle of Russian golden youth. He started writing verses, imitative of Baudelaire and the French Symbolists, at a precocious age. Although his technique of versification was impeccable, he had no life experience to draw upon.
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Echolalia is the unsolicited repetition of vocalizations made by another person (when repeated by the same person, it is called palilalia). In its profound form it is automatic and effortless. It is one of the echophenomena, closely related to echopraxia, the automatic repetition of movements made by another person; both are "subsets of imitative behavior" whereby sounds or actions are imitated "without explicit awareness". Echolalia may be an immediate reaction to a stimulus or may be delayed.
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In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect them. It is suggested that the fires were a kind of imitative or sympathetic magic – they mimicked the Sun, helping the "powers of growth" and holding back the decay and darkness of winter.Frazer, James George (1922). The Golden Bough: A Study in Magic and Religion. Chapter 63, Part 1: On the Fire-festivals in general .MacCulloch, John Arnott (1911).
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Hall, S (ed.), Cultural Representations and Signifying Practice, Open University Press, London, 1997. Plato thus believed that representation needs to be controlled and monitored due to the possible dangers of fostering antisocial emotions or the imitation of evil. Aristotle went on to say it was a definitively human activity. From childhood man has an instinct for representation, and in this respect man differs from the other animals that he is far more imitative and learns his first lessons though imitating things.
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The term fuga was used as far back as the Middle Ages, but was initially used to refer to any kind of imitative counterpoint, including canons, which are now thought of as distinct from fugues. Prior to the 16th century, fugue was originally a genre. It was not until the 16th century that fugal technique as it is understood today began to be seen in pieces, both instrumental and vocal. Fugal writing is found in works such as fantasias, ricercares and canzonas.
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This variation features four-part writing with many imitative passages and its development in all voices but the bass is much like that of a fugue. The only specified ornament is a trill which is performed on a whole note and which lasts for two bars (11 and 12). The ground bass on which the entire set of variations is built is heard perhaps most explicitly in this variation (as well as in the Quodlibet) due to the simplicity of the bass voice.
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"Ave Maria ... Virgo serena" is a motet composed by Josquin des Prez. It is regarded as Josquin's most famous motet and one of the most famous pieces of the 15th century. The piece rose to extreme popularity in the 16th century, even appearing at the head of the first volume of motets ever printed. Its revolutionary open style featuring early imitative counterpoint and two-voice parts has added to its acclaim as one of the most influential compositions of its time.
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A bass drum kick on every beat provides the musical foundation until the first chorus, when Adam Clayton's bass guitar enters. In contrast to the violent nature of the verses, the emergence of major chords creates a feeling of hope during Bono's "How long, how long must we sing this song?" refrain. During the chorus, the Edge's backing vocals further develop this tread, using a harmonic imitative echo. The snare drum is absent from this section, and the guitar parts are muted.
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Charles Buckler used the Decorated Gothic style, imitative of 13th- and 14th-century churches, for his design for St Peter's Church. The structure is of cobbled flint dressed with ashlar. It lacks a spire or tower, but there is a bell-tower at the west end of the roof, which is tiled and gabled. There are four large lancet windows in the north and south walls, separated by buttresses; until the building's conversion from a nursing home into flats, these had elaborate tracery.
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Some of Naumenko's songs are more or less faithful translations or remakes of English language source material (the notions of copyright and plagiarism being hardly established in the Soviet Union, especially as regards works created on the other side of the Iron Curtain). Largely imitative, Naumenko's input was yet very significant as he adapted the Western rock tradition to Russian culture and the urban realities of Leningrad.Chernov, Sergey. Unexposed genius: Musicians will gather this week to remember the late Zoopark singer Mike Naumenko.
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Blue and white decoration first became widely used in Chinese porcelain in the 14th century, after the cobalt pigment for the blue began to be imported from Persia. It was widely exported, and inspired imitative wares in Islamic ceramics, and in Japan, and later European tin-glazed earthenware such as Delftware and after the techniques were discovered in the 18th century, European porcelain. Blue and white pottery in all of these traditions continues to be produced, most of it copying earlier styles.
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Etymological theory recognizes that words originate through a limited number of basic mechanisms, the most important of which are language change, borrowing (i.e., the adoption of "loanwords" from other languages); word formation such as derivation and compounding; and onomatopoeia and sound symbolism (i.e., the creation of imitative words such as "click" or "grunt"). While the origin of newly emerged words is often more or less transparent, it tends to become obscured through time due to sound change or semantic change.
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The movements of the Southern Dragon style () of Shaolin Boxing are based on the mythical Chinese dragon. The Dragon style is an imitative-style that was developed based on the imagined characteristics of the mythical Chinese dragon. The Dragon played an influential and beneficial role in Chinese culture. An amalgam of several creatures, including monitor lizards, pythons and the Chinese alligator, the polymorphic dragon was a water spirit, responsible for bringing the rains and thus ensuring the survival of crops.
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Archbald, Lawrence. Style and Structure in the Praeludia of Dietrich Buxtehude. Ann Arbor: UMI Research Press, 1985. They consist of strict diatonic harmony and secondary dominants. Structure-wise, there usually is an introductory section, a fugue and a postlude, but this basic scheme is very frequently expanded: both BuxWV 137 and BuxWV 148 include a full-fledged chaconne along with fugal and toccata-like writing in other sections, BuxWV 141 includes two fugues, sections of imitative counterpoint and parts with chordal writing.
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Vibrato is an expressive technique that is imitative of the voice in the wavering of the pitch up and down.Jamie Fiste, "Cello Vibrato" It is not created by an upper arm motion; rather, it is more of forearm motion. The fixed point of contact of the fingertip on the string absorbs this motion by rocking back and forth, with the thumb typically aligned with the middle finger. This change in the attitude of the fingertip to the string varies the pitch.
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Parents Magazine. The storyteller-listener relationship creates an emotional bond between the parent and the child. Due to "the strength of the imitative instinct" of a child, the parent and the stories that they tell act as a model for the child to follow. Bedtime stories are also useful for teaching the child abstract virtues such as sympathy, selflessness, and self-control, as most children are said to be "naturally sympathetic when they have experienced or can imagine the feelings of others".
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Though Callahan notes that Adams did not necessarily originate these elements, but was influenced himself by Michael Golden and Micronauts, he states that Adams popularized them. Noting also that Adams' Longshot pencils were inked by Whilce Portacio and an uncredited Scott Williams, Callahan refers to that book as "early Image, in primal form". Artists whose work has been viewed as imitative of Adams' style, or who have named Adams as an influence include Joe Madureira,Tabu, Hannibal (March 16, 2008).
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It is shown, however, that "children with autism exhibit significant deficits in imitation that are associated with impairments in other social communication skills." To help children with autism, reciprocal imitation training (RIT) is used. It is a naturalistic imitation intervention that helps teach the social benefits of imitation during play by increasing child responsiveness and by increasing imitative language. Reinforcement learning, both positive and negative, and punishment, are used by people that children imitate to either promote or discontinue behavior.
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Yawning may be an offshoot of the same imitative impulse. A 2007 study found that young children with autism spectrum disorders do not increase their yawning frequency after seeing videos of other people yawning, in contrast to neurotypical children. In fact, the autistic children actually yawned less during the videos of yawning than during the control videos. The relationship between yawn contagion and empathy is strongly supported by a 2011 behavioural study, conducted by Ivan Norscia and Elisabetta Palagi (University of Pisa, Italy).
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The cellos present an imitative motif to introduce the bass. John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage in 2000, comments that Bach "conjures up an irresistible picture of two coin-polishers at work, a sort of eighteenth-century sorcerer goading his apprentice", observing that "two cellos polish away in contrary motion with wide intervalic leaps". Bach was interested in coins and precious metals. The conductor Craig Smith compares the dark texture to the "descent into the earth in Wagner's Das Rheingold".
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Most of his music is in the light secular form of the frottola, an ancestor of the madrigal. 35 of his frottole survive, along with two motets and a lauda. Stylistically they are typical of the time: homophonic texture predominates, with brief imitative passages at phrase beginnings; the melodies are memorable and easily singable. One of his frottola was evidently the favorite song of Cesare Borgia, the son of Pope Alexander VI, according to a manuscript source of the time.
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The aria adopts the "echo" form prominent in early Italian opera: another alto voice engages in imitative exchanges with Hercules and with the instrumental lines. Virtue proceeds with a secco recitative and "ebullient" aria entreating Hercules to follow the right path that he might "soar on his wings like an eagle to the stars". Virtue concludes with another secco recitative warning Hercules not to succumb to Lust's temptations. Hercules sings a da capo aria expressing his conviction to follow Virtue's advice.
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31, 1677 by the famed villancico poet Sor Juana Inés de la Cruz, which sings "tumba, la-lá-la, tumba la-lé- le/wherever Peter enters, no one remains a slave".Stevenson, "Ethnological Impulses." Other examples of "ethnic" villancicos include the jácara, gallego, and tocotín. Villancico composers, who typically held positions as maestro de capilla (chapel master) at the major cathedrals in Spain and the New World, wrote in many different renaissance and baroque styles, including homophony, imitative polyphony, and polychoral settings.
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John Browne has the most compositions (10), followed by Richard Davy (9) and Walter Lambe (8). Stylistically, the music contained in the Eton Choirbook shows three phases in the development of early Renaissance polyphony in England. The first phase is represented by the music of Richard Hygons, William Horwood and Gilbert Banester. Most of the music of this early phase is polyphonic but non- imitative, with contrast achieved by alternation of full five-voice texture with sections sung by fewer voices.
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Although such imitative signaling retained an iconic character rather than fully symbolic, they involved an act of displacement in communication since the body could be miles away and discovered hours earlier. Over time, the sounds signifying something like a mammoth would be decontextualized and come to resemble something much more closely resembling a word. Displacement, Bickerton claims, is the hallmark feature of language. In Bickerton's view, these words allowed the formation of concepts rather than mere categories that animals are also capable of.
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Imitative-styles are styles that were developed based on the characteristics of a particular creature such as a bird or an insect. Entire systems of fighting were developed based on the observations of their movement, fighting abilities and spirit. Examples of the most well-known styles are white crane, tiger, monkey (Houquan), dog and mantis. In some systems, a variety of animals are used to represent the style of the system; for instance, there are twelve animals in most Xing yi practice.
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His flies were quite small, 10s, 12s and sometimes 14s. He might have a Worm Fly on a single hook on the point, a Grenadier (caddis pupa) on the middle dropper and a Buzzer (midge pupa) on the top. All his dressings were plain and simple. Nevertheless, in the 1920s and 30s he set the scene and pointed the way in which imitative patterns of underwater insects were to develop as one of the major techniques of reservoir trout fishing.
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The Strickland family helped Sciortino to obtain a government grant attend a course in Rome, at 22 he went to continue his studies in art. In Rome, he studied in the Istituto Reale di Belle Arti where for two years he studied engineering and monumental architecture. After earning a diploma with distinction, he opened an art studio in via Margutta 33 in the heart of the Roman artistic tradition. Here Sciortino decided to free himself from imitative tradition and develop a personal style.
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The curlews (), genus Numenius, are a group of nine species of birds, characterised by long, slender, downcurved bills and mottled brown plumage. The English name is imitative of the Eurasian curlew's call, but may have been influenced by the Old French corliu, "messenger", from courir , "to run". It was first recorded in 1377 in Langland's Piers Plowman "Fissch to lyue in þe flode..Þe corlue by kynde of þe eyre". In Europe "curlew" usually refers to one species, the Eurasian curlew Numenius arquata.
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The name of the school, stated in Neutra's iconic aluminum letters floating on a plain brick wall, was typically the only architectural decoration. This economy of expression and cost extended to their other work. And F&G; shared with many other early American modernists—architects and industrial designers alike—the ideal of developing a design ethic peculiar to their region, thus producing something American and not merely imitative of Europeans. For Fehr that meant local limestone rockwork inside and out.
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Imitative treatments attempt to help "kickstart" the motor systems involved in the production of both vocal and facial emotive gestures. The basis for this treatment is the belief that the pathways responsible for the motor elements of expressive prosody were damaged. It is hypothesized that the motor damage occurs at the level of planning as well as the level of execution.Rosenbek, J. C., Rodriguez, A. D., Hieber, B., Leon, S. A., Crucian, G. P., Ketterson, T. U., et al. (2006).
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For an action to be an instance of imitative learning, an animal must observe and reproduce the specific pattern of movements produced by the model. Some researchers have proposed evidence that true imitation does not occur in non- primates, and that the observational learning exhibited involves less cognitively complex means such as stimulus enhancement. Chimpanzees are more apt to learning by emulation rather than true imitation. The exception is encultured chimpanzees, which are chimpanzees raised as if they were children.
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On major State occasions the Chapel Royal choir also sang at Westminster Abbey, or at Old St Paul's. Byrd treats his forces with great resourcefulness. Most of the movements are divided into several sections, known at the time as 'verses'. A few passages(such as the Kyrie) are set in plain style with the two 'sides' of the choir in unison, but elsewhere Byrd makes full use of the possibilities for imitative writing and for various antiphonal and half-contrapuntal textures.
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American rock and roll acts such as Elvis Presley, Little Richard and Buddy Holly thereafter became major forces in the British charts. The initial response of the British music industry was to attempt to produce copies of American records, recorded with session musicians and often fronted by teen idols. British rock and rollers soon began to appear, including Wee Willie Harris and Tommy Steele. The bland or wholly imitative form of much British rock and roll in this period meant that the American product remained dominant.
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In Notes Jefferson criticized the effects slavery had on both white and African-American slave society. He writes: > There must doubtless be an unhappy influence on the manners of our people > produced by the existence of slavery among us. The whole commerce between > master and slave is a perpetual exercise of the most boisterous passions, > the most unremitting despotism on the one part, and degrading submissions on > the other. Our children see this, and learn to imitate it; for man is an > imitative animal.
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The middle section (B) of the movement also has two elements, an imitative passage in B minor accompanied only by the strings, and a mostly homophonic part with strings and woodwinds, after which A is repeated completely. Musicologist Julian Mincham notes that "the sweeping exhilaration of this movement is impossible to describe in words". Bach reused the movement as the opening movement of his Christmas Oratorio, "Jauchzet, frohlocket" (Shout for joy, exult). The voices imitate the sound of timpani and trumpets even with the new text.
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The A section is homophonic, while the central B section features imitative textures and a xangô-like theme set against a syncopated accompaniment in quadruple time (; ). The third movement is also in ternary form, but with a variation. The A section falls into two parts, which are reversed in order when A is recapitulated after the central B section . The tonal language and textural features of the outer sections resemble those of the Bachianas Brasileiras, especially parts of the first movement of Bachianas No. 5.
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It is featured in Chris Smith's 2009 book 101 Albums That Changed Popular Music, where Smith highlights the album among the most "obvious" choices for inclusion due to its continued commercial success, the wealth of imitative works it inspired, and its ongoing recognition as "a defining moment in the history of music". In the NMEs 2014 article "25 Albums With the Most Incredible Production", Emily Barker described Sgt. Pepper as "kaleidoscopic" and an "orchestral baroque pop masterpiece the likes of which has rarely been matched since".
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Byrd's set contains compositions in a wide variety of musical styles, reflecting the variegated character of the texts which he was setting. The three-part section includes settings of metrical versions of the seven penitential psalms, in an archaic style which reflects the influence of the psalm collections. Other items from the three-part and four-part section are in a lighter vein, employing a line-by-line imitative technique and a predominant crotchet pulse (The nightingale so pleasant (a3), Is love a boy? (a4) ).
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In a 2017 review of William Baer's Thirteen on Form: Conversations with Poets for the LA Review of Books, Patrick Kurp wrote, "Among the many reasons poets choose to write formal poetry in the 21st century is an intuitive distaste for the imitative fallacy. To write about chaos, one need not write chaotically. It's only a minor paradox to say that discipline and constraint unlock freedom."A Negative Freedom: Thirteen Poets on Formal Verse by Patrick Kurp, LA Review of Books, October 26, 2017.
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The poor artificial intelligence of enemies and stealth mechanics were also noted. According to GameSpot, "in theory you should be sneaking up on enemies, defusing bombs, and saving hostages. In practice, however, enemies turn around and attack even when you're sneaking up on them and defusing bombs requires no effort, so the suggestion of strategy is moot." Although the different mini- games were praised for giving the game variety, some reviewers felt that they were clearly imitative of games such as Spy Hunter and Operation Wolf.
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Emperor Xiaomin took the throne, but did not use the title "emperor" (皇帝, huáng dì), but used the Zhou Dynasty- style title "Heavenly Prince" (Tian Wang). He posthumously honored Yuwen Tai as Prince Wen and the Princess Pingyi as Princess Wen. He created the former Emperor Gong the Duke of Song, but soon thereafter, the duke was executed. The governmental structure and ceremonies were largely imitative of Zhou Dynasty, but also incorporated many Xianbei elements, largely abandoning Han customs originated in the post-Zhou centuries.
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112–113 Discussing this ideological transition, Ioan Stanomir noted: "The hybridization [of Iorga's discourse] allows for the integration of a nationalist and populist seam."Stanomir, p. 113 In addition to referencing the Junimist Eminescu, the arguments put forth by Iorga owed much to the Junimea doyen and Conservative Party politician Titu Maiorescu. Like Maiorescu, Eminescu and Iorga both cautioned against the National Liberal version of modernization and Westernization, which they viewed as too imitative and fast- pace to be naturally absorbed by Romanian society ("forms without substance").
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There are also 19 harpsichord suites and several variation sets. The suites follow the standard model (Allemande – Sarabande – Courante – Gigue), sometimes excluding a movement and sometimes adding a second sarabande or a couple of doubles. Like Froberger's, all dances except the gigues employ the French lute style brisé, sarabandes and courantes frequently being variations on the allemande. The gigues employ basic imitative counterpoint but never go as far as the gigue fugues in the chorale fantasias or the fugal writing seen in organ preludes.
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First known use was in 1590, from Malay gong or gung of imitative origin. ; Gutta-percha : a whitish rubber substance derived from the coagulated milky latex of any of these trees: used in electrical insulation and dentistry, or any of several tropical trees of the sapotaceous genera Palaquium and Payena, especially Palaquium gutta. First known use was in 1845, from Malay getah perca, from getah ('gum') + perca ('strips of cloth' which it resembles), altered by association with obsolete gutta ('gum'), from Latin gutta ('a drop').
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Contrasting with the turbulent first section, the second theme in A major, starting at measure 24, is calm and marked cantabile. The beginning 6 bars present the first half of this section, whose initial descending motif will be reused throughout the movement. The second half, in a slightly more vivid tempo and marked poco scherzando, features imitative counterpoint in both hands. Starting at measure 43, the second theme leads to the placid codetta, also in A major, which is based on the initial theme.
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Lyrically, the works are often humorous and draw on local dialects and sayings; musically, the works make skillful use of imitation and intentional parallel fifths. Nola published a book of madrigals in 1545; of the 29 works in the book, 22 are settings of Petrarch, including one madrigal, six canzoni and fifteen sonnets. The works show a balance of imitative and homophonic textures, and make use of strategic accidentals to heighten musical tension. Nola often uses the note nere style common in his day.
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A distinctive body of ceòl mór known as fiddle pibroch developed in this period with melodic themes and formal variations that are similar to, but not necessarily derived from or imitative of concurrent bagpipe pibroch, as the name "fiddle pibroch" might suggest. The two forms are likely to have developed in parallel from a common shared source in earlier harp music and Gaelic song.David Johnson, Scottish fiddle music in the 18th century: a music collection and historical study, John Donald Publishers, 1984, p. 122-146.
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Evaluations of him as an artist are somewhat mixed. Indeed, he himself is reported to have once said: : "My pictures – they are merely something that I draw, and nothing more than that!"Newland 2005, 502 The main criticisms of his works relate to his "predominantly imitative" style,Lane 1978, 151 and to the "marked decline" in the quality of works from later in his career.Waterhouse 1975, 200 However, Toyokuni's style is admired for characteristics such as "decorative bombast",Lane 1978, 152 and "bold, taut designs".
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For example, a stronger fMRI response was observed in classic mirror areas (premotor, parietal and posterior superior temporal sulcus) when ballet experts observed ballet sequences, than when they viewed matched capoeira stimuli. The fact that mirror system activation is sensitive to sensorimotor expertise, provides a strong indication that the properties of mirror neurons are acquired through learning. Heyes and colleagues have also shown that a number of imitative effects, thought to be mediated by the mirror system, may be reversed through periods of 'counter-mirror' sensorimotor training.
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Television, as well as influencing its viewers, evoked an imitative response from other competing media as they struggle to keep pace and retain viewer- or readership.Shulman, Milton (1973) The Ravenous Eye, Cassell and Company, p. 277. According to a study published in 2008, conducted by John Robinson and Steven Martin from the University of Maryland, people who are not satisfied with their lives spend 30% more time watching TV than satisfied people do. The research was conducted with 30,000 people during the period between 1975 and 2006.
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Frisch's style changed across the various phases of his work. His early work is strongly influenced by the poetical imagery of Albin Zollinger, and not without a certain imitative lyricism, something from which in later life he would distance himself, dismissing it as "phoney poeticising" ("falsche Poetisierung"). His later works employed a tighter, consciously unpretentious style, which Frisch himself described as "generally very colloquial" ("im Allgemeinen sehr gesprochen."). Walter Schenker saw Frisch's first language as Zurich German, the dialect of Swiss German with which he grew up.
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Fabricio arrives and gives Clorinda her music lesson. Bertolucci's servant Bacòlo spots an opportunity for him to win the heart and hand of Moschetta, who has spurned him so far, by assisting with a plot to outwit their master and musical snob. This very day Fagotto has consented to be witness at the signing of the marriage contract between Clorinda and Caramelo. Fagotto appears wearing an eccentric costume; he then displays some especially gymnastic skills and his talent in imitative music including animals and fireworks.
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The non-imitative parts frequently employ techniques unusual for the genre at the time: extended duets, motifs transforming into ostinato patterns.Apel 1972, 188–189. Twelve more tientos appear in Obras de música: six from an earlier period in Cabezón's career, and six late works. While the earlier pieces are similar in many respects to the Libro de cifra pieces, Cabezón's late tientos use smaller note values, have a tendency towards longer and more characteristic subjects, and many of their features anticipate the music of the Baroque period.
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Lowens 1964, . He cites the words of Thomas Morley, who wrote (in 1597 in his Plaine and Easie Introduction to Practicall Musicke), "We call that a Fuge, when one part beginneth and the other singeth the same, for some number of Notes (which the first did sing)."Lowens 1953, 46–47. In modern musical terminology, this is called a "canon", though Lowens interprets the passage more loosely, explaining that "fuging is pretty well synonymous with what we today call the technique of imitative writing".
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Only four issues were published. Patten describes Bentley as "slow and imitative of other publishers", with "a strong bourgeois streak that prompted him to stand upon his proprietorial and editorial dignity, even when he lost contributors through his stubbornness", and describes his launch of the review as an "overreaching" that is typical of him. The firm slowly became successful again. From June 1859 to May 1860, Bentley published a series of "Tales from Bentley" that reprinted stories from Bentley's Miscellany, which was a success.
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He rarely used the cantus firmus technique, preferring the then-new Venetian polychoral manner, yet he was equally conversant with earlier imitative techniques. Some of his chromatic transitions foreshadowed the breakup of modality; his five-voice motet Mirabile mysterium contains chromaticism worthy of Carlo Gesualdo. He enjoyed word painting in the style of the madrigal, yet he could write the simple Ecce quomodo moritur justusJeż 2007, p. 40 later used by George Frideric Handel in his funeral anthem The Ways of Zion Do Mourn.
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He claims writers find it is easier to gum together long strings of words than to pick words specifically for their meaningparticularly in political writing, where Orwell notes that "[o]rthodoxy ... seems to demand a lifeless, imitative style". Political speech and writing are generally in defence of the indefensible and so lead to a euphemistic inflated style. Orwell criticises bad writing habits which spread by imitation. He argues that writers must think more clearly because thinking clearly "is a necessary first step toward political regeneration".
