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"recapitulation" Definitions
  1. the act of repeating or giving a summary of what has already been said, decided, etc.

722 Sentences With "recapitulation"

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

Let alone a recapitulation of all the disasters of his term in office.
In the recapitulation, the Bette Davis theme assumes grander proportions, with solemn, unmuted horns in attendance.
Dr. Gore emphasized that the study was not a recapitulation of how microbes behave in the wild.
"Pirates of Silicon Valley was a reasonable recapitulation of the early days of the PC industry," Gates said.
Mr. Byrne's film is a sober, evenhanded recapitulation of Sands's imprisonment and death that places him in a historical context.
In this sumptuous volume of 65 short stories… the reader is treated to a glorious recapitulation of the sorcerer's entire career.
It has an opening in sonata form, with a first subject, a second subject, a development section, a recapitulation and a cadenza.
In fact, it is the same damn thing all over again, a recapitulation of Truman's containment of Russia in the late 1940s.
Each pretrial hearing would result in a recapitulation of the charges in the media, bringing back to the surface the allegations of misconduct.
What we hope to learn during his speech is not just what Musk thinks SpaceX could do on the Moon, but the reason for this recapitulation.
This, one imagines, is a man whose every gesture is a recapitulation of some moment he once played on camera or witnessed in an old movie.
A program note written by Adès is almost comically old-fashioned, inviting the audience to listen for first and second themes, development and recapitulation, and so on.
The show is largely not an exhibition of the Mexican artist's work, but a recapitulation of her life through her clothing, jewelry and objects from her home.
Our critics weren't so fond of the first episode — one called it a "flat-footed" recapitulation, but generally thought the narrative picked up as the series moved along. 10.
In a sense, the current divide is a recapitulation of fights that have been ongoing since the 1990s and most prominently exhibited themselves around Pat Buchanan's various presidential campaigns.
It also helps that Mr. Volle gives her something to react to throughout this long bit of exposition, which can come across as a "Previously on 'Valhalla'"-type recapitulation.
Putin spoke first, offering a detailed recapitulation of what the two men had discussed — with specifics on everything from Syria to nuclear arms control to counterterrorism to cybersecurity to Ukraine.
The result is a sharp, superbly acted feast for fans of the espionage genre, a successful recapitulation of an immensely complicated story that (gasp!) respects the intelligence of its audience.
" The Financial Times's Jackie Wullschlager countered, "Although neither definitive nor offering new insights, this show is a very good recapitulation of how Picasso as a god of forms vitalized portraiture after photography.
The lack of respect — resigning these women to literal footnotes in a history coauthored by Anthony and Stanton — struck some as a recapitulation of how Black women were marginalized during the suffrage movement.
"Cancer's life is a recapitulation of the body's life, its existence a pathological mirror of our own," wrote scientist Siddhartha Mukherjee in his Pulitzer prize winning book, The Emperor of All Maladies: A Biography of Cancer.
In a recapitulation of the early days of manned flight, the makers of unmanned agricultural drones are testing a wide range of designs to find out which is best suited to the task of flying multispectral cameras over farms.
The news conference proved to be another signature recapitulation of himself by himself — Mr. Trump's relentless superlatives of self-congratulation, his paint-ball putdowns of any and all critics, his swaggering dismissal of controversies already occurring in plain sight.
The recapitulation of the images she created as a young woman comes as a surprise, but it is a point well taken, a necessary reminder in a presidential election year of the arrogance that shaped recent American history, and the toilet stalls that spawned it.
Perhaps the best-known film adaptations of Lem, the Polish science-fiction author, are the two versions of "Solaris" — one from 1972, a brooding, glacially paced philosophical meditation by Andrei Tarkovsky, and Steven Soderbergh's remake from 2002, a concise, poetic recapitulation of the same themes.
I won't tell you how, but I will say that the ending manages to be quite moving and unconvincing at the same time, a recapitulation of the tonal contradiction that pervades this sometimes incisive, sometimes sentimental novel, or memoir, or whatever we decide to call it.
FILM SERIES Perhaps the best-known film adaptations of Lem, the Polish science-fiction author, are the two versions of "Solaris" — one from 1972, a brooding, glacially paced philosophical meditation by Andrei Tarkovsky, and Steven Soderbergh's 2002 remake, a concise, poetic recapitulation of the same themes.
Much of it consists of ponderous recapitulation of seventh-grade civics lessons (did you know the Third Amendment was passed due to "the resentment that Americans had felt when British soldiers invaded the homes of Americans during the revolution"?), but in many cases, especially in the six (6
Its recapitulation of the series's opening episode in 2009 — Alicia once again standing by her husband, Peter, as he makes an embarrassing public mea culpa, and another resounding slap in the face, this time delivered to Alicia by her colleague and former friend Diane — was both gratifying and a little pat.
Although this combination of note-dumping and extracurricular reporting can lead to the recapitulation of some common themes, even a sense of familiarity wouldn't make the four in-depth profiles Schmitz weaves ­together — ­fashioned out of a wider series he reported for American Public Media's "Marketplace" — any less poignant or enjoyable.
The peculiar genius of Trump is that precisely because he had no real ties to either era of GOP politics, he could present the Bush synthesis as a break with the past rather than a recapitulation of it and become, in stealth, the second coming of George W. Bush himself.
Unabashedly novelistic, Café Society tells the story of a young Jewish man's professional successes and romantic disappointments in both Los Angeles and New York during the years just before World War II. Allen's career-long concerns—the existential and romantic quandaries of Jews in a Goyish world and the plucky travails of strivers who learn to be careful what they wish for—find an elegant recapitulation in the director's first digital feature, with Jesse Eisenberg perfectly rendering the neurotic, self-effacing cadences of Allen's trademark style of speech in the film's lead role.
She describes Jewish life as a pinball game, a pleasant cycle of recapitulation, handed down with only minor variations: Once that princess pinball was whacked out of her slot, she hit the top of the board and tumbled down, hole to hole — the schools, the Houses of Worship, the Junior Holiday and Varieties, the Blind Dance, the camps, the tour of California, the tour to Europe, the college, the marriage, then — thwock — out comes a new princess-pinball and she drops into the last hole and people rub their eyes a few times at Riverside Memorial.
Cello bridge in recapitulation After the first theme is restated in the recapitulation, there is a cello solo that bridges to the second theme.
His concept of recapitulation has been refuted in the form he gave it (now called "strong recapitulation"), in favour of the ideas first advanced by Karl Ernst von Baer. The strong recapitulation hypothesis views ontogeny as repeating forms of adult ancestors, while weak recapitulation means that what is repeated (and built upon) is the ancestral embryonic development process.Richardson and Keuck, (Biol. Review (2002), 77, pp.
"Christian Science Church Seeks Truce With Modern Medicine", The New York Times. Their training is a two-week, 12-lesson course called "primary class", based on the Recapitulation chapter of Science and Health.; Eddy, "Recapitulation" , Science and Health.
The development (after Darcy/Hepokoski's Sonata Theory) is half-rotational and divides into pre-core and core sections (after William Caplin); it lasts from mm. 106–168. The retransition, mm. 158–167, leads into the recapitulation. The recapitulation is at mm.
The movement then modulates to the tonic, for the recapitulation, followed by a short coda.
The third section is entitle The Dream and is scored in 4/4 time in the key of C Major marked Andante Sostenuto. It embodies a recapitulation of the main theme which is marker Molto Legato. The recapitulation is accompanied by a key change back to F major. It concludes with the theme expressed dominantly in octaves and a recapitulation leading to the key of C Major which is marked Allegretti Scherzando.
Likewise, the ESC in the recapitulation confirms the key of S in the recapitulation, which is now the tonic. Thus the ESC confirms the piece's tonic as a whole, solidifying the tonal promise first made by P in the exposition. In approaching the ESC in the recapitulation, the crux' will appear as the rejoining of expositional material within the TR or S zones. This usually happens after alterations (recompositions) in the P or TR zones.
Coda to Mozart's Sonata in C Major, K. 309, I, mm. 152–155; last bars of recapitulation also presented for context . The Coda is optional. After the final cadence of the recapitulation, the movement may continue with a coda which will contain material from the movement proper.
With the entry of the Trio section, the recapitulation is put on hold until the Scherzo returns.
The structure of the recapitulation is regular, followed by a vigorous coda.Brown, Man and Music, 414-15.
Sonata form without development is a variant of sonata form where the development is omitted, leaving only the exposition and recapitulation. This form is also known as Sonatina form. As written above, in Sonatina form, there is no development section, but rather a dominant-seventh chord between the exposition and the recapitulation that prepares for the recapitulation and the tonic key. One example of the piece in sonata form without development is the second movement of Beethoven's Piano Sonata No. 17, "The Tempest".
The exposition is followed by the development section in which the material in the exposition is developed. After the development section, there is a returning section called recapitulation where the thematic material returns in the tonic key. At the end of the movement, there might be a coda, after the recapitulation.
Haydn also disguises the return to the recapitulation after the development section of the movement:for an analysis of this and the other opus 20 quartets, see Tovey, in Cobbett (1923), p. 534, or Drabkin (2000). after only three bars of development, Haydn returns to the theme in the tonic, suggesting the beginning of the recapitulation; but instead, deviates into a series of transpositions, finally sneaking back to the main theme when least expected. Haydn uses this trick of a pretended recapitulation in other opus 20 quartets.
Developmental psychologist Jean Piaget favored a weaker version of the formula, according to which ontogeny parallels phylogeny because the two are subject to similar external constraints. The Austrian pioneer of psychoanalysis, Sigmund Freud, also favored Haeckel's doctrine. He was trained as a biologist under the influence of recapitulation theory during its heyday, and retained a Lamarckian outlook with justification from the recapitulation theory. Freud also distinguished between physical and mental recapitulation, in which the differences would become an essential argument for his theory of neuroses.
The episode passes seemingly unnoticed, fading away before the recapitulation of earlier material, concluding with a triumphant C major cadence.
The recapitulation view, first comprehensively expressed by Irenaeus, went "hand- in-hand" with the ransom theory. It says that Christ succeeds where Adam failed, undoing the wrong that Adam did and, because of his union with humanity, leads humanity on to eternal life, including moral perfection. Theosis ("divinisation") is a "corollary" of the recapitulation.
The fourth movement is a “binary variant of sonata form in which the opening eight measures of the exposition do not return in the recapitulation.Haimo (1995), p. 61 The beginning theme does return (m. 41) before the recapitulation, but as the theme is now in dominant, it cannot be considered part of the recapitulation.
It begins very softly and gradually gathers excitement with an increase in orchestration, fugato sections, and circle-of- fifths progressions. Shortly before the recapitulation, the strings break into a homophonic fortissimo statement of rising quarter notes for eleven measures, marked pesante (measures 310–320), before the full orchestra joins in for the retransition into the recapitulation in D major. The movement ends with a D major coda (measure 480) that reviews the previous themes over pedals emphasizing the dominant and tonic pitches. The same string pesante section that preceded the recapitulation returns in measure 512.
During the recapitulation, the piece modulates again to G minor. It ends, after presenting the theme once more, with a short coda.
This allows the final section to act as a harmonic recapitulation (as it remains in the tonic throughout), while incorporating thematic development.
During the recapitulation, there is a brief solo passage for oboe in quasi-improvisatory style, and the movement ends with a massive coda.
And then how they would chuckle and cachinnate, when the rival blackguards were out of earshot, at the recapitulation of their ineffable wit.
67 having been taken on by many other Church Fathers, such as Ss. Athanasius, Gregory of Nazianzus, Augustine, and Maximus the Confessor. This Eastern Orthodox theological development out of the recapitulation view of the atonement is called theosis ("deification"). A more contemporary, slightly differing expression of the recapitulation view can be seen in D. E. H. Whiteley's reading of Paul the Apostle's theology.
In recapitulation the second theme is reworked for the cellos and contrabasses over a timpani pedal point. The work ends with a lively coda.
The most contested point musicologists make is the location of the beginning of the recapitulation. Hepokoski points out this ambiguity early in his analysis as consequence of "sonata deformation". Abraham explains that the Scherzo repeat after the conclusion of the Trio in measure 298 also acts as the movement's recapitulation. This section is still very Scherzo-like but is based on transformed material of the A-group.
At the end, the music will usually return to the tonic key in preparation of the recapitulation. (On occasion, it will actually return to the sub-dominant key and then proceed with the same transition as in the exposition.) The transition from the development to the recapitulation is a crucial moment in the work. Retransition Haydn's Sonata in G Major, Hob. XVI: G1, I, mm.
Excerpt 1 is added and Excerpt 12 repeatedly appears to change the atmosphere. Although the beginning of the recapitulation is not clear, the second reappearance of the first subject, at approximately bar 500, is followed by the second subjects. At the end of the recapitulation, Excerpt 6 suddenly emerges from silence. This marks the advent of the coda, where Excerpt 6 dominates in counterpoint with Excerpt 13.
According to composer, conductor and Schubert expert Brian Newbould, the second and third movements are complete in the sketches, with the first only lacking the recapitulation.
The piece moves to dominant at m. 9 and remains so through m. 58. The recapitulation starts at m. 59 when the tonic returns, and mm.
He also advanced Lamarck and de Blainville, whose ideas were of similar vein, and included ideas of recapitulation theory.Desmond A. 1989. The Politics of Evolution. p. 86.
After a development and recapitulation, there is a coda in which thematic elements from the entire quartet are glimpsed. The work ends in an emphatic G major.
Though the sonata is marked as being in A major, Beethoven does not write any cadences on the tonic key; the exposition and development do not include a single root position A major chord. The first tonic chord in root position appears towards the end of the recapitulation. It appears once more at the end of the recapitulation, but even then is blunted by the omission of the fifth scale degree.
The first subject is in tonic key of C major and modulates to the dominant, G major, for the exposition of the second subject. The development is more intense and contains wider modulations. In the recapitulation, the first subject is heard, again in C major. The music then modulates to G major, and then returns to C major for the recapitulation of the second subject in the tonic key.
For example, in the F minor quartet, Haydn embellishes the original theme, and rearranges the original material, adding to the musical tension as the movement moves to the coda. In the G minor quartet, the recapitulation is hardly a recapitulation at all; while all the original materials are included, they are rearranged and transformed. There are other structural innovations in opus 20. Haydn develops the idea of "false reprise".
The exposition then repeats before a short development section, where Beethoven explores other ideas. The recapitulation (repeating of the melodic themes heard in the opening of the movement) further develops the exposition's themes, also containing timpani solos. A new development section leads to the repeat of the recapitulation, and the scherzo concludes with a brief codetta. The contrasting trio section is in D major and in duple time.
In a deliberate 'surprise', the movement seems to enter the recapitulation seconds after the development begins, before jumping back to a dramatic development passage. The recapitulation continues the development still further, moving into dissonance, before an abrupt ending. The second movement is in B minor. It is a rhapsodic pastorale, rocking along over a running figure in the bass, with a syncopated figure in the muted violins maintaining the tension.
10 but in the dominant. If m. 17 appeared in the recapitulation, it would be transposed into the tonic key, and therefore be a repetition violating sonata rules.
While many of Beethoven's sonata-form movements in other minor keys, particularly finales, used the minor dominant (v) as the second key area – predicting a recapitulation of this material in the minor mode – his use of the relative major, E (III) as the second key area for all but two of his C minor sonata-form movements, in many cases, facilitated a restatement of part or all of the second theme in C major in the recapitulation. One exception, the first movement of the Piano Sonata No. 32, uses A major (VI) as its second key area, also allowing a major-mode restatement in the recapitulation – and the other exception, the Coriolan Overture, is only loosely in sonata form and still passes through III in the exposition and major-mode I in the recapitulation. Furthermore, of the final movements of Beethoven's multimovement works in C minor, three are in C major throughout (Opp. 67, 80, 111), one finishes in C major (Op.
Furthermore, it could be seen as a pedantic delay before reaching the emotional climax of a movement, which in the classical tradition had tended to be at the transition from the development section of the movement to the recapitulation; whereas Berlioz and other "modernists" sought to have the emotional climax at the end of a movement, if necessary by adding an extended coda to follow the recapitulation proper. Mendelssohn's solution to this problem was less sensational than Berlioz's approach, but was rooted in changing the structural balance of the formal components of the movement. Thus typically in a Mendelssohnian movement, the development-recapitulation transition might not be strongly marked, and the recapitulation section would be harmonically or melodically varied so as not to be a direct copy of the opening, exposition, section; this allowed a logical movement towards a final climax. Vitercik summarizes the effect as "to assimilate the dynamic trajectory of 'external form' to the 'logical' unfolding of the story of the theme".
Explanations for why an extended coda is present vary. One reason may be to omit the repeat of the development and recapitulation sections found in earlier sonata forms of the 18th century. Indeed, Beethoven's extended codas often serve the purpose of further development of thematic material. Another role that these codas sometimes serve is to return to the minor mode in minor- key movements where the recapitulation proper concludes in the parallel major, as in the first movements of Beethoven's Symphony No. 5 or Schumann's Piano Concerto, or rarely, to restore the home key after an off-tonic recapitulation, such as in the first movements of Brahms's Clarinet Quintet and Dvořák's Symphony No. 9.
The principal violin's part continues into the beginning of the recapitulation when it plays the first theme as a solo. After the recapitulation there is a lengthy coda, in which Haydn slows the tempo to "piu moderato" but then introduces sixteenth notes to give the movement a new momentum. Towards the end of the coda comes the surprising keyboard solo, consisting of an 11-measure passage of sixteenth notes. Haydn was not a keyboard virtuoso.
Layton disagrees with Abraham and considers the Scherzo to be the beginning of the recapitulation. Most musicologists agreed with this analysis until Hepokoski's 1993 text Sibelius: Symphony No. 5 offered an altogether different interpretation. He argues that the piece can only be analysed in terms of what he has called "rotational form". He maintains the same divisional sections of the movement – double exposition, Scherzo, and recapitulation – but uses new vocabulary for its analysis.
The first movement typically takes about five to nine minutes to perform. The length of the movement depends largely on whether both repeats (the repeat of the exposition and the repeat of the development and recapitulation) are observed. The movement shows two clear major themes, which have been decorated by the use of ornamentation, as was typical of the time. The movement is in typical sonata form (composed of exposition, development, and recapitulation).
The second movement has a mirror recapitulation, that is the “opening material does not return at the beginning of the recapitulation, but is instead transplanted to the end as a coda.”Haimo (1995), 48 This is unusual for both a work of Haydn’s and a symphony. Haydn does this because the opening statement (mm. 1–9) is played only in octaves instead of triads, a contrast with the rest of the piece.
In the development section, which is split into three parts, there is much tonal instability with constantly changing key centers. Parts of this section use the left hand to imitate bells, with chromatic descending, alternating sevenths and thirds. The recapitulation restates the first two themes in B-flat minor. The final section of an extension to the recapitulation alternates between B-flat major and B-flat minor, leaving the tonic unclear until the coda.
Other works were Biological Essays and Addresses (1894), and The Darwinian Theory (1894). A pithy speaker, he put recapitulation theory in the form that animals "climb up their genealogical tree".
The recapitulation features both fugal subjects concurrently. The finale of Mahler's Symphony No. 5 features a "fugue-like"Floros, C. (1997, p. 135) Gustav Mahler: The Symphonies, trans. Wicker. Amadeus Press.
Ravel employs sonata form in this movement but not without introducing his own touches. The second theme is presented in the tonic A minor, and reappears untransposed in the recapitulation but with different harmonies. To avoid overuse of the tonic key, Ravel ends the movement in the relative key of C major. In the recapitulation, the appearance of the main theme in the piano is superimposed over a rhythmically modified version of the second theme in the strings.
The recapitulation and coda together take up approximately another minute. The whole movement with the exposition repeated lasts approximately three minutes. If the second repeat prescribed by Beethoven, encompassing the development and recapitulation, is observed, this brings the total performance time to around four and a half minutes. The andante movement, in G minor, uses a tranquil theme in time, quite uncommon in Beethoven's works, and a gentle, light atmosphere to present contrast to the ecstatic first movement.
The remaining recapitulation presents the same thematic ideas as the exposition, just in slightly altered versions. It concludes with a pianissimo cadence, strikingly different in comparison to the opening of the movement.
According to Charles Rosen, the practice of beginning a recapitulation in the subdominant was "rare at the time [the sonata] was written", though the practice was later taken up by Franz Schubert.
The instruments throw in motifs of the introduction, leading to the recapitulation of the first section. The movement has been termed "one of the longest and most exhilarating of Bach’s early works".
I. Allegro moderato F-sharp minor. Fragment (breaks off at the end of the development, implying a recapitulation in the subdominant, B minor) (II. D. 604) A major. In sonata form without development.
Only the first subject and central motto theme are used in the development. After a long dominant pedal, the music slowly transitions to the recapitulation in E major, in which only the second subject is recapitulated, but is heavily expanded on compared to the exposition. This device of omitting the first subject from the recapitulation was also used by Tchaikovsky in his second, fourth and sixth symphonies. The coda in E minor builds up intensely and the movement culminates in two fortissimo outbursts.
After the first statement, the piano resumes its original accompaniment and the strings are reduced to a piano dynamic. This proceeds similarly to the exposition, albeit with the themes developed more extensively. Notably, the music turns toward G minor more strongly and the key signature changes to C major, as the relative major section from the exposition is in the tonic major in the recapitulation. The rest of the recapitulation is nearly identical to the exposition, ending in C major.
Cornelius gave a recapitulation of his own vision (verses 30-33) setting up the listeners, poised and expectant 'in the presence of God', to hear what God has commissioned Peter to say (verse 33).
In the middle of the recapitulation of the A section, the music moves to a higher register and descends, followed by a large pentatonic scale ascending and descending, and resolving back to E major.
Von Baer instead recognised four distinct animal body plans: radiate, like starfish; molluscan, like clams; articulate, like lobsters; and vertebrate, like fish. Zoologists then largely abandoned recapitulation, though Ernst Haeckel revived it in 1866.
The soloist sings the recapitulation of the beginning similar to the first time, again on the pedal point, but repeats the second line one more time, while the chorus sings about the hovering, as before.
After a sudden forte section, the solo violin enters with angular material, which leads to a fugato in the orchestra. The recapitulation begins at measure 381. The coda begins at measure 527 following the cadenza.
Both of these sections touch on the relative minor, B minor. Following a two-measure grand pause, the third section opens with a false recapitulation of the exposition in the wrong key of G major which quickly collapses into more development of the first theme. When the recapitulation arrives, it proceeds quickly. Following another transition, the fanfares from the first theme group return building up to an unexpected stormy climax in D minor leaving just seven measures of D major to bring the movement to a close.
A tutti codetta brings the first movement exposition to a close. Following a repeat, the development begins with a grand pause of two measures, the rocking motif appears in the distant key of B major and is developed upward through several keys. The first theme then returns in E major and is development in tandem with the rocking motif back towards the tonic for the recapitulation. In the recapitulation, the response to the dancing flute/oboe theme is by the full tutti instead of just the strings.
The single "Heard Headed Woman / Don't Ask Me Why" was among the most popular singles of the whole year 1958 in the United States: Billboard ranked it number 49 on the year-end Popular chart (a recapitulation of the Billboard's Pop Singles chart for the year) and number 17 on the year-end Country and Western chart (a recapitulation of the Billboard's C&W; chart). The single was certified Planinum by the RIAA. Wanda Jackson covered this song on her 1962 album Wonderful Wanda.
3; 5.21.1; see also, Klager, Andrew P. "Retaining and Reclaiming the Divine: Identification and the Recapitulation of Peace in St. Irenaeus of Lyons' Atonement Narrative," Stricken by God? Nonviolent Identification and the Victory of Christ, eds.
In the recapitulation section, the key of the first subject group may be in a key other than tonic, most often in the subdominant, known as a "subdominant recapitulation". In some pieces by Haydn and Mozart, such as Mozart's Piano Sonata No. 16 in C, K. 545, or the finale of his String Quartet No. 14 in G, K. 387, the first subject group will be in the subdominant and then modulate back to tonic for the second subject group and coda. Schubert was a prominent user of the subdominant recapitulation; it appears for example in the opening movements of his Symphonies No. 2 and No. 5, as well as those of his piano sonatas D 279, D 459, D 537, D 575, as well as the finale of D 664. Sometimes this effect is also used for false reprises in the "wrong key" that are soon followed by the actual recapitulation in the tonic, such as in the first movement of Haydn's quartet Op. 76 No. 1 in G (false reprise in the subdominant), or the finale of Schubert's piano sonata in A, D 959 (false reprise in the major submediant).
The 'solo' entry following discussion of these themes is of a Chopinesque, quasi- improvisatory nature. A notable feature of the movement is the very extended passage on a constant 'pedal' note of G, preceding the recapitulation section.
It is filled with rapid semiquavers derived from the cyclic theme (excerpt 4). The end of the scherzo part, which in itself comprises a ternary form, leads into a shortened recapitulation of excerpt 5 in B major.
While Woolf's work can be understood as consistently in dialogue with the Bloomsbury Group, particularly its tendency (informed by G. E. Moore, among others) towards doctrinaire rationalism, it is not a simple recapitulation of the coterie's ideals.
From there, Haydn blurs the lines between development and recapitulation as he did in earlier minor key symphonies. The first theme reappears in D minor, but it still appears to be part of the development. By the time the second theme appears in the parallel major of D major, it is evident that this is indeed the recapitulation and the movement drives home with odd expositional coda theme finishing the movement off in the appropriate key of D major. Haydn does not mark the second half of this movement with repeat signs.
A general pause precedes the recapitulation, which besides reorienting the second subject group to D major, also mixes the subjects of the groups together, with special emphasis on Example 2. Haydn indicated the development, recapitulation and coda are to be repeated as a unit, but that repeat is normally ignored in modern performance. For the slow movement, the second oboist switches to flute. The concluding Rondo's principal theme Example 3 is triadic to an extent not encountered in the previous movement, while the contrasting themes tend to be stepwise.
Some analyses suggest that the Sonata has four movements (Newman, 1972) although there is no gap between them. Superimposed upon the four movements is a large sonata form structure, although the precise beginnings and endings of the traditional development and recapitulation sections have long been a topic of debate. Others claim a three-movement form (Longyear, 1973), a one-movement structure (Winklhofer, 1980), and a rotational three-movement work with a double exposition and recapitulation (Whitelaw, 2017). The first theme is a descending scale marked sotto voce; full of ominous undertow.
At the point where the music is in the dominant and seemingly ready to drop move the tonic for a recapitulation, the music segues to the slow movement. The slow movement is in rondo form (ABACAB). Again, right when the listener is expecting the rondo refrain to return, the music segues to the third movement, which continues the development of the first theme from the first movement before a "reverse recapitulation" is performed where the two themes of the first movement are recapitulated in opposite order.Brown, A. Peter, The Symphonic Repertoire (Volume 2).
After ending the exposition in several A major cadences, the tempo changes from Allegro maestoso to Andante, and the new key of B minor is established. This new section, acting as an unconventional development, presents a solemn chorale-like variation of the second subject played by the trombones. According to Newbould, the whole development is written out, but there is no recapitulation. Actually, many sketches of Schubert's finished works lack the recapitulation (like his last piano sonatas), due to it being mostly a partially transposed repetition of the exposition.
The sonata is in one movement divided into three sections: Andante – Allegro agitato – Andante. The overall structure of the piece is a sonata form with a second subject appearing at first in B major and returning in the recapitulation in the tonic key of E major. The development section itself is another sonata form with its own tonal relations. The first subject is in A minor, while the second proceeds from A major to C major in the exposition and from F major to A major in the recapitulation.
Opening theme of the final movement The exuberant finale, in fast tempo and in sonata form, opens in the mode of folk music using a drone bass and a theme often claimed to have originated as a Croatian folk song; for details see Haydn and folk music. The development section settles on the dominant of the main key, as is typical, but the recapitulation does not occur immediately. Instead, the development is extended with a section in F minor, after which the recapitulation in D major follows immediately.
The presence of a coda as a structural element in a movement is especially clear in works written in particular musical forms. Codas were commonly used in both sonata form and variation movements during the Classical era. In a sonata form movement, the recapitulation section will, in general, follow the exposition in its thematic content, while adhering to the home key. The recapitulation often ends with a passage that sounds like a termination, paralleling the music that ended the exposition; thus, any music coming after this termination will be perceived as extra material, i.e.
Codetta (Italian for "little tail", the diminutive form) has a similar purpose to the coda, but on a smaller scale, concluding a section of a work instead of the work as a whole. A typical codetta concludes the exposition and recapitulation sections of a work in sonata form, following the second (modulated) theme, or the closing theme (if there is one). Thus, in the exposition, it usually appears in the secondary key, but, in the recapitulation, in the primary key. The codetta ordinarily closes with a perfect cadence in the appropriate key, confirming the tonality.
Recapitulation of corticogenesis in both human and mouse embryos have been accomplished with a three dimensional culture using embryonic stem cells (ESC). Recapitulation is the theory in which an organism passes through embryonic development in stages similar to evolution of that organism. By carefully using embryo body intermediates and cultured in a serum free environment cortical progenitors form in a space and time related pattern similar to in vivo corticogenesis. Using immunocytochemical analysis on mouse neural stem cells derived from ESCs, after 6 days there was evidence of neuronal differentiation.
These pulses eventually diminuendo with a lower frequency to a piano. A recapitulation of the motives from the beginning of the piece reach a final climax to conclude the movement, as the strings linger on a high A.
Mendelssohn combines both themes in the development, which is predominantly in D minor, the key in which the movement also ends. In the recapitulation, Mendelssohn adds a violin counter-melody to support the return of the original theme.
The recapitulation section features a sudden excursion to F major early on before eventually returning to a more typical form. The movement concludes in a long coda that reintroduces the new theme first presented in the development section.
The movement progresses by revisiting and varying these elements, at the same time introducing an octave-leap element that prefigures the main characteristic of the second movement. The movement closes with a diminuendo recapitulation of the violin's opening figures.
Pinker, Steven 1997. How The Mind Works. Evolutionary biologist Stephen Jay Gould considered psychoanalysis influenced by pseudoscientific theories such as recapitulation theory. Psychologists Hans Eysenck (1985) and John F. Kihlstrom (2012/2000) have also criticized the field as pseudoscience.
The recapitulation is in C major. There are three options for the cadenza to this movement, which vary in length and difficulty. The coda is played by the orchestra alone. Performances vary in length from fourteen to eighteen minutes.
The concerto also calls on the soloist to function as an accompanist to the orchestra for extended periods, such as the ricochet arpeggios at the start of the recapitulation. This too was novel for a violin concerto of its time.
There is a long recitative section at the beginning of this movement's recapitulation (foreshadowing the oboe recitative in the first movement of Symphony No. 5), again ending with fast and suspenseful passages that resolve to the home key of D minor.
The resolute first subject soon gives place to the F major second theme. The development mixes them. In the recapitulation the second subject appears in D major. This time the major mode is kept up to the end of the sonata.
Chicago: University of Chicago Press. Pp. 136–142 Since early in the twentieth century, Haeckel's "biogenetic law" has been refuted on many fronts. Haeckel formulated his theory as "Ontogeny recapitulates phylogeny". The notion later became simply known as the recapitulation theory.
The toccata culminates into a furious recapitulation of the main theme, taxing all ten fingers to the utmost, until the piece finally ends triumphantly in a thundering cascade of octaves. The precipitato of this sonata is regarded as technically highly demanding.
Scored for 2 oboes, bassoon, 2 horns, and strings.H. C. Robbins Landon, The Symphonies of Joseph Haydn, London: Universal Edition & Rockliff (1955): 687. It is in four movements: #Allegro, #Un poco adagio cantabile in D major, #Menuetto e Trio, #Presto assai, The opening movement begins with a hammerstroke and a dotted- rhythm fanfare of repeated notes which serves as the first theme for the sonata-form movement. The line between the development and recapitulation is blurred by the reappearance of the dotted-rhythm in G minor (the home tonic but the wrong mode) followed by standard recapitulation of the second theme group.
The cadenza is also novel in that it is written out as part of the concertoKeefe, Simon P. The Cambridge Companion to the Concerto, CUP (2005) and located before the recapitulation. In a typical Classical concerto, the cadenza is improvised by the performing soloist and occurs at the end of a movement, after the recapitulation and just before the final coda. Mendelssohn's written cadenza was not included in the first published version of the concerto, but instead a "streamlined" version by Ferdinand David without the contrapuntal complexity of the original. This is the most played version today, although some artists, e.g.
A secondary development, in music, is a section that appears in certain musical movements written in sonata form. The secondary development resembles a development section in its musical texture, but is shorter and occurs as a kind of excursion within the recapitulation section. Charles Rosen, who has written extensively on the concept, presents the idea as follows: :The Secondary Development section appears in the great majority of late eighteenth century works soon after the beginning of the recapitulation and often with the second phrase. Sometimes it is only a few bars long, sometimes very extensive indeed.
The second subject focuses on rapid scales and leads to a perfect cadence in G major, ready for the development section. The exposition is repeated, which is standard for sonata form. The development begins in G minor uses the opening theme to follow a series of ascending arpeggios in several keys before moving towards G major and then back to the tonic, C major, for the recapitulation. The recapitulation follows a similar structure to the exposition, although the imperfect cadence that led to the dominant previously now leads to the final 10 bars of the exposition, this time in the tonic key.
The main theme of the Transcendental Étude No. 8, in E flat major Transcendental Étude No. 8 in C minor "Wilde Jagd" (Wild Hunt) is the eighth étude in the twelve Transcendental Études by Franz Liszt. The 1837 version of this piece is in sonata form, with a first subject in C minor, second subject in E major, and a recapitulation of the first subject. It is monothematic (the second subject material is derived from the first subject material). Liszt removed the final recapitulation of the first subject in the 1851 version of the piece, along with an extended bravura passage preceding it.
This section goes through modulations from C minor, to D major, G major, C major again, F major, and then finally to B-flat major beginning at measure 112. The second half of the development section (starting at measure 112) presents a new melodic theme, followed by several broken chords before finally arriving at a dominant chord at measure 139. It is implied that the music is 'standing on the dominant' from measure 139 until the recapitulation returns at measure 148, ending on a perfect authentic cadence. The recapitulation presents the first theme unaltered until measure 169.
In measure 96, the violins play staccato eighth notes followed by eighth-note rests, while the viola and cello fill in the violins' eighth note rests with their own eighth notes. This sets up a pattern for the rest of the development section, in which one instrument, mainly the 1st violin (in measures 98-102), fills in an eighth rest with a lone eighth-note, thus giving each measure a steady eighth-note pulse. Throughout this section, the dynamic gradually drops from forte to pianissimo by means of a poco a poco decrescendo. When the pianissimo is finally reached in measure 105, the retransition to the recapitulation begins, ending on the dominant seventh chord (F) of the original key, B major. ; Recapitulation In measure 108, the beginning of the recapitulation begins just as the beginning of the exposition, with the 2nd violin, viola, and cello sustaining a tonic chord while the 1st violin plays the sunrise motif above it.
The Type 2 Sonata is also bi-rotational, but the design of its second rotation is more complicated. (The first rotation is usually a standard exposition.) Instead of beginning the second rotation with the P-theme in the tonic, setting off a normal recapitulation, Type 2 sonatas replace the beginning of the rotation with material that seems like a traditional development (although, like most developments, this material is often based on P). At some point, this developmental material segues back into the normal rotational sequence, usually at some point during TR, but occasionally as late as the MC itself. Thus it often happens that the restoration of the tonic key in Rotation 2 is accomplished by the arrival of S. This has led other analysts to apply the term "reversed recapitulation" to this sonata type. Sonata Theory, in contrast, reserves the term "recapitulation" for instances in which the beginning of a rotation coincides with the return of the tonic key.
The development brings the return of previous themes through a series of restless modulations. After a slower section for horn and strings, the recapitulation brings the return of the main themes. The overture concludes with a triumphant reprise of the opening woodwind theme.
An intermediate power of a microscopic view of an accessory auricle. The lesions presents as a nodule or papule, either sessile or pedunculated. They may be soft or have a cartilaginous structure. By histologic examination, it is a recapitulation of normal external auricle.
After a slightly faster middle section there is a recapitulation of a kind with, in Mellers's words, "enharmonic ambiguities that justify the 'malinconico' of the directive", and: The flute part is technically demanding in this movement, with frequent trills and demisemiquaver tonguing.
Book VIII constitutes an atlas of regional maps. The maps include a recapitulation of some of the values given earlier in the work, which were intended to be used as captions to clarify the map's contents and maintain their accuracy during copying.
The Force of Prejudice: On Racism and Its Doubles. University of Minnesota Press. p. 380. In 1868, he was the first scientist to criticize Haeckel's embryo drawings, which had been used as justification for the development of recapitulation theory.Richards, Robert J. (2008).
Phoenix, AZ. 2nd Ed. (1993). Pg. 4. Leary uses the eight circuits along with recapitulation theory to explain the evolution of the human species, the personal development of an individual, and the biological evolution of all life.Leary, T. (1979) Game of Life.
23, phrase (A) is reprised on a F pedal and introduces a recapitulation of the primary theme from the bass and tenor from mm. 28 and 30, respectively. Phrase (B) follows at m. 33, although without the broken cadence, then repeats at m.
After a standard recapitulation of the main themes a short, energetic coda rounds off the movement. While Schumann is frequently criticized for his discursive, repetitive approach to sonata form, he largely succeeds in keeping this opening Allegro compactly organized and not excessively long.
Meikle, pp. 57–58. Elgar also tends to emphasise a tonic-subdominant dichotomy rather than the more typical dominant; examples of this include the C minor Larghetto's second theme in F major, and the A major beginning to the first movement's recapitulation.
This opening cell is repeated extensively throughout the movement – at the start of the development (m. 89), in the recapitulation (m. 137), and also during the coda (transposed into the subdominant A (m. 220), and then at its original pitch (m. 237)).
The sixth movement is much longer and consists of long chords and short melodic lines. Finally, the last movement is a recapitulation of all the themes presented in previous movement but, like the previous one, calm and profound. Playing time is approximately 16 minutes.
Instead, the opening theme, albeit in a varied form, is reprised in the new key. The sonata can thus be called monothematic. After the exposition follows a long development section, then a recapitulation that involves unusually significant variations to the material presented in the exposition.
Cain found it refreshing to find someone who had a good word for Ernst Haeckel, and who did not "treat Charles Bonnet as a stupid monomaniac" but who brought out the relationship "between acquired characters and recapitulation in the work of the American neo-Lamarckians".
There is another recapitulation of the opening measure in mm. 11, this time in C minor. There is a diminished triad on beat 3 of mm. 12 and a D dominant seventh on the fourth beat as we prepare to modulate back to G minor.
The cyclic character and thematic unity of the entire composition is emphasized by the introduction of the first movement principal theme in its original form to the development section. After its second appearance the slightly changed theme of the Adagio leads straight into the recapitulation.
The orchestra stays silent during this long interlude. When it enters for the recapitulation, the music proceeds much as it did before, except for a new transition so the second subject can remain in the tonic and allow the movement to close on the tonic.
On the CPO label, this symphony is available on a CD that also includes Symphonies Nos. 21, 30 and 31; Johannes Goritzki conducting the Deutsche Kammerakademie Neuss. The exposition repeat in the first movement is obeyed, the repeat of the development and recapitulation is ignored.
He chose not to use any period music or to approximate 16th-century musical sounds, explaining: The score concentrates on the regal Main Title, the triumphal entry march of Essex into London, the Queen's theme, and the recapitulation of that theme in the End Titles.
The piece brightens a bit in the latter half of this section. # Fugue: serves as the finale, but also, within the sonata-form, as the recapitulation and coda. Elements from the previous sections appear again. The piece ends with a triumphant coda, on full organ.
In a nice recapitulation of high jump history, flop jumpers sometimes use the scissors when warming up. For a good example, see the video of Stefan Holm nonchalantly scissoring over 2.10m while still wearing his track suit, or Mutaz Barshim over 2.15m at training.
The amphioxus has an odd feature: its mouth appears on the left side and migrates to the ventral side. Biologist Thurston Lacalli speculates that this may be a recapitulation of the migration of the mouth from the dorsal to the ventral side in a protochordate.
After this music proceeds to the recapitulation. Soon states orchestral tutti the main theme, after which the cadenza is heard for the last time. It ends in a gloomy mood. The orchestra repeats the principal theme in D minor, sounding like a funeral march.
"It burns… it burns!! Brian Switek. Laelaps, February 7, 2007. PZ Myers says of Wells's claim about the use of Haeckel drawings in modern textbooks "They repeat the claim that Haeckel's embryos and all that silly recapitulation theory are still endemic in biology textbooks.
127–128 (2002). As with his Symphony No. 45, the movement employs deceptive progressions in both the exposition (mm. 36–37) and recapitulation (mm. 130–131). The "anger and vehemence" established by the minor mode of the symphony surpasses Haydn's earlier minor key symphonic efforts.
The movement's unusual structure has invited a variety of analytical interpretations. Composer Roger Sessions describes the form as more of a triple exposition than a normal sonata form, and the second rotation could be interpreted as a simulation of the expositional repeat seen in many classical sonata form expositions, with the added interest of transposition. Conversely, other analysts have interpreted the second rotation as the onset of the recapitulation or as a "double recapitulation effect" rather than as an expositional repeat, with Hepokoski and Darcy describing it as a "tonally 'wrong' recapitulatory rotation followed by a notably varied, 'right' one in the tonic".Hepokoski, James and Warren Darcy.
The overture, in D major and common time, is in a modified sonata form in which the development is but a very short transition section connecting the exposition with the recapitulation. Other conventional hallmarks of the sonata form are apparent: the exposition modulates from the tonic (D major) to the dominant (A major), while the recapitulation is centred on the tonic. The overture concludes with a coda ending in D major chords. These chords, soft and tentative, turn out not to be a resolution of the overture in the tonic but chords in the dominant of G minor, which is the home key of the scene that immediately follows.
Modern evolutionary developmental biology (evo-devo) follows von Baer, rather than Darwin, in pointing to active evolution of embryonic development as a significant means of changing the morphology of adult bodies. Two of the key principles of evo-devo, namely that changes in the timing (heterochrony) and positioning (heterotopy) within the body of aspects of embryonic development would change the shape of a descendant's body compared to an ancestor's, were however first formulated by Haeckel in the 1870s. These elements of his thinking about development have thus survived, whereas his theory of recapitulation has not. The Haeckelian form of recapitulation theory is considered defunct.
It consists of four movements: The first movement is in an expansive sonata form, including a fugato in the development and lasting nearly twelve minutes even though it forgoes the then- customary repeat of the exposition. The opening cello melody has its tonality only weakly defined, with the first cadence establishing the key of F major only occurring several bars into the movement. Another feature of the first movement is the delayed emotional recapitulation. As became one of Beethoven's many tools for emotional manipulation, delaying the grandiosity of the recapitulation for several bars after the establishment of the tonic key allowed Beethoven to heighten expectation of a definitive statement.
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.
For example, his piano quintet has the first subject in F minor, but the second subject is in C sharp minor, an augmented fifth higher. In the same work, the key scheme of the recapitulation is also altered – the second subject in the recapitulation is in F sharp minor, rather than the F minor of the first subject. Another force acting on sonata form was the school of composers centering on Franz Liszt and Richard Wagner. They sought to integrate more roving harmonies and unprepared chords into the musical structure in order to attain both formal coherence and a full, expressive range of keys.
The C major finale changes the mood completely. it lasts only 4,5 minutes (just a little more than the Adagio). Yet it is in the sonata form, in agreement with the classical rules. The second subject is in G major, transposed in the recapitulation to C major.
Buxtehude's praeludia are not circular, nor is there a recapitulation. A fugal theme, when it recurs, does so in a new, changed way. A few pieces are smaller in scope; for example, BuxWV 144, which consists only of a brief improvisatory prelude followed by a longer fugue.
This "machine music" ostinato provides an important part of the texture. The second subject is a lyrical counter-theme, marked Piu tranquillo, introduced by the flute. Following the principles of tripartite first-movement form, the earlier material is developed, and then returns in a varied recapitulation.
The coda (literally "tail") is the concluding segment of a grand pas de deux. Typically, it is a recapitulation of earlier segments of the grand pas de deux, consisting of elements that are characteristic of the adagio, variations, or both, and ends during a grand musical climax.
The then popular recapitulation theory on the evolution of ideas was also involved.Saul, Nicholas, Schwellen: germanistische Erkundungen einer Metapher, Würzburg: Königshausen & Neumann, 1999, . Such sentiments underwent ups and downs. Philhellenism, rather strong around 1830, faced a setback when the actual Greeks did not fulfill the classic ideals.
Recapitulation of scherzo section There follows a section that analysts have described as "uneasy hesitation"D'Indy in Cobbett (1929), p. 104. or "puzzling" and "diffused".Winter and Martin (1994), pp. 243–4 Fragments of the various subjects appear and disappear, and the music seems to lose energy.
After an exposition lasting some 79 bars, the following development section is extraordinarily brief at only 18 bars—a sort of "mini development" based entirely on the second and third motifs of the second theme . The recapitulation then begins forcefully with three statements of the first theme in the tonic key of D major. The third statement introduces a rhythmic variant in triplets, followed by an unexpected modulation via the transitional key of B major into the distant key of E major where the unison horns launch a "heroic appeal" which is then repeated a major third higher and, finally back in the home key of D major. At this point, the appearance is that of a developmental episode (about the same length as the "mini development") interrupting the recapitulation, but after the apparent return to the business of recapitulation, Enescu then begins the true development, lasting about fifty-five bars and involving both of the main themes in the most complex counterpoint of the entire Decet, thereby shifting the moment of maximum dramatic interest to near the end of the composition .
The American musicologist A. Peter Brown compared the secondary theme to a Ländler. The development involves significant re-working of a motif from the secondary theme. The motif is inverted, and passed through a series of remote keys. Unusually for a late Haydn work, the recapitulation involves few surprises.
In Western classical music a simple ternary form has a third section that is a recapitulation of the first (ABA). Often, the first section is repeated (AABA). This approach was popular in the 18th-century operatic aria, and was called da capo (i.e. "repeat from the top") form.
Midway through this final movement Schubert pays tribute to Beethoven by quoting from the finale of his Ninth Symphony. The recapitulation is unusual in that it begins in E-flat, modulates to F major, and then to the tonic (rather than everything being in the tonic as expected).
The theme is somewhat chromatic, with frequent accidentals. The third theme is mostly quarter and eighth notes with an irregular accompaniment. The exposition ends with a C major chord. The development and recapitulation follow, varying and combining these themes before restating them, as is normal in sonata form.
The regression hypothesis, first formulated by Roman Jakobson in 1941 and originally formulated on the phonology of only Slavic languages,De Bot (1991) De Bot, K., & Weltens, B. (1991). Recapitulation, regression, and language loss. First language attrition, 31-51. goes back to the beginnings of psychology and psychoanalysis.
It ends abruptly in a cadenza, followed by a major-key recapitulation of the first movement, and a coda. Along with the solo cello, the concerto is scored for an orchestra consisting of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings.
In 1070, Abu Ubayd al-Juzjani published the Tarik al-Aflak where he discussed the "equant" problem of the Ptolemic model and proposed a solution. In Al-Andalus, the anonymous work al-Istidrak ala Batlamyus (meaning "Recapitulation regarding Ptolemy"), included a list of objections to the Ptolemic astronomy.
The recapitulation begins in the subdominant, making any modulatory changes in the transition to the second theme unnecessary, a frequent phenomenon in early sonata form movements written by Schubert. It differs from the exposition only in omitting the opening bars and another short section, before the closing theme.
It retains many of the basic elements of the exposition but many facets, such as key, are changed. The recapitulation is broken off in measure 263, and leads to a coda: the first theme builds to a sonorous climax, and strains of the second theme close the movement.
The second section is quieter and calmer, with the clarinetist playing fast eighth notes in the lower register. The third section is a recapitulation of the first, bringing back the same sextuplet patterns from earlier. The second piece also ends softly, with a sudden change from a to dynamic.
This motive starts on E major, then moves on to B major seventh and later to C minor followed by G seventh, ending in a strange E major, B seventh combination. The recapitulation snaps the listener back to the home key forcefully with its opening three-note motif, then proceeds to repeat the exposition entirely in the home key. The development and recapitulation together are enclosed in a second, longer repeat mark. As a final touch, the coda features the main theme played in G major in the left hand with a treble clef, then the theme again in A minor in the right hand with bass accompaniment, then again with comedic acciaccatura inserted.
A vociferous, stormy bridge connects the first theme to the second theme, which is in the minor-mode dominant key (C). The expositional closing theme, a jerky version of the first theme, leads into the recapitulation, which involves a developmental episode that emphasises the parallel major. The end of the recapitulation leads into a grave, quiet section in the initial tempo of the introduction, but it is arguably a simple reworking of the expositional closing theme (albeit in F minor). This short section modulates to C minor, which, if it pertains to D major of the first movement (as it is the parallel minor), may symbolize the musical odyssey of the entire piece.
Thus, the arrival of S in the middle of a Type 2 second rotation functions as a "tonal resolution" but not as the beginning of a recapitulation, because it does not initiate a new rotation. The Type 3 Sonata is the traditional textbook design, including full exposition, development, and recapitulation, each of which has its own independent rotational design (although developments are often only half- rotational). The Type 4 Sonata describes structures that others have referred to as sonata rondos. The key aspects of this sonata type include a retransition (RT) that concludes every rotation (following C space), a second (developmental) rotation that begins with P in the tonic, and an obligatory P-based coda following the recapitulatory rotation.
The music makes a false movement towards A major, instead landing on E major. The introduction material takes over and winds down to . A subito forte evokes the second theme combined with staggered entrances from both piano hands and clarinet. The second theme is finally presented and leads to the recapitulation.
A new rhythmic section erupts consisting of disjunct perfect fifth chords. This heralds the beginning of a pseudo-development section, in which the second theme is elaborated. The Dialogo returns briefly and is followed by a full recapitulation and coda, finally ending exuberantly (with tutta la forza) in G major.
In the recapitulation, the bridge and first half of the second theme are transposed by a fifth, with the latter beginning in F minor, before the tonic key is restored halfway through. A peaceful post-recapitulory coda in F major is cut short by a return to the stormy first theme.
As highlighted above, Irenaeus is considered to be the first to clearly express a recapitulation view of the atonement, although he is anticipated by Justin Martyr,J. K. Mozley, The doctrine of the atonement (New York: Charles Scribner's Sons, 1916), p. 100 n. 4 whom Irenaeus quotes in Against Heresies 4.6.
An alla breve written in G major, is in sonata form. After a short introduction, the exposition begins in measure 3, ending in the dominant key of D major in measure 88. The development section lasts from measure 89-139, with the recapitulation beginning in G major in measure 140.
The movement is in sonata form and opens with a section marked messa di voce and builds up to a cadenza cadence which is followed by a cadenza for solo violin. In the recapitulation, the build-up to the cadenza is intensified and the cadenza is lengthened and expanded to two solo violins.
The first movement, in C major, is in sonata-allegro form. The exposition starts with flowing chords under an opening theme, which then moves to a tentative but happy second theme pushed along by continuous short notes. After a brief development section and recapitulation, the movement closes with a content coda (ending).
During the recapitulation, the opening themes are repeated with the second theme being played in the E major before returning to E minor for the closing of the movement. The music gathers speed into the coda, which is marked "Presto", before a variant of the original chromatic transition passage ends the first movement.
Simplest sonata form pattern and its relation to binary form. Early examples of sonata form resemble two-reprise continuous ternary form. Sonata form, optional features in parentheses. Sonata form (also sonata-allegro form or first movement form) is a musical structure consisting of three main sections: an exposition, a development, and a recapitulation.
Eugène Dubois' (1858–1940) discovery in 1891 in Indonesia of the "Java Man", the first specimen of Homo erectus to be discovered, demonstrated mankind's deep ancestry outside Europe. Ernst Haeckel (1834–1919) became famous for his "recapitulation theory", according to which each individual mirrors the evolution of the whole species during his life.
The poem begins and ends with non- sentences: "The poem of the mind in the act of finding / What will suffice." And "The poem of the act of the mind." Those are a subject and a recapitulation, but not a theme. By lacking a main verb, these lines avoid stating a theme.
Wood winds also play toccata in this movement. The sudden invasion of cabaret-like tune obviously suggests the approaching of aircraft to its destination. The cadenza of soloist is followed by recapitulation of the main subject. Restless coda representing the sound of engine by strings leads the unexpectedly sudden finish of the concerto.
In the recapitulation, the return of the second theme is subtly changed, with the upper three parts remaining identical to the exposition, but the cello raised a minor third, moving the passage from D minor to F major. The pace slows and the movement ends very quietly.Nichols, pp. 52–54; Orenstein, p.
The recapitulation is fairly straightforward. The piece concludes with a fiery coda beginning with a fugue section on the main theme and a counterpoint theme in quavers, with several homophonic passages that feature the brass and present the primary theme at half the speed. The symphony closes solidly with a tutti fortissimo statement.
Haimo (1995), p. 51 As for the body of the movement, the exposition is made of two parts, not three: a tonic section (mm. 1–16) and a dominant section (m. 17–42). Yet, the half cadence that divides the two sections in the exposition does not appear in the recapitulation; m.
This draws the second movement to a peaceful and short recapitulation. An alternative interpretation of the Gretchen movement is that, as Lawrence Kramer writes, "What we have been calling Gretchen's music is really Faust's."Kramer, 108, 115. The entire Gretchen movement could be seen as representing her from the perspective of Faust.
Thus, in the first two quatrains the music sets forth the tonic key and moves to the dominant (exposition); the exploration of a variety of keys in the first tercet forms a development; and the reassertion of the tonic in the second tercet forms a recapitulation. Branscombe calls the latter a "vestigial recapitulation", since only some of the material of the exposition (in particular, not the opening) is repeated there.Branscombe (1991:114–115), Kalkavage (2005:46–58) The orchestra for the most part plays a discreet accompaniment to the soloist. There is a solo for the clarinets between the first and second quatrains, and the first violins play a thirty- second note motif, evoking Tamino's surging emotions, in the third section.
The subordinate theme retains the frantic pace of the principal theme, to be contrasted with a more relaxed closing theme, based on the motifs of the subordinate theme, at measure 177. The development starts similar to the exposition with the question-answer dialogue, except the question now is in lower strings, and the answer in violins. After much contrapuntal work (including a charming "horse-riding" episode worthy of Rossini, beginning in measure 296), the recapitulation begins with the now familiar question-answer motifs, this time enunciated by the combined strings (measure 371). The recapitulation proceeds as expected (with the subordinate theme in the tonic key, measure 459), only to be suddenly shifted into another key by the beginning of the coda (measure 588).
Variation techniques are frequently used within pieces that are not themselves in the form of theme and variations. For example, when the opening two-bar phrase of Chopin's Nocturne in F minor returns later in the piece, it is instantly repeated as an elegant melodic re-working:Chopin Nocturne in F minorChopin's Nocturne in F minor. Debussy's piano piece "Reflets dans l’Eau" (1905) opens with a sequence of chords:Debussy Reflets dans l'Eau opening 2 bars Debussy Reflets dans l'Eau, opening bars These chords open out into arpeggios when they return later in the piece:Debussy Reflets dans l'Eau varied recapitulation of the openingDebussy Reflets dans l'Eau, varied recapitulation of the openingFollow this link for a complete performance of “Reflets dans l’Eau”. Sometimes melodic variation occurs simultaneously with the original.
In the recapitulation, Villa-Lobos seeks to create contrasting colouration from the way the thematic material was originally presented in the exposition. For example, in the opening bars, the first theme is given to the woodwinds (later joined by horns and cornet), and the strings accompany with a semiquaver figure; in the recapitulation, the second violins and violas have the theme, accompanied by the semiquaver figure in clarinet and bassoon . The movement can also be seen as a sort of modified rondo form (ABCDA'B' plus coda), in which the D section is essentially episodic. However, the two occurrences of the refrain (A) are in the dominant and supertonic keys of G and D, and the overall tonic key, C, is reached only in the concluding coda .
Zoologists including Fritz Müller proposed the use of embryology to discover phylogenetic relationships between taxa. Müller demonstrated that crustaceans shared the Nauplius larva, identifying several parasitic species that had not been recognised as crustaceans. Müller also recognised that natural selection must act on larvae, just as it does on adults, giving the lie to recapitulation, which would require larval forms to be shielded from natural selection. Two of Haeckel's other ideas about the evolution of development have fared better than recapitulation: he argued in the 1870s that changes in the timing (heterochrony) and changes in the positioning within the body (heterotopy) of aspects of embryonic development would drive evolution by changing the shape of a descendant's body compared to an ancestor's.
Classical pieces in sonata allegro form in a minor key have their second theme in the relative major in the exposition, but the second theme comes back in the original minor key in the recapitulation. This is unique to the form, and allows the composer to state a given theme in both major and minor modes. Later it also became common to state the second theme in the tonic major in the recapitulation, with or without a later return to the minor. In rock and popular music, examples of songs that emphasize parallel keys include Grass Roots' "Temptation Eyes", The Police's "Every Little Thing She Does Is Magic", Lipps Inc's "Funkytown", The Beatles' "Norwegian Wood," and Dusty Springfield's "You Don't Have To Say You Love Me".
Abu Ubayd al-Juzjani published the Tarik al- Aflak. In his work, he indicated the so-called "equant" problem of the Ptolemic model. Al-Juzjani even proposed a solution to the problem. In al- Andalus, the anonymous work al-Istidrak ala Batlamyus (meaning "Recapitulation regarding Ptolemy"), included a list of objections to the Ptolemic astronomy.
Newbould claims that the F major melody was "too beautiful" to be heard only once, and that Schubert's intention was to repeat it in the recapitulation (in the tonic major, B major) before the coda (as expected in sonata form), but that he left those details aside and he began the third movement instead.
The piece is written in the form of a suite with five movements: #Prélude: Moderato assai #Sérénade: Andantino #Scherzo: Allegro grazioso #Romance: Adagio #Finale: Allegro con brio The end of the finale contains a recapitulation of the prelude, typical of a serenade. In fact, the work bears a close resemblance to Antonín Dvořák's String Serenade.
The recapitulation begins with the newly composed second theme, and transitions to the Coda through some variations of the fanfare motive from the end of the development. The coda consists of a push and pull between C major and C minor, with the major key winning, based largely on material from the ballet's ninth number.
The third movement, mostly in B-flat minor, is in a furiously fast 5/8 time, with a pounding ostinato that gives the piece a rather devilish sound. It makes heavy use of the brass instruments, and is driven by the recapitulation of a brief motivic theme, giving the movement a modified rondo form.
Then, the second theme is reused on ante diem rationis; after the four measures of orchestra from 68 to 71, the first theme is developed alone. The recapitulation intervenes in 93. The initial structure reproduces itself with the first theme on the text Preces meae and then in m. 99 on Sed tu bonus.
Almost cadenza-like arpeggios and double stops and more runs are accompanied by more woodwind restatements of the theme. The strings then enter brazenly for the first time, announcing a second theme. Developmental material leads to a cadenza which then opens into the recapitulation. The 'Allegro molto vivace' coda ends with restatements of past themes.
He invented new terms, including ontogeny and phylogeny, to present his evolutionised recapitulation theory that "ontogeny recapitulated phylogeny". The two massive volumes sold poorly, and were heavy going: with his limited understanding of German, Darwin found them impossible to read. Haeckel's publisher turned down a proposal for a "strictly scholarly and objective" second edition.
This has been a source of quite some controversy, both now and in the past. Ernst Haeckel pioneered in this field. By comparing different embryonic stages of different vertebrate species, he formulated the recapitulation theory. This theory states that an animal's embryonic development follows exactly the same sequence as the sequence of its evolutionary ancestors.
168–284, 11 measures longer than the exposition. The exposition's transition is altered harmonically in the recapitulation. Initially, the secondary theme is stated in F major (major subdominant), a "false start", before being stated in tonic C minor. The secondary theme is also expanded from the exposition. The essential structural closure is in m. 253.
The album was praised for bringing up visual recapitulation from audio. Harris used a live orchestra of 84 members for the action cop film Sathyam. In 2009, Harris Jayaraj was signed in for Vikram Kumar's 24, which was to star Vikram. He was also signed in for the Malayalam film Yoddha 2, starring Mohanlal.
There is no systematic collection of Greek laws; thus knowledge of the earliest notions of the subject is derived from the Homeric poems. The works of Theophrastus, On the Laws, included a recapitulation of the laws of various barbaric as well as of the Grecian states, yet only a few fragments of it remain.
Carl Friedrich Kielmeyer (22 October 1765 – 14 August 1844) was a German biologist and naturalist born in Bebenhausen, today part of the city of Tübingen. He was a pioneer of Naturphilosophie, helped to establish organic chemistry (Pflanzenchemie) as a field, and developed an early version of recapitulation theory through the observation of animal embryos.Watson, Peter. The German Genius.
The climax of the development leads to a particularly quiet recapitulation, much varied at its opening from what we had heard originally. In the coda the opening of the quartet, both its rhythm and its major/minor exchanges, get a further chance to play themselves out. There is a remarkably innovative harmonic passage in the first movement. Between mm.
The text of the third movement is the conclusion, "Quoniam tu solus sanctus" (For you alone are Holy), ending in a doxology. It is marked Vivace e ritmico. The movement includes the climax of the work, a recapitulation of the beginning in text and music. It contains a fugue "Cum Sancto Spiritu", and ends with a fast Amen.
Egan's main influence comes from the Russian psychologist Lev Vygotsky. The idea of applying theory of recapitulation to education came from 19th century philosopher Herbert Spencer, although Egan uses it in a very different way. Egan also uses educational ideas from William Wordsworth and expresses regret that Wordworth's ideas, because they were expressed in poetry, are rarely considered today.
Towards the end of the recapitulation of a concerto movement in sonata form, there is usually a cadenza for the soloist alone. This has an improvisatory character (it may or may not actually be improvised), and, in general, serves to prolong the harmonic tension on a dominant-quality chord before the orchestra ends the piece in the tonic.
The first movement begins in D major, and sets the tonal center with a strong introduction. The two pianos divide the main melody for the exposition, and when the theme is presented both play it simultaneously. Mozart spends little time in the development introducing a new theme unlike most sonata forms, and begins the recapitulation, repeating the first theme.
After the recapitulation of the principal theme the secondary returns in C major. A brief coda concludes this movement. The Adagio opens with accompaniment chords, and it is only when the violin enters with its theme that the tonality is clarified to F minor. This movement is written in a simple ternary form and has no expressively contrasting moments.
Following the recapitulation which begins in the unexpected key of G minor but later corrects itself back to the original key, the movement reaches its climax in the coda, in which materials from the first three movements are reviewed for a final time while the Picardy third is expanded after the orchestra triumphantly plays a "modally altered" plagal cadence.
After that an extended and energetic development section is heard. The development is based on the first theme of the exposition. It maintains a very improvisational quality, as instruments take turns playing the stormy motifs. In the recapitulation, the first theme is truncated to only 8 bars on the tutti, because it was widely used in the development section.
Irenaeus (2nd century AD – c. 202) wrote Against Heresies to refute the teachings of the Gnostics. In Book V of Against Heresies he addresses the figure of the Antichrist referring to him as the "recapitulation of apostasy and rebellion." He uses "666", the Number of the Beast from Revelation 13:18, to numerologically decode several possible names.
The book's form consists of a cumulative argument (using a wide range of supporting evidence) made over nine chapters, with each chapter ending in a brief retrospective summary, and the final chapter containing a recapitulation and summary of the whole,This synopsis is based mainly on the book's chapter summaries and concluding chapter and drawing some wider conclusions.
Drabkin (2000), p. 125. In the fourth quartet, in D major, for example, Haydn sneaks into the recapitulation of the first movement, treating it dramatically as though it is a continuation of the development. Haydn also experiments with cyclical structure: the reuse of thematic and rhythmic materials in different movements, to give an overall unity to the piece.
The recapitulation states the principal theme again, and then comes the second subject in D major. The key is changed back to minor in the coda based on the descending motif. The second movement is a romance in B major, in ternary form. The broad cantilena theme is sung twice by the cello with the piano providing an accompaniment.
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.
The third theme is in E major, introduced in the exposition by the orchestra and taken over by the piano (bar 222). The development begins in bar 385, with the piano opening with the second theme; the orchestra then develops the first theme. The recapitulation begins in bar 486 again with the orchestra playing its opening theme.
An excerpt from K. 594 The piece has three movements. ; I – Adagio: The first movement is an adagio lasting two minutes and serving as an introduction. It is composed of a main theme, a bridge and a recapitulation of the main theme. This and the closing adagio are stately elegies, the music is "weeping" with predominantly descending chromatic lines.
The cadenza is unusual because it occurs very early in the first movement rather than in its customary place at the end. The development follows after the cadenza. The piano employs many pianistic devices such as parallel octaves, rapid arpeggio and scale figures, and polyrhythms. The recapitulation follows and later the coda, profuse with octaves and large chords.
The music modulates to the dominant key of D major, and then back to G major in which the exposition is heard again. For the development, the music modulates to G minor, then B major, then C minor, then G minor and finally back to G major, at which point the recapitulation occurs followed by a short coda.
He also mentions Liszt's use here of the contrabassoon, though no such instrument appears in the Breitkopf & Härtel score. The dominant motifs – triplets, trills and falling seconds – have all been heard before. The time signature reverts to Alla breve, the key signature is cancelled, and the tempo quickens to Tempo primo in preparation for the ensuing recapitulation.
Herod Antipas was tetrarch of Galilee and Perea, a client state of the Roman Empire. He ruled from 4 BC to 39 AD. In refuting Gnostic claims that Jesus preached for only one year after his baptism, Irenaeus used the "recapitulation" approach to demonstrate that by living beyond the age of thirty Christ sanctified even old age.
This form, also known as first movement form, compound binary, or ternary form, developed from the binary-formed dance movement described above but is almost always cast in a greater ternary form having the nominal subdivisions of exposition, development and recapitulation. Usually, but not always, the "A" parts (exposition and recapitulation, respectively) may be subdivided into two or three themes or theme groups which are taken asunder and recombined to form the "B" part (the development) – thus, e.g. (AabB[dev. of a or b]A1ab1+coda). This developmental form is generally confined to certain sections of the piece, as to the middle section of the first movement of a sonata, though 19th-century composers such as Berlioz, Liszt and Wagner made valiant efforts to derive large-scale works purely or mainly from the motif.
The final section of the development begins with a chromatic alteration of D to D. The music progresses to the alien key of B major, in which the third and first subjects of the exposition are played. The retransition is brought about by a sequence of rising intervals that get progressively higher, until the first theme is stated again in the home key of B, signalling the beginning of the recapitulation. In keeping with Beethoven's exploration of the potentials of sonata form, the recapitulation avoids a full harmonic return to B major until long after the return to the first theme. The coda repetitively cites motives from the opening statement over a shimmering pedal point and disappears into pianississimo until two fortissimo B major chords conclude the movement.
The Grosses Concert-Solo anticipates several of the most salient features of Liszt's undisputed masterwork, the Piano Sonata in B minor, namely the nonprogrammatic "four-movements-in-one" form. The earlier unpublished solo version (S.175a) as well as the unpublished orchestra accompaniment sketches for a projected piano concerto version (S.365) do not contain the slow Andante sostenuto middle section, which shows that Liszt’s initial conception was one virtuoso sonata- allegro movement with exposition, development, recapitulation, and coda. The new "comprehensive" sonata form is the result of an insertion of a slow movement (sometimes compared to the Lento sostenuto of Chopin’s Fantasy in F minor) between exposition and development and a cyclic recurrence of the slow movement theme between recapitulation and coda in order to achieve unity.
Sanchez has published four further books: Toltecs of the New Millennium (1996), providing an overview of and background on the author's experiences with the Wirrarika; The Toltec Path of Recapitulation: Healing Your Past to Free Your Soul (2001); and The Toltec Oracle (2004); and "Los Colores de Tu Alma" (The Colors of Your Soul - not yet translated into English) (2014). Sanchez's recapitulation technique bears some resemblance to Sandra Ingerman's soul retrieval technique, but is probably the most comprehensive approach to the subject that has been published so far. Other shamanic teachers using similar techniques include Michael Harner, PhD founder of core shamanism, and Ken Page, founder of Heart and Soul Healing. Some have associated Sanchez's work with Toltec author Don Miguel Ángel Ruiz, author of the Four Agreements.
Haydn uses a similar horn call to start the finale of his 103rd symphony over twenty-five years later. Following a brief development, the return of the horn call is only hinted at in the strings in the start of the recapitulation which then follows in a relatively straightforward manner. The horn call in its proper instrumentation is saved for the movement coda.
The finale is a lyrical, passionate movement, rich in melody that is intensely exploited, altered, and developed. The movement ends with reference to the motto heard in the first movement – one which quotes a motif heard in Schumann's Symphony No. 3, "Rhenish" in the first movement just before the second theme enters in the recapitulation – then fades away to a quiet ending.
The development is a fugue based on the opening of the first theme. It dovetails with the recapitulation, the first subject passing straight into the more melodic second.Brown, 'Man and Music, 258. #Valse: Moderato tempo di valse #:Unlike Tchaikovsky's previous waltzes, the theme is more animated and wide-ranging and includes changes in pace which would create havoc in a ballet performance.
This recapitulation brings > with it a mood of foreboding. The rhythm becomes even more obsessive, and > finally the music reaches a massive climax during which both themes are > played, overlapping, sometimes in part and sometimes in whole, by the entire > orchestra in what sounds like a musical riot. The coda feels like the final > dropping of a knife.Anonymous, "Silvestre Revueltas: Sensemayá (score)".
The development section transforms and mingles all three main subjects, and the recapitulation section presents A, B, and C in the same order, but with increased energy. The movement ends warmly on C, albeit quietly. A pencil score is archived at . In 2000, six decades after its composition, the Swedish Art Music Society published Wirén's Symphony No. 2 (edited by ).
The most unstable section harmonically, this goes through the keys of C major, F minor, G minor, and returning to the original part in C minor. The recapitulation occurs from bar 100 to 168, this time the second subject is in C minor instead of the E-flat major of the exposition, and the coda ends the piece from bar 168 to 185.
The chorus appears only in the middle section, proclaiming verses from Psalm 147, "'" (Praise the Lord, Jerusalem). It uses both fugal techniques and paired entries. The coda is a recapitulation of the first section. Analysis of corrections show that Bach probably used an instrumental piece composed earlier, and that the characteristic upward run on the first word "Preise" was added later.
Often, this occurs as late as the coda, as in Mozart's String Quintet in D major KV 593, Haydn's "Drumroll" Symphony, Beethoven's Piano Sonata No. 8 ("Pathétique"), or Schubert's Symphony No. 9 ("Great"). Sometimes it can appear earlier: it occurs at the beginning of the development in the Pathétique Sonata, and at the beginning of the recapitulation of Schubert's Symphony No. 1.
The recapitulation begins with the first theme fortissimo, turns to G major with the viola melody, and the second subject returns on the cello and then the violin. The coda is primarily based on the opening theme but also reintroduces the molto tranquillamente melody now at double speed, and ends quietly in the major.Johnson, Stephen. Notes to Hyperion CD CDA30007, 1986; Vielhaber, Gerhard.
This is a list of episodes of The Rose of Versailles anime series, based on the manga of the same title by Riyoko Ikeda. The anime was directed by Tadao Nagahama and Osamu Dezaki. The series consists of 40 episodes and 1 recapitulation. The anime was first aired in Japan on the channel Nippon Television from 10 October 1979 to 3 September 1980.
I. Allegro moderato E-flat major II. Andante molto G minor III. Menuetto: Allegretto - Trio E-flat major IV. Allegro moderato E-flat major This sonata is a transposition and elaboration of the Piano Sonata in D-flat, D. 567.Gibbs p. 156 Daniel Coren summarized the nature of the recapitulation in the first movement of this sonata as "syncopated primary material".
Recapitulation: The orchestra restates the theme in fortissimo, with the wind instruments responding by building up a minor ninth chord as in the exposition. For the return of the second subject, Beethoven modulates to the tonic major, C major. A dark transition to the cadenza occurs, immediately switching from C major to C minor. Cadenza: Beethoven wrote one cadenza for this movement.
Thus degeneration or retrogressive metamorphosis sometimes occurs as species adapt to changes in habit or way of life. As evidence of degeneration, Lankester identifies the recapitulative development of the individual. This is the idea propagated by Ernst Haeckel as a source of evolutionary evidence (recapitulation theory). As antecedents of degeneration, Lankester lists:Lankester, E. Ray (1880) Degeneration: a chapter in Darwinism, p. 52. :1.
The third movement is in a compound meter ( and ) and in sonatina form. It begins with strings in a fast, exciting motif playing semiquavers against a woodwind meter. It leads to the E major secondary theme in the exposition beginning with clarinet solo with string accompaniment. Between the exposition and the recapitulation, there is no development section - only 2 bars of retransition.
Inventions are similar in style to a fugue, though they are much simpler. They consist of a short exposition, a longer development, and, sometimes, a short recapitulation. The key difference is that inventions do not generally contain an answer to the subject in the dominant key, whereas the fugue does. Two-part and three-part inventions are in contrapuntal style.
The reappearance of the first subject in D minor proclaims the opening of the recapitulation, followed by Excerpt 4. The second subject begins in B major, but, just four bars later, modulates into D major, which leads to the reappearance of the introductory Lied (Poco Lento), in the same tonality. Echoes of Excerpt 3, following Excerpt 1 and 2, conclude the movement.
During the late 19th century, Ernst Haeckel's recapitulation theory, or "biogenetic fundamental law", was widely accepted. It was often expressed as "ontogeny recapitulates phