The imitatively-titled, but otherwise unrelated, series Cavalcade of Sport aired on ITV in the United Kingdom in 1956, early in the British commercial network's life.
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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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The trailer bike was patented by Canadian entrepreneur Delbert Adams. Adams started the manufacturer of trailer bikes, Trail-a-Bike, and began selling them in the early 1990s, although the same concept had been previously independently and imitatively invented by others at least as far back as the 1930s with the Rann Trailer.
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Gibbons's writing exhibits a command of three- and four-part counterpoint. Most of the fantasias are complex, multi-sectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody, in both his fantasias and his dances, features extensive development of simple musical ideas, as for example in Pavane in D minor and Lord Salisbury's Pavan and Galliard.Apel, Willi. 1972.
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Structurally, the movement repeats the first two phrases, adds four new shorter phrases, then concludes with another iteration of the second phrase, all performed on oboe. All four voices "discuss each phrase imitatively as a prelude to its instrumental entry", using fugal devices. The chorale also makes use of the cantus firmus, which is exclusively played in the basso continuo and oboe lines (in the movement's original form).
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Through imitatively learning, the child comprehends that linguistic symbols are intended to focus attention to some specific aspect of the shared experience. In doing this, the child must be able to take the perspective of the speaker. Due to the intersubjectivity of linguistic symbols, language allows one to communicate various perspectives and shift attention to one aspect of the world over another. In learning a language, a child is inheriting a vast set of linguistic symbols that have been passed down many generations.
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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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Speech sounds can be imitatively mapped into vocal articulations in spite of vocal tract anatomy differences in size and shape due to gender, age and individual anatomical variability. Such variability is extensive making input output mapping of speech more complex than a simple mapping of vocal track movements. The shape of the mouth varies widely: dentists recognize three basic shapes of palate: trapezoid, ovoid, and triagonal; six types of malocclusion between the two jaws; nine ways teeth relate to the dental arch and a wide range of maxillary and mandible deformities.Bloomer HH. (1971).
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In all, Lohet's pieces represent some of the earliest keyboard fugues in the modern understanding of the word. Lohet's other works are a canzona (which is really a monothematic fugue like the ones described above), two chorales (Erbarm dich mein O Herre Gott and Nun Welche hie ihr hoffnung gar auf Gott den Herren legen) and keyboard transcriptions of a motet (Media vita in morte) and a chanson (De tout mon coeur). The chorales are written in a style reminiscent of the later south German tradition, with the first line set imitatively.
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Cambridge: MIT Press Empathy is distinct also from pity and emotional contagion. Pity is a feeling that one feels towards others that might be in trouble or in need of help as they cannot fix their problems themselves, often described as "feeling sorry" for someone. Emotional contagion is when a person (especially an infant or a member of a mob) imitatively "catches" the emotions that others are showing without necessarily recognizing this is happening. Alexithymia describes a deficiency in understanding, processing or describing emotions in oneself, unlike empathy which is about someone else.
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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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Other organ pieces in the Tabulaturen employ a variety of methods, most relying on imitation (with the notable exception of Primi toni, which is also unusual for its title, which merely indicates the tone, but not the cantus firmus). For example, Schlick's setting of Maria zart (a German song famously used by Jacob Obrecht for Missa Maria zart, one of the longest polyphonic settings of the Mass Ordinary ever written) splits the melody into thirteen fragments, treated imitatively one by one.Apel 1972, 89. A similar procedure, only with longer fragments of the melody used, is employed in Hoe losteleck, a piece based on a song which may have had secular character.
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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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The club was established as "Club Asturias" on 7 February 1918 when a group of Asturian immigrants made up by José Menéndez Aleu, Ángel H. Díaz and Antonio Martínez got together and decided to establish a football club that would represent their Asturian heritage.Historia on Club's website The main goal was to unite all the Spaniards who had emigrated from Asturias to Mexico, and so imitatively the club enrolled into the Primera Fuerza but the league would only admit the club if they beat Germania, América and Tigres. They managed to beat Germania by 3–0, Tigres by 1–0 but only drew 3–3 against América, so the club would not be allowed to join the league. The club decided to form its own league calling it "Unión Nacional de Association Foot- Ball".
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In the sixteenth century, the word ricercar could refer to several types of compositions. Terminology was flexible, even lax then: whether a composer called an instrumental piece a toccata, a canzona, a fantasia, or a ricercar was clearly not a matter of strict taxonomy but a rather arbitrary decision. Yet ricercars fall into two general types: a predominantly homophonic piece, with occasional runs and passagework, not unlike a toccata, found from the late fifteenth to the mid-sixteenth century, after which time this type of piece came to be called a toccata;Arthur J. Ness, "Ricercar", Harvard Dictionary of Music, fourth edition, edited by Don Michael Randel (Cambridge: Belknap Press for Harvard University Press, 2003). and from the second half of the sixteenth century onward, a sectional work in which each section begins imitatively, usually in a variation form.
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The club was established as "Club Asturias" on 7 February 1918 when a group of Asturian immigrants made up by José Menéndez Aleu, Ángel H. Díaz and Antonio Martínez got together and decided to establish a football club that would represent their Asturian heritage.Historia on Club's website The main goal was to unite all the Spaniards who had emigrated from Asturias to Mexico, and so imitatively the club enrolled into the Primera Fuerza. Asturias would play in the league from 1919 to 1943, winning two titles in 1922–23 and 1938–39. When a professional league, Mexican Primera División was created, Asturias was also part of the new league, winning its third title in 1943–44 (and the first professional ever) but the club decided to disaffiliate in 1950, being the last senior championship played by Asturias up to present days.
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The sections may be explicitly separated in the score or flow one into another, with one ending and the other beginning in the same bar. The texture is almost always at least three-voice, with many instances of four-voice polyphony and occasional sections in five voices (BuxWV 150 being one of the notable examples, with five-voice structure in which two of the voices are taken by the pedal). The introductory sections are always improvisatory. The preludes begin almost invariably with a single motif in one of the voices which is then treated imitatively for a bar or two. After this the introduction will most commonly elaborate on this motif or a part of it, or on a short melodic germ which is passed from voice to voice in three- or four-voice polyphonic writing, as seen in Example 1: Example 1: This is the introduction from Prelude in F major, BuxWV 145.
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