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In the smooth and apparently effortless perfection with which she achieves her ends Mrs. Christie reminds one of Noël Coward; she might, indeed, in that respect be called the Noël Coward of the detective novel." An unnamed reviewer in the Daily Mirror of 16 January 1936 said, "I'm thanking heaven I've got a name that begins with a letter near the end of the alphabet! That's just in case some imitative soul uses this book as a text book for some nice little series of murders.
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Thus, one phrase might be soloistic, the next set in imitative polyphony, the next homophonic, the next an instrumental tutti, and so on. Alternatively, a chorus could declaim a text homophonically while violins played in an entirely different style at the same time – in a different register, in a different location in the church, all performed over a basso continuo. The stile concertato spread throughout Europe and was particularly dominant in Italy and Germany, later forming the basis of the Baroque concerto, the concerto grosso, and the German cantata.
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"Fugue" as a theoretical term first occurred in 1330 when Jacobus of Liege wrote about the fuga in his Speculum musicae. The fugue arose from the technique of "imitation", where the same musical material was repeated starting on a different note. Gioseffo Zarlino, a composer, author, and theorist in the Renaissance, was one of the first to distinguish between the two types of imitative counterpoint: fugues and canons (which he called imitations). Originally, this was to aid improvisation, but by the 1550s, it was considered a technique of composition.
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Speech production is the process by which thoughts are translated into speech. This includes the selection of words, the organization of relevant grammatical forms, and then the articulation of the resulting sounds by the motor system using the vocal apparatus. Speech production can be spontaneous such as when a person creates the words of a conversation, reactive such as when they name a picture or read aloud a written word, or imitative, such as in speech repetition. Speech production is not the same as language production since language can also be produced manually by signs.
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Rodenbach worked as a lawyer and journalist. He spent the last ten years of his life in Paris as the correspondent of the Journal de Bruxelles, and was an intimate of Edmond de Goncourt. He published eight collections of verse and four novels, as well as short stories, stage works and criticism. He produced some Parisian and purely imitative work; but a major part of his production is the outcome of a passionate idealism of the quiet Flemish towns in which he had passed his childhood and early youth.
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Overall, these machines formed short trains of at most about a dozen small carriages or wagons, often far fewer. Routes were quite short, some tens of kilometres, with operational speed below . The slowness and rudimentary comfort of the secondary railways have passed into folk stories; anecdotes abound of unsavoury episodes, passengers getting off the train to push it up a steep hill, children hot-wiring cars to run alongside the breathing machine. Their users gave them nicknames: ("twisters"), ("bangers"), ("cuckoos"), (imitative, as on the Boisleux Marquion line), and so on.
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While famous during his time, Jhan's work has largely faded into obscurity. He wrote in most of the genres current in the early 16th century, including, in sacred vocal music, masses (all but one of which are lost), motets, and lamentations. In style the sacred music is similar to the work of Josquin des Prez (died 1521), using imitative passages alternating with homophony. Jhan wrote his one surviving setting of the mass for the accession to the dukedom of Ercole II d'Este (1534); it uses cantus-firmus technique.
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The first 2 forms/sections of big Luohan quan, which has 36 postures in total, is an ancient form called golden child small Luohan quan (). Shaolin small and big Luohan quans are also practiced by the folk people of Dengfeng area around Shaolin in a less Luohan-imitative version, which drops out or simplifies the Luohan-imitating postures of Shaolin original Luohan quan. Shaolin Luohan quan movements, though simple, are highly advanced and deceptive. Attack and defense are masked by Luohan Buddhist postures and come out from unlikely angles.
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In literature usage, the term denotes a literary technique employing a generally light-hearted tongue-in- cheek imitation of another's style; although jocular, it is usually respectful. The word implies a lack of originality or coherence, an imitative jumble, but with the advent of postmodernism pastiche has become positively constructed as deliberate, witty homage or playful imitation. For example, many stories featuring Sherlock Holmes, originally penned by Arthur Conan Doyle, have been written as pastiches since the author's time. Ellery Queen and Nero Wolfe are other popular subjects of mystery parodies and pastiches.
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Another exhibition at the Belgian pavilion was the Congolese village that some have branded a human zoo. The Ministry of Colonies built the Congolese exhibit, intending to demonstrate their claim to have "civilized" the "primitive Africans." Native Congolese art was rejected for display, as the Ministry claimed it was "insufficiently Congolese." Instead, nearly all of the art on display was created by Europeans in a purposefully primitive and imitative style, and the entrance of the exhibit featured a bust of King Leopold II, under whose colonial rule millions of Congolese died.
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Seven of his motets have survived, as well as one which has now been attributed to Jacquet of Mantua. They are for four or five voices, and use the principle of pervading imitation throughout, with two using a cantus firmus with a separate text, an archaic technique by the early 16th century. They lack the contrasts of texture – switches from polyphonic to homophonic writing, and dense to sparse vocal groupings – which can be found in the music of his contemporaries. Vermont's chansons, all for four voices, also favor imitative textures.
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A cornet organ stop is similar to that of a mixture, but they are primarily used as a solo voice, though it is not imitative of the orchestral cornet. A cornet will always contain the fifth and major third, and, depending on the number of ranks, may contain octaves, and more rarely the minor seventh, and ninth. A cornet pipes are made of metal and voiced as flutes, the 8' rank is usually made of stopped metal pipes. The ranks will usually be justly tuned to reinforce the fundamental.
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Users of the analytic-linguistic approach address the problem explicitly through listening exercises, recently including high variability phonetic training. In both approaches, it is believed that as students improve their perception of L2 sounds, they will be better able to match their production of L2 sounds to the models provided. Proponents of the articulatory approach argue that it is more efficient to begin by working on the production of L2 sounds directly (as a motor skill rather than an imitative task) and that this leads to improved L2 perception.
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Boswell argues that these same-sex unions were not "imitative" of mixed-sex marriage, but perhaps represented an attempt by same-sex couples to "participate in" the wider culture. He subsequently deals with the introduction of legal prohibitions against such same-sex unions in the late Empire. Chapter four, "Views of the New Religion", looks at the influence of early Christianity on relationships. Noting that the faith encouraged asceticism and celibacy, he discusses the devalued role of marriage in Christian society, and the increased popularity of asexual marriage.
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At the outset of the Augustan age, essays were still primarily imitative, novels were few and still dominated by the Romance, and prose was a rarely used format for satire, but, by the end of the period, the English essay was a fully formed periodical feature, novels surpassed drama as entertainment and as an outlet for serious authors, and prose was serving every conceivable function in public discourse. It is the age that most provides the transition from a court-centered and poetic literature to a more democratic, decentralized literary world of prose.
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Humans demonstrated the use of a tool to a group of orangutans and then presented orangutans with the same tools and desirable, but out-of-reach, food. Orangutans used the tools to obtain food, but they did not use the same exact methods as the human demonstrators. This suggests that subjects paid attention to the general functional relationship between the task and the result, but did not adhere to the actual methods of tool use demonstrated, and were thus not imitating. In a naturalistic environment, imitative learning is seen in many animal species.
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The first data of the title, recorded by Ibn Rusta and Gardizi, can be traced back to the earlier works of Abu Abdallah al-Jayhani. According to these earliest pieces of evidence, the Hungarians were ruled conjointly by two ‘kings’. The major one, called kende (or künde), enjoyed nominal leadership, while effective power was exercised by his colleague, inferior in rank, called the gyula. This peculiar form of governance (‘dual kingship’) is generally supposed to have been imitative of the Khazar Khaganate, which did indeed have a similar organization.
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The river is sometimes also referred to as "northern Olona" for the homonymy with another Olona, who was born in Bornasco and flows into the Po after having crossed the Province of Pavia. This second Olona, in turn, is designated as "inferior" or "southern". The homonymy is not of imitative or etymological origin, but it is due to the fact that originally it was two trunks of the same river, diverted by the ancient Romans in its upper stretch towards Milan to bring water to the moat of the defensive walls of the city.
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A bow-wow theory is any of the theories by various scholars, including Jean- Jacques Rousseau and Johann Gottfried Herder, on the origins of human language. Bow-wow theories suggest that the first human languages developed as onomatopoeia, imitations of natural sounds. The name "bow-wow theory" was coined by Max Müller, a philologist who was critical of the notion. The bow- wow theory is largely discredited as an account of the origin of language, though some contemporary theories suggest that general imitative abilities may have played an important role in the evolution of language.
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There are over 40 surviving chorale settings by Buxtehude, and they constitute the most important contributions to the genre in the 17th century. His settings include chorale variations, chorale ricercares, chorale fantasias and chorale preludes. Buxtehude's principal contributions to the organ chorale are his 30 short chorale preludes. The chorale preludes are usually four-part cantus firmus settings of one stanza of the chorale; the melody is presented in an elaborately ornamented version in the upper voice, the three lower parts engage in some form of counterpoint (not necessarily imitative).
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A second version was recorded, with Dutronc's former bandmate Hadi Kalafate on vocals. Wolfsohn then asked Dutronc if he would be interested in recording his own version. The single reached number 2 in the French charts in September 1966. Cultural historian Larry Portis describes the arrival of Dutronc on the French music scene, along with that of Michel Polnareff at around the same time, as representing "the first French rock music that can be considered a musically competent and non-imitative incorporation of African-American and African- American-British influences".
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Jaws was the prototypical summer blockbuster, regarded as a watershed moment in motion picture history, and it won several awards for its music and editing. It was the highest-grossing film until the release of Star Wars in 1977. Both films were pivotal in establishing the modern Hollywood business model, which pursues high box- office returns from action and adventure films with simple high-concept premises, released during the summer in thousands of theaters and heavily advertised. Jaws was followed by three sequels, all with neither Spielberg nor Benchley, and many imitative thrillers.
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Concluding a theme brought up most explicitly in the Analogies of the Sun and Divided Line in Book VI, Socrates finally rejects any form of imitative art and concludes that such artists have no place in the just city. He continues on to argue for the immortality of the psyche and even espouses a theory of reincarnation. He finishes by detailing the rewards of being just, both in this life and the next. Artists create things but they are only different copies of the idea of the original.
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Castle Catholic was applied more specifically by Republicans to middle-class Catholics assimilated into the pro-British establishment, after Dublin Castle, the centre of the British administration. Sometimes the exaggerated pronunciation spelling Cawtholic was used to suggest an accent imitative of British Received Pronunciation. These identified Catholic unionists whose involvement in the British system was the whole aim of O'Connell's Emancipation Act of 1829. Having and exercising their new legal rights under the Act, Castle Catholics were then rather illogically being pilloried by other Catholics for exercising them to the full.
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Bandura found that the children exposed to the aggressive model were more likely to pursue physically aggressive behavior than those who were not exposed to the aggressive model. In regards to the aggressive model, the number of imitative physical aggressions exhibited by the boys was 38.2 and 12.7 for the girls.: 89 The results concerning gender differences strongly satisfied Bandura's prediction that children are more influenced by same-sex models. Results also showed that boys exhibited more aggression when exposed to aggressive male models than aggressive female models.
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Named after their whale-shaped body (from the Greek ketos meaning "whale" or "sea monster", mimos meaning "imitative" and the Latin forma meaning "form"), the Cetomimiformes have extremely large mouths and highly distensible stomachs. Their eyes are very small or vestigial; the lateral line (composed of huge, hollow tubes) is consequently very well developed to compensate for life in the pitch black depths. The dorsal and anal fins are set far back; all fins lack spines. The swim bladder is also absent, except in the larvae and juveniles which occur in the surface waters.
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Transfer printed plate using two transfers, puce and green, c. 1830, Staffordshire pottery, Enoch Wood & Co. Underglaze normally uses a transparent glaze, and therefore reveals the undecorated parts of the fired body. In porcelain these are white, but many of the imitative types, such as Delftware, have brownish earthenware bodies, which are given a white tin-glaze and either inglaze or overglaze decoration. With the English invention of creamware and other white-bodied earthenwares in the 18th century, underglaze decoration became widely used on earthenware as well as porcelain.
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Roberts's first book, Orion and Other Poems (1880), was a collection of poetry written in his teen years. It was a vanity book; he paid an advance of $300 to have it published, borrowing money from George E. Fenety, the Queen's Printer for New Brunswick, and his father-in-law-to-be. Much later, in 1958, the critic Desmond Pacey deemed it a "remarkable performance" considering the age of the writer. Editor Ross Kilpatrick called the poems "imitative, naively romantic, defective in diction", but also "facile, clever, and occasionally distinctly beautiful".
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In most of his fiction, Carter was consciously imitative of the themes, subjects and styles of authors he admired. He usually identified his models in the introductions or afterwords of his novels, as well as in the introductory notes to self-anthologized or collected short stories. His best- known works are his sword and planet and sword and sorcery novels in the tradition of Edgar Rice Burroughs, Robert E. Howard, and James Branch Cabell. His first published book, The Wizard of Lemuria (1965), first of the "Thongor the Barbarian" series, combines both influences.
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Battle scene in a landscape with soldiers on horseback, c. 1520, engraving Marco Dente da Ravenna (1493–1527), usually just called Marco Dente, was an Italian engraver born in Ravenna in the latter part of the 15th Century. He was a prominent figure within the circle of printmakers around Marcantonio Raimondi in Rome, and is known for the imitative nature of his works that characterize his career. His prints in specific cases are also of certain interest in that we can see the impact and design of sculptural restorations.
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The opening movement sets only a single line: the biblical quotation from Genesis which became the title of the cantata. The movement has an eight-measure ritornello that opens, ends, and bisects the movement; it features a prominent imitative motif. The second movement is a tenor aria accompanied by continuo and obbligato oboe d'amore, which perform a long ritornello serving much the same structural function as in the first movement. Craig Smith suggests that this is "perhaps the single most difficult tenor aria in the whole repertoire", with "wild and extremely ornate melismas".
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Pete quid vis, a piece of unknown origins and function, consists of a large variety of different treatments of a single theme, either treated imitatively itself, or accompanied by independently conceived imitative passages.Keyl 1989, 337–338. First bars of Schlick's 10-voice setting of Ascendo ad Patrem meum Schlick's letter to Bernardo Clesio contains his only known late works: a set of eight settings of the sequence verse Gaude Dei genitrix (from the Christmas sequence Natus ante saecula) and a set of two settings of the Ascension antiphon Ascendo ad Patrem meum.Keyl 1989, 378–379.
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The opening chorus of this cantata is shorter than average and is a substantial reworking of the opening chorus from , composed two years earlier and performed again the previous year. It employs a ritornello theme followed by a fanfare-like choral entry. The original movement was a two-part vocal entry; the expansion relies on imitative pairings, reflecting the earlier texture. Craig Smith suggests that this is one of Bach's most successful arrangements of his own work because it remakes the "patchy" and "hollow" duet into "something richly varied and exquisitely delicate".
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All of Févin's surviving music is vocal. He wrote masses, motets and chansons. Stylistically his music is similar to Josquin's in its clarity of texture and design, and its relatively progressive nature: Févin evidently wrote in the most current styles, adopting the method of contrasting imitative sections with homophonic sections which came into prominence around 1490. Unlike Josquin, he was less concerned with the careful setting of text than with formal structure; his setting of individual words is occasionally clumsy, though his larger-scale structures are easy to follow.
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The Baroque composer Girolamo Frescobaldi is regarded as an important innovator in the field of the ricercare, a forerunner of the later fugue form of imitative counterpoint. Indeed, this final movement of Musica ricercata is structured as a loose ricercare or fugue, and was later published in an organ version titled Ricercare per organo – Omaggio a Girolamo Frescobaldi in 1953. The subject is a tone row employing all twelve chromatic pitches. Successive entrances of the theme occur at the fifth, as in a proper fugue, but always immediately follow the previous complete subject statement.
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She composed many works during the first half of the 17th century, including Promptuarium Musicum and Siren Colestis. In 1609, Assandra took vows and entered the Benedictine monastery of Saint Agata in Lomello, in the Lombard region of northern Italy. She adopted "Agata" as her religious name and continued composing, including a collection of motets in the new concertato style in Milan in 1609, an imitative eight-voice Salve Regina in 1611, and a motet, Audite verbum Dominum, for four voices in 1618. After entering the convent, Assandra published no new books of music.
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Ken Dancyger writes that its "imitative and innovative style" – like that of its predecessor, Reservoir Dogs – represents > a new phenomenon, the movie whose style is created from the context of movie > life rather than real life. The consequence is twofold – the presumption of > deep knowledge on the part of the audience of those forms such as the > gangster films or Westerns, horror films or adventure films. And that the > parody or alteration of that film creates a new form, a different experience > for the audience.Dancyger (2002), p. 228.
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As time passed, some artists sought new approaches to their work that no longer reflected only the Roman manner. The Carracci studio sought innovation or invention, seeking new ways to break away from traditional modes of painting while continuing to look for inspiration from their literary contemporaries; the studio formulated a style that was distinguished from the recognized manners of art in their time. This style was seen as both systematic and imitative, borrowing particular motifs from the past Roman schools of art and innovating a modernistic approach.
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The mirror neuron system, located in the frontal lobe of the brain, is a network of neurons that become active when an animal either performs a behavior or observes that behavior being performed by another. For example, the same mirror neurons will become active when a monkey grasps an object as when it watches another monkey do so. While the significance of mirror neurons is still up for debate in the scientific community, there are many who believe them to be the primary biological component in imitative learning.
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After the Chipmunks' initial success in 1958, plans were almost immediately made to make them into an animated cartoon series. Unfortunately, there were some initial art direction snags (specifically with the character designs) and the show was delayed. This gap resulted in a race between the Chipmunks and an imitative group created by jazz musicians Don Elliott and Granville "Sascha" Burland, which they called the Nutty Squirrels. Both musical groups featured the defining sped-up voices, but Ross Bagdasarian Sr.'s Chipmunks favored popular music while the Squirrels favored jazz, particularly of the bebop variety.
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Transmission security refers to measures that are designed to protect data from unauthorized interception, traffic analysis, and imitative deception. These measures include Secure Sockets Layer (SSL), iSeries Access for Windows, and virtual private network (VPN) connections.IBM: Transmission security options A secure data transmission should enable the identity of the sender and receiver to be verified by using a cryptographic shared key system as well as protect the data to be modified by a third party when it crosses the network. This can be done using AES or Triple DES with an encrypted SSL tunnel.
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The school song, "Fair Reed," is sung to the tune of the 1912 popular song "Believe Me, if All Those Endearing Young Charms." It may be imitative of the Harvard anthem "Fair Harvard," which is also sung to the tune of "Believe Me, if All Those Endearing Young Charms." It was composed by former president William Trufant Foster shortly after Reed's founding, and is rarely heard today. An unofficial Reed Alma Mater, "Epistemology Forever," sung to the tune of "The Battle Hymn of the Republic," has been sung by Reed students since the 1950s.
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The work begins with a sinfonia and then alternates choral movements and arias. There are no recitatives, no da capo repeats, and there is no chorale tune, unusually for Bach's cantatas. Bach makes extensive use of choral fugues and imitative polyphony, often shifting the tempo and character of the music within movements very quickly to accommodate a new musical idea with each successive phrase of text. The sinfonia and the opening choral movement are both based on the motive of an octave leap followed by five descending half steps.
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The Oregon Symphony was conducted by James DePreist, pictured in 2005 with President George W. Bush after receiving the National Medal of Arts. The album received a mixed reception. Blair Sanderson of AllMusic found Svoboda's compositions to be imitative, specifically comparing Overture of the Season to work by Leoš Janáček and Symphony No. 1 to "equal parts" of Hugo Alfvén and Jean Sibelius, with "just a dash" of Carl Nielsen. Sanderson criticized the harmonic language of Concerto for Marimba and Orchestra and found DePonte's performance to be admirable but "weakly planned".
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Tragedy and comedy, he goes on to explain, are wholly imitative types; the dithyramb is wholly narrative; and their combination is found in epic poetry. When reporting or narrating, "the poet is speaking in his own person; he never leads us to suppose that he is any one else"; when imitating, the poet produces an "assimilation of himself to another, either by the use of voice or gesture".Plato, Republic, Book III. In dramatic texts, the poet never speaks directly; in narrative texts, the poet speaks as him or herself.
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Cato wrote both vocal and instrumental music, and both sacred and secular: however he was most famous for his works for lute. The lute works include dozens of pieces in many forms and styles, including choreae polonicae, fantasias, galliards, transcriptions of Italian madrigals, passamezzos, and preludes, all of which he probably played himself. Stylistically, they cover the full range of possibilities on the lute. The preludes are chordal for the most part; the fantasias are imitative ricercars; and there is a set of eight Polish dances, probably derived from actual folk music.
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Harvard Dictionary of Music, p. 473. During the late 15th century, cantus firmus technique was by far the most frequent method used to unify cyclic masses. The cantus firmus, which at first was drawn from Gregorian chant, but later from other sources such as secular chansons, was usually set in longer notes in the tenor voice (the next-to-lowest).Lockwood, Grove The other voices could be used in many ways, ranging from freely composed polyphony to strict canon, but the texture was predominantly polyphonic but non-imitative.
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The methods of treatment are being evaluated and changed through several iterations to reach the most beneficial treatment for those with aprosodia. Although the biggest limitation on progress of aprosodia treatment is sample size, some significant data has been found to influence each subsequent phase of study. The Rosenbek lab at the University of Florida is currently in a new phase of treatment study based on combinations of the cognitive-linguistic and imitative therapies delivered in a randomized fashion in an effort to gain more insight into what most prominently affects aprosodia treatment.
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4 Attorneys in the firm's Denver office were listed in 5280 Magazine's Denver's Top 2017 Lawyers. David Lewandowski was recognized by NCET as the 2017 Technology Advocate of the Year. Fennemore Craig is listed in the Phoenix Business Journal as the third largest law firm in Phoenix. Fennemore Craig is listed in the Denver Business Journal as the 45th largest law firm in Denver Phil Fargotstein and Michelle De Blasi received The Outstanding Mentor Award for their efforts mentoring second year law students in ASU's Program on Law & Sustainability Mentorship Imitative in Sustainability Law.
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Due to the shallowness of the river, an Act of Parliament was passed in 1801 to create the Driffield Navigation and other associated works. The main route was made further north using Frodingham Beck, and then a new canal from Fisholme through Wansford to Driffield, but the act included navigation to Corpslanding. The village of Hutton Cranswick created a wharf at Corpslanding, and this has now become the upper legal limit of navigation on the waterway. The river is for fly fishing only using either dry flies or nymph imitative patterns.
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She uses this model in various scenarios in which a human or a robot is the instructor teaching a student robot to build symbolic representations of the world, learn a synthetic proto-language, or perform specific imitative movements. During her brief postdoctoral work back at EPFL, Billard proposes a theoretical framework with which to understand multi-robot communication systems. She probabilistically modelled a multi-robot system and found that her model was able to accurately predict the ability of the system to process dynamic environmental information and apply it to communication and task learning among other robots.
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Sometimes the duo would play simultaneously instead, both adding harmonies, melodies and bass lines and engineering sounds together. Margouleff said: In their book Analog Days, Trevor Pinch and Frank Trocco said the sounds Cecil and Margouleff produced were "neither kitschy, funny, nor imitative," and instead pushed the machine to its limits. Cecil reflected that, instead of approaching TONTO with pre-conceived notions, they attempted to make music "intrinsic to the instrument," with the synth dictating how the duo progressed. Although they were tempted to add to the sounds on their music, they ultimately remained purists and opposed the idea.
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Nettl describes the Eastern music area as the region between the Mississippi river and the Atlantic. The most complex styles being that of the Southeastern Creek, Yuchi, Cherokee, Choctaw, Iroquois and their language group, the simpler style being that of the Algonquian language group including Delaware and Penobscot. The Algonquian speaking Shawnee have a relatively complex style influenced by the nearby southeastern tribes. The characteristics of this entire area include short iterative phrases, reverting relationships, shouts before, during, and after singing, anhematonic pentatonic scales, simple rhythms and metre and, according to Nettl, antiphonal or responsorial techniques including "rudimentary imitative polyphony".
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Its duration is just over five minutes. It is written in D major for: two sopranos, two altos, tenor, two basses, choir, and orchestra (two oboes, two bassoons, three trumpets, timpani, strings, and continuo). The music prepares a surprise in its orchestral introduction via the use of static layering of soft string textures, followed by a sudden rousing forte tutti entrance, augmented by three trumpets. The middle section "And all the people rejoic'd, and said" is an imitative dance in 3/4 time, mainly with the choir singing in a homophonic texture and a dotted rhythm in the strings.
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They are characterized by smooth, competent imitative writing in two and three voices. Occasionally Narváez resorts to using short motifs with identical left hand fingerings, probably reflecting the techniques he used for improvisation. The music reflects the influence of Francesco da Milano, whose works Narváez collected. The third volume of the collection is dedicated exclusively to intabulations of works by other composers: selections from masses by Josquin des Prez, the famous song Mille Regretz by the same composer (subtitled "La canción del Emperador", probably suggesting that it was Charles V's favorite song), and two songs by Nicolas Gombert and one by Jean Richafort.
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As a poet he was imitative: reminiscences of Dositej and Vezilić are noticeable in his patriotic songs; of Goldoni in his lyrical poems. He wrote hastily to satisfy artistic canons; but despite his faults he also had the merits of a pioneer, and in Serbia, Bosnia, Montenegro and other parts where Serbs live his name will endure. His collected poems and writings first appeared under the title Lukijana Mušickog stihodvorenia (The Works of Lukijan Mušicki) posthumously in Budapest in 1838 and 1840 (in two volumes), and the other two volumes were released in Novi Sad in 1844 and 1847.
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Electoral authoritarianism means that democratic institutions are imitative and, due to numerous systematic violations of liberal democratic norms, in fact adhere to authoritarian methods. Electoral authoritarianism can be competitive and hegemonic, and the latter does not necessarily mean election irregularities. A. Schedler calls electoral authoritarianism a new form of authoritarian regime, not a hybrid regime or illiberal democracy. Moreover, a purely authoritarian regime does not need elections as a source of legitimacy while non-alternative elections, appointed at the request of the ruler, are not a sufficient condition for considering the regime conducting them to be hybrid.
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There has not been any evidence to suggest that Salvia use is problematic. Some "arguments" against Salvia have been of a preventative or imitative nature. North Dakota State Senator Randy Christmann (R) stated - "we need to stop this before it gets to be a huge problem not after it gets to be a huge problem"KXMBTV 2007-01-31 (US Media). and New Jersey Assemblyman Jack Conners (D) argued -"Salvia divinorum use may not be a runway epidemic, but it's certainly is a phenomenon that warrants attention. We should take preventive steps now to prevent wholesale problems later on"Teel 2006.
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Music critic Peter Robinson referred to it as Lipa's best single since 2015's "Be the One", and said the former is "so powerful it could reverse Brexit". In The Irish Times, Louise Bruton called the song "riveting" and "a perfect pop song". Writing for The Boston Globe, Nora Princiotti viewed "Physical" as an "instant-classic" and a "spine-tingling endorphin blast" with a "huge chorus". In his review for Pitchfork, Eric Torres wrote that the song's "vigorous chorus is as fit for the gym as the dancefloor" and appreciated that it "brushes past simplistic, imitative devotion".
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In general, scholars have remarked on the markedly different tone of the Achilleid in comparison with the Thebaid, equating it more to the style of Ovid than Virgil.Elaine Fantham in "Statius' Achilles and His Trojan Model" The Classical Quarterly New Series, 29.2 (1979, pp. 457–462) p 457 describes it as "a more varied and charming work than readers of the Thebaid could ever have imagined and is perhaps the most attractive approach to the imitative and professional poet.". Some have also noted the predominance of feminine themes and feminine power in the fragment and focus on the poem's perspectives on gender relations.
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Published in 1993, This is the continuation of the story begun in Henry and June, exposing the shattering psychological drama that drove Nin to seek absolution from her psychoanalysts for the ultimate transgression. This portion of Nin's diary, which was cut from the expurgated editions published in her lifetime, records her steamy love affair with Henry Miller in Paris, but here her intense adoration gives way to disillusionment. She describes Miller as crude, egotistic, imitative, childishly irresponsible, "a madman." Her real focus, however, is her father, Joaquin Nin, a Spanish pianist and aristocratic Don Juan who seduced her after a 20-year absence.
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Prayers of Kierkegaard is an unequivocal religious statement that Samuel Barber divided into four distinct parts, each representing a different prayer. The first section speaks of “God the Unchangeable” and begins in an unaccompanied chant performed by unaccompanied male voices in a Gregorian chant style. It then continues with the orchestra responding to the chant in imitative counterpoint until the chorus and orchestra join in climax on the words "Thou Art Unchanging", repeating the theme of the text. In the second section, which is recited in the first person, the soprano solo receives the melody from an oboe solo.
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In addition to the well known Preces and Responses, Smith composed seven verse anthems, five festal psalms, two communion services, and a Kyrie ‘10: severall wayes’. Additionally there are two organ fantasias in Smith's handwriting at the back of an organ book in the Durham Cathedral library. The first may be by Smith, although his name or initials do not appear in the score, but the second is of poorer quality and is unlikely to be by Smith himself. Smith's anthems employ the prevalent device of imitative verse sections, and exhibit his predilection for lengthy verse sections and short choruses.
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If they have, they would be among the earliest madrigals to be written outside of Florence and Rome, establishing Ferrara as another center of early madrigal composition, both of music and verse.Haar/Fenlon, pp. 74-75 Dalla Viola's madrigal settings conform closely to the form of the texts, most of which are ballate, and the musical texture is usually homophonic, with chordal rather than imitative or solo openings to his madrigals. Some of his music is surprisingly chromatic, predating Rore by more than a decade, and his lines are attentive to text expression, and contain occasional word- or phrase-painting.
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When exposed to low- performance models, it was found that the learner sparrows sacrificed imitative accuracy for higher performance, while when exposed to high- performance models, imitation was very accurate. The researchers suggest that this study may provide insight into how behaviors learned through imitation can still be selected for due to level of performance. Sewall explored the variation in learned bird songs in relation to social and genetic intermixing of families of red crossbills (Loxia curvirostra). When given to foster parents, it was shown that fledgling crossbills will imitate the particular variations in their foster parents' calls.
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Such structural connections are not uncommon in Chambonnières's suites, and sometimes they define subgroups in manuscript collections: the three courantes of the third suite of the livre premier are a prime example, linked by a scale motif both in the published versions and in the Oldham manuscript, where they too appear together, in the same sequence. The same suite has more examples of imitative counterpoint worked into the dance texture, e.g., in the final gigue and in the thematic importance of the tenor voice in the three- and four-part textures of the first few pieces.
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When Pinky still fails to wake up, Millie contacts Pinky's parents in Texas, hoping their presence at the hospital will help her regain consciousness. She wakes up, but does not recognize her parents and furiously demands that they leave. Once sent home to live with Millie again, Pinky begins to copy Millie's mannerisms and behavior--drinking and smoking, sleeping with Edgar, shooting guns at Dodge City--and demanding to be called "Mildred", both women's birth name. Millie becomes increasingly frustrated by Pinky's imitative shift in personality, and begins to exhibit Pinky's timid and submissive personality herself.
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Ferreira wrote the Terentian prose comedy, Bristo in (1553), at the age of twenty-five, and dedicated it to Prince John in the name of the university. It is neither a comedy of character nor manners, but its vis comica lies in its plot and situations. The Cioso, a later product, may almost be called a comedy of character. The death in 1554 of Prince John, the heir to the throne, drew from him, as from Camões, Bernardes and Caminha, a poetical lament, which consisted of an elegy and two eclogues, imitative of Virgil and Horace.
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Except for very brief periods, most movements inclusive of running are executed from either a squatting or semi-squatting position and are normally accompanied by very swift and 'jerky' head movements as the practitioner nervously looks around. The monkey staff, or hou gun (猴棍), is one of this style's specialty weapons. Monkey boxing is an imitative technique and so execution of the movements and facial expressions must be so convincing that it looks exactly like a monkey and not simply like a human imitating a monkey hence the very high degree of difficulty associated with this technique.
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Also, the term tsuyudakudaku is code for a larger amount of tsuyu. Sometimes, as with tsuyudakudakudaku ("dripping with soupiness"), people will request that the daku, or amount of tsuyu, be exceedingly increased. There's a theory that says daku comes from the taku part of takusan (eng: many / a lot) which, when doubled as in daku-daku, is also the onomatopoeia (imitative word) for the sound of dripping. The origin of tsuyudaku comes from Japanese businessmen (salaryman) on their morning commute to work who, due to time restrictions, ask for extra soupy gyūdon (gyūdon tsuyu ome ni) so that they can eat it quickly.
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Publishing the means of suicides, romanticized and sensationalized reporting—particularly about celebrities, suggestions that there is an epidemic, glorifying the deceased and simplifying the reasons all lead to increases in the suicide rate. People may see suicide as a glamorous ending, with the victim getting attention, sympathy, and concern that they never got in life. A second possible factor is that vulnerable youth may feel, "If they couldn't cut it, neither can I". Increased rate of suicides has been shown to occur up to ten days after a television report. Studies in Japan and Germany have replicated findings of an imitative effect.
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He used the term magic to mean sympathetic magic, describing it as a practice relying on the magician's belief "that things act on each other at a distance through a secret sympathy", something which he described as "an invisible ether". He further divided this magic into two forms, the "homeopathic (imitative, mimetic)" and the "contagious". The former was the idea that "like produces like", or that the similarity between two objects could result in one influencing the other. The latter was based on the idea that contact between two objects allowed the two to continue to influence one another at a distance.
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The console of the Royce Hall pipe organ at UCLA; built by Skinner in 1930, it is an excellent example of the Symphonic Organ. The symphonic organ is a style of pipe organ that flourished during the first three decades of the 20th century in town halls and other secular public venues, particularly in the United States and the United Kingdom. It has roots in the nineteenth century and the British passion for oratorios, and is a variation of the classical pipe organ. It features expanded capabilities, with many pipes imitative of orchestral instruments, and with capabilities for seamlessly adjusting volume and tone.
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While scouting the Skitter command tower in downtown Boston, Tom, Hal and Weaver spy a tall, humanoid alien species directing Skitters. They appear to be the "officers" or master- race commanding or controlling the Skitters. Tom theorizes that the reason they haven't seen them before is because in a normal military occupation, high-ranking officers don't expose themselves in open territory until they feel confident that they've secured a region. Weaver, who used to run a construction business, observes the alien tower and notes that both the aliens construction techniques and building materials are fairly imitative of those found on Earth.
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Victorians disapproved of the Georgian galleries, and most were removed during restorations in the 19th century.Simon Knott, Upwell at the Norfolk Churches site, Retrieved 5 October 2010 The music sung by gallery choirs often consisted of metrical psalm settings by composers with little formal training, often themselves local teachers or choir members. The tunes are usually two to four voice parts. "Tunes in reports" or fuguing tunes featured imitative entries of the parts, while anthems (settings of prose texts from the Bible or the Book of Common Prayer) often had changes of texture and musical meter.
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Some gold pieces were simply struck from regular silver dies. In addition to these gold pieces with meaningful inscriptions issued in the west, there circulated some genuine Arabic dinars and imitations of them. Curiously, several of these imitative dinars—including the famous example bearing the name of Offa of Mercia—are based on originals struck in the year 157 AH (773 or 774 AD). The precise significance of this remains uncertain: it may be that careful copies of a coin of this year circulated widely, or that particularly many dinars of this year entered the west for some reason.
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Living at extreme, lightless depths, adult females have evolved an exceptionally well-developed lateral line system. Their eyes are either very small or vestigial and instead this system of sensory pores (running the length of the body) helps the fish to accurately perceive its surroundings by detecting vibrations. Named after the baleen whale-like bodies of adult females (from the Greek ketos meaning "whale" or "sea monster" and mimos meaning "imitative"), Cetomimidae have large mouths, and their dorsal and anal fins are set far back of the head. All fins lack spines, and the pelvic fins are absent.
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Essential to this dynamic is the infant's growing capacity to recognize others as "intentional agents:" people "with the power to control their spontaneous behavior" and who "have goals and make active choices among behavioral means for attaining those goals."M. Tomasello 1995 "Joint attention as social cognition" in Joint Attention: Its Origins and Role in Development, ed. C. Moore and P. Dunham. Hillsdale, NJ: Erlbaum Press, pp. 103–130 The development of skills in joint attention by the end of a human child's first year of life provides the basis for the development of imitative learning in the second year.
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The different motifs in the ritornello thus also serve the purpose of accompanying specific parts of the text. The first predominant motif consist of detached repeated quaver chords, passed antiphonally between the three instrumental groups of recorders, oboes and strings. These are accompanied by similarly detached crotchets, scored as quavers with rests, in the walking bass of the continuo. After thirteen bars there follows a four bar passage of melifluous semiquaver passages in thirds for the recorders with imitative responses from the oboes; the upper strings take up the detached crotchets and the continuo the groups of detached repeated quavers.
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After 1780, the Federal-style of American Architecture began to diverge from the Georgian style and became a uniquely American genre; in 1813, the American architect Ithiel Town designed and in 1814–1816 built the first Gothic Style church in North America, Trinity Church on the Green in New Haven, predating the English Gothic revival by a decade. In the fields of literature, poetry, music, and drama some nascent artistic attempts were made, particularly in pre-war Philadelphia, but American (non- popular) culture in these fields was largely imitative of British culture for most of the period.
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Motets such as Oculi mei, of ambiguous key and intercalated with numberless diminished fourths, demonstrate perfectly the expressiveness of this harmonic audacity. The alternances of this kind of intense imitative composition painstakingly elaborated with sudden twitches of rhythmical homophony are also typical of the works Versa est in luctum and Commissa mea; in fact, the work of Morago for penitential and funerary texts is extremely sensitive. The works of Morago are kept in the archives of Viseu. The Fundação Calouste Gulbenkian published most of them in the book Obras de Música Religiosa (Portugaliae Musica IV, 1961).
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In 1961, Dashwood published Provincial Daughter, a light-hearted continuation of her mother's most famous work. Stylistically similar to Diary of a Provincial Lady, it is a semi-autobiographical account of domestic life in the 1950s. In the foreword, Dashwood wrote: > It seemed natural to write it in the same idiom, but if the result seems to > any reader too imitative, or even plagiaristic, I can only ask their > forgiveness, as the original Provincial Lady would, I am sure, most warmly > have given hers. The novel was a success and was re-issued in 2002 by Virago Press.
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Despite Sages sourcing her inspiration through observing indigenous art-making, her representation of the central Australian landscape does not include Aboriginal icons, techniques, and forms, but stimulated by her own senses and memories of the land. Curator Margot Osborne observed that Sages “approach to abstraction is not imitative of Aboriginal art, but there are affinities evident in her repetitive organic rhythms and textures and also in the underlying allusions to nature as a wellspring of spiritual understanding.” Sages landscape paintings feature the tactile and rhythmic patterns that resembles elements from nature, such as leaf skeletons, maggots, seeds, or weathered wood and fossilized tracks.
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Kids will relate to the storylines and characters, and will therefore > give thought to the responses the characters demonstrate and outcome of > those responses. Because "Arthur" presents real childhood issues, the show > contains some imitative behavior such as name calling or bickering, much > like children experience in their own lives. Kids might hear words like > "sissy" or "stupid" and see Arthur and D.W. argue. Should children mimic > some of these phrases or tactics, the show provides a good springboard for > parents to talk about the issues with their children and point out the > importance of considering others' feelings.
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Persephassa gains much of its effect from having the six percussionists distributed around the audience. The treatment of space as a musical parameter is one of the most important preoccupations of Xenakis' music, particularly in his works of the mid-to-late 1960s. (See, for example, Terretektorh (1966), which "distributes the eighty-eight musicians in quasi- stochastic fashion in a circular space around the conductor, with the audience being seated amid the musicians.") The dramatic impact of utilizing the performance space in this manner is evident in many passages throughout the piece in which accents or imitative rhythms are passed around the ensemble.
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Each prophecy consists of four elements, an enigmatic allegorical text, an emblematic picture, a motto, and an attribution to a pope. The series was augmented in the fourteenth century with further prophecies, with the incipit Ascende calve ("arise, bald one"), written in imitative continuation of the earlier set, but with more overtly propagandist aims. By the time of the Council of Constance (1414–18), both series were united as the Vaticinia de summis pontificibus and misattributed to the Calabrian mystic Joachim of Flora, thus credited to a pseudo-Joachim. There are some fifty manuscripts of this fuller collection.
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Reflective writing is usually a style that must be learned and practiced. Most novice writers are not reflective initially, and must progress from imitative writing to their own style of genuine, critical reflection. Kathleen Blake Yancey notes that reflection "is the dialectical process by which we develop and achieve, first, specific goals for learning; second, strategies for reaching those goals; and third, means of determining whether or not we have met those goals or other goals." The concepts of reflection and reflective writing are social constructs prevalent in academic literature, and in different contexts their meanings have different interpretations.
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The third movement, a menuetto marked "allegretto" is similar to a Ländler, a popular Austrian folk dance form. Midway through the movement there is a chromatic progression in which sparse imitative textures are presented by the woodwinds (bars 43–51) before the full orchestra returns. In the trio section of the movement, the four-note figure that will form the main theme of the last movement appears prominently (bars 68–71), but on the seventh degree of the scale rather than the first, and in a minor key rather than a major, giving it a very different character.
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Though the experience was important for Elston, his music was never imitative of Webern in technique or style. He did not employ the twelve-tone technique, but his colleague Andrew Imbrie later observed that the influence of Webern could be heard in his "flexible use of motif as a unifying force, in a certain sprightliness of texture, and in a forward-pushing upbeat quality of phrase". Elston himself was later to write, > I am clearly in the tradition of the Schoenberg school, probably closer to > Schoenberg than to Webern or Berg. But I have never espoused the 12-tone > technique.
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The origin of the name Chuts is uncertain. A popular assumption is that it derives from the Dutch word goed (pronounced /xut/ and meaning "good") and is imitative of the foreign-language chatter that others heard. It is also Hebrew for "outside" or "in the street" and may have been applied to the Dutch Jews of London either because they were socially isolated or because many were street vendors. Another possibility is that the Hebrew word would have appeared increasingly in Amsterdam synagogue records as more and more emigrated to London, and others who followed would have "gone chuts" (i.e.
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Jinx received mixed reviews. Some critics loved the group's eclectic mix of rap, rock, and funk, while others saw the group as imitative of other, more successful rap/rock acts such as the Beastie Boys and Limp Bizkit. Despite "Stick 'Em Up" receiving heavy rotation on rock radio stations and MTV2, and reaching Number 27 on the Billboard Modern Rock Tracks chart, and despite Jinx receiving praise from several critics, Jinx débuted at Number 104 on the Billboard 200 albums chart, and then fell 40 spots to Number 144 one week later. Jinx never cracked the Top 40.
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However, pioneer rock and roll disc jockey Alan Freed refused to play the copycat 'cover' versions of R&B; hits (including "Ko Ko Mo") which were rapidly being turned out by the major pop labels,Ian Whitcomb, After the Ball: Pop Music from Rag to Rock (Penguin Books, 1974):221. as he believed that they were imitative of the originals and that his audience quickly detected their lack of authenticity.Henry T. Sampson, Swingin' on the Ether Waves: A Chronological History of African Americans in Radio and Television Programming, 1925-1955, Vol. 2 (Scarecrow Press, 2005):1144.
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In Flies for Trout (1993) Dick Stewart characterizes these same patterns as General Purpose. Dave Hughes, in Trout Flies-The Tier’s Reference (1999), describes the same flies as Searching flies and characterizes three levels of imitation: Impressionistic, Suggestive and Imitative. Paul Schullery in American Fly Fishing – A History (1996) and The Rise (2006) explains that although much has been written about imitation theories of fly design, all successful fly patterns must imitate something to attract the fish to strike. The huge range of fly patterns documented today for all sorts of target species—trout, salmon, bass and panfish, pike, saltwater, tropical exotics, etc.
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His most important pupil, Matthias Weckmann, studied with him from 1633 to 1636 and later joined him in Hamburg as organist at the Jakobikirche. His compositional style includes both traditional and progressive elements. His three surviving preludes show the kind of sectionalism and diversity of styles that would become one of the defining characteristics of the genre. That is to say, they contain a free, rhapsodic (though restrained) opening section that foreshadows the stylus phantasticus style of German composers later in the century (notably Dieterich Buxtehude), followed by an imitative, fugal section that strictly adheres to traditional contrapuntal rules.
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Heavy drops of icy water fell in a regular > rhythm on his breast, and when I made him listen to the sound of the drops > of water indeed falling in rhythm on the roof, he denied having heard it. He > was even angry that I should interpret this in terms of imitative sounds. He > protested with all his might – and he was right to – against the > childishness of such aural imitations. His genius was filled with the > mysterious sounds of nature, but transformed into sublime equivalents in > musical thought, and not through slavish imitation of the actual external > sounds.
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Cornelius Canis (also de Hondt, d'Hondt) (between 1500 and 1510 – 15 February 1562) was a Franco-Flemish composer, singer, and choir director of the Renaissance, active for much of his life in the Grande Chapelle, the imperial Habsburg music establishment during the reign of Emperor Charles V. He brought the compositional style of the mid-16th century Franco-Flemish school, with its elaborate imitative polyphony, together with the lightness and clarity of the Parisian chanson, and he was one of the few composers of the time to write chansons in both the French and Franco-Flemish idioms.
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In Marxist philosophy, a character mask () is a prescribed social role that serves to conceal the contradictions of a social relation or order. The term was used by Karl Marx in various published writings from the 1840s to the 1860s, and also by Friedrich Engels. It is related to the classical Greek concepts of mimesis (imitative representation using analogies) and prosopopoeia (impersonation or personification) as well as the Roman concept of persona,A famous anthropological essay on the idea of the "persona" is Marcel Mauss, "A category of the human mind: the notion of person, the notion of 'self'." in: Mauss, Sociology and psychology: essays. Translated by Ben Brewster.
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The motet was known from the Medieval era, but after about 1463, it evolved into an utterly distinct form. The cascading, passing chords created by the interplay between multiple voices and the absence of a strong or obvious beat are the features that distinguish the medieval vocal styles from those of the Renaissance. Instead, the Renaissance motet was a short polyphonic musical setting in imitative counterpoint, for chorus, of a religious text not specifically connected to the liturgy of a given day, and therefore suitable for use in any service. The cantus firmus was extended during the Renaissance period, making the motet suitable for use in a larger variety of services.
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He praises the setting, but remarks "The > detraction, which appeared glaringin my eye, was the red colour: brick > houses are always offensive when situate among fields and woods, they should > be ever in populous cities pent; the picturesque tint is a sober grey, or a > soften'd ruddy brown; it should be in short of, or like, the Portland stone, > a modest tint of this cast, when beheld in the bosom of weoods, or relieved > by large spreading trees, had the finest possible effect, and was Eggesford > mine I would either stucco it or case it with the patent tile, imitative of > the Portland hue"...
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The aim of the experiment was to teach an ape subject, through imitative learning, to use a stone to hammer a flake from a flint and use this flake as a tool to open a box. The experiment was divided into two stages where the subject was given demonstrations and then given the opportunity to do the activity him/herself. Stage-I's aim was tool-use, to get an ape to cut a cord to open a box, using a pre-made flake. Stage-II's aim was tool-making, to get an ape to make his/her own flakes and open the box with them.
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The bland, jokey, or wholly imitative style of much British rock and roll in this period meant that the American product remained dominant. However, this process was important in the orientation of the British record industry towards the youth market and group based music in general. In 1958, Britain produced its first "authentic" rock and roll song and star, when Cliff Richard and the Drifters reached number 2 in the chart with "Move It", which managed to combine a bluesy rock and roll riff with respectable lyrics and attitude.D. Hatch, S. Millward, From Blues to Rock: an Analytical History of Pop Music (Manchester: Manchester University Press, 1987), p. 78.
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Chorale preludes constitute almost half of Pachelbel's surviving organ works, in part because of his Erfurt job duties which required him to compose chorale preludes on a regular basis. The models Pachelbel used most frequently are the three-part cantus firmus setting, the chorale fugue and, most importantly, a model he invented which combined the two types. This latter type begins with a brief chorale fugue that is followed by a three- or four-part cantus firmus setting. Chorale phrases are treated one at a time, in the order in which they occur; frequently, the accompanying voices anticipate the next phrase by using bits of the melody in imitative counterpoint.
