102 Sentences With "melodist" | Random Sentence Generator

Suddenly the snarky wit was a romantic, the angular composer a melodist.

He was a superb melodist and had a knack for emotionally compelling stories.

J.P. The most instinctual melodist of the SoundCloud generation, Juice WRLD has a sweet yet sinister voice.

He is first and foremost a melodist whose distinct, subtly embellished staccato phrasing is instantly recognizable and welcoming.

He's not a talented melodist, but he's extremely enthusiastic and loves to sing along with our off-key shower songs.

When the Bangles formed in the 1980s, the band sought out an ace melodist to produce its music: Emitt Rhodes.

Counted too weird, too blunt, too ham-fisted, too trinkle-tinkle, too spacey, too nutty, Monk was a melodist of genius.

Her clearly articulated, lyrically imaginative cello playing can fulfill a range of roles in quick succession: melodist, beat maker, textural accompanist.

This Tyler isn't the renegade of the early 2010s, nor the newly flush, kaleidoscopically colorful melodist of a couple of years ago.

And of course, he stands in contrast to Drake, the melodist who has been the biggest influence on hip-hop this decade.

We think of Bernstein as a melodist, and it's true that the vocal lines of "West Side Story" are gorgeous, even when they're spiky.

What's striking here is how intuitive a melodist iLoveMakonnen is — Lil Peep smear-sings the chorus, while iLoveMakonnen sounds jubilant even though the sentiment leans dark.

Yet behind Mr. Vernon's electronic palette and sometimes inscrutable lyrics, he's still a melodist, drawing emotional contours in the rise and fall of each phrase and singing with insistent conviction.

In acknowledgement, the lights on this particular, peculiar little theater will be lowered for a while," Costello wrote on Facebook, while hailing "a truly great artist, beautiful melodist and elegant gentleman.

And in all things, she was first and foremost a melodist: She insisted on giving your ear something tuneful to ride alongside, even as she worked with a deep language of condensed harmonies and spiky rhythm.

GIOVANNI RUSSONELLO A squeaky melodist in the vein of A Boogie Wit Da Hoodie, the young Bronx rapper Lil Tjay only has a handful of songs under his belt but has already honed the sound of exuberance.

Amir Dawud (Ge'ez: )(1977-2019) was an Ethiopian Tigrigna singer, writer, poem writer, melodist. He was born in Tigray region, Mekelle city.

The Flash published a story that Brown and a prostitute named Phoebe Doty had been seen fighting over the Melodist. If Dixon did marry, no record survives of it.Cockrell, Demons, 136.

Norbert Dufourcq summarized Litaize's compositional style: "Litaize inclines ... to restlessness and gloom, but his idiom is virile and glowing. He is a fine melodist and skilful polyphonist."Dufourcq, Norbert. Revue Musicale, March 1939, tr.

Melhem Barakat (; 4 April 1942 – 28 October 2016), also known as Melhim Barakat, or Abou Majd was a Lebanese singer, songwriter, and melodist. He has toured Australia, South America, Canada, and the United States.

1796); 4 and 5, as Mary Ann in the 'School for Guardians,' by Graham (published 21 Jan. 1796); 6, 'The Bland Melodist' (coloured) (published 12 March 1805); 7, as Madelon in the 'Surrender of Calais' (n.d.).

An inspired melodist and intriguing harmonizer, his musical style was based on the fusion of several musical idioms and in this domain his work with traditional fado forms and improvised music is considered particularly unique and relevant.

Diminuendo was held up by Cauthen in the early stages before moving up to join the leaders in the straight but soon came under pressure and it was only in the final strides that she caught the Michael Stoute-trained Melodist to force a dead heat. Melodist, the winner of the Oaks d'Italia was also owned by Sheikh Mohammed, whose Kildangan Stud sponsored the race. At York in August, only five fillies appeared to oppose Diminuendo in the Yorkshire Oaks. Starting the 30/100 favourite, she was never in danger of defeat and won impressively by five lengths from Sudden Love.

Budden, pp. 67–70 Parker describes it as "sheer musical energy apparent in all the numbers". And Budden gives many examples which show Verdi as "the equal of Bellini" as a melodist. Verdi also clearly recognizes the importance of the role of Azucena.

Saint Romanos the Melodist or the Hymnographer (, often Latinized as Romanus or Anglicized as Roman) was a notable Syrio-Greek hymnographer, called "the Pindar of rhythmic poetry". He flourished during the sixth century, which is considered to be the "Golden Age" of Byzantine hymnography.

Not only was Agathias now writing there, but also Paul the Silentiary and Romanus the Melodist. In respect to the Aphroditans' tax problems, Dioscorus was able to obtain an imperial rescript, three copies of which have survived in his archive.Maspero, P.Cair.Masp. I 67024 r, v, and 67025.

Greek poets of the Late Antique period included Antoninus Liberalis, Quintus Smyrnaeus, Nonnus, Romanus the Melodist and Paul the Silentiary. Latin poets included Ausonius, Paulinus of Nola, Claudian, Rutilius Namatianus, Orientius, Sidonius Apollinaris, Corippus and Arator. Jewish poets included Yannai, Eleazar ben Killir and Yose ben Yose.

In a 2006 interview with The New York Times, jazz drummer Paul Motian also singled out the song "Delilah" for reference, praising its organization and arrangement, declaring it "Simple, but great".Ratliff, Ben. (January 20, 2006) Paul Motian: rhythm melodist New York Times. Retrieved on 2008-05-28.

He was a fertile melodist, and his writing exhibited elegance and refinement, although he was not able to infuse his music with humour in the way that Sullivan did. Cellier died at his home in Bloomsbury, London, at the age of 47. He was buried in West Norwood Cemetery.

Within a few days, Dixon was arrested and jailed in Boston. The press took the opportunity to castigate him again: "George Washington Dixon, now cormorant of Boston jail, and ex-publisher, ex-editor, ex-broker, ex-melodist, &c.;, is quite out of tune."June 2, 1836 New York Transcript.

Meanwhile, he did not give up his singing career. In early 1843, Dixon (now called "Pedestrian and Melodist") appeared at least once more at the Bowery Theatre, and he played on bills with Richard Pelham and Billy Whitlock. On January 29, he performed at a benefit for Dan Emmett.

American composer Richard Faith (born 1926) has been known primarily in university music circles as a concert pianist, professor of piano, and a published composer of piano pedagogy literature, orchestral and chamber works, opera and most prolifically, song. A neo-romantic, Faith has always been first and foremost a melodist.

The main source of information about the life of Romanos comes from the Menaion for October. Beyond this, his name is mentioned by only two other ancient sources. once in the eighth-century poet St. Germanos and once in the Souda (s. v. anaklomenon) where he is called "Romanos the melodist".

Saint Cosmas of Maiuma, also called Cosmas Hagiopolites ("of the Holy City"), Cosmas of Jerusalem, or Cosmas the Melodist, or Cosmas the Poet (d. 773 or 794),Other sources give the dates of his life as ca. 675 - ca. 751. Kathryn Tsai, A Timeline of Eastern Church History (Divine Ascent Press, Point Reyes Station, CA, 2004), p. 144.

Old conservatory The Vitoria-Gasteiz city council built the municipal music academy in 1928. It was officially recognised by The General Direction of the Fine Arts department in 1935. In 1980, Carmelo A.Bernaola, a well-known melodist, was appointed as Director. A new building was commenced to house the music academy, which was completed in 1984.

In early 1835, Dixon moved to Lowell, Massachusetts, a small town growing out of the Industrial Revolution. By April, he had taken the epithet "The National Melodist" and was editing Dixon's Daily Review. The paper took as motto "Knowledge—Liberty—Utility—Representation—Responsibility"Cockrell, Demons, 101. and championed the Whig Party, Radical Republicanism, and the working class.

Images of the Mother of God: perceptions of the Theotokos in Byzantium by Maria Vasilake 2005 pages 95-98 The widely used Akathist Hymn (meaning the unseated hymn) to the Theotokos (Mother of God) is attributed to Saint Romanos the Melodist who composed many (perhaps several hundred) hymns to saints during the 6th century.Butler's lives of the saints, Volume 10 by Alban Butler 1997 pages 5 and 6 The attribution is not supported by recent scholarship, but Romanos did make a vital contribution to the Marian poetry in Constantinople.The Virgin in Song: Mary and the Poetry of Romanos the Melodist by Thomas Arentzen 2009 In the Orthodox weekly liturgical cycle, Wednesday is dedicated to the Theotokos, and all daily services include numerous Marian hymns. These take precedence over the veneration of other saints and angels.

Kurt Schwertsik is President of the Joseph Marx Society that was founded in 2006 in order to implement the Renaissance of this composer. Thus, Schwertsik has accepted the position of the leader of an organisation for the first time in his career and also avowed himself a melodist according to the musical philosophy that was developed and represented by Joseph Marx.

Many of these liturgies developed their own singing traditions, some of which are still alive today. In the East, Romanos the Melodist was the most prominent hymnwriter of kontakion and the most prominent in the general akathist tradition, while Ephrem the Syrian was a notable Syriac hymnodist. An early musical notation was used in the Byzantine Empire for hymn writing.

He also published a hymnbook, the Sacred Melodist, in 1860. Good relations between Wilson and Thomas lasted until 1863 or 1864 when the two brethren fell out over how to reconcile 1 Corinthians 15:52 "raised incorruptible" with Romans 14:10 & 2 Corinthians 5:10. Wilson, stressing 1Co.15:52, took the view that the righteous dead would not be judged before the bema, Thomas, stressing Ro.14:10 and 2Co.

Ivan Raykoff, "Hoagy Carmichael (1899–1981) " in (Retrieved December 12, 2016, from HighBeam Research. Subscription required.) Carmichael's greatest strength was as a melodist, but he also became known as an "experimental" and "innovative" songwriter, whose "catchy, often jazz-infused, melodies" and "nostalgic, down- home lyrics" were memorable and had wide public appeal, especially with mass media promotion and through the efforts of numerous entertainers who performed his songs.Hasse, p. 15.

Bizet's earliest compositions, chiefly songs and keyboard pieces written as exercises, give early indications of his emergent power and his gifts as a melodist. Dean sees evidence in the piano work Romance sans parole, written before 1854, of "the conjunction of melody, rhythm and accompaniment" that is characteristic of Bizet's mature works.Dean (1980), p. 749 Bizet's first orchestral piece was an overture written in 1855 in the manner of Rossini's Guillaume Tell.

They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes fully staged as operas. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France.

The use of Megalynaria in Orthodox worship dates back to the 8th century. St. Cosmas the Melodist (or Hymnographer), who wrote the original megalynarion to the Theotokos (Virgin Mary), "More honorable than the Cherubim..." for the 9th Ode of the Canon of Great and Holy Thursday.The St. John Orthodox Church Choir , Website of St. John Orthodox Church, Memphis, Tennessee. Accessed 2008-05-02 All subsequent megalynaria in Greek follow the same metrical pattern.

The kontakion (, also transliterated as kondakion and kontakio; plural , kontakia) is a form of hymn performed in the Orthodox and the Eastern Catholic liturgical traditions. The kontakion originated in the Byzantine Empire around the sixth century CE. It is divided into strophes (oikoi, stanzas) and begins with a prologue (the prooimoion or koukoulion). The kontakion usually has a biblical theme, and often features dialogue between biblical characters. By far the most important writer of kontakia is Romanos the Melodist.