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No longer was the artist restricted to a principle (or set of principles). The liberation from academicism offered by Cubism, as instigated by Cézanne, resulted from the fact that the artist was no longer restricted to the representation of the subject (or the world) as seen in a photograph. No longer restricted to the imitative description of nature, and despite the complexification of visual stimuli (many views instead of one), the technique of painting became simple and direct. In 1912 the photographic motion studies of Eadweard Muybridge and Étienne-Jules Marey particularly interested artists of the Section d'Or, including Jean Metzinger, Marcel Duchamp and Albert Gleizes.
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Láng 琅 is occasionally transcribed as láng 瑯 (with láng 郞 "gentleman") or lán 瓓 (lán 闌 "railing"); and gān 玕 is rarely written as gān 玵 (with a gān 甘 "sweet" phonetic). Guwen "ancient script" variants were láng 𤨜 or 𤦴 and gān 𤥚. Berthold Laufer proposed that langgan was an onomatopoetic word "descriptive of the sound yielded by the sonorous stone when struck" (1915: 206). Lang occurs in several imitative words meaning "tinkling of jade pendants/ornaments": lángláng 琅琅 "tinkling/jingling sound", língláng 玲琅 "tinkling/jangling of jade", línláng 琳琅 "beautiful jade; sound of jade", and lángdāng 琅璫 "tinkling sound".
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The manuscript was lost during the First World War, and after rediscovery, she reworked it and published it in 1946. The novel is written from the perspective of Sybylla Melvyn, and apparently follows soon after the first book, when the narrator is in her late teens. However, major inconsistencies (she is now an only child) are explained by a rather complex meta-fictional device: "Sybylla II tells how she wrote an imitative draft of a novel set in England, and was advised by her schoolmaster Old Harris to draw on her own setting and experience. Her reconceived nameless first−person novel (identifiable as Career) was published in England" (Sanjay Sircar).
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Weerbeke combined the styles of the Italians with some of the older techniques of the Burgundians. He was almost alone among the Franco-Flemish composers in avoiding the smooth, imitative polyphonic style which was developing at the time, best exemplified by the music of Josquin des Prez. He composed sacred music: masses, motets, motet cycles, a Magnificat setting, and a setting of the Lamentations, as well as a few secular chansons; but the bulk of his work is sacred vocal music. Attribution of the chansons is controversial, and many scholars believe them to have been composed by composers such as Josquin, or Jean Japart.
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Kuhn completed a Bachelors of Science degree at the University of Illinois. Her first journal article titled Effects of Exposure to an Aggressive Model and "Frustration" on Children's Aggressive Behavior, co- authored with Charles Madsen and Wesley Becker, was based on Kuhn's undergraduate research. Kuhn continued her education at the University of California, Berkeley where she completed a PhD in Developmental Psychology in 1969 (dissertation title: Patterns of Imitative Behavior in Children from 3 to 8: A Study of Imitation from a Cognitive-Developmental Perspective). Prior to her current position at Teachers College, Columbia university, Kuhn was on the faculty of the Graduate School of Education, Harvard University.
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By about 1 year of age, children begin to learn by imitation. At this point, children are capable of discriminating intentional actions from unintentional ones, and will attempt to accurately copy those intentional actions to accomplish tasks they've seen adults do. Because of imitative learning, children will copy those intentional acts which have no perceivable effect on the outcome, as well as strange or unnatural actions when easier methods are available. For example, an Andrew Meltzoff study found that 14-month-old children will, after seeing an adult do it, bend at the waist and press a panel with their head to turn on a light, instead of using their hands.
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Styles of the late 20th century have largely been derived from the current world architectural trends, or have been imitative of previous Australian styles. These styles include Stripped Classical, Ecclesiastical, International, Organic, Sydney Regional, Perth Regional, Adelaide Regional, Tropical, Brutalist, Structural, Late Modern, Post Modern, Australian Nostalgic and Immigrants' Nostalgic. In the 1980s and 1990s most parts of Australia had a building boom which strained building supplies, so many buildings from this era are characterised by cheap and low quality materials. A good cross section of Australian residential architectural styles from this period, although not necessarily falling into one of the categories above, follows.
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The wingspan is 28–35 mm. The forewings are white, with a number of pale leaden-coloured spots imitative of birds' droppings. There is an acute spot in the centre and a splash tinted with ferrous in the inner angle of the base. A triangular blotch is found at three-fifths of the costa and there are five round spots, the first near the costa at one-eighths, the second obliquely to the first and posterior, the third before the middle in the centre of the wing, the fourth at three-fourths of the wing, the fifth in a line with the fourth but nearer to the costa.
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"Black Country Rock" is a song written by David Bowie in 1970 for the album The Man Who Sold the World, which was released in November 1970 in the US and April 1971 in the UK. (It was also issued as the B-side to Bowie's January 1971 "Holy Holy" single.) An upbeat blues-rock number, "Black Country Rock" has been described as a "respite" from the musical and thematical heaviness of the remainder of the album.Roy Carr & Charles Shaar Murray (1981). Bowie: An Illustrated Record: pp.36–38 Its style has been compared to Marc Bolan's contemporary Tyrannosaurus Rex, down to Bowie's imitative vibrato in the final verse.
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83-96 A number of experts who studied it at the time accepted that it was an authentic 17th-century painting. It was exhibited as the original from which the Droeshout engraving had been copied. Sidney Lee, in his 1898 biography of Shakespeare, declared that "no other pictorial representation of the poet has equally serious claims to be treated as contemporary with himself". However, in 1904, the art critic Marion Spielmann undertook a detailed analysis in which he demonstrated that the painting resembled Droeshout's revised second-state print rather than the original print, concluding that if Droeshout had copied the painting, then the first version would be more directly imitative.
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While there is debate as to whether the tribute to Bob Dylan is a eulogy or a "harangue", Bowie invokes Dylan-esque musical progressions in "Song for Bob Dylan." The song is in A major and the "Dylanesque, though neither passively imitative nor parodistic" coda is described as "attain[ing] ectasy when...electric guitar weaves tipsy arabesques over broken chord pulses on two acoustic guitars." The simple, descending bass line that accompanies the folk- chord progression invokes Dylan circa 1965. Bowie also imitates Dylan's adenoidal voice throughout the song and the lyrics reflect Dylan's style of starkly contrasting narrow range-verse and swelling chorus.
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La fanciulla del West (The Girl of the West) is an opera in three acts by Giacomo Puccini to an Italian libretto by and , based on the 1905 play The Girl of the Golden West by the American author David Belasco. Fanciulla followed Madama Butterfly, which was also based on a Belasco play. The opera has fewer of the show-stopping highlights that characterize Puccini's other works, but is admired for its impressive orchestration and for a score that is more melodically integrated than is typical of his previous work. Fanciulla displays influences from composers Claude Debussy and Richard Strauss, without being in any way imitative.
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The technique for creating the design on the Basey mat could be termed as embroidery since the design is inserted after the basic plain background mat has been fully woven. The design therefore is superficial to the basic mat, just an overlay of contrasting color. While the designing on the Basey mat is generally conventional and one comes across a design repeatedly, one particular household in Basey has ventured into new design concepts inspired by suggestions made by outsiders. Although imitative and derivative in nature, it is a sign of a growing awareness of a more open approach in designing but still using the same technique as they have done traditionally.
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192 Paul Cézanne, ca.1897, Mont Sainte-Victoire seen from the Bibémus Quarry, oil on canvas, 65 x 81 cm, Baltimore Museum of Art. In order to express the mountain's grandeur, Cézanne manipulated the scene by painting the mountain twice as large as it would have appeared, and tipped forward so that it would rise up rather than slope backwards With both his courage and experience to draw from, Cézanne created a hybrid art-form. He combined on the one hand the imitative and the immobile, a system left over from the Renaissance, and the mobile on the other; together to forming a hybrid.
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In 2007, they self-produced and self-released the six-song Bell EP. In 2011, with Chiavaro and McMurray having left the band, Bell worked with Jason Nazary and Gunnar Olsen to produce and release her first full- length album, Diamonite. Diamonite received positive critical reception, with The New York Times praising its "bubbly, glitchy electronic pop songs" driven by Bell's "powerful" voice. Consequence of Sound remarked that "while moments on Diamonite might recall other artists, the band never sounds imitative or even descendant of those influences". Aside from her work on her own music, she produced remixes of tracks from Chairlift, Son Lux, Phoenix, Caroline Shaw, and others.
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The Articulatory approach to teaching pronunciation considers learning how to pronounce a second language to be a motor skill which most students are not in a position to develop based on self-evaluation of their production. The role of the teacher is therefore to provide feedback on students' performance as part of coaching them in the movements of the vocal tract articulators (tongue, jaw, lips, etc.) which create speech sounds. The Articulatory approach is an alternative to the imitative-intuitive and analytic-linguistic approaches, both of which involve the teacher providing a model for her students to imitate. The model might be her own voice or a recording.
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The Sanctus begins with very short phrases cadencing on C. Longer phrases then cadence on F, D and G before the music returns to C with conclusive effect. This was a new technique, using "tonal planning" to replace imitation as the means to keep the music moving forward. The Agnus Dei returns to the imitative polyphony of the Kyrie (the opening of Agnus Dei I repeats that of the Kyrie). As was frequently done in the 16th century, Palestrina adds an extra voice in Agnus Dei II, making seven for this movement, in which is embedded a three-part canon that begins with the head-motive.
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Intentions are nothing more than imagined actions, > internalizings of the external. All action is therefore imitation of action; > it is poetic...Davis is here using "poetic" in an unusual sense, questioning > the contrast in Aristotle between action (praxis, the praktikē) and making > (poēsis, the poētikē): "Human [peculiarly human] action is imitation of > action because thinking is always rethinking. Aristotle can define human > beings as at once rational animals, political animals, and imitative animals > because in the end the three are the same." Donald like Plato (and Aristotle, especially in On Memory and Recollection), emphasizes the peculiarity in humans of voluntary initiation of a search through one's mental world.
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Samatata coinage of Vira Jadamarah, imitative of the Kushan coinage of Kanishka I. The text of the legend is a meaningless imitation. Circa 2nd-3rd century CE. On the basis of the evidence provided by inscriptions, Chinese writings, and archaeological evidence, it can be deduced that Samatata covered the trans-Meghna territories. It included areas along the banks of the Meghna River and its tributaries; including the modern Bangladeshi districts of Sylhet, Maulvi Bazar, Habiganj, Sunamganj, Narsindi, Narayanganj, Munshiganj, Brahmanbaria, Comilla, Noakhali, Feni and Lakshmipur. It included the Bangladeshi Channel Islands of Hatia and Sandwip; as well as the islands of Bhola, Maheshkhali, Kutubdia and St. Martin's.
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All have moulded heads and sills; at first floor level they are segmentally arched with keystone motifs; and at top level they are round-arched, only the centre being keyed. The facade has been refurbished and incorporated into a development nearly four times bigger than the old building, extending from Cuthbert's building on the south to the curved corner of Slip Street on the north. The new building has an additional storey set back from the street line so as to retain the integrity of the early structure. The design of the new work is not imitative, but harmonious in scale and proportions and offering contrasts in colour and texture.
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Echopraxia (also known as echokinesis) is the involuntary repetition or imitation of another person's actions. Similar to echolalia, the involuntary repetition of sounds and language, it is one of the echophenomena ("automatic imitative actions without explicit awareness"). It has long been recognized as a core feature of Tourette syndrome, and is considered a complex tic, but it also occurs in autism spectrum disorders, schizophrenia and catatonia, aphasia, and disorders involving the startle reflex such as latah. Echopraxia has also been observed in individuals with frontal lobe damage, epilepsy, dementia and autoimmune disorders; the causes of and the link between echopraxia and these disorders is undetermined.
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Much of Staden's work survives in printed collections. His first published works were the secular songs of Neue teutsche Lieder (1606), another Neue teutsche Lieder (1609) and Venus Kräntzlein (1610); the songs feature simplistic rhythms, are harmonically simple and feature little to no imitative counterpoint. The same can be said about his sacred songs, which he also published several collections of. Other sacred music is of considerably greater interest: Harmoniae sacrae (1616) contains some of the earliest German sacred concertos, introducing the concepts of an obligatory basso continuo, independent instrumental accompaniment and the solo concerto to Nuremberg's tradition; these features are also seen in other collections of sacred choral music.
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Zeke Stane's genius- level intellect and considerable fortune has allowed him to cannibalize and reverse engineer Stark Tech from the black-market to upgrade his own biology, most notably his hypothalamus. Stane successfully reduced the caloric energy consumption of his body from 70% to 9% leaving him surplus energy which he uses in repulsor bolts at the end of his fingers. Other upgrades have allowed his body to vastly repair itself from injury. Despite his high intelligence, Reed Richards claims that Stane is imitative rather than innovative, as all his inventions are merely re-purposed Stark tech rather than anything he developed completely on his own.
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Pope's edition of Shakespeare claimed to be textually perfect (although it was corrupt), but his desire to adapt led him to injudicious attempts at "smoothing" and "cleaning" Shakespeare's lines. In satire, Pope achieved two of the greatest poetic satires of all time in the Augustan period, and both arose from the imitative and adaptive demands of parody. The Rape of the Lock (1712 and 1714) was a gentle mock-heroic, but it was built upon Virgil's Aeneid. Pope applied Virgil's heroic and epic structure to the story of a young woman (Arabella Fermor) having a lock of hair snipped by an amorous baron (Lord Petre).
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Tina Hirsch (born 1943)—also known as Bettina Kugel Hirsch, Bettina Hirsch, and Bettina Kugel—is an American film editor and an adjunct professor of editing at the University of Southern California. USC School of Cinematic Arts Directory Profile Tina Hirsch began to edit films in the late 1960s, including Death Race 2000 (1975) and the sequels More American Graffiti (1979) and Airplane II: The Sequel (1982). In the '80s, she edited the It's a Good Life sequence in the Twilight Zone: The Movie (1983) as well as Joe Dante's Gremlins (1984). Hirsch directed Munchies (1987), one of the many low-budget movies that were imitative of Gremlins.
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Asai removed the Buddhist moral lessons and gave the stories a Japanese setting, placing Botan Dōrō in the Nezu district of Tokyo. Otogi Boko was immensely popular, spawning multiple imitative works such as Zoku Otogi Boko (Hand Puppets Continued) and Shin Otogi Boko (New Hand Puppets), and is considered the forerunner of the literary kaidan movement that resulted in the classic Ugetsu Monogatari. In 1884, Botan Dōrō was adapted by famous storyteller San'yūtei Enchō into a rakugo, which increased the popularity of the tale. In order to achieve a greater length, the story was fleshed out considerably, adding background information on several characters as well as additional subplots.
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The Torlonia Vase or Cesi-Albani-Torlonia Vase is a colossal and celebrated neo-Attic Roman white marble vase, 1.8 m tall, made in the 1st century BCE, which has passed through several prominent collections of antiquities before coming into the possession of the Princes Torlonia in Rome.Museo Torlonia, inv. 174. Luca Leoncini, "The Torlonia Vase: History and Visual Records from the Fifteenth to the Nineteenth Centuries", Journal of the Warburg and Courtauld Institutes, 54 (1991:99-116). The vase is of calyx krater shape, with a high frieze carved with a Bacchic symposium and an everted rim, standing on a gadrooned base imitative of metalwork.Leoncini 1991:99.
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They are reminiscent of Heinrich Schütz's pieces from Kleine geistliche Concerte. Six of the surviving masses were published during Kerll's lifetime as Missae sex, cum instrumentis concertantibus, e vocibus in ripieno, adjuncta una pro defunctis cum seq. Dies irae (Munich, 1689). The complex imitative counterpoint that dominates Kerll's chamber music is also present in most of his sacred vocal works: in Missa non sine quare every movement ends with a grand fugue, a similar technique is seen in Missa Renovationis (which is almost entirely based on five themes used for the Kyrie movement), where every division of the mass also closes with a large fugal section.
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This included building himself a grand palace in Italian Renaissance style with elaborate gardens in the nearby town of Kromeriz and employing a large group of musicians drawn from throughout Europe to play at his court and churches. In the 1650s the job of running and directing this prestigious ensemble fell to Vejvanovsky, who was regularly singled out for praise by the Bishop. As a composer his output is uneven, but in his later works he was able to master most typical idioms of the day. He seems to have struggled with imitative counterpoint and his most compelling pieces are characterised by charming folk idioms and virtuosic brass writing.
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In Mike Ashley's words, "the result, between 1961 and 1964, was the two most exciting and original magazines in the field". New writers whose first story appeared in Fantastic during this period included Phyllis Gotlieb, Larry Eisenberg, Ursula K. Le Guin, Thomas M. Disch, and Piers Anthony. The November 1959 issue was dedicated to Fritz Leiber; it included "Lean Times in Lankhmar", one of Leiber's Fafhrd and the Gray Mouser stories. Goldsmith published another half-dozen stories in the series over the next six years, along with other similar (and sometimes imitative) fiction such as early work by Michael Moorcock, and John Jakes' early stories of Brak the Barbarian.
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Banga worked for Unilever for 33 years. He served as the chairman and chief executive officer of Hindustan Lever Ltd.. In February 2005, as part of a major reorganization of Unilever's upper management, Banga was elevated to the Unilever Executive, as the global head of the Foods division and ultimately took over the HPC division as well - effectively running all of Unilever’s categories across the globe. He was also responsible for their sustainability imitative."Banga elevated as global foods head ", The Financial Express, 11 February 2005 Banga is currently a non- executive director on the Boards of Glaxo Smith Kline Plc, Thomson Reuters, and Marks & Spencer.
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Autograph manuscript of first variation of BWV 769a 600px The two part canon is based on the first and second lines of the cantus firmus. The compact imitative passagework follows the same scheme as Variatio I, but now with the canon at the fifth. Again the antiquated "puzzle" notation for the canon in the printed version belies the modern "natural" style, with pleasant writing and graceful slurs, The imitation follows a different pattern, less expansive with a shorter scale, the two distinct motifs answering in turn. With 23 bars in Variatio II compared to 18 in Variatio I, there is far more tonal variety, e.g.
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A peculiarity of Costeley's style – and his notation – is that he specified the accidentals he wanted applied to his music with great care and precision, something which was unusual prior to the middle of the 16th century, but which began to occur thereafter. He was fond of unusual melodic intervals, such as the diminished third, and probably wanted to make sure they were performed correctly. Some of his chansons, for example the earthy Grosse garce noire et tendre, use this interval prominently: in this work he uses it in an imitative passage. In other pieces he uses augmented intervals, including seconds, fourths, fifths, and sixths.
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Trailers From Hell - Director Joe Dante on "Bela Lugosi Meets a Brooklyn Gorilla" The pair whose act, Mitchell & Petrillo, was imitative of Martin & Lewis (Dean Martin and Jerry Lewis), was sued by Lewis after the Lugosi film was released. New York Times "Sammy Petrillo, Comedian" Obituary, By DENNIS HEVESI, August 24, 2009 Mitchell went on to become a well-known crooner and nightclub act in Los Angeles, Las Vegas and as such, was known as the “King” of Palm Springs and ran in some of the same circles as pal Frank Sinatra. His nightclub act revolved around his Sinatra-like crooning and rockabilly Italian-American songs.
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The ribs of the vault are load-bearing structure. Cram's approach to a structurally authentic and a scholarly, but not imitative Gothic style, emphasized originality through logical development of the historical Gothic styles, tempered by creative scholarship and employing the use of modern machinery in the execution of stonecutting and dressing. In a letter of 1925 Cram said that he considered a rigorous modern Gothic to be "a logical continuation of the great Christian culture of the past, but also a vital contribution to modern life." However, in 1925, eleven years after completion, the north wall of the church was found to be bulging dangerously and hidden steelwork added.
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The simplicity and high waistline of the garment would lay the foundations for Regency/Empire fashion in the later decades during and after the Revolution. The Queen would often wear a straw Bergère hat and a fichu alongside a Polonaise gown; the term Polonaise referring to the dress of Polish shepherdesses who would hoist and drape their overskirts in two or three loops in order to keep their dress clean while farming. Marie Antoinette's wardrobe was generally imitative of the peasantry of the period. The place was completely enclosed by fences and walls, and only intimates of the Queen were allowed to access it.
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From 1920 to 1922, Rosenberg spent a brief time as an art critic, writing articles for the profusely illustrated American edition of the British periodical, International Studio. In the issue for December 1920, he reviewed a large exhibition put on by the Society of American Artists. He thought much of the work was complacent and imitative, but praised Rockwell Kent for his "inviolability of self" in being sensitive to the work of others, but nonetheless completely himself. March 1921 he wrote an appreciation of Edgar Degas in which he said Degas was an aristocrat who saw the world clearly enough to depict it without sentimentality or prejudice.
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The cascading, passing chords created by the interplay between multiple voices, and the absence of a strong or obvious beat, are the features that distinguish medieval and renaissance motet styles. Instead, the Renaissance motet is a polyphonic musical setting, sometimes in imitative counterpoint, for chorus, of a Latin text, usually sacred, not specifically connected to the liturgy of a given day, and therefore suitable for use in any service. The texts of antiphons were frequently used as motet texts. This is the sort of composition that is most familiarly designated by the term "motet", and the Renaissance period marked the flowering of the form.
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Psychologist Kenneth Kaye showedIn M. Bullowa, ed. Before Speech: The beginning of interpersonal communication, Cambridge U. Press 1979 that infants' ability to match the sounds or gestures of an adult depends on an interactive process of turn-taking over many successive trials, in which adults' instinctive behavior plays as great a role as that of the infant. These writers assume that evolution would have selected imitative abilities as fit because those who were good at it had a wider arsenal of learned behavior at their disposal, including tool-making and language. In the mid-20th century, social scientists began to study how and why people imitate ideas.
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In the first Canone, The Chord was dismantled but here the reverse will occur – The Chord will be rebuilt, starting on C, the lowest note, and gradually going upwards. Each entry consists of a long, arch-like melody. As each entry occurs, the central note of the previous entry becomes the basis of a bizarre, tapping ostinato underneath it, meaning that the note of the ostinato is a step on the chord behind the central note of the corresponding entry. By the end of this Canone, the chord has been rebuilt, ticking away on pizzicato strings and woodwinds as though imitative of a time- bomb, threatening to explode.
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Harzé presented more than a dozen pieces of his work in the 1868 Paris exhibition. George Augustus Henry Sala, one of the famous journalists of the era, commended him highly for his technical skills in depicting different materials and emotions using terracotta and described his work as "the most admirable specimens of purely imitative art that have been seen these thirty years". Some of his works include: "Dorine" (figurine of a young woman in bronze and terracotta from 1877), "The Gossips", "The Quarrelsome Blacksmith", "Neapolitan Gypsy Dance" and "The Bottle". Much of his work is preserved in the Musée de la Vie wallonne in Liège.
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Very atypically, the recapitulation begins not with the first theme, but with the second theme in G major. The resolution is short-lived, as it moves back to the minor mode, where it cadences after an imitative development of the first theme in G minor. The recapitulation ends with a coda that is relatively brief but intense, concluding with an ascending passage built through imitation of the opening cell, whose buildup comes suddenly crashing down in a descending 'fortissimo' phrase. The piece ends on a desolate and incomplete-sounding G minor chord, the highest notes being the third and fifth scale degrees of the tonic triad rather than the tonic.
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The quartet's opening sighing motives become developed in an E minor passage that incorporates a triplet figure on the second beat of the measure, and eventually the previous B major idea is restated identically in G major. The second theme from the exposition is then treated in imitative (almost canonic) counterpoint in C minor. After the beginning of the third contrapuntal treatment of this theme, a dominant pedal is sustained in octaves on G. This resolves unexpectedly to an A major chord that is quickly brought down to C minor by the opening sighing motive in the piano. The sighing motive indicates the beginning of the recapitulation.
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There is another brief full section, after which the choirs sing in antiphonal pairs, throwing the sound across the space between them. Finally all voices join for the culmination of the work. Though composed in imitative style and occasionally homophonic, its individual vocal lines act quite freely within its elegant harmonic framework, allowing for a large number of individual musical ideas to be implemented during its ten- to twelve-minute performance time. The work is a study in contrasts: the individual voices sing and are silent in turns, sometimes alone, sometimes in choirs, sometimes calling and answering, sometimes all together, so that, far from being a monotonous mass, the work is continually changing and presenting new ideas.
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The improvisatory element, present to some degree in most lute pieces, is particularly evident in the early ricercares (not imitative as their later namesakes, but completely free), as well as in numerous preludial forms: preludes, tastar de corde ("testing the strings"), etc. During the 17th century keyboard and lute music went hand in hand, and by 1700 lutenists were writing suites of dances quite akin to those of keyboard composers. The lute was also used throughout its history as an ensemble instrument—most frequently in songs for voice and lute, which were particularly popular in Italy (see frottola) and England. The earliest surviving lute music is Italian, from a late 15th-century manuscript.
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Abbado's third movement was where his interpretation was at its most radical. Mahler had marked its opening as "Ruhevoll [peaceful], the long melodic line with its bell-like pizzicato imitative, Mahler told Bruno Walter, of 'recumbent stone figures, their arms crossed in eternal sleep on the tops of tombs'." Klemperer had "ungraciously and impatiently" adopted a tempo of crotchet = 72; Kubelik, a "limpid" crotchet = 56; Szell an "innig [intimate] and grave" crotchet = 52: Abbado began at crotchet = 40, in flagrant defiance of Mahler's wishes. Moreover, when, at Figure 2, Mahler stipulated that the tempo be changed from poco adagio to viel langsamer [much slower], Abbado actually accelerated from crotchet = 40 to crotchet = 46.
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Faye Lewis of Rock Sound said that it "throws down anguished alt-rock and enough crunching guitars and intense lyrics to frighten off Linkin Park comparisons." Jody Rosen of Rolling Stone noted that the album is "oddly inert, lacking both the brute force and big choruses that raised Linkin Park to rap-rock godhead status." August Brown of The Los Angeles Times commenting that "Out of Ashes has moments of spark, it's more scattershot and less ambitious than the music Bennington makes with Linkin Park." Jon Pareles of The New York Times called Out of Ashes "spacious, state of the art pop", but at the same time "shamelessly imitative", citing similarities to Nirvana, Pink Floyd, Green Day and Metallica.
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The following year, in a contrary assessment, the playwright John Osborne castigated The Guardians theatre critic Michael Billington for referring to Shaw as "the greatest British dramatist since Shakespeare". Osborne responded that Shaw "is the most fraudulent, inept writer of Victorian melodramas ever to gull a timid critic or fool a dull public". Despite this hostility, Crawford sees the influence of Shaw in some of Osborne's plays, and concludes that though the latter's work is neither imitative nor derivative, these affinities are sufficient to classify Osborne as an inheritor of Shaw. In a 1983 study, R. J. Kaufmann suggests that Shaw was a key forerunner—"godfather, if not actually finicky paterfamilias"—of the Theatre of the Absurd.
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This subgenre is imitative in style in order to mock, comment on, or trivialize the Western genre's established traits, subjects, auteurs' styles, or some other target by means of humorous, satiric, or ironic imitation or parody. A prime example of Comedy Western includes The Paleface (1948), which makes a satirical effort to "send-up Owen Wister's novel The Virginian and all the cliches of the Western from the fearless hero to the final shootout on main street. The result was The Paleface (1948) which features a cowardly hero known as 'Painless' Peter Potter (Bob Hope), an inept dentist who often entertains the notion that he's a crack sharpshooter and accomplished Indian fighter".
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Baldwin was prominent among early experimental psychologists and was voted by his peers as the fifth most important psychologist in America in a 1903 survey conducted by James McKeen Cattell, but it was his contributions to developmental psychology that were the most important. His stepwise theory of cognitive development was a major influence on the later, and much more widely known, developmental theory of Jean Piaget. His ideas on the relationship of Ego and Alter were developed by Pierre Janet; while his stress on how "My sense of self grows by imitation of you...an imitative creation"Quoted in contributed to the mirror stage of Jacques Lacan. Lacan, J., Écrits (1997), p.
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The film opens with a retelling of Beowulf, narrated over pans of paintings imitative of stained glass, then cuts to Jack, a boy who lives with his animal friends Barnaby Bear, Dinah Dog, Squeeker Mouse and Phineas Fox and drives a car resembling a Ford Model T, even inside the house. One day while out driving Jack sees a girl named Allegra in a flying machine and challenges her to race. After he loses Allegra offers him a ride and he accepts, along with Squeeker Mouse who sneaks aboard. Allegra is actually a witch, and takes Jack to the castle of the evil queen Auriana, who changes children into harpies to be her slaves.
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The fantasias use the Italian ricercare structure, with its imitative treatment of the subjects in several sections. However, Cornet prefers to use a large number of subjects (up to six) or relies on a double subject (a subject the two halves of which can be used as separate subjects); consequently, most of the fantasias are rather large works. The style shows the influence of English virginal music, with unexpected fast runs and characteristic figurations (in some fantasias ornaments are even notated using the English symbol: two oblique bars), with the exception of wide skips, broken octaves, and other virtuosic figures such as those found in Bull's and Farnaby's music. A characteristic feature is Cornet's use of rhythmic changes.
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Mel's settings show some progressive tendencies, such as an increasing melodic emphasis on the uppermost part, a feature which foreshadowed the polarization of soprano and bass parts that was a feature of the Baroque style several decades later. In addition, in his secular music he often employs harmonic progressions with root motions in fifths, another feature of the Baroque style to follow. Another stylistic aspect of his madrigals is the prominent use of textural contrast, with chordal, syllabic passages alternating with passages in running thirds or sixths, or brief imitative sections. Long sections of purely contrapuntal writing are absent from his secular music, although, as in Palestrina, smooth counterpoint is the primary textural language of his sacred music.
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Eloy composed motets celebrating the 1429 liberation of Orléans from the English by Joan of Arc, although the music is lost (only the texts survive). A payment record remains, as well as a mention of the first performance, which took place on May 8, 1483, the 54th anniversary of the original thanksgiving ceremony. Eloy also wrote a five- voice mass which survives, the Missa Dixerunt discipuli, an elaborate tour-de- force of contrapuntal practice, which was praised by Tinctoris. The mass was likely composed around 1470, since the date of Tinctoris's publication was 1472-1475, and three- and four-voice imitative sections such as appeared within it were quite rare before 1470.
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During the 20th century scholars had intermittently studied the psychological ideas embedded in Indian traditions. This process substantially accelerated at the turn of the 21st century, which saw the issuance of the Manifesto on Indian Psychology (2002) as a milestone for what has been called the Indian Psychology Movement. For catalyzing this intensified interest, S. K. Kiran Kumar (2008) wrote that Other contributing factors were the sense that there had been in India a "painful neglect of the indigenous tradition", and that modern psychology as studied in India was "essentially a Western transplant, unable to connect with the Indian ethos and concurrent community conditions.... by and large imitative and replicative of Western studies".
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Anti-mimesis is a philosophical position that holds the direct opposite of Aristotelian mimesis. Its most notable proponent is Oscar Wilde, who opined in his 1889 essay The Decay of Lying that, "Life imitates Art far more than Art imitates Life". In the essay, written as a Platonic dialogue, Wilde holds that anti-mimesis "results not merely from Life's imitative instinct, but from the fact that the self-conscious aim of Life is to find expression, and that Art offers it certain beautiful forms through which it may realise that energy." What is found in life and nature is not what is really there, but is that which artists have taught people to find there, through art.
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The diaphone is usually found at 16′ and 32′ pitches, however there are a few examples of 8′ diaphones. There are two 32' Diaphones in Philadelphia's Wanamaker Organ, and a full-length 64′ Diaphone- Dulzian is installed in the Boardwalk Hall Auditorium Organ in Atlantic City. Hope-Jones also developed an imitative version of the diaphone called the diaphonic horn, which had a more reed-like quality than the diaphone and was voiced on lower wind pressures. Wurlitzer built a version of the diaphonic horn for their theater organs at 32′ and 16′ pitches with huge wooden resonators as extensions of its Diaphonic diapason, and at 16′ with metal resonators as an extension of its smaller-scale Open diapason.
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A herd of sheep spreading out and displaying mimetic foraging behavior Sheep provide a good basis for the evaluation of allelomimetic behavior due to their large group sizes and social behavior. Using them as an experimental subject allows for the determination of the imitative quality and intensity of allelomimetic behavior within a specific herd. Merino sheep, or Ovis aries, are a prey species and a domesticated breed of sheep that require a healthy balance between predator avoidance and foraging space for each individual in the herd. They achieve this balance by spreading out to forage for a period of time then quickly running back to the centre of the herd, creating a fastpacking event.
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Later in the century, especially around 1600, the successive verses of the chorale were used to begin imitative sections in a fugal style. Shortly after 1600 the form began to disappear, overtaken by newer forms based on Italian (especially Venetian) models: the chorale concerto, and later the chorale cantata. The chorale cantata was to become the most substantial of the descendants of the chorale motet, and eventually culminated in the work of J.S. Bach. Composers of early chorale motets included Johann Walter, who typically used a cantus firmus type of motet setting; , who wrote in the complex polyphonic style; , who chose the simpler homophonic style; and Ludwig Senfl, Lupus Hellinck, Thomas Stoltzer, and others.
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The combined length of the fantasia and the fugue is about eight minutes;Decca Publication No. 443 485-2 the fantasia is written in 6/4 time, while the fugue is in 2/2. The fantasia of the piece is quite lush and very ornate, consisting of two unequal halves that both feature the same two basic musical ideas, an imitative dotted-rhythm tune, and a leaping eighth-note form, which is also in imitation, initiated by the pedals. Unlike many of its contemporaries, it features no cadenza-like passage in which performers could show off their virtuosity. The fugue uses a steady theme four times in a row that can be easily recognised each time that it reappears.
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In 1972, White got his big break producing a girl group he had discovered called Love Unlimited. Formed in imitative style of the Motown girl group The Supremes, the group members had gradually honed their talents with White for two years previously until they signed contracts with Uni Records. His friend Paul Politi hooked him up with music industry businessman Larry Nunes, who helped to finance their album. After it was recorded, Nunes took the recording to Russ Regan, who was the head of the Uni label owned by MCA. The album, 1972's From A Girl's Point of View We Give to You... Love Unlimited, became the first of White's string of long-titled albums and singles.
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Several neighborhoods were rebranded after the Civil War when slightly tawdry neighborhoods like Harsonville, centered on what is now Broadway about 68th Street, were reclassified as part of suburban Bloomingdale farther up Bloomingdale Road, which itself was rebranded as "The Boulevard". What is now the Upper West Side was meant to be named the "West End" to lure an Anglophile upper class; however, that designation was not accepted. After World War II, the name of the small and fashionable hill that had been known as Murray Hill was applied to the featureless area to its east. The neighborhood of SoHo, Manhattan, which stands for South of Houston Street, is deliberately imitative of Soho in London.
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Music critic Ian MacDonald describes the chorus as a section that "drop[s] beats left, right, and centre" in contrast to the "barrelhouse 4/4" of the verse. In his analysis of the song, Pollack says that while he had long considered the chorus's metre to vary in this way, the effect is more one of syncopation within 4/4, rather than formal changes in time signature. Within the three two-bar pairings, he continues, this is achieved through rhythmic accents falling on beats 1 and 4 of the first bar and beat 3 of the second bar. Like the Revolver track "She Said She Said", the song closes with an imitative canon in the voices.
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It was even said that the soul of Orpheus had been reborn into Ficino. Ficino saw the sublunar demiurge as "a daemonic 'many-headed' sophist, a magus, an enchanter, a fashioner of images and reflections, a shape-changer of himself and of others, a poet in a way of being and of not-being, a royal Pluto." This demiurgic figure identified with Pluto is also "'a purifier of souls' who presides over the magic of love and generation and who uses a fantastic counter-art to mock, but also ... to supplement, the divine icastic or truly imitative art of the sublime translunar Demiurge."Entry on "Demiurge," in The Classical Tradition p. 256.
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Arabic diacritics were added around the turn of the eighth century on orders of al-Hajjaj ibn Yusuf, governor of Iraq (694–714).. Luxenberg claimed that the Quran "contains much ambiguous and even inexplicable language." He asserts that even Muslim scholars find some passages difficult to parse and have written reams of Quranic commentary attempting to explain these passages. However, the assumption behind their endeavours has always been, according to him, that any difficult passage is true, meaningful, and pure Arabic, and that it can be deciphered with the tools of traditional Muslim scholarship. Luxenberg accuses Western academic scholars of the Qur'an of taking a timid and imitative approach, relying too heavily on the work of Muslim scholars.
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Another easily observable practice that differentiated Protestants from Catholics during this time was the eating of meat on days prohibited by the Roman Catholic hierarchy. Catholics saw Protestants displaying, selling, purchasing, or eating meat on days prohibited by their Church as blasphemy. Distinct from fasting (refusing all food), Catholic doctrine calls for the abstinence from "flesh meat" or soup made from meat during some days of the year (in some eras this was also extended to eggs, milk, butter, cheese, or condiments that included animal fat). Catholics hold that this helps to subdue the flesh, and is imitative of Paul the Apostle who according to 1 Corinthians 9:27 "chastised his body and brought it into subjection".
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In 1937 José Paté discovered this tablet by the foundations of the ruins of a stone house near ahu Mahatua, the home village of Metoro Taua Ure, Bishop Jaussen's informant, at the base of Poike Volcano, near the cave Aka o Keke that contains a few crude rongorongo-type petroglyphs. Paté gave the tablet to Father Sebastian, who then donated it to the Santiago museum in 1938. The authenticity of the piece is immediately suspect because it is not boustrophedon, typical of early forgeries. However, Fischer (1997) suspects that it may be a palimpsest, that someone had carved an imitative inscription over an authentic but by then illegible text, and that it was somehow forgotten rather than sold.
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Verdelot, along with Costanzo Festa, is considered to be the father of the madrigal, an a cappella vocal form which emerged in the late 1520s from a convergence of several previous musical streams (including the frottola, the canzone, the laude, and also including some influence from the more serious style of the motet). Verdelot's style balances homophonic with imitative textures, rarely using word-painting, which was largely a later development (though a few interesting foreshadowings can be found). Most of his madrigals are for five or six voices. Verdelot's madrigals were hugely popular, as can be inferred from their frequency of reprinting and their wide dissemination throughout Europe in the 16th century.
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61 In his study of Moravian modes, Janáček found that the peasant musicians did not know the names of the modes and had their own ways of referring to them. He considered their Moravian modulation, as he called it, a general characteristic of this region's folk music. Janáček partly composed the original piano accompaniments to more than 150 folk songs, respectful of their original function and context, H 4570 and partly used folk inspiration in his own works, especially in his mature compositions. His work in this area was not stylistically imitative; instead, he developed a new and original musical aesthetic based on a deep study of the fundamentals of folk music.
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Like any > natural, physical reality, painting, understood in this way, will touch > anyone who knows how to enter into it, not through their opinions on > something that exists independently of it, but through its own existence, > through those inter-relations, constantly in movement, which enable us to > transmit life itself. (Albert Gleizes)Albert Gleizes, The Epic, From > immobile form to mobile form, 1925 (Translation by Peter Brooke) Every artist of the Section d'Or agreed that painting no longer had to be imitative. Gleizes there was no exception. All were in agreement too that the great value of modern art lay in that conception synthesized from experience could be recreated in the mind of the observer.
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The imitative efforts at universalize failed to appeal to non-Spanish-speaking audiences. Gelman stood beside Moreno throughout his career, accompanying him during the filming of Around the World in 80 Days and to the Golden Globe Awards ceremony. When the three partners disbanded in 1960 over the creation of Pepe, As Reachi formed a new company named Posa Films Internacional, S.A. 1959, all assets of Posa Films, S.A and its obligations, was transferred to the new company (buy-out)1961. After Reachi retired as Producer, President and partner of Posa Films INTERNACIONAL S.A.(1963) Gelman had the opportunity to change his status as a Manager to a new Producer of Cantinflas movies.(1964).
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When released, The New York Times gave the film a mixed review, writing, "A tough, mildly exciting melodrama about gangsters and a dame named Anna who 'gets into the blood' of a guy named Steve and causes him no end of trouble...In many ways Criss Cross is a suspenseful action picture, due to the resourceful directing of Robert Siodmak. But it also is tedious and plodding at times, due partly to Mr. Siodmak's indulgence of a script that is verbose, redundant and imitative. However, the writers should be credited with having invested the old triangle- gangster formula with a couple of fresh if not exactly revolutionary twists."The New York Times.
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" Moving north to the Tesuque Valley, the Knees built a home using local materials that welcomed the outside in, with portals and patios aplenty. Once the house was complete, Knee concentrated on her painting. Aware that she would always be an outsider to the local Pueblo culture, she turned to the New Mexico landscape for inspiration. Her early landscapes were traditional and often imitative of her mentors, but she progressed rapidly, and in 1933, she joined a new group of artists who named themselves the Rio Grande Painters, regionalists whose work "is composed of painters bound together mainly by a preference for the Southwest, both as a place of residence and a perpetual mine of paintable material.
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Production of Sette scialli di seta gialla began on 31 March 1972. The film has been described as part of a "boom" of "imitative whodunits" released after the success of Dario Argento's L'uccello dalle piume di cristallo, along with such films as Una lucertola con la pelle di donna and Los ojos azules de la muñeca rota. Alessandro Continenza and Giovanni Simonelli, who wrote the script alongside director Sergio Pastore, had previously collaborated on the screenplay for the 1966 spaghetti western Django spara per primo. The film's title has been noted as one of many giallo titles using either numbers or animal references, having been directly compared to Sette note in nero.
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Arnold wrote a complete mass, found in Bologna Q15 (all the movements are found in OX 213 although the last two movements are separated - only the first three movements are found in Bologna 2216), as well as several parts of a composite mass in Bologna Q15, augmenting movements written by Johannes Ciconia. Several other examples exist of composers adding movements to partial masses written by other composers, for example Zacara da Teramo, particularly in Bologna Q15. Musically Arnold's mass movements are fairly simple, using three voices, head motif technique, and avoiding imitative writing. Some of his other sacred music, such as his Marian motets, contain florid melodic writing and some use of imitation.
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He also combines various groupings from the Decani and Cantoris sides to make a variety of six, eight and occasionally ten-part counterpoint. Most of the movements begin with a verse section scored for four soloists, who perhaps sang 'in medio chori' (in the middle of the choir), a procedure adopted in other Elizabethan Great Service settings. Although the length of the canticles made it difficult for him to expand on individual text-phrases, he sometimes allows himself an extended imitative paragraph at the end of a section. The doxologies of the two evening canticles (the Magnificat and the Nunc Dimittis) both end with majestic climaxes which are the most striking features of the work.
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If overcome by the black horse or forgetfulness, the soul loses its wings and is pulled down to earth. Should that happen, the soul is incarnated into one of nine kinds of person, according to how much truth it beheld. In order of decreasing levels of truth seen, the categories are: (1) philosophers, lovers of beauty, men of culture, or those dedicated to love; (2) law-abiding kings or civic leaders; (3) politicians, estate-managers or businessmen; (4) ones who specialize in bodily health; (5) prophets or mystery cult participants; (6) poets or imitative artists; (7) craftsmen or farmers; (8) sophists or demagogues; and (9) tyrants. One need not suppose that Plato intended this as a literal discussion of metempsychosis or reincarnation: perhaps he meant it figuratively.
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In social psychology, hysterical contagion occurs when people in a group show signs of a physical problem or illness, when in reality there are psychological and social forces at work. Hysterical contagion is a strong form of emotional contagion, which describes the copycat effect of imitative behaviour based on the power of suggestion and word of mouth influence, because the symptoms often include those associated with clinical hysteria. In 1977 Frieda L. Gehlen offered a revised theory of hysterical contagion that argues that what is actually contagious is the belief that showing certain characteristics will "entitle one to the secondary benefits of the sick role."Gehlen, F. (1977) "Toward a Revised Theory of Hysterical Contagion", Journal of Health and Social Behavior 18(1): 27-27.
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About 20 toccatas by Pachelbel survive, including several brief pieces referred to as toccatinas in the Perreault catalogue. They are characterized by consistent use of pedal point: for the most part, Pachelbel's toccatas consist of relatively fast passagework in both hands over sustained pedal notes. Although a similar technique is employed in toccatas by Froberger and Frescobaldi's pedal toccatas, Pachelbel distinguishes himself from these composers by having no sections with imitative counterpoint–in fact, unlike most toccatas from the early and middle Baroque periods, Pachelbel's contributions to the genre are not sectional, unless rhapsodic introductory passages in a few pieces (most notably the E minor toccata) are counted as separate sections. Furthermore, no other Baroque composer used pedal point with such consistency in toccatas.
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The study of which animals are capable of attributing knowledge and mental states to others, as well as the development of this ability in human ontogeny and phylogeny, has identified several behavioral precursors to theory of mind. Understanding attention, understanding of others' intentions, and imitative experience with other people are hallmarks of a theory of mind that may be observed early in the development of what later becomes a full-fledged theory. Simon Baron-Cohen proposed that infants' understanding of attention in others acts as a "critical precursor" to the development of theory of mind. Understanding attention involves understanding that seeing can be directed selectively as attention, that the looker assesses the seen object as "of interest", and that seeing can induce beliefs.
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Reznor's work as Nine Inch Nails has influenced many newer artists, which according to Reznor range from "generic imitations" dating from the band's initial success to younger bands echoing his style in a "truer, less imitative way". Following the release of The Downward Spiral, mainstream artists began to take notice of Nine Inch Nails' influence: David Bowie compared NIN's impact to that of The Velvet Underground. In 1997, Reznor appeared in Time magazine's list of the year's most influential people, and Spin magazine described him as "the most vital artist in music". Bob Ezrin, producer for Pink Floyd, Kiss, Alice Cooper, and Peter Gabriel, described Reznor in 2007 as a "true visionary" and advised aspiring artists to take note of his no-compromise attitude.
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There he introduced the Bauhaus philosophy of modern design to the architecture curriculum at Harvard, and his advocacy for this design philosophy was quickly popular among his students; this soon resulted in the educational changes in other architecture schools in the United States, starting the decline of "historically imitative architecture" in America.Gropius (2005), pp. 5:5101. By 1937, Breuer had also moved from Germany to teach at Harvard, where he practiced with Walter Gropius from 1938 to 1941. In addition, Harrison was also in communication with Walter Gropius and would have known about his ideas concerning early Modernist architecture, as his wife Ellen organized a lunch in 1931 attended by Gropius and other architects, and Harrison remembered meeting Gropius there.
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Chambers was the writer of The King in Yellow, of whom Lovecraft wrote in a letter to Clark Ashton Smith: "Chambers is like Rupert Hughes and a few other fallen Titans – equipped with the right brains and education but wholly out of the habit of using them." Lovecraft's discovery of the stories of Lord Dunsany, with their pantheon of mighty gods existing in dreamlike outer realms, moved his writing in a new direction, resulting in a series of imitative fantasies in a Dreamlands setting. Lovecraft also cited Algernon Blackwood as an influence, quoting The Centaur in the head paragraph of "The Call of Cthulhu". He declared Blackwood's story The Willows to be the single best piece of weird fiction ever written.
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More frequently the 16th century motet practice is used: the hymn melody either migrates from one voice to another, with or without imitative inserts between verses, or is treated imitatively throughout the piece. In three versets (Veni Creator 3, Ave maris stella 3, and Conditor 2) the melody in one voice is accompanied by two voices that form a canon, in two (Ave maris stella 4 and Annue Christe 3) one of the voices provides a pedal point. In most versets, counterpoints to the hymn melody engage in imitation or fore-imitation, and more often than not they are derived from the hymn melody. All of the pieces are in four voices, except the canonic versets, which use only three.
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Kerll wrote numerous non-keyboard works, especially during the Munich years: while he was reviving the court chapel ensemble of the Munich court, Kerll must have composed a wealth of chamber music, and all operas (around 10 or 11) were also all composed in Munich, starting with the Oronte of 1657. Kerll's chamber works include a canzona for two violins, viola da gamba and basso continuo and three sonatas. Most vocal works employ an advanced concertato technique; the requiem mass Missa pro defunctis from 1669, scored for five voices with no accompaniment, is a notable exception. The works of Delectus sacrarum cantionum, motets and sacred concertos for 2-5 voices, are sectional compositions alternating between imitative writing and free, highly ornamented parts.
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Roger Ebert of the Chicago Sun- Times said, "The plot ... is not as complex as a movie like The Sting, and we can see some of the surprises as soon as they appear on the horizon. But the chemistry between Martin and Caine is fun, and Headly provides a resilient foil." Variety called it "wonderfully crafted" and "absolutely charming", and added: "Director Frank Oz clearly has fun with his subjects, helped out in good part by clever cutting and a great, imitative '30s jazzy score by Miles Goodman."Dirty Rotten Scoundrels Variety, December 31, 1987 Vincent Canby of The New York Times called it "one of the season's most cheerful, most satisfying new comedies" which was a "blithe, seemingly all-new, laugh-out- loud escapade".
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A heavily enriched moulding bearing a strong resemblance to the gadroon pattern is commonly used to give emphasis to edges, and the dragon arranged in curves imitative of nature is frequently employed over a closely designed and subordinated background. Detail of a Vietnamese wooden column The general rule that in every country designers use much the same means whereby a pattern is obtained holds good in China. There are forms of band decoration here which closely resemble those of Gothic Europe, and a chair from Turkestan (3rd century) might almost be Elizabethan, so like are the details. Screens of grill form, often found in the historically Islamic countries, are common, and the deeply grounded, closely arranged patterns of Bombay also have their counterparts.
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Details of a Vietnamese wooden ceiling In these countries the carver is unrivaled for deftness of hand. Grotesque and imitative work of the utmost perfection is produced, and many of the carvings of these countries, Japan in particular, are beautiful works of art, especially when the carver copies the lotus, lily or other aquatic plant. A favorite form of decoration consists of breaking up the architectural surfaces, such as ceilings, friezes, and columns, into framed squares and filling each panel with a circle, or diamond of conventional treatment with a spandrels in each corner. A very Chinese feature is the finial of the newel post, so constantly left more or less straight in profile and deeply carved with monsters and scrolls.
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Stylistically he uses points of imitation, rather in the manner of Josquin des Prez, in almost all of his sacred works (the masses and motets), following the contemporary trend toward pervading imitation and polyphonic complexity. Unlike Josquin, however, Crecquillon rarely varies his texture for dramatic effect, preferring smoothness and consistency. His secular chansons, unlike most of those by other composers of the same time, also use pervading imitation, although as is normal in a lighter form of music, they make considerable use of repetition (for example of the final phrase). Because they were imitative, it was Crecquillon's chansons which provided some of the best models for the later development of the instrumental canzona, the instrumental form which developed directly from the chanson.
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One of the key issues is the superiority/inferiority of Indian Writing in English (IWE) as opposed to the literary production in the various languages of India. Key polar concepts bandied in this context are superficial/authentic, imitative/creative, shallow/deep, critical/uncritical, elitist/parochial and so on. The views of Salman Rushdie and Amit Chaudhuri expressed through their books The Vintage Book of Indian Writing and The Picador Book of Modern Indian Literature respectively essentialise this battle. Rushdie's statement in his book – "the ironic proposition that India's best writing since independence may have been done in the language of the departed imperialists is simply too much for some folks to bear" – created a lot of resentment among many writers, including writers in English.
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Such proposals drew strong reaction both for and against, and some states may have waited to see how the Arizona law fares in the courts before moving forward. The other states along the Mexican border – Texas, New Mexico, and California – generally showed little interest in following Arizona's path. This was due to their having established, powerful Hispanic communities, deep cultural ties to Mexico, past experience with bruising political battles over the issue (such as with California Proposition 187 in the 1990s), and the perception among their populations that illegal immigration was less severe a problem. By March 2011, Arizona-like bills had been defeated or had failed to progress in at least six states and momentum had shifted against such imitative efforts.
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Nine Inch Nails has influenced many newer artists, which according to Reznor range from "generic imitations" dating from his initial success to younger bands echoing his style in a "truer, less imitative way". Following the release of The Downward Spiral, mainstream artists began to take notice of Nine Inch Nails' influence: David Bowie compared Reznor's impact to that of The Velvet Underground. Guns N' Roses singer Axl Rose was influenced heavily by Nine Inch Nails in changing his band's sound to an industrial style in the mid-90's. Bob Ezrin, producer for Pink Floyd, Kiss, Alice Cooper, and Peter Gabriel, described Reznor in 2007 as a "true visionary" and advised aspiring artists to take note of his no-compromise attitude.
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In Ion, Socrates gives no hint of the disapproval of Homer that he expresses in the Republic. The dialogue Ion suggests that Homer's Iliad functioned in the ancient Greek world as the Bible does today in the modern Christian world: as divinely inspired literary art that can provide moral guidance, if only it can be properly interpreted.Gilbert, Kuhn pp. 40–72 With regards to the literary art and the musical arts, Aristotle considered epic poetry, tragedy, comedy, Dithyrambic poetry and music to be mimetic or imitative art, each varying in imitation by medium, object, and manner.Aristotle, Poetics I 1447a For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, and poetry with language.
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Variation 5 engages in three-part imitative counterpoint with the chorale in the middle voice in longer note values. The two-part Variation 6 utilizes more extreme and dynamic diminution and contrasts sharply with Variation 7, which is a slow-paced three-part exploration of the original melody, rich in chromaticisms and darker in mood than the rest of the piece. Variations 8 and 9 both use the melody in long notes (in the bass in Variation 8, in the soprano in Variation 9) with accompaniment in shorter note values. The last three variations change the metre to 12/16 and somewhat gigue-like, joyous in tone; in the final variation the melody is presented using sequences of thirds and sixths in the two upper voices.
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He also introduced a more complex artistic style that challenged shaped the compositional approach of Broadway musicals. He was also noted for using classical forms, such as imitative counterpoint (Fugue for Tinhorns in Guys and Dolls). Loesser won the 1949 Academy Award for Best Music, Original Song, "Baby, It's Cold Outside". He was nominated four more times: :"Dolores" from Las Vegas Nights (1941) :"They're Either Too Young or Too Old" from Thank Your Lucky Stars (1943) :"I Wish I Didn't Love You So" from The Perils of Pauline (1947) (a hit that year for both Vaughn Monroe and the film's star, Betty Hutton) :"Thumbelina" (1953) The PBS documentary, Heart & Soul: The Life and Music of Frank Loesser was released in 2006.
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A much quoted passage instructs the performer to carefully observe the tempo of each piece to understand which dance is implied by the texture. First bars of Christe: Trio en passacaille from Messe du Deuxième ton, showing the simple, yet unusual, imitative beginning of the work. The ostinato pattern (seen here in full form) is identical to the first half of the ostinato of Johann Sebastian Bach's Passacaglia in C minor, BWV 582/1. Here, it will be repeated six times, each time either slightly altered using ornaments, or in a heavily modified form. All five masses follow the same standard scheme: 5 versets for Kyrie, 9 for Gloria, 3 for Sanctus, one Elevation, 2 Agnus Dei versets and a Deo Gratias.
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Developmental psychologist Jean Piaget noted that children in a developmental phase he called the sensorimotor stage (a period which lasts up to the first two years of a child) begin to imitate observed actions. This is an important stage in the development of a child because the child is beginning to think symbolically, associating behaviors with actions, thus setting the child up for the development of further symbolic thinking. Imitative learning also plays a crucial role in the development of cognitive and social communication behaviors, such as language, play, and joint attention. Imitation serves as both a learning and a social function because new skills and knowledge are acquired, and communication skills are improved by interacting in social and emotional exchanges.
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The paradigm case of an empathic interaction, however, involves a person communicating an accurate recognition of the significance of another person's ongoing intentional actions, associated emotional states, and personal characteristics in a manner that the recognized person can tolerate. Recognitions that are both accurate and tolerable are central features of empathy. The human capacity to recognize the bodily feelings of another is related to one's imitative capacities, and seems to be grounded in an innate capacity to associate the bodily movements and facial expressions one sees in another with the proprioceptive feelings of producing those corresponding movements or expressions oneself. Humans seem to make the same immediate connection between the tone of voice and other vocal expressions and inner feeling.
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Once Daemon was beaten, the two were much more friendly to each other, though Matrix was always having to deal with anxieties of what to do now there was no-one left to fight. While he sometimes views the young copy Enzo as somewhat of an annoyance and grim reminder of what he used to be, he has come to accept the young Enzo as a little brother and strives to prevent him from becoming like himself. With his tough-guy attitude, similar look (missing eye, sleeveless vest, and fingerless gloves), and imitative dialogue ("Call me Matrix!"), Matrix is likely inspired by the character of Snake Plissken, or possibly the gruff, muscular, gun- toting, anti-hero, Cable, of Marvel Comic's X-Men franchise.
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Fourth generation of Iranian intellectuals are mainly characterized by the journals such as Goftegu and Kiyan. In contrast with the ideological generation of Iranian intellectuals who in their encounter with the western modernity favoured a monistic attitude exemplified by Marxist and Heideggerian philosophies, the Fourth Generation of Iranian intellectuals decided on a move away and a critical distanciation from master ideologies. The methodological position of the new generation of Iranian intellectuals is characterized by two main philosophical attitudes: the extension of an anti- utopian thinking on an intersubjective basis on the one hand, and the urge for a non-imitative dialogical exchange with the modern values of the West on the other. Javad Tabatabaei and Abdolkarim Soroush among many others belong to the fourth generation.
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He liked quick, rhythmically active passages in his madrigals; this may reflect an influence from the contemporary vocal form of the villanesca. In addition, he wrote extended homophonic sections, showing somewhat less influence from the contemporary motet, in contrast to the motet- like imitative passages found in Verdelot. In addition to his madrigals, published mostly between 1543 and 1549, several collections of his sacred works were published during his lifetime, among them four masses, over forty motets, a set of Lamentations, and numerous Magnificats and Marian Litanies (for two choruses, each with four voices). The style of his sacred music matches that of his secular: he was less fond of imitation and complex counterpoint for its own sake, and often wrote purely homophonic passages.
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Brand early poetry was strongly influenced by English poets and are somewhat imitative of Wordsworth, Keats, Shelley, Wilfred Owen, Siegfried Sassoon, Walter de la Mare and Edna St Vincent Millay. In her early work, she preferred a regular rhyme scheme to free verse although she adopted whichever suited the idea. In the late 1930s, Brand cancelled a planned overseas trip because of the outbreak of World War II. Her poetic focus during this period therefore was on the social and political environment in Australia as well as the unique Australian landscape and seascape. This also became a time for her development as a writer because she met Melbourne Workers' Educational Association tutor, William Fearn Wannan, who influenced and taught her.
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To the beginning of his four and a half years' residence in Italy belong the forty-seven sonnets of his Antiquités de Rome, published in 1558. Sonnet III of the Antiquités, "Nouveau venu qui cherches Rome en Rome," has been shown to reflect the direct influence of a Latin poem by a Renaissance writer named Jean or Janis Vitalis. The Antiquités were rendered into English by Edmund Spenser (The Ruins of Rome, 1591), and the sonnet "Nouveau venu qui cherches Rome en Rome" was rendered into Spanish by Francisco de Quevedo ("A Roma sepultada en sus ruinas," 1650). These sonnets were more personal and less imitative than the Olive sequence, and struck a note which was revived in later French literature by Volney and Chateaubriand.
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Ruskin had achieved attention in Victorian society for championing the art of a group of painters who had emerged in London in 1848 calling themselves the Pre-Raphaelite Brotherhood. The Pre-Raphaelite style was heavily Medievalist and Romanticist, emphasising abundant detail, intense colours and complex compositions; it greatly impressed Morris and the Set. Influenced both by Ruskin and by John Keats, Morris began to spend more time writing poetry, in a style that was imitative of much of theirs. Both he and Burne-Jones were influenced by the Romanticist milieu and the Anglo-Catholic movement, and decided to become clergymen in order to found a monastery where they could live a life of chastity and dedication to artistic pursuit, akin to that of the contemporary Nazarene movement.
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It is named for—and its architecture was imitative of the Abbey of Saint Andrew in Chesterton, which Bicchieri had been given for his services to the church during the difficult period of the civil war. In 1224, also in Vercelli, he founded Saint Andrew's hospital. Of great interest to students of English literature is the fact that the premises of Vercelli Cathedral Museum hold the famed Vercelli Book, one of the few extant manuscripts of early English (Anglo-Saxon) writings. Although there is still much debate as to how the manuscript wound up in Italy, at least some sources (discussed in Krapp, below) give credence to the theory that Guala Bicchieri brought it back with him when he returned from England.
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Weaver 2010 p.93 Bela Lugosi Meets a Brooklyn Gorilla was to be the first in a series of films starring Mitchell and Petrillo, but wound up as their only film together.Weaver 2010 p.97 According to Herman Cohen, Jerry Lewis was furious when he heard that Sammy Petrillo and Duke Mitchell had formed a team that was imitative of his act with Dean Martin, and that they were to appear in a film together. Gary Lewis, Jerry's eldest son was quoted, "When Sammy and the other guy played in that gorilla movie, I remember my dad and Dean saying, ‘We got to sue these guys — this is no good.’" Lewis, who knew Jack Broder through the Friars Club of Beverly Hills, showed up at Jack Broder's office.
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Original music and songs for the film were composed by Al Zbacnic and Tom Baker, the music director of the Upbeat show. One song, "I'm Gonna Dodge the Draft", appeared in the initial Sign of Aquarius release, but was then cut from the film. The original movie soundtrack album was released in 1970 under the title Sign of Aquarius on the Adell label (ASLP 216) and contains thirteen songs, including "I'm Gonna Dodge the Draft". Although some critics have dismissed the songs as imitative of Hair and "bad faux-rock music", others have praised the music, including Batdorff, who panned the acting, writing and dancing but said the film had "some awfully good music by Al Zbacnic and Thomas Baker", and Patrick Lundborg, who reviewed the soundtrack in his book The Acid Archives.
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In Plain Awful, the ducks discover that, since their last visit, the highly imitative residents have sculpted their entire culture around the appearance and personality of Donald Duck (just as they had previously built their entire culture around the personality of their previous visitor). One aspect of Plain Awful's culture that has remained constant, however, is the law forbidding round objects, which Scrooge inadvertently violates by showing the natives his Number One Dime. As a result, he is held prisoner in the stone quarries, finishing the square eggs deal for good. However, Plain Awful's "President" (The leader decided to imitate America's system after Donald and his nephews' first visit) offers Scrooge a full pardon and reconsideration of the square eggs deal, if they bring him a rare item called "Ice Cream Soda".
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Evidence of a rich cognitive life in primate relatives of humans are extensive, and a wide range of specific behaviors in line with Darwinian theory are well documented. However, until recently, research has disregarded nonhuman primates in the context of evolutionary linguistics, primarily because unlike vocal learning birds, our closest relatives seem to lack imitative abilities. Evolutionary speaking, there is great evidence suggesting a genetical groundwork for the concept of languages has been in place for millions of years, as with many other capabilities and behaviors observed today. While evolutionary linguists agree on the fact that volitional control over vocalizing and expressing language is a quite recent leap in the history of the human race, that is not to say auditory perception is a recent development as well.
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Dellaira's 1995 orchestral tone poem Three Rivers was a turning point in his compositional style and voice; in this piece, based on his solo guitar music from the 60's, Dellaira now sought ""the sense of improvisation which occurred when this music flowed freely from heart to fingers, unimpeded by matters of style, theory, or criticism."Liner notes to Five; Albany Records [Troy 487], 2002 Since the year 2000, Dellaira has devoted himself almost exclusively to opera, music-theater, and choral music. In a review of Dellaira's 2002 CD Five for Fanfare Magazine Robert Carl wrote: "Dellaira shows a special proclivity and talent for vocal music. Composers such as Bernstein, Rorem, and Glass all seem to be influences, mixed in a way that does not seem easily imitative or derivative.
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The Marian hymns from the 1605 Gradualia are set in a light line-by-line imitative counterpoint with crotchet pulse which recalls the three-part English songs from Songs of sundrie natures (1589). For obvious reasons, the Gradualia never achieved the popularity of Byrd's earlier works. The 1607 set omits several texts, which were evidently too sensitive for publication in the light of the renewed anti-Catholic persecution which followed the failure of the Gunpowder Plot in 1605. A contemporary account which sheds light on the circulation of the music between Catholic country houses, refers to the arrest of a young Frenchman named Charles de Ligny, who was followed from an unidentified country house by spies, apprehended, searched and found to be carrying a copy of the 1605 set.
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"Et moi, et moi, et moi" reached number 2 in the French singles chart in September 1966 and number 7 in the Swiss chart the following month. It also gained popularity on the British mod scene where, despite the language barrier, it was appreciated as satirising the folk revival movement. Cultural historian Larry Portis describes the arrival of Dutronc on the French music scene, along with that of Michel Polnareff at around the same time, as representing "the first French rock music that can be considered a musically competent and non-imitative incorporation of African-American and African- American-British influences". For Portis, Dutronc marks a break with the literary tradition of French chanson in his creative use of the sounds, rather than just the syntax, of the language.
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Built and opened in 1980 the main building of the Primary Speech Therapy (Logopedic) Boarding-School is one of the last built school buildings in the country. Its campus is a modern base – school complex with a specialized Logopedic children garden, two boarding-schools, and one-floor building for the elementary classes and the main three-floor-building of the former Logopedic Boarding- School. The Boarding-School sat in a wide, cozy building, built in an ecologically clear area with excellent communication with the main town Pleven and with the other centers in the region. The Primary Logopedic Boarding- School has an excellent base with cabinets for individual language therapy as well as geography, biology, chemistry, physics, foreign languages laboratories, imitative fine arts, cinema and sports hall, a rich library, mechanical and woodtuming workshops.
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Brundage was one of the leaders in the founding of the Pan-American Games, participating in the initial discussions in August 1940 in Buenos Aires. On his return, he arranged for the American Olympic Association to be renamed the United States of America Sports Federation (USASF), which would organize the United States Olympic Committee (as the AOC would now be called) and another committee to see to American participation in the Pan-American Games. Brundage became an early member of the international Pan-American Games Commission, although the inaugural event in Buenos Aires was postponed because of the war and was eventually held in 1951, with Brundage present. Despite his role in founding them, Brundage viewed the Pan-American Games as imitative, with no true link with antiquity.
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" The New York Daily News conceded that the film "exhibits more atmosphere, sincerity and visual style than the typical imitative Empire product," also praising the special effects, but felt it was "poorly plotted" and boasts uncharismatic characters. Critic Leonard Maltin gave the film a positive review, writing: "[Ghost Town is an] imaginative fantasy thriller that has modern-day sheriff Luz chosen to rid a century-old town of its curse by avenging its dead sheriff in High Noon fashion. Fine special effects distinguish this modest sleeper." In a review published by Variety, it was noted: "Atmospheric lensing by Empire stalwart Mac Ahlberg on Tucson locations offers a pleasant relief from recent studiobound (in Rome) product from the late fantasy outfit," and the film was called an "odd variation on [a] familiar suspense format.
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The phrase appears to have first been coined in the 1960s by Donald A. Wollheim, editor of Ace Books, and later of DAW Books at a time when the genre was undergoing a revival. Both Ace Books and DAW Books were instrumental in bringing much of the earlier pulp sword and planet stories back into print, as well as publishing a great deal of new, imitative work by a new generation of authors. There is a fair amount of overlap between sword and planet and planetary romance although some works are considered to belong to one and not the other. Influenced by the likes of A Princess of Mars yet more modern and technologically savvy, sword and planet more directly imitates the conventions established by Burroughs in the Mars series.
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Gabora has contributed to the study of cultural evolution and evolution of societies, focusing strongly on the role of personal creativity, as opposed to memetic imitation or instruction, in differentiating modern human from prior hominid or modern ape culture. In particular, she seems to follow feminist economists and green economists in making a very strong, indeed pivotal, distinction between creative "enterprise", invention, art or "individual capital" and imitative "meme", rule, social category or "instructional capital". Gabora's views contrasts with that of memetics and of the strongest social capital theorists (e.g. Karl Marx or Paul Adler) in that she seems to see, as do theorists of intellectual capital, social signals or labels as markers of trust already invested in individual and instructional complexes - rather than as first class actors in themselves.
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Together with the London-based Most Venerable Order of the Hospital of Saint John of Jerusalem (of which the British monarch is Sovereign Head), the Swedish Johanniterorden i Sverige, and the Dutch Johanniter Orde in Nederland, the Order is a member of the Alliance of the Orders of Saint John of Jerusalem. Along with the Roman Catholic Sovereign Military Order of Malta ("SMOM"), these four "Alliance Orders" represent the legitimate heirs of the Knights Hospitaller. They consider other orders using the name of Saint John to be merely imitative, and the Alliance and the SMOM jointly formed a False Orders Committee (renamed and reorganized as the Committee on Orders of St. John), with representatives of each of the five orders, to expose and take action against such imitations.Sainty, pages 63, 108-112, 145.
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They seem to be using fairly basic construction techniques, and while they do have access to some exotic materials in their ships and Mechs, their large-scale structures seem to be made out of basic construction materials found on Earth like concrete and steel rebar. Hal points out that this explains what they were doing with all of the scrap metal they were making the harnessed children collect. Back in the high school base camp, Pope has been assisting Uncle Scott in examining the wreckage of some of the Mechs they have managed to destroy, and Matt pokes around as he works. Pope explains that from what they can discern from the wreckage, even the Mechs are imitative of Earth technology, or as he puts it, "they're really big into recycling".
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Relocated with his mother and sister to the fictional Woodbine, Ohio, Skizzen grows up to be a thoroughly middling nobody, a low- skilled amateur piano player who finds his niche as a professor of music at a small Bible college, by passing himself off as just the right kind of exotic, specializing in Arnold Schoenberg and atonal music, and successfully lying about his training and credentials. Isolated, he lives with his mother, his only hobby a fantasy life as the curator of his Inhumanity Museum. He obsesses over revising a single sentence, "The fear that the human race might not survive has been replaced by the fear that it will endure." One review described the novel as being written in a style imitative of Schoenberg, with no scene having more dramatic significance than any other.
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Stylistically, his music can be considered a midpoint between the simplicity and homophonic textures of Dufay and Binchois, and the soon-to-be pervasive imitative counterpoint of Josquin and Gombert. He used imitation only occasionally but skillfully, created smooth and singable melodic lines and had a strong feeling for triadic sonorities, anticipating 16th-century practice. According to Pietro Aron, Busnois may have been the composer of the famous tune L'homme armé, one of the most widely distributed melodies of the Renaissance and the one more often used than any other as a cantus firmus in Mass composition. Whether or not he wrote the first Mass based on L'homme armé, his was by far the most influential; Obrecht's setting, for example, closely parallels that of Busnois, and even Dufay's quotes from it directly.
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182-3 the members of which, like the Batheaston set, made themselves ridiculous by the practice of mutual admiration. Writing under the name of ‘Benedict’, he published a number of sonnets imitative of the Robert Merry – Hannah Cowley exchanges in their earlier collection, The Poetry of the World (1788), and these were published in a new collection, The British Album (1790).vol.2, pp.91-9 Not only were the works of the Della Cruscans voluminous and uncritical, but they were also identified with the radical cause and so became the object of the reactionary William Gifford’s bitter satire. At the start of his attack on the group in The Baviad (1794), Gifford makes “Some sniv’lling Jerningham at fifty weep/ O’er love-lorn oxen and deserted sheep,”p.
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A rare surviving contemporary review by Guy Patin, a distinguished member of the Parisian medical faculty, indicates the considerable impact Religio Medici had upon the intelligentsia abroad: Throughout the seventeenth century Religio Medici spawned numerous imitative titles, including John Dryden's great poem, Religio Laici, but none matched the frank, intimate tone of the original in which Browne shares his thoughts, as well as the idiosyncrasies of his personality with his reader. Samuel Pepys in his diaries complained that the Religio was cried up to the whole world for its wit and learning. A translation into German of the Religio was made in 1746 and an early admirer of Browne's spiritual testament was Goethe's one-time associate Lavater. In the early nineteenth century Religio Medici was "re-discovered" by the English Romantics.
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One of the key issues raised in this context is the superiority/inferiority of IWE (Indian Writing in English) as opposed to the literary production in the various languages of India. Key polar concepts bandied in this context are superficial/authentic, imitative/creative, shallow/deep, critical/uncritical, elitist/parochial and so on. The views of Salman Rushdie and Amit Chaudhuri expressed through their books The Vintage Book of Indian Writing and The Picador Book of Modern Indian Literature respectively essentialise this battle. Rushdie's statement in his book – "the ironic proposition that India's best writing since independence may have been done in the language of the departed imperialists is simply too much for some folks to bear" – created a lot of resentment among many writers, including writers in English.
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For Camões was his model; not the Camões of the epic, but the Camões of the lyrics and the sonnets, where the passion of tenderness finds its supreme utterance. Braga has noted five stages of development in João de Deus' artistic life: the imitative, the idyllic, the lyric, the pessimistic and the devout phases. Under each of these divisions is included much that is of extreme interest, especially to contemporaries who have passed through the same succession of emotional experience, and it is highly probable that Caturras and Gaspar, pieces as witty as anything in Bocage but free from Bocage's coarse impiety, will always interest literary students. But it is as the singer of love that João de Deus will delight posterity as he delighted his own generation.
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Frontman with trompeta china of the Conga de Tivoli in Santiago de Cuba The trompeta china (also called corneta china), a Cuban traditional wind instrument, is actually the Chinese suona, an instrument in the oboe family introduced to Cuba by Chinese immigrants during the colonial period (specifically the late nineteenth century). The trompeta china is used primarily in Cuban carnival music, particularly in the eastern region of Santiago, where it is an integral part of the comparsa (carnival musical ensemble). The instrument has also been adopted for use in some forms of son. Players of the trompeta china are not necessarily of Chinese ancestry, and the instrument's playing style is more imitative of a trumpet than of the traditional playing style of the suona or any other Chinese instrument.
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John Philip Cozens Kent, (28 September 1928 – 22 October 2000) was a British numismatist. He was born the son of a railway official in Hertfordshire and educated at Minchenden Grammar School and University College, London, where he was awarded a BA in 1949 and a PhD in 1951. After two years National Service he was appointed Assistant Keeper in the British Museum’s Department of Coins and Medals. There his main interest was the coins of the late Roman Period, contributing to the reference book on Late Roman Bronze Coinage which was published in 1960. Other work covered the reclassification of imitative coins of the Dark Ages in the 5th century, assisting on the dating of the Sutton Hoo burial ship and the use of gold coinage in the late Roman Empire.
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852-3 The ten books of madrigals show a gradual absorption of the styles of other composers in the orbit of the courts of Mantua and Ferrara, particularly Wert. In the first book, Pallavicino wrote mostly in an imitative style similar to that of previous generations of composers, and related to the polyphonic style of sacred music. By the fourth book, Pallavicino was experimenting with sudden and extreme contrasts of texture rhythm, devices later taken to an extreme in the works of Carlo Gesualdo, but seen earlier in Wert. The influence of Luzzasco Luzzaschi is also evident in this book, particularly in the virtuosic writing for high female voices, including ornamentation and voice exchange techniques reminiscent of the music being composed for the famous three singers, the Concerto delle donne, of Ferrara.
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These works are all parody masses, and are based on motets by Pierre Certon, Thomas Crecquillon and Jean Maillard. His other sacred music, particularly the Cantiques spirituels, shows the influence of the Huguenots, the French Protestant composers of the 16th century, with their simple homophonic textures and melodic line in the topmost voice; in addition, one of them uses a tune taken from the Genevan Psalter, an extremely unusual thing for a Roman Catholic composer to do during the Wars of Religion. Some of these may have been written before the outbreak of the war in 1562. His secular music either uses the imitative style of the first generation of Parisian chanson writers, especially for older texts, or the more current homophonic style for settings of more recent verse.
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The second employs the violins in an imitative, sometimes homophonic structure, that uses shorter note values. The dance movements of the suites show traces of Italian (in the gigues of suites 2 and 6) and German (allemande appears in suites 1 and 2) influence, but the majority of the movements are clearly influenced by the French style. The suites do not adhere to a fixed structure: the allemande is only present in two suites, the gigues in four, two suites end with a chaconne, and the fourth suite contains two arias. Pachelbel's other chamber music includes an aria and variations (Aria con variazioni in A major) and four standalone suites scored for a string quartet or a typical French five-part string ensemble with 2 violins, 2 violas and a violone (the latter reinforces the basso continuo).
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Each trial is composed of a series of prompts (verbal, gestural, physical, etc.) that are issued by a "communicator" who is positioned directly across the table from the individual receiving treatment. These verbal prompts can range from "do this", "look at me", "put in"," put on"," show me"," give to me" and so on, in reference to an object, color, simple imitative gesture, etc. The concept is centered on shaping the child to correctly respond to the prompts, increasing the attentive ability of the individual, and mainstreaming the child for academic success. Should the child fail to respond to a verbal prompt, the therapist will use either a partial prompt (a simple nudge or touch on the hand or arm) or a full (hand over hand assistance until the prompt has been completed) physical guide to correct the individual's mistake or non-compliance.
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" In The Living Church, an Episcopalian magazine, Travis DuPriest stated that he "particularly liked [Easwaran's] introduction with practical advice on meditation, spiritual reading and spiritual association," calling Seeing with the Eyes of Love a "well-written book with a strong focus on the love of God." In The B.C. Catholic, Paul Matthew St. Pierre described Seeing with the Eyes of Love as an "understated work" in which the author "does not second-guess Thomas a Kempis for us." But Easwaran "manages to open up the mind and spirit of Thomas a Kempis and to awaken people created in the image and likeness of God to the possibilities of imitating Jesus." He later added that in Seeing with the Eyes of Love, "Easwaran untangles a meditative paradox of imitative faith and observance that draws people to the actuality of Jesus Christ.
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A musical landmark for its day, the organ was designed and voiced at the zenith of orchestral-imitative or "symphonic" organ design in this country, and is mentioned in such reference works as Orpha Ochse's The History of the Organ in the United States and Charles Callahan's The American Classic Organ. It was heard frequently through the 1930s in recitals by Claude Murphree, University Organist, as well as in early broadcasts over the University's "new" radio station, WRUF. An elaborate organ façade was also designed by the architect, but was never built. In the early 1960s the Æolian-Skinner Organ Company of Boston began a program of mechanical renovation and tonal changes, and the M. P. Moller Organ Company continued expanding and modifying the organ as a teaching and recital instrument for the growing School of Music.
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Some of them show the influence of the motets of Alfonso Ferrabosco I (1543–1588), a Bolognese musician who worked in the Tudor court at intervals between 1562 and 1578. Ferrabosco's motets provided direct models for Byrd's Emendemus in melius (a5), O lux beata Trinitas (a6), Domine secundum actum meum (a6) and Siderum rector (a5) as well as a more generalised paradigm for what Joseph Kerman has called Byrd's 'affective-imitative' style, a method of setting pathetic texts in extended paragraphs based on subjects employing curving lines in fluid rhythm and contrapuntal techniques which Byrd learnt from his study of Ferrabosco. The Cantiones were a financial failure. In 1577 Byrd and Tallis were forced to petition Queen Elizabeth for financial help, pleading that the publication had "fallen oute to oure greate losse" and that Tallis was now "verie aged".
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The Colloquium on Violence and Religion (COV&R;) is an international organization dedicated to “exploring, critiquing, and developing” the mimetic theory proposed by the French historian, literary critic, and anthropological philosopher René Girard. Membership includes scholars of theology, religious studies, literary studies, philosophy, psychology, and other academic fields as well as clergy and other practitioners. Girard's work focused on the sources of human violence in mimetic (unconsciously imitative) desire and the centrality of religion in the formation of culture through the management of violence (the single-victim mechanism or scapegoat effect), but the scope of the Colloquium on Violence & Religion's interest has expanded beyond violence to mimetic desire's positive potential and beyond religion to other disciplines. The Colloquium on Violence & Religion is affiliated with regional organizations around the world devoted to Girard's work, mimetic theory, and peacemaking.
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Poet Conrad Aiken, a contemporary of Kilmer, lambasted his work as being unoriginal-- merely "imitative with a sentimental bias" and "trotting out of the same faint passions, the same old heartbreaks and love songs, ghostly distillations of fragrances all too familiar". Aiken characterized Kilmer as a "dabbler in the pretty and sweet" and "pale-mouthed clingers to the artificial and archaic". Kilmer is considered among the last of the Romantic era poets because his verse is conservative and traditional in style and does not break any of the formal rules of poetics—a style often criticized today for being too sentimental to be taken seriously. The entire corpus of Kilmer's work was produced between 1909 and 1918 when Romanticism and sentimental lyric poetry fell out of favor and Modernism took root—especially with the influence of the Lost Generation.
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Most scholars, although disagreeing on other questions about the genesis of the poems, agree that the Iliad and the Odyssey were not produced by the same author, based on "the many differences of narrative manner, theology, ethics, vocabulary, and geographical perspective, and by the apparently imitative character of certain passages of the Odyssey in relation to the Iliad." Nearly all scholars agree that the Iliad and the Odyssey are unified poems, in that each poem shows a clear overall design, and that they are not merely strung together from unrelated songs. It is also generally agreed that each poem was composed mostly by a single author, who probably relied heavily on older oral traditions. Nearly all scholars agree that the Doloneia in Book X of the Iliad is not part of the original poem, but rather a later insertion by a different poet.
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While many experts suggest "Blue Whale" was originally a sensationalised hoax, they believe that it is likely that the phenomenon has led to instances of imitative self-harming and copycat groups, leaving vulnerable children at risk of cyberbullying and online shaming. By late 2017, reported participation in Blue Whale was receding; however, internet safety organisations across the world have reacted by giving general advice to parents and educators on suicide prevention, mental health awareness, and online safety in advance of the next incarnation of cyberbullying. American skeptic Ben Radford researched the phenomenon, calling it the "moral panic du jour" and equating it to the Dungeons & Dragons controversies of the 1980s. Radford also states "this is only the latest in a long series of similar moral panics and outrages shared on social media... the best antidote ... is a healthy dose of skepticism".
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A plugin is available for web browsers to run JSyn-enabled applets distributed over the world wide web. Although fundamentally a synthesis language (imitative of if not directly inspired by Csound and other MUSIC-N languages), JSyn has a number of powerful extensions and ancillary libraries, including JMSL (a Java update to the HMSL music specification language) and JScore (a staff notation editor and library), which adds a significantly higher level of musical informatics to the package than would normally be supplied with a set of synthesis routines. Wire, a graphical editor for JSyn routines, also allows developers to create DSP chains using a simple GUI that gives the API some of the ease of use of programs such as Max/MSP. A commercial (though inexpensive) developer license allows JSyn to be incorporated into commercial applications.
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Sideboard by Ince and Mayhew, 1786 Ince and Mayhew were a partnership of furniture designers, upholsterers and cabinetmakers, founded and run by William Ince (1737–1804)William Ince baptised 31 March 1737 in St Paul's, Covent Garden, London Source: Ingle, Sarah, William Ince Cabinet Maker Second Edition 2020 and John Mayhew (1736–1811) in London, from 1759 to 1803; Mayhew continued alone in business until 1809. Their premises were located in Marshall Street but were listed in London directories in Broad Street, Soho, 1763–83, and in Marshall Street, Carnaby Market, 1783–1809.Sir Ambrose Heal, London Furniture Makers (1951). The partnership's volume of engraved designs, The Universal System of Household Furniture, dedicated to the Duke of Marlborough (published in parts, 1759–63), was issued in imitative rivalry with Thomas Chippendale;Mayhew and Ince even employed the same engraver, Matthew Darly.
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Tolkien stated that the main temptation facing the wizards, and the one that brought down Saruman, was impatience. It led to a desire to force others to do good, and from there to a simple desire for power.Letters #181 to Michael Straight, January or February 1956 The Tolkien scholar Marjorie Burns writes that while Saruman is an "imitative and lesser" double of Sauron, reinforcing the Dark Lord's character type, he is also a contrasting double of Gandalf, who becomes Saruman as he "should have been", after Saruman fails in his original purpose. Charles Nelson writes that although evil is personified in Sauron and his creatures such as Balrogs, along with Shelob and other "nameless things" deep below the mountains, evil threatens the characters from within, and the moral failures of those such as Saruman, Boromir, and Denethor endanger the world.
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The logistic function can be used to illustrate the progress of the diffusion of an innovation through its life cycle. In The Laws of Imitation (1890), Gabriel Tarde describes the rise and spread of new ideas through imitative chains. In particular, Tarde identifies three main stages through which innovations spread: the first one corresponds to the difficult beginnings, during which the idea has to struggle within a hostile environment full of opposing habits and beliefs; the second one corresponds to the properly exponential take-off of the idea, with f(x)=2^x; finally, the third stage is logarithmic, with f(x)=\log(x), and corresponds to the time when the impulse of the idea gradually slows down while, simultaneously new opponent ideas appear. The ensuing situation halts or stabilizes the progress of the innovation, which approaches an asymptote.
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New broadcasting of mass shooting coverage informs the public about aspects of the incident, such as the location, number of casualties, nature of the crime and potentially, identity of the perpetrator. A report released in 2017, 'Dear Members of the Media' urges news reporters to cease publication of names, photos and other forms of identification to limit the potential for mass shooting contagion. Research assessing the effects of violent media in correlation with aggressive behaviour suggests that heightened viewing of murderous media creates an imitative influence on criminal behaviours. According to Indiana State University researcher, Jennifer L. Murray, reporting of mass shooting is reported in seven, cyclical stages: (1) tragic shock, (2) first witness reports, (3) identification of shooter, (4) reports of character of shooter, (5) media branding: the packaging of a massacre, (6) official response and official report and (7) tragic shock.
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Lacan continued to refine and modify the mirror stage concept through the remainder of his career; see below. Dylan Evans argues that Lacan's earliest versions of the mirror stage, while flawed, can be regarded as a bold pioneering in the field of ethology (the study of animal behavior) and a precursor of both cognitive psychology and evolutionary psychology. In the 1930s, zoologists were increasingly interested in the then- new field of ethology, but not until the 1960s would the larger scientific community believe that animal behavior offered any insights into human behavior. However, Evans also notes that by the 1950s Lacan's mirror stage concept had become abstracted to the point that it no longer required a literal mirror, but could simply be the child's observation of observed behavior in the imitative gestures of another child or elder.
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Observational learning is presumed to have occurred when an organism copies an improbable action or action outcome that it has observed and the matching behavior cannot be explained by an alternative mechanism. Psychologists have been particularly interested in the form of observational learning known as imitation and in how to distinguish imitation from other processes. To successfully make this distinction, one must separate the degree to which behavioral similarity results from (a) predisposed behavior, (b) increased motivation resulting from the presence of another animal, (c) attention drawn to a place or object, (d) learning about the way the environment works, as distinguished from what we think of as (e) imitation (the copying of the demonstrated behavior). Observational learning differs from imitative learning in that it does not require a duplication of the behavior exhibited by the model.
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Schlick's setting also sets itself apart by relying heavily on imitation, sequence and fragmentation of motives, techniques seldom employed so consistently in organ music of the day. The first movement begins with an imitative exposition of an original theme with an unusually wide (for a theme used imitatively) range of a twelfth and proceeds to free counterpoint with instances of fragments of the original theme. Movements 2 and 3 (Ad te clamamus and Eya ergo) begin by treating the cantus firmus imitatively, and the opening of Eya ergo constitutes one of the earliest examples of fore- imitation: First bars of Schlick's Eya ergo: an early example of fore- imitation in keyboard music. This technique, in which a motif treated imitatively "foreshadows" the entrance of the cantus firmus, later played a major part in the development of the organ chorale.Apel 1972, 85.
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Standley and his shop were instrumental in the world's perceiving Seattle as within the region associated strongly with totem poles, even though traditionally those had been associated with areas farther north. The cultural effect of the hybrid or imitative art fostered by Standley and the shop can be clearly seen as early as 1909, when anthropologist Alfred Cort Haddon, in Seattle to lecture at the A-Y-P Exposition purchased 109 items from the shop for the Horniman Free Museum. In the early 20th century, Ye Olde Curiosity Shop was, as author Kate Duncan wrote in 2001, "the most varied and visible Indian collection in the city" and "became a stop for visiting Indians and Eskimos, as it remains today." The shop's guest book showed visits from prominent Indians including chiefs of the Cheyenne and Lakota.
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In his "social cognitive theory" Bandura outlines what he believed to be the four sets of constituent processes that govern imitation: # An model must give attention to the demonstrator's behavior # An model must store that behavior in the form of a "symbolic conception" that can serve as a sort of standard for the behavior # An model must imitate the behavior of the demonstrator acquired from the symbolic conception when... # The model is motivated to imitate the behaviorBandura, A. Social foundations of thought and action: A social cognitive theory. Prentice-Hall, 1986. Unlike in associative theories of imitation, Bandura's transformational theory of imitation denies that reinforcement must accompany observation of the demonstrator's behavior for the creation of a mental portrayal of the demonstrator's behavior to occur. Bandura's theory also claims reinforcement is not necessary in the maintenance of imitative behavior.
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His madrigals use from four to six voices, and show the influence of several of the prominent stylistic trends of the time. There is a gradual progression from an early dense imitative and polyphonic style, to one making use of most of the trends current at Mantua and Ferrara, including the seconda pratica style of declamatory writing, which was one of the musical characteristics defining the beginning of the Baroque era. Unlike Monteverdi, for whom it was a defining characteristic of his polyphonic madrigals, Pallavicino generally ignored the possibilities for dramatic characterization inherent in the texts he set, especially in his earlier books. This was the period in which the precursors of opera were being written, and one of the prominent madrigalian trends was to take dialogue, monologue, or straight narrative texts and set them with appropriate characterization.
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Portions of the story dealing with Yue Fei's retribution originally appeared in several storytelling compilations, including the fifteenth-century work An Imitative Collection of Stories (), and in an early folklore biography on the general named Restoration of the Great Song Dynasty: The Story of King Yue (, c. 1552). Feng Menlong later used such oral tales when he adapted the aforementioned story about Sima Mao to write "Humu Di Intones Poems and Visits the Netherworld," which was included in his collection. It is about a poor Yuan Dynasty scholar named Humu Di () who fails to gain a government post because he cannot pass the imperial exams. After a bout of drinking, Humu writes a series of poems criticizing heaven for not punishing the wicked and states he would torture Qin Hui for the murder of Yue Fei if he was the king of hell.
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During the 1540s and 1550s there were two general types of chansons being composed: the Parisian, by composers such as Clément Janequin and Claudin de Sermisy, which tended to be homophonic and written in short phrases, with only brief periods of imitation; and the Franco-Flemish, which was more polyphonic and imitative: the Franco-Flemish chansons were akin to the sacred music by the same composers. Canis used some features of the Parisian chanson, including homophony, short rhythmic units, and cadential formulae, grafting them onto an otherwise polyphonic fabric. Some of Canis's chansons use a cantus-firmus technique, in which Canis takes a line or two of music from a pre-existing chanson, including examples by Janequin, Claudin de Sermisy, and Gombert, and reworks it in a contrapuntal texture much different from the original, but using the same words.
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Schopenhauer's influence on the novel's philosophy is without doubt when one compares Cubas' description of insects and his attitude towards animals, which is a feature of Schopenhauer's philosophical outlook; and in Schopenhauer's writing he similarly uses examples from the animal kingdom to illustrate a philosophical truth (most famously that of the Australian bull-ant). Assis' allusion to Schopenhauer's philosophy is also 'formal': the chapter structure of The Posthumous Memoirs mimics that of Schopenhauer's World as Will and Representation; Bras Cubas' "method" in the novel, specifically the practice of referring to incidents in previous chapters by the chapter number, is imitative. Schopenhauer is often referred to as the 'King' of pessimists, or the 'Philosopher of despair'; his outlook is heavily linked to that of Buddhism. It is important to note that Assis created a philosophical theory to criticize Positivism, which was common in Brazil's literature back then.
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The suggestion often heard - that the first trio is an early elegy for Tchaikovsky - is doubtful: in 1892 the elder composer was in good health, and there was no premonition of the sudden illness that would kill him nearly two years later. Rather, the key to the connection with Tchaikovsky of this first trio is its repetitive opening theme, a four-note rising motif, that dominates the 15-minute work. Played backwards it has the same rhythm opening descending motif of Tchaikovsky's first piano concerto (written 1874-75), although now minor in the trio's version, and the allusion would have been apparent to listeners and teachers at the university, as would the closing funeral march imitative of Tchaikovsky's elegy to Nikolai Rubinstein. Rachmaninoff wrote this first trio while still a student and may well have intended it as an homage to his elder friend and mentor.
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Most contemporary scholars, although they disagree on other questions about the genesis of the poems, agree that the Iliad and the Odyssey were not produced by the same author, based on "the many differences of narrative manner, theology, ethics, vocabulary, and geographical perspective, and by the apparently imitative character of certain passages of the Odyssey in relation to the Iliad." Nearly all scholars agree that the Iliad and the Odyssey are unified poems, in that each poem shows a clear overall design, and that they are not merely strung together from unrelated songs. It is also generally agreed that each poem was composed mostly by a single author, who probably relied heavily on older oral traditions. Nearly all scholars agree that the Doloneia in Book X of the Iliad is not part of the original poem, but rather a later insertion by a different poet.
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George Herbert's poem "Easter Wings" printed upright in modern type "Easter Wings" is a religious meditation that focuses on the atonement of Jesus Christ. Its celebration of bodily and spiritual resurrection draws its theme from 1 Corinthians 15, and it is specially notable that the word ‘victory’ found in the Biblical text is repeated in both stanzas of the poem.Westerweel, pp.75-7 As well as the poem's being emblematic of the redeemed soul overall, the expansion and contraction of the lines imitates the meaning of the words. Thus in the first stanza the line “O let me rise” occurs as the wing unfurls again and is answered by the theme of climbing in the second. There is also similar imitative wording at the centre of both stanzas, “Till he became/ Most poore” in the first being answered by “That I became/ Most thinne” in the second.
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"Du tout plongiet–Fors seulement", a 4-voice chanson with two texts by Brumel Brumel also wrote numerous motets, chansons, and some instrumental music. His style in these also evolved throughout his life, with his earlier works showing the irregular lines and rhythmic complexity of the Ockeghem generation, while the later ones used the smooth imitative polyphony of the Josquin style as well as the homophonic textures of the current Italian composers of popular songs (for example Tromboncino, who was in Ferrara at the same time as Brumel). One peculiar feature of Brumel's style is that sometimes he uses very quick syllabic declamation in chordal writing, anticipating the madrigalian fashion of later in the 16th century. This appears sometimes in the "Credo" sections of his masses – logically, since that section has the longest text, and if set similarly to the other sections to the mass, it can be disproportionately long.
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Nectoux, p. 154 A gentle oboe melody is accompanied by the strings, who maintain a theme imitative of spinning. ;Sicilienne (allegro molto moderato) The movement although in the traditionally sad key of G minor, represents, in Larner's view, "the one moment of happiness shared by Pelléas and Mélisande". Nectoux writes that although the piece was reused from an earlier work (incidental music to Molière's Le Bourgeois Gentilhomme) very few people would guess that it was not composed for Pelléas and Mélisande, so appropriate is it to its purpose.Nectoux, p. 156 This is the movement of the suite that differs least from Koechlin's London score; Fauré made only minor textual amendments to it. ;Mort de Mélisande (molto adagio) The last movement, in D minor, is inescapably tragic, with a theme of lamentation for clarinets and flutes. There are echoes of Mélisande's song throughout the movement.
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In 2/4 time, the piece opens with the repeated notes of the main theme (Très animé et avec beaucoup d'entrain) hammered out in the middle register of the piano, and put through its paces. The middle section changes mood with a freely-modulating caressing melody (molto espressivo) before the original theme returns pp, worked in combination with the second theme, until the main bourrée theme "rampages from top to bottom of the keyboard subjected to increasing elaboration and bravura treatment". In relation to the "Bourrée fantasque" Charles Koechlin affirmed that Chabrier was the forerunner of modern French composers through the boldness of his writing technique, use of certain chord progressions, and use of modal atmosphere and ancient modes – which is never artificial or imitative, but a natural means of poetic expression.In a lecture in San Diego, quoted in: Orledge R. Charles Koechlin (1867–1950).
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In 1942, D’Amico founded the widely acclaimed Children's Art Carnival program at the Museum of Modern Art, where it would be presented periodically for over twenty years. D’Amico initially conceived of the Children's Art Carnival as an experiment in art education that would be offered to children throughout New York City. In line with his seminal belief that art education should focus on individual experimentation as opposed to the practice of rote techniques, The Children's Art Carnival fostered an environment in which children were encouraged to make creative decisions. As D’Amico writes in his book, Experiments in Creative Art Teaching, the directive of the Children's Art Carnival was “...to free the child of his clichés or imitative mannerisms and to help him discover his own way of seeing and expressing.” Within each hour-long session, children ranging in age from three to twelve engaged in a series of motivational activities.
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While it is possible to imitate the making of tools like those made by early Homo under circumstances of demonstration, research on primate tool cultures show that non-verbal cultures are vulnerable to environmental change. In particular, if the environment in which a skill can be used disappears for a longer period of time than an individual ape's or early human's lifespan, the skill will be lost if the culture is imitative and non- verbal. Chimpanzees, macaques and capuchin monkeys are all known to lose tool techniques under such circumstances. Researchers on primate culture vulnerability therefore argue that since early Homo species as far back as Homo habilis retained their tool cultures despite many climate change cycles at the timescales of centuries to millennia each, these species had sufficiently developed language abilities to verbally describe complete procedures, and therefore grammar and not only two-word "proto-language".
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They met only once more, again in Leipzig, on 12 September 1836. Schumann is known to have written 5 letters to Chopin (only one letter survives), but Chopin never reciprocated. He did not care for Schumann's music, and his only apparent mark of respect towards Schumann is his dedication of the Ballade No. 2 in F major, Op. 38, to him, which may have been out of politeness as much as anything. For his part, Schumann not only dedicated his Kreisleriana, Op. 16, to Chopin, he also wrote his own Variations on Chopin's Nocturne in G minor, Op. 15/3 (first published 1981), in between their two meetings; he wrote an imitative section called simply "Chopin" in Carnaval, Op. 9; and he remained a lifelong staunch champion of Chopin's music, as did his wife Clara (the last concerto she ever played was Chopin's Piano Concerto No. 2 in F minor).
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The symmetrical sequence of the seven stanzas is a feature more often found in Bach's mature compositions: chorus – duet – solo – chorus – solo – duet – chorus. The musicologist Carol Traupman-Carr notes the variety of treatment of the seven stanzas, while retaining the same key and melody: # Polyphonic chorale fantasia # Duet, with "walking bass" in continuo # Trio sonata # Polyphonic and imitative, woven around chorale melody # Homophonic with elaborate continuo line # Duet, using trio sonata texture with extensive imitation # Four-part chorale setting (Leipzig version) John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage, in 2007 John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage in 2000, calls Bach's setting of Luther's hymn "a bold, innovative piece of musical drama", observing that Bach was "drawing on medieval musical roots (the hymn tune derives from the eleventh-century plainsong )", and noting Bach's "total identification with the spirit and letter of Luther's fiery, dramatic hymn". Bach could follow "Luther's ideal in which music brings the text to life".
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The cabaret artist was Wim Sonneveld, who early in the 1950s developed a character called Willem Parel for his Saturday evening radio show; Parel was a barrel organ player from the Jordaan, who made Sonneveld achieve stardom. Sonneveld came from Utrecht and his Amsterdam dialect was clearly imitative, but he did pave the way for a national audience to accept the Jordaan dialect and themes again. At the same time, two songwriters from Amsterdam, Henk Voogt ("Henvo") and Louis Noiret (real name Louis Schwarz), developed the actual Jordaanlied; two of their songs, "Bij ons in de Jordaan" and "De parel van de Jordaan", were performed by Henk Berlips at a Jordaan festival in September 1954 to great acclaim. At the time, no record company showed any interest for a kind of music because they thought it lacked national appeal, but Henvo and Louis Noret managed to get Ger Oord, the manager of the record company Bovema, to sponsor a talent show and offer the winner a contract.
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Although infants begin to engage in object manipulations during the first year of life, the nature of these manipulations changes qualitatively during the second year of life, when object-centered joint activity with adults becomes toddlers' leading activity. Though for much of infancy children have been involved with "dyadic" interactions with caregivers, or independent interactions with objects around them, around this time toddlers become centrally engaged in actions that are "triadic" in the sense that they involve the child, the adult, and some object or entity to which they share attention (Tomasello 1999). While working with objects toddlers look where their caregivers look (gaze following), use adults as social reference points (social referencing), and act on objects the way adults act on them (imitative learning) (Tomasello 1999). Toddlers tune into the ways adults are using objects, and use communicative gestures to get adults to tune into them, as well as objects in which they are interested.
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It was in 1940 that Fine opened her own gallery but later, in 1946, Fine accepted an offer to work for Karl Nienrendorf whose gallery was across the street from the Willard Gallery, it was at this gallery that Fine received a subsidy so she could paint full-time. During a show within the Nienrendorf Gallery Edward Alden Jewell, an art critic dismissed abstraction when it first came out in the 1930s calling it decorative and imitative of European avant-garde, however called Fine's pieces "aplomb" and "native resourcefulness". In 1947, Fine was featured in an issue of The New Iconograph which showcased nonobjective art and theory. It was written that even though she was a member of American Abstract Artists, her work was different in spirit than that of Ralston Crawford and Robert Motherwell. It was in 1950 she was nominated by Willem de Kooning and then admitted to the 8th Street "Artists' Club",Artists' Club located at 39 East 8th Street.
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Exemplified certified copy of Decree Absolute issued by The Family Court Deputy District Judge - divorce certificate An exemplified copy (or exemplification) is an official attested copy or transcript of a public instrument, made under the seal and original pen-in-hand signature of a court or public functionary and in the name of the sovereign, for example, "The People of the State of Oklahoma". Exemplifications can only be attested and executed by either the authority holding the record or the issuing authority. Exemplified copies are also usually an extract or transcript made directly from the original. They can be contrasted with certified copies which are attested by a public authority who does not necessarily execute the copy; are signed and sealed by the certifier, not necessarily the issuing authority or recorder; and are a facsimile, made from the original or not, and vary as to faithfulness, for example, fair copy, imitative copy, and so forth.
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Edition Peters No. 4528 Igor Markevitch produced a realization for three orchestral groups and, for the sonata movements, solo quartet (violin, flute, cello, and harpsichord), written in 1949-50. The Modern Jazz Quartet used one of the canons (originally "for two violins at the unison") as an introduction to their performance of the standard song "Softly, as in a Morning Sunrise". (This features on their album Concorde (1955).) The Royal Theme is played on the double bass, with Milt Jackson (vibraphone) and John Lewis (piano) weaving the two imitative contrapuntal voices above:Canon from the Musical Offering Isang Yun composed Königliches Thema for Solo Violin, a passacaglia on the Thema Regium with Asian and Twelve-tone influences, written in 1970. Bart Berman composed three new canons on the Royal Theme of The Musical Offering, which were published in 1978 as a special holiday supplement to the Dutch music journal Mens & Melodie (publisher: Het Spectrum).
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Gombert was one of the most renowned composers in Europe after the death of Josquin des Prez, as can be seen by the wide distribution of his music, the use of his music as source material for compositions by others, including Roland de Lassus and Claudio Monteverdi. Printers paid singular attention to him, issuing for example, editions consisting solely of his works – most print editions at the time were anthologies of music by several composers. Although highly admired by his contemporaries, the next generation of Franco-Flemish composers mostly wrote in a more simplified style. Part of this was an inevitable stylistic reaction to a contrapuntal idiom which had reached an extreme, and part of this was due to the specific dictates of the Council of Trent, which required that text be understandable in sacred, especially liturgical, music – something which is next to impossible for a composer to achieve in a dense imitative texture.
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The musical growth of Mashina can be mapped to different influences across their albums. Their early sound was obviously imitative of ska bands like Madness; they didn't bother to hide the influence, titling what became one of their earliest hit songs "Rakevet Laila Le-Kahir" ("Night Train to Cairo"), an homage to Madness' "Night Boat to Cairo", or "Geveret Sarah Hashchena" ("Miss Sarah, the Neighbour") that copied the theme, music and opening lyrics of Bob Dylan's "The Hurricane". Their subsequent albums combined reggae, punk rock and Middle Eastern elements. "Ha'Amuta Le-Heker Hatmuta" ("The Society for the Study of Mortality") has sounds influenced by The Cure, "Miflatzot Ha-Tehila" ("The Monsters of Fame") has sounds influenced by The Pixies and grunge, "Si Ha-Regesh" ("Peak of Excitement") has the blues influence of Pink Floyd, and "Lehitra'ot Ne'urim Shalom Ahava" ("Goodbye Youth, Hello Love") presents the anthemic quality of U2 and Simple Minds.
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Based on Kavi's reading and the space occupied by the hole, some scholars have theorized that the author was "Vijjakayā", identifying her with the poetess Vijja, who in turn, is sometimes identified with Vijaya, the daughter-in-law of the 7th century Chalukya king Pulakeshin II. However, Warder notes that the word could have been another name, such as "Morikayā". Alternatively, the broken word may not be a name at all: it is possible that the sentence containing it states that "the play was composed with a sub-plot patākayā". An analysis of the play's style and language indicates that it was definitely not authored by the poetess Vijja: the play resembles the works of earlier authors such as Bhasa (3rd or 4th century). It may have been composed somewhat later by an imitative writer, but it is highly unlikely to have been composed in as late as the 9th (or even the 6th) century.
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Mard Geer commands the elite led by the avian demon , a sadist who reinforces people's strength and increases their sensitivity to pain with her curse. The other Demon Gates include , who detonates anything on contact and can assume a lycanthropic form; , a cyclops who absorbs others' souls and copies their abilities; , an aquatic demon capable of flooding areas with poisonous water and turning his body harder than iron; , who cuts through anything with his multiple sword-like arms; , a female demon who controls people's bodies; , a skeletal necromancer who reanimates human corpses; and , a bestial demon who utters imitative words that invoke natural disasters. , Gray Fullbuster's deceased father and a Demon Slayer with ice magic, is also included among the Demon Gates after being reanimated by Keyes and disguised as a human vessel for Deliora. A bunny girl demon named runs a facility where deceased members are resurrected and human recruits are transformed into demons, including Ziemma and Minerva Orland.
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350x350px Howard A. Bell (1888–1974) of Wrington was one of the first anglers to adopt an imitative approach to fly fishing on reservoirs in the early twentieth century.Advanced Stillwater Flyfishing by Chris Ogbourne, David & Charles (1993) Page 160. At a time when employing flashy ‘attractor’ patterns was the norm he employed the alternative tactic of using artificial flies that represented the shape and form of the creatures present in Blagdon Water where he fished regularly. Conrad Voss Bark, BBC political correspondent and angling historian, had these words to say about him, "Dr Bell of Blagdon had the greatest formative influence of any man on the development of reservoir fishing in the first half of this century".The New Encyclopaedia of Fly Fishing by Conrad Voss Bark, Robert Hale Ltd (1992) page 31 Howard Alexander Bell was born at Bletchingley, near Reigate, Surrey and studied to become a General Practitioner at Cambridge and St Bartholomew’s Hospital in London.
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Although experimentation had always existed in rock music, it was not until the late 1960s that new openings were created from the aesthetic intersecting with the social. In 1966, the boundaries between pop music and the avant-garde began to blur as rock albums were conceived and executed as distinct, extended statements. Self-taught rock musicians in the middle and late 1960s drew from the work of composers such as John Cage, Karlheinz Stockhausen, and Luciano Berio. Academic Bill Martin writes: "in the case of imitative painters, what came out was almost always merely derivative, whereas in the case of rock music, the result could be quite original, because assimilation, synthesis, and imitation are integral parts of the language of rock." The Beatles working in the studio with their producer George Martin, circa 1965 Martin says that the advancing technology of multitrack recording and mixing boards were more influential to experimental rock than electronic instruments such as the synthesizer, allowing the Beatles and the Beach Boys to become the first crop of non-classically trained musicians to create extended and complex compositions.
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Namtchylak is an experimental singer, born in 1957 in a secluded village in the south of Tuva. She is proficient in overtone singing; her music encompasses avant-jazz, electronica, modern composition and Tuvan influences. In Tuva, numerous cultural influences collide: the Turkic roots and culture it shares with Central Asian states, the Xinjiang Uyghur Autonomous Region, Bashkortostan and Tatarstan; the strong Mongolic cultural influence and traditions it shares with Mongolia, Inner Mongolia, Buryatia and Kalmykia; the cultural influences from the various Siberian nomadic ethnic groups such as Samoyeds, Yeniseians, Evenks and from the Russian Old Believers, the migrant and resettled populations from Ukraine, Tatarstan and other minority groups west of the Urals. All of these, to extents, impact on Namtchylak's voice, although the Siberian influences dominate: her thesis produced while studying voice, first at the University of Kyzyl, then in the Gnesins Institute in Moscow during the 1980s focussed on Lamaistic and cult musics of minority groups across Siberia, and her music frequently shows tendencies towards Tungus-style imitative singing.
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Finally in 1786, after a competition, he was made music director at Notre-Dame de Paris. For the Feast of the Assumption, he innovated by introducing an orchestra, with great success, and his sacred concerts at the main feasts of the Church filled the cathedral to overflowing but incurred resistance in ecclesiastical circles. He replied by publishing a pamphlet Exposé d'une musique imitative et particulière à chaque solennité (1787). The cathedral chapter decided to reduce its musical budget in a time of financial crisis for France, which constrained Le Sueur to give up the important musical Masses that he specialised in, and to give up his position. He spent some time in London, 1788–92, then returned to revolutionary Paris and gave three successful operas at the Théâtre Feydeau: La Caverne, ou le Repentir (1793), Paul et Virginie, ou le Triomphe de la vertu (1794), which was inspired by the hugely popular novel by Jacques-Henri Bernardin de Saint-Pierre, and the classical Télémaque dans l'île de Calypso, ou le Triomphe de la sagesse (1796).
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Fux's sacred works include masses (Missa canonica, Missa Corporis Christi,), requiems, oratorios (Santa Dimpna, Infanta d'Irlanda, K 300a (1702) Il fonte della salute, K 293 (1716) ), litanies, Vespers settings, motets, graduals, offertories, Marian antiphons (21 settings of Alma Redemptoris mater, 22 settings of Ave Regina, 9 of Regina coeli, and 17 of Salve regina), settings of the text "Sub Tuum Praesidium", Hymns (many are lost), Sequences, Introits, Communion hymns, German sacred songs (all lost), and other sacred works. Some of Fux's masses (along with Caldara and others) utilized the canon (imitative counterpoint in its strictest form) as a compositional technique, one of the telltale signs of the stile antico. Other indications of the stile antico include large note values (whole, half, or quarter notes). However, while most associate Fux with composing in the stile antico, referring to him as the "Austrian Palestrina", due to his treatise Gradus ad Parnassum, he also had the ability to compose in the stile moderno as well, evident in his oratorios, such as Santa Dimpna, Infanta d’Irlandia.
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Marjorie Burns writes that while Saruman is an "imitative and lesser" double of Sauron, reinforcing the Dark Lord's character type, he is also a contrasting double of Gandalf, who becomes Saruman as he "should have been", after Saruman fails in his original purpose.J. R. R. Tolkien Encyclopedia 'Doubles' by Marjorie Burns pp. 127–128 Saruman "was great once, of a noble kind that we should not dare raise our hands against" but decays as the book goes on.Master of Middle-earth Chapter 4 p.79, Kocher quoting Frodo's speech of The Return of the King Book VI Chapter VIII p.362 Patricia Meyer Spacks calls him "one of the main case histories [in the book] of the gradual destructive effect of willing submission to evil wills".Tolkien and the critics 6 'Power and meaning in The Lord of the Rings' p. 84–85 Paul Kocher identifies Saruman's use of a palantír, a seeing-stone, as the immediate cause of his downfall, but also suggests that through his study of "the arts of the enemy", Saruman was drawn into imitation of Sauron.
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"Any Old Time Will Do" is a straightforward, melodic song, while "The Rain Came Down on Everything" is a ballad with a medieval, quasi-classical style, featuring an atmospheric intro of choral singing and eerie noises and a crescendo with Wagnerian-style operatic vocals, harmonies, harps and heavy drums, eventually culminating in the sound of a thunderstorm. Beginning with a soundscape of saxophone effects and a distorted siren, "You Sure Got It Now" was intended by Wood to sound like "the Andrew Sisters backed by John Mayall," and features the album's heaviest use of unusual studio effects and Wood's absurdist humour. Writer Philip Auslander felt the song's opening section, with its classical-styled passage and electronic sounds reminiscent of busy telephone signals, proved Wood was "welcoming us into a chaotic realm where anything is possible," noting the diverse usage of both musical and noise elements. In the main body of the song, Wood sings in different imitative vocal styles, exemplifying how the musician switches between his natural singing voice and others throughout the album.
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Bell was a bank angler and, as far as is recorded, he never fished from a boat. In its formative years Blagdon anglers would normally employ large sea trout or low water salmon flies during the daytime, very often using tandem and multi-hook arrangements; or alternatively lures at night. Dr Bell would use neither, but instead he preferred to fish with his own small imitative patterns.The New Encyclopaedia of Fly Fishing by Conrad Voss Bark, Robert Hale Ltd (1992) Bell made it his practice to spoon all the trout he caught and after examining the contents he made an index of all the food available to the trout. Following on from that he devised imitations of all the creatures present and the local Blagdon anglers quickly followed his exampleThe Flyfishers’ Journal, Article by Alick Newsom (summer 1975 issue) page 112 A fishing friend of Bell’s, Alick Newsom, described his method of fishing as follows: > He liked to fish alone, always on the move, slowly covering sunken ditches, > holes and weed beds as he sought to locate the trout.
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The fugal sections are present in most toccatas and are quasi-imitative and are not as strict as later 17th century fugues; when a toccata features several fugal inserts, a single motif may be used for all of them, varied rhythmically. Whereas in Frescobaldi's oeuvre the fantasia and the ricercare are markedly different genres (the fantasia being a relatively simple contrapuntal composition that expands, as it progresses, into a flurry of intense, rhythmically complex counterpoint; the ricercare being essentially a very strict contrapuntal piece with easily audible lines and somewhat archaic in terms of structure), Froberger's are practically similar. A typical Froberger ricercare or fantasia uses a single subject (with different rhythmic variations for different sections) throughout the whole piece, and the counterpoint adheres almost flawlessly to the 16th century prima pratica. Any of the standard contrapuntal devices may be used; the main subject is sometimes paired with another theme for a section or two, and there is usually a marked contrast between sections and much variety inside a single piece.
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Webern's music was among the most radical of its milieu, both in its concision and in its rigorous and resolute apprehension of twelve-tone technique. His innovations in schematic organization of pitch, rhythm, register, timbre, dynamics, articulation, and melodic contour; his eagerness to redefine imitative contrapuntal techniques such as canon and fugue; and his inclination toward athematicism, abstraction, and lyricism all greatly informed and oriented intra- and post-war European, typically serial or avant-garde composers such as Olivier Messiaen, Pierre Boulez, Karlheinz Stockhausen, Luigi Nono, Bruno Maderna, Henri Pousseur, and György Ligeti. In the United States, meanwhile, his music attracted the interest of Elliott Carter, whose critical ambivalence was marked by a certain enthusiasm nonetheless; Milton Babbitt, who ultimately derived more inspiration from Schoenberg's twelve-tone practice than that of Webern; and Igor Stravinsky, to whom it was very fruitfully reintroduced by Robert Craft. During and shortly after the post-war period, then, Webern was posthumously received with attention first diverted from his sociocultural upbringing and surroundings and, moreover, focused in a direction apparently antithetical to his participation in German Romanticism and Expressionism.
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Stobaeus, who lived approximately four-to-five centuries later, preserved Melinno's work in his Eclogues. He attributes her work to Melinno the Lesbian, but a Lesbian origin is disputed by at least three modern scholars, who note that the stanzas show little trace of the Aeolic dialect used by the Lesbian poets Sappho and Alcaeus, and the few Aeolicisms observed are probably imitative of Sappho. It may be that Stobaeus meant to emphasize her imitation of the Sapphic stanza, not to say that she was from Lesbos; this is the view of George Stanley Farnell, who concludes that while it is possible and indeed probable that she was not from Lesbos, neither can the Locrian connection be proven, and that readers should "remain content to be in ignorance as to the identity of Melinno."George Stanley Farnell, A Complete Collection of the Surviving Passages from the Greek Song-writers, "XXX Ode to Rome", Longmans, Green & Co.:London & New York, 1891 CM Bowra denies that she was from Lesbos, but also refuses to take the step of saying definitely that she was from Locri, because the evidence of Locrian Melinna does not explicitly mention her as the poet Melinno.
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Palestrina was taken as the chief representative of this contrapuntal music of the stile antico, sung with little or no instrumental accompaniment, which was regarded as more suitable to church music than the more emotional style that had emerged during the 18th century . The fusion of historical and emergent styles, forms, techniques, and content in a given work is encountered with great frequency in the music of most periods. The fugue, for example, whose origins can be traced to the imitative counterpoint of the late Middle Ages and which reached full maturity in the works of Johann Sebastian Bach, figures prominently in the musical styles of a number of important composers in the 19th century and beyond, including Beethoven, Mendelssohn (whose early works were modelled on symphonies of C. P. E. Bach), Reger (whose works for solo cello, viola or violin closely imitate Bachian forms), Shostakovich, and Hindemith. A closely related instrumental genre that first appeared in the late Renaissance, the toccata achieved particular prominence in the keyboard works of Buxtehude and J.S. Bach and has since been revived by such distinguished composers as Schumann, Debussy, and Prokofiev.
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Bach followed the idea of the unusual text in a complex way in the two movements contrasting the chorale with recitative: in both, in lines 1 to 3 the strings open, the oboes enter, oboe I playing the chorale theme, oboe II adding lamenting motifs, then the tenor enters singing the chorale line as an arioso, finally the choir sings the choral theme in a four-part setting; this is followed by the recitative of the questioning single voice, alto in the first movement, soprano in the later one, both accompanied by the strings. After the three lines and recitatives, lines 4 and 5 are sung by the choir in the first movement. In the later one lines 4 and 5 are first composed as an imitative choral movement on the chorale theme of line 4 in a five-part setting, the fifth part played by violin I. Then a final secco recitative leads to a repeat of lines 4 and 5, this time similar to the first movement. The only aria in dancing time is dominated by figuration of violin I. The third verse of the chorale ends the cantata in a simple choral setting embedded in orchestral music on an independent theme.
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Johann Woltz's Nova musices organicae tabulatura (Basel, 1617) contains all of Lohet's known works (six also survive in another manuscript, D-Mbs Mus.ms.1581). The bulk of his small surviving output consists of twenty keyboard fugues, which are also his most historically important works. Most of them are short, averaging 20-25 bars, and eight are monothematic (exploring a single subject in a single section), which is very different from contemporary examples of imitative counterpoint (i.e. ricercars and canzonas that frequently ran to 100+ bars in several sections exploring either a variety of themes or different variations of one theme) and very close, also because of frequent use of stretto entries, diminution and other contrapuntal devices, to the classic fugue of the late Baroque. A full list follows, with the number of sections given in parentheses: #Fuga prima (2) #Fuga secunda (2) #Fuga tertia (2) #Fuga quarta (1) #Fuga quinta (3) #Fuga sexta (1) #Fuga septima (2) #Fuga octava (3) #Fuga nona (1) #Fuga decima (3) #Fuga undecima (1) #Fuga duodecima (1) #Fuga decima tertia (2) #Fuga decima quarta (1) #Fuga decima quinta (2) #Fuga decima sexta (3) #Fuga decima septima (1) #Fuga decima octava (2) #Fuga decima nona (1) #Fuga vigesima (2) Single-section fugues are all monothematic.
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