Only part of this oratorio is known to have survived, along with several of Nicholds' hymn tunes, in a collection of manuscript music associated with the Larks of Dean.Jean Seymour, The Musicians of Rossendale, WGMA, 2000. Around 1850 Nicholds moved to the Ebbw Vale area of Monmouthshire where he remained for five years. Here he published The Monmouthshire Melodist, a collection of psalm and hymn tunes and anthems, with several pieces by other composers working in the area.

He explained his practice in an 1837 article: accenting weak beats at the expense of the strong, alternating triple and duple groups of notes and using unexpected rhythmic themes independent of the main melody.Holoman (1989), p. 169; and Rushton (1983) pp. 127–128 Macdonald writes that Berlioz was a natural melodist, but that his rhythmic sense led him away from regular phrase lengths; he "spoke naturally in a kind of flexible musical prose, with surprise and contour important elements".

The Boston Post wrote: "I begin to think that the Melodist bears a charmed life—and as was often said to be done in olden time, has made a bargain with the Being of Darkness for a certain term of years, during which he may defy the majesty of the law, and the wrath of his enemies."April 18, 1837 Boston Post. Quoted in Cockrell, Demons, 111. Another stage tour followed, with concerts in Lowell, New England, and Maine.

Willard A. and Porter W. Heaps, The Singing Sixties: The Spirit of Civil War Days Drawn from the Music of the Times. University of Oklahoma Press, 1960, pp. 224–226. Lyricist Charles Sawyer was also known for his popular song "Who Will Care for Mother Now", while composer Henry Tucker was perhaps best known as the melodist of the song "Sweet Genevieve".Irwin Silber, Songs of the Civil War. Columbia University Press, 1960, pp. 117–118.

The Paschal troparion or Christos anesti (Greek: Χριστὸς ἀνέστη) is the characteristic hymn for the celebration of the Orthodox Pascha (Easter) in the Eastern Orthodox Church and churches that follow the Byzantine Rite. Like most other troparia, it is a brief stanza often used as a refrain between the verses of a psalm, but is also used on its own. Its authorship is unknown though it has been attributed to Romanos the Melodist. It is sung in the first plagal (or fifth) tone.

The first major form was Kontakion, of which Romanos the Melodist was the foremost composer. In the late 7th century the kanōn overtook the Kontakion in popularity; Andrew of Crete became its first significant composer. The Kañon reached its peak with the music of John of Damascus and Cosmas of Maiuma and later Theodore of Stoudios and Theophanes the Branded in the 8th and 9th centuries respectively. John of Damascus may have also been responsible for the development of Octoechos.

460–64 The New York World-Telegram and Sun pronounced The Sound of Music "the loveliest musical imaginable. It places Rodgers and Hammerstein back in top form as melodist and lyricist. The Lindsay-Crouse dialogue is vibrant and amusing in a plot that rises to genuine excitement." The New York Journal Americans review opined that The Sound of Music is "the most mature product of the team ... it seemed to me to be the full ripening of these two extraordinary talents".

She holds certifications from both the State and Church of Greece. Bishop Timotheos of Detroit gave her the lesser ordination of Rasophoros (honorific for wearer of an ecclesiastical garment) and Metropolitan Maximos of Detroit tonsured her as an Anagnostis (Reader)/Psalti. Suchy-Pilalis also conducted a year of research on Byzantine music in Greece through a grant from the Taylor Foundation. Her research involves modal analysis of Byzantine chant and, using the results of the analyses, she sets English translations of hymns as a Byzantine Melodist.

The latter was also featured in the Ken Burns WNET-TV documentary The National Parks: America's Best Idea and on video. New York Times music critic James R. Oestreich chose Richman's Dvořák Discoveries CD as one of the Five Best Dvořák RecordingsDvorak, a Warm and Witty Melodist, The New York Times, September 17, 2004. for the 2004 Dvořák Centennial. The disc included the premieres of the Octet-Serenade, as well as Dvořák's arrangement of Stephen Foster’s "Old Folks at Home" for baritone, chorus, and orchestra.

Musically they can be classified as strophic, with 75, 62, and 48 tercet stanzas each, respectively. The climax of the Enkōmia comes during the third stásis, with the antiphon "Ō glyký mou Éar", a lamentation of the Virgin for her dead Child ("O, my sweet spring, my sweetest child, where has your beauty gone?"). The author(s) and date of the Enkōmia are unknown. Their High Attic linguistic style suggests a dating around the 6th century, possibly before the time of St. Romanos the Melodist.

In 2006, she was awarded the Medallion of St. Romanos the Melodist by the National Federation of Greek Orthodox Church Musicians. Selected hymns have been recorded by Archangel Voices (Vladimir Morosan, Director) and the Boston Byzantine Choir (Charles Marge, Director). Presently, she chants at St. Olympia Orthodox Church, Potsdam, NY, and Holy Trinity Greek Orthodox Cathedral, Camp Hill, PA. Suchy-Pilalis' research in harp includes historical harps. She is a specialist on the life and compositions of Madame Delaval and has restored a single-action Erard harp specifically for performances of Madame Delaval's compositions.

Writing for All About Jazz, John Kelman commented "Block Ice & Propane supports his reputation as the most innovative, imaginative and stylistically unbound cellist in improvised music".Kelman, J. All About Jazz Review, September 29, 2007. Michael J. West stated in JazzTimes that "Friedlander is both a virtuoso and a stirring melodist; with those combined attributes, the tracks sound simple and hummable (more so than they actually are), and haunt from the moment they’re heard. The harmonies also give great pleasure, and suggest that Friedlander’s studied British folk".West.

Originally the kontakion was a Syriac form of poetry which became popular in Constantinople under Romanos the Melodist, Anastasios and Kyriakos during the 6th century and was continued by Sergius I of Constantinople and Sophronius of Jerusalem during the 7th century. Romanos' works had been widely acknowledged as a crucial contribution to Byzantine hymnography, in some kontakia he did also support Emperor Justinian by writing state propaganda.Concerning the inauguration of the Hagia Sophia, see Johannes Koder (2008). Romanos' kontakion On the Nativity of Christ was also mentioned in his vita.

There are two inscriptions from the first centuries of Christianity in Greek related to the Virgin Mary: : θεοτοκος (Teotokos, Theotokos, Mother of God) and βοηθεια (Boetheia, the Helper). The Fathers of the Church referred to Mary as "βοηθεια". John Chrysostom used the title in a homily of 345, Proclus in 476 and Sebas of Caesarea in 532. After the Patristic period (5th century), other persons used it like Romanos the Melodist in 518, the Patriarch of Jerusalem, Sophronius in 560, John of Damascus in 749 and Germanus I of Constantinople in 733.

Ravel claimed that "it is impossible to hear two of his chords without attributing them at once to him, and to him alone". French composer Henri Barraud asserted that he was "the most gifted inventor of unimagined harmonies, of rare combinations of timbres, the most vigorous colourist and the most straightforward melodist".Bernac, 1970, p. 81. Enoch, his publisher, tried to get Chabrier to simplify what they judged to be complex piano parts which would discourage amateurs (and thus reduce sales); despite objections from the composer an edition with easy accompaniments was issued by them.

He then joined the film company Pathé-Marconi and wrote a series of film scores. By the end of the 1930s, Poterat had seen his first successes: adaptations of foreign-language songs into French. In 1938, he wrote J'attendrai, to music by the Italian melodist Dino Olivieri, which was a great hit for the singer Rina Ketty. The following year, on the eve of war, he wrote Sur les quais du vieux Paris, to music by the Austrian-born Jewish composer Ralph Erwin, which was the first hit for singer Lucienne Delyle, in 1939.

Mulugeta Abate was born in Kombolcha, Wollo, Ethiopia. He was also known by another name, Roobaa Dhaabaa (Oromo name). In his latest interview with Ethiopian Broadcasting Corporation/EBC3, Mulugeta explained that the name Roobaa Dhaabaa was given to him by Oromos as a reward for his wonderful contribution in the development of Oromo song industry. In Ethiopia, the vocalist receives most of the credit for the songs he or she performs, while the lyricist and melodist are often not credited, or barely mentioned, and are generally unrecognized by the public.

Sloman wrote both popular songs and compositions. Her work ranged from simple pop tunes to the more classical, chromatic styles that characterized mid-19th century Romantic composers. She was often her own lyricist and was notable for providing a female perspective about love and courtship in her songs. In her feminist ballad “I’ll Make Him Speak Out,” she expresses sentiments such as “Are women’s hearts playthings to be broken by boys?” She was also the editor of The Melodist, a vocal collection that featured her preferred piano accompaniments to popular songs and several original choral melodies set to lyric.

Cardinal Pitra hypothesizes that the rhythmic poetry of the Byzantines originates in the Jewish Psalms of the Septuagint. This rhythmic principle accords with the linguistic character of the later Greek, which used a stress accent as it had already been developed in Syriac poetry rather than the classical tonal accent. Romanos the Melodist was the first great ecclesiastical poet of the Greeks to fully embrace the stress accent as a rhythmic principle. A contemporary and countryman of the chronicler Malalas, also a reformer of the Greek literary language, Romanos was a Syrian of Jewish descent, Christianized at an early age.

In his review of Chappell's Nightsongs and Lullabies, Jim Aikin noted that "Chappell's pastel piano meditations ... are the musical equivalent of airbrushed greeting-card watercolors of cute bunny rabbits and fawns." However, he went on to say that Chappell is "a consummate craftsman—a sensitive pianist and gifted melodist who knows some genuinely interesting chords."Aikin, Jim, "In Review" Keyboard Volume 17, Number 7 (Issue #181) May 1991, page 17 In a review of one of Chappell's contemporary jazz albums, Jonathan Widran of AllMusic praised Over the Top for its "energetic live interaction" with fellow performers.

Sound—both music and effects—performs important functions in the movie. Indigenous Algerian drumming, rather than dialogue, is heard during a scene in which female FLN militants prepare for a bombing. In addition, Pontecorvo used the sounds of gunfire, helicopters and truck engines to symbolize the French methods of battle, while bomb blasts, ululation, wailing and chanting symbolize the Algerian methods. Gillo Pontecorvo wrote the music for The Battle of Algiers, but because he was classified as a "melodist- composer" in Italy, he was required to work with another composer as well; his good friend Ennio Morricone collaborated with him.

The Mother of God as the Intercessor and Patron became firmly established among Ukrainians: princes, kings, cossacks, and hetmans chose the Mother of God as their patroness and protectress. An icon in the National Art Museum of Ukraine shows the Virgin Mary protecting the Ukrainian cossack hetman Bohdan Khmelnytsky. By decree of the Ukrainian President, October 14 — Pokrova Feast Day was promulgated also as Ukrainian Cossack Day (). October 1 (in the Julian calendar) is also the feast of St. Romanus the Melodist, so he is often depicted on the same icon, even though he and St. Andrew lived at different times.

Stellar Wind is a chestnut filly with a white blaze bred in Virginia by Keswick Stables & Stonestreet Thoroughbred Holdings. She is from the third crop of foals sired by Curlin, winner of the 2007 Preakness Stakes and Breeders' Cup Classic. Curlin's other offspring have included Palace Malice, Keen Ice, and Exaggerator. Stellar Wind was the first foal out of her dam Evening Star, who won two minor races as a four-year-old in 2010, and was descended from the mare Omayya, who was the ancestor of many important winners including Tepin, Americain and the Irish Oaks winner Melodist.

Jonathan Widran of AllMusic stated "Performing here on soprano, alto, tenor, and baritone saxes, he draws upon his artistry as a melodist to capture the emotional spirit of a dozen of opera's most beautiful arias... all with a sensibility that is very much of our day. The Orchestra of St. Lukes is most effective wrapping its lushness around the tenor on a dramatic rendering of Puccini's "Donna Non Vidi Mai." Bassist Ron Carter and pianist Billy Childs complete a beautiful trio. This isn't Grover at his most inventive or exciting, but like everything he did, it's full of pure heart".

She was descended from the mare Omayya, who was the ancestor of many important winners including the Melbourne Cup winner Americain and the Irish Oaks winner Melodist. As a yearling Tepin was consigned to the Fasig-Tipton sale at Saratoga in August and was bought for $140,000 by Robert E. Masterson. She was sent into training with Mark Casse, who was inducted into the Canadian Racing Hall Of Fame in 2016. As Casse is based at Woodbine in Canada and Tepin was based in the U.S., much of her day-to-day training was handled by his son, Norman Casse.

In 1997 it was released on CD, in a recording made in Messiaskirken in Charlottenlund by the soloists Ingibjörg Gudjonsdottir, soprano, Elisabeth Halling, alto, Gert Henning- Jensen, tenor, Christian Christiansen, bass, two mixed choirs, two children's choirs, brass band, organ and percussion, conducted by Steen Lindholm. The cantata was described by the reviewer of Jyllands-Posten as hard to classify, with a "religiously narrative robustness". The work sets text from a kontakion by the 6th century hymnographer Romanos the Melodist, translated into Danish by the theology professor Christian Thodberg, and edited by the priest Kristian Høeg.

The 2002 English language hymn book Sing To The Lord book The earliest Christadelphian hymn book published was the "Sacred Melodist" which was published by Benjamin Wilson in Geneva, Illinois in 1860. The next was the hymn book published for the use of Baptised Believers in the Kingdom of God (an early name for Christadelphians)Peter Hemingray, John Thomas: His Friends and His Faith 2003 p. 235 by George Dowie in Edinburgh in 1864.Andrew Wilson, History of the Christadelphians 1864–1885: the emergence of a denomination 1997, p. 326 "The Golden Harp" was put together in 1864 by Scotsman Robert Roberts.

25 The trust provides a newsletter, features news stories, promotes performances and recordings of Bush's works, and through its website reproduces wide-ranging critical and biographical material. It continues to monitor concert performances of Bush's works, and other Bush-related events, at home and abroad. At the time of Bush's centenary, Martin Anderson, writing in the British Music Information Centre's newsletter, summarised Bush's compositional career: > Bush was not a natural melodist à la Dvorák, though he could produce an > appealing tune when he set his mind to it. But he was a first-rate > contrapuntist, and his harmonic world can glow with a rare internal warmth.

Mendelssohn and Schumann were his models. Virtually all of his works show that he was a gifted melodist. Musicians of the first rank such as Johannes Brahms, Carl Reinecke, and Joseph Joachim, who were familiar with Gouvy's music, held it in high regard. Hector Berlioz wrote in the Journal des débats of 13 April 1851: "[t]hat a musician of the importance of M. Gouvy is still not very well known in Paris, and that so many gnats bother the public with their tenacious buzzing, it is enough to confuse and inflame the naive spirits that still believe in the reason and the justice of our musical manners".

Denis and Ennemond are confused in many contemporary manuscripts and prints, leading to numerous attribution problems. A number of pieces are signed simply with the surname, some are attributed to Denis in one collection and to Ennemond in another, and still others are now known to have been be misattributed. Gaultier's output, as is to be expected from a 17th-century French lutenist, consists mainly of dance suites for the lute. In general, Gaultier was a masterful melodist, effortlessly writing graceful melodic lines with clear phrase structures, but his music is less inventive harmonically than that of some other French lutenists of the era, such as René Mesangeau or Pierre Dubut.

Entertainment Weekly Leah Greenblatt called "Grenade" the "atmospheric opener" of Mars' debut studio album, adding that is a "captivating masochist's anthem", enjoying it as one of the album's highlights, as did The Washington Post Sean Fennessey. Rolling Stone Jody Rosen recommended it as proof of Mars' capabilities as a "lavishly gifted melodist". Tom Gockelen-Kozlowski of The Daily Telegraph complimented "the Kanye West-style genre-bending on Grenade and other tracks that joins the dots between Michael Jackson and Bob Marley." Consequence of Sound's Kevin Barber praised the track and Mars, since it "showcases his Michael Jackson-esque vocal range" and it's "heavy, heartbreaking lyrics".

This division of the history into three periods begins quite late with the 8th century, despite the fact that the octoechos reform had been already accepted some decades ago, before John and Cosmas entered the monastery Mar Saba in Palestine. The earliest sources which gave evidence of the octoechos' use in Byzantine chant, can be dated back to the 6th century.Papyrus studies proved, that there were already tropologia or tropariologia, as the earliest books of the hymn reform had been called, since the 6th century, soon after the Constantinopolitan school of Romanos the Melodist, and not only in Jerusalem, but also in Alexandria and Constantinople (Troelsgård 2007).

The electroacoustic music laboratory was created in 1985 in a classroom of the conservatory. The construction of the laboratory was the first step in the incorporation of the electroacoustic music in composition and instrumentation classes, being one of the most pioneer conservatories in the country (Spain) due to the installed system that worked with the informatics and electronic music in their studies setup. Impulsed by the melodist Carmelo Bernaola, which was the conservatory director in 1985, the electroacoustic laboratory was designed by Eduardo Bautista and nowadays is directed by Alfonso García de la Torre. Its activities are focused on the production of electroacoustic pieces and the participation in several concerts.

These principles were anti-Trinitarianism. They also believed that God would establish his kingdom on earth through the return of Jesus to reign a thousand years in Jerusalem', Wesley Roberts, Professor of Music, Campbellsville University, Kentucky, in the magazine 'Hymn', July 1997 The earliest hymn book published was the "Sacred Melodist" which was published by Benjamin Wilson in Geneva, Illinois in 1860. The next was the hymn book published for the use of Baptised Believers in the Kingdom of God (an early name for Christadelphians)Peter Hemingray, John Thomas: His Friends and His Faith 2003 p. 235 by George Dowie in Edinburgh in 1864.

The Magnificat, one of the eight most ancient Christian hymns and perhaps the earliest Marian hymn, is based on the Annunciation. Saint Romanus the Melodist had a dream of the Virgin Mary the night before the feast of the Nativity, and when he woke up the next morning, composed his first hymn "On the Nativity" and continued composing hymns (perhaps several hundred) to the end of his life.Church Fathers and Teachers: From Saint Leo the Great to Peter Lombard by Pope Benedict XVI 2010 p. 32 Re- enactments of Nativity which are now called Nativity plays were part of the troparion hymns in the liturgy of Byzantine Rite Churches, from St. Sophronius in the 7th century.

The Great Canon itself is recited during Matins for Thursday, which is usually celebrated by anticipation on Wednesday evening, so that more people can attend. As a part of the Matins of the Great Canon, the Life of St. Mary of Egypt by St. Sophronius, Patriarch of Jerusalem (634 - 638) is read, for her example of repentance and overcoming temptation. On this day also is chanted the famous kontakion, "My soul, my soul, why sleepest thou..." by St. Romanos the Melodist. The next day (Thursday morning) a special Presanctified Liturgy is celebrated, and the fast is relaxed slightly (wine and oil are allowed) as consolation after the long service the night before.

Other schools continued in Constantinople, Antioch and Alexandria which were the centers of Justinian's empire. Hymns written by Romanos the Melodist marked the development of the Divine Liturgy, while the architects Isidore of Miletus and Anthemius of Tralles worked to complete the new Church of the Holy Wisdom, Hagia Sophia, which was designed to replace an older church destroyed during the Nika Revolt. Completed in 537, the Hagia Sophia stands today as one of the major monuments of Byzantine architectural history.. During the 6th and 7th centuries, the Empire was struck by a series of epidemics, which greatly devastated the population and contributed to a significant economic decline and a weakening of the Empire.; ; .

In 2001, Navarro's acquired versatility finds its way in a solo effort titled Stereo. Not without weaknesses, the album yet showcases a fine melodist, an original lyricist and a bare, nuanced acoustic guitar player. Recorded direct in a week's time,Roger Drolet, "Navarro, Stereo" (critique), in Québec Scope, January 2002, p. 10. without post-production, the album explores the vast territory of roots music: Québécois and Irish traditionals (Je me souviens, an original composition diving deep into the collective soul), delta blues (Le Gigueux, a piece that blends the myth of the crossroads with the québécois traditional of the Chasse-galerie), bossa nova (La cancion del inmigrante) or Appalachian folk (Cool Waters and Western métaphysique).

A biblical description of the qualities required of a deacon, and of his household, can be found in . Among the more prominent deacons in history are Stephen, the first Christian martyr (the "protomartyr"); Philip, whose baptism of the Ethiopian eunuch is recounted in ; St. Phoebe, who is mentioned in the letter to the Romans; Saint Lawrence, an early Roman martyr; Saint Vincent of Saragossa, protomartyr of Spain; Saint Francis of Assisi, founder of the mendicant Franciscans; Saint Ephrem the Syrian; and Saint Romanos the Melodist, a prominent early hymnographer. Prominent historical figures who played major roles as deacons and went on to higher office include Athanasius of Alexandria, Thomas Becket, and Reginald Pole.

In his dances for lute, according to Eitner, Molinaro "despises all counterpoint, and shows himself as a pure melodist and harmonist, but both in so simple and pretty a way, that they all have something uncommonly attractive".cited in Grove (1907) Molinaro wrote at the time when, according to Paul Henry Lang, lute music was reaching its apogee. Along with Giovanni Terzi, Molinaro's lute music introduces "a finished, graceful, and sovereign instrumental style, capable of all shades of expression and of a technique which we usually associate only with the vocal music of the period". The 1613 publication of the Gesualdo madrigals was ground-breaking because it presented Gesualdo's music in full score as opposed to partbook format.

There is also a chant book named after the hymn genre kontakion, the kontakarion () or kondakar (). The kontakarion is not just a collection of kontakia: within the tradition of the Cathedral Rite (like the rite practiced at the Hagia Sophia of Constantinople) it became the name of the book of the prechanter or lampadarios, also known as "psaltikon", which contained all the soloistic parts of hymns sung during the morning service and the Divine Liturgy. Because the kontakia were usually sung by protopsaltes during the morning services, the first part for the morning service with its prokeimena and kontakia was the most voluminous part, so it was simply called kontakarion. Icon of St. Romanos the Melodist chanting his kontakion (1649, Malaryta, Belarus).

In the tenth century AD, an Arab traveler wrote that "All the Sabaeans of our time, those of Babylonia as well as those of Harran, lament and weep to this day over Tammuz at a festival which they, more particularly the women, hold in the month of the same name." The cult of Ishtar still existed in Mardin as late as the eighteenth century. Early Christians in the Middle East assimilated elements of Ishtar into the cult of the Virgin Mary. The Syrian writers Jacob of Serugh and Romanos the Melodist both wrote laments in which the Virgin Mary describes her compassion for her son at the foot of the cross in deeply personal terms closely resembling Ishtar's laments over the death of Tammuz.

During his reign the large Sangarius Bridge was built in Bithynia, securing a major military supply route to the east. Furthermore, Justinian restored cities damaged by earthquake or war and built a new city near his place of birth called Justiniana Prima, which was intended to replace Thessalonica as the political and religious centre of Illyricum. In Justinian's reign, and partly under his patronage, Byzantine culture produced noteworthy historians, including Procopius and Agathias, and poets such as Paul the Silentiary and Romanus the Melodist flourished. On the other hand, centres of learning such as the Neoplatonic Academy in Athens and the famous Law School of BerytusFollowing a terrible earthquake in 551, the school at Berytus was transferred to Sidon and had no further significance after that date.

" Like Michael Watts, Christgau noted the disparity between O'Sullivan and Jones and Humperdinck. John Mendelsohn of Rolling Stone was more critical, writing that O'Sullivan's singing "wears rather poorly" and commenting: "I doubt anyone could characterize him as a great melodist with a straight face." He also wrote: "The English Randy Newman (which I, for one, somehow suspected he might be) he definitely is not." Following the US success of "Alone Again (Naturally)", the album was reviewed again in Rolling Stone, this time by James Isaacs, who said that although Sullivan "had a proclivity for becoming mired in the overbearing scores and especially in his own verbosity and Gaelic sentimentality," the hit single had "brought a tear to my eye on more than one occasion.

Byzantine music (Greek: Βυζαντινή Μουσική) is associated with the medieval sacred chant of Christian Churches following the Constantinopolitan rite. Its modal system is based on the ancient Greek models. The development of large scale hymnographic forms begins in the fifth century with the rise of the kontakion, a long and elaborate metrical sermon, which finds its acme in the work of Romanos the Melodist (sixth century). Heirmoi in syllabic style are gathered in the Irmologion, a bulky volume which first appeared in the middle of the tenth century and contains over a thousand model troparia arranged into an octoechos (the eight-mode musical system) and the whole system of Byzantine music which is closely related to the music of ancient Greece.

Cadence Magazine gave Seize the Rainbow a positive review, finding Sharrock to be in exceptionally melodic form and finally accompanied by sidemen who are just as good on a record that may be his "most accessible effort yet", even though some of Sharrock's more experimental solos also work well with his band. In The Village Voice, Robert Christgau said he continues to develop as a gifted melodist with music that is "as accessible as good jazz-rock gets" despite some moments of "signature chaos". He gave the record an "A" and deemed it "uncommonly beautiful and direct without flirting with the saccharine or the simplistic". In his list for the Pazz & Jop critics poll, Christgau named it the tenth best album of the year.

On the eve of the Praise of the Mother of God in 1992, Michael Krassovsky was tonsured a monk by Archbishop Laurus (Škurla) of Syracuse and Holy Trinity, and given the name Roman, in honor of St Roman the Melodist. On July 17, 1993 by same bishop Monk Roman was ordained to the rank of hierodeacon. On May 6, 1994, on Bright Friday, by same bishop he was ordained to the rank of hieromonk. February 11, 2005 During the Small Entrance at the Liturgy, Metropolitan Laurus (Škurla) awarded Hieromonk Roman (Krassovsky) the right to wear the Golden Cross in recognition of his many labors, which include heading the Holy Trinity Seminary and Monastery choir and teaching church music in Seminary.

Byzantine literature is often classified in five groups: historians and annalists, encyclopaedists (Patriarch Photios, Michael Psellus, and Michael Choniates are regarded as the greatest encyclopaedists of Byzantium) and essayists, and writers of secular poetry. The only genuine heroic epic of the Byzantines is the Digenis Acritas. The remaining two groups include the new literary species: ecclesiastical and theological literature, and popular poetry.. Of the approximately two to three thousand volumes of Byzantine literature that survive, only 330 consist of secular poetry, history, science and pseudo- science. While the most flourishing period of the secular literature of Byzantium runs from the 9th to the 12th century, its religious literature (sermons, liturgical books and poetry, theology, devotional treatises, etc.) developed much earlier with Romanos the Melodist being its most prominent representative.

The Akathist is also known by the first three words of its prooimion (preamble), Te upermacho stratego (Τῇ ὑπερμάχῳ στρατηγῷ, "To you, invincible champion") addressed to Holy Mary (Panagia Theotokos, "The all-holy birth-giver of God"). The akathist par excellence is the one written during the seventh century for the feast of Annunciation of the Theotokos (25 March). This kontakion was traditionally attributed to Romanos the Melodist since kontakia of Romanos dominated the classical repertoire 80 kontakia sung during the cathedral rite of the Hagia Sophia, though recent scholarship rejects this authorship like in case of many other kontakia of the core repertoire. The exceptional case of the Akathist is that the Greek original consists of 24 oikoi, each one beginning with the next letter of the alphabet.

Quoted in Cockrell 107. Harrington retaliated by accusing Dixon of stealing half of a ream of pink paper from the Boston Post—the Herald's main competitor. The Lowell Courier satirized the scene at Dixon's trial: > The first day of February will not hereafter be used in the almanacs as a > dead blank—a dull, monotonous nothing. ... It was on this veritable day in > the year of our Lord one thousand eight hundred and thirty seven, new style, > at ten minutes and twenty three seconds past three o'clock in the afternoon, > wind S.S.E., that George Washington Dixon, the American Melodist—the great > Buffo Singer—the immortal Zip Coon himself—was brought before the Police > Court, charged by his brother editor Henry F. Harrington (Esquire) with > stealing half a ream of letter-paper from the office of the Morning Post.

"Scott Yanow, Brew Moore, Allmusic Alternatively, Danish scholar Soren Schou has likened Moore's "epic melodist" playing to writing a novel and contrasted it with the concentrated "short story" approach practiced by post-Bird improvisers.Søren Schou, "Brew Moore – En Melodisk Epiker," Tidsskrift: Jazz Special, No. 62, 2002. Certainly Moore's expansive style of playing tested the attention span of post-bop era listeners. (In evidence of this, one is referred to his X-rated comments to an apparently less than fully engaged Stockholm audience while introducing "Manny's Tune" on "No More Brew," Storyville CD 8275, 1998.) Moore himself told critic Ralph Gleason in 1954, "The idea of playing for me is to compose a different, not always better I'm afraid, melody on the tune and basis of the original song, rather than construct a series of chord progressions around the original chords.

Kontakion of the Transfiguration of the Lord (6 August) This kontakion- idiomelon by Romanos the Melodist was composed in echos varys (the grave mode) and the prooimion was chosen as model for the prosomoion of the resurrection kontakion Ἐκ τῶν τοῦ ᾍδου πυλῶν in the same echos. > Ἐπὶ τοῦ ὄρους μετεμορφώθης, καὶ ὡς ἐχώρουν οἱ Μαθηταί σου, τὴν δόξαν σου > Χριστὲ ὁ Θεὸς ἐθεάσαντο· ἵνα ὅταν σὲ ἴδωσι σταυρούμενον, τὸ μὲν πάθος > νοήσωσιν ἑκούσιον, τῷ δὲ κόσμω κηρύξωσιν, ὅτι σὺ ὑπάρχεις ἀληθῶς, τοῦ Πατρὸς > τὸ ἀπαύγασμα. На горѣ прѣобрази сѧ и ꙗко въмѣщахѹ ѹченици твои славѹ твою > христе боже видѣша да ѥгда тѧ ѹзьрѧть распинаѥма страсть ѹбо разѹмѣють > вольнѹю мирѹ же провѣдѧть ꙗко ты ѥси въ истинѹ отьче сиꙗниѥQuoted according > to the Tipografsky Ustav (RUS-Mgt Ms. K-5349, f.75v-76r). Edition by Boris > Uspenskiy (2006).

In Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever, Scott Schinder and Andy Schwartz describe the Beatles' musical evolution: In The Beatles as Musicians, Walter Everett describes Lennon and McCartney's contrasting motivations and approaches to composition: "McCartney may be said to have constantly developed – as a means to entertain – a focused musical talent with an ear for counterpoint and other aspects of craft in the demonstration of a universally agreed-upon common language that he did much to enrich. Conversely, Lennon's mature music is best appreciated as the daring product of a largely unconscious, searching but undisciplined artistic sensibility." Ian MacDonald describes McCartney as "a natural melodist – a creator of tunes capable of existing apart from their harmony". His melody lines are characterised as primarily "vertical", employing wide, consonant intervals which express his "extrovert energy and optimism".

Parade was released on March 31, 1986 to acclaim from music critics, who viewed it as a creative comeback after the critical disappointment of Around the World in a Day. In a contemporary review for The New York Times, John Rockwell said that the album succeeds in part because of the more aggressive songs, "in which Prince chooses to play up the black side of his multifaceted musical sensibility." The Sunday Times found its musical scope "stunning", and the Detroit Free Press called the album "a confirmation of Prince's place as a superior melodist, arranger, and player, as well as a celebration of his creativity." Hi-Fi News & Record Review called songs such as "New Position and "Girls and Boys" well-crafted funk and said that "when Prince opts to go completely daft, as he does on 'Do U Lie'... even then the result is somehow endearing and instantly likeable.

The feel of the Nixon era is recreated through popular music references; Sellars has observed that some of the music associated with Nixon is derived from the big band sound of the late 1930s, when the Nixons fell in love. Other commentators have noted Adams's limitations as a melodist, and his reliance for long stretches on what critic Donal Henahan has described as "a prosaically chanted recitative style". However, Robert Hugill, reviewing the 2006 English National Opera revival, found that the sometimes tedious "endless arpeggios" are often followed by gripping music which immediately re-engages the listener's interest. This verdict contrasts with that of Davis after the original Houston performance; Davis commented that Adams' inexperience as an opera writer was evident in often "turgid instrumentation", and that at points where "the music must be the crucial and defining element ... Adams fails to do the job".

Contemporary cartoon of Three Little Maids Rubens supplied lyrics and melodies for a number of successful musicals in the 1890s, beginning with "The Little Chinchilla" in the hit musical The Shop Girl (1894), sung by Ellaline Terriss at the Gaiety Theatre, London. Rubens was a talented melodist, but, lacking musical training, others had to supply the accompaniment for his songs. In the years that followed, he wrote songs for Arthur Roberts for Dandy Dan the Lifeguardsman (1898, "There's Just a Something Missing"); for Milord Sir Smith; for Little Miss Nobody ("Trixie of Upper Tooting", "A Wee Little Bit of a Thing Like That", "We'll Just Sit Out", and "The People All Come to See Us"); and for the hit musical San Toy (1899, "Me Gettee Outee Velly Quick") for producer George Edwardes. During the same year, he wrote the play Young Mr Yarde (1898, with Harold Ellis) and co-wrote a burlesque, Great Caesar (1899, with George Grossmith, Jr.), which was produced on the West End, but both were failures.

Joan E. Taylor has countered this contention by arguing that Jerome, as an educated man, could not have been so naïve as to mistake Christian mourning over the Massacre of the Innocents as a pagan ritual for Tammuz. During the sixth century AD, some early Christians in the Middle East borrowed elements from poems of Ishtar mourning over the death of Tammuz into their own retellings of the Virgin Mary mourning over the death of her son Jesus. The Syrian writers Jacob of Serugh and Romanos the Melodist both wrote laments in which the Virgin Mary describes her compassion for her son at the foot of the cross in deeply personal terms closely resembling Ishtar's laments over the death of Tammuz. The cult of Tammuz was still thriving in the city of Harran in the tenth and eleventh centuries AD. Tammuz is the month of July in Iraqi Arabic and Levantine Arabic (see Arabic names of calendar months), as well as in the Assyrian calendar and Jewish calendar, and references to Tammuz appear in Arabic literature from the 9th to 11th centuries AD.Fuller, 1864, pp. 200-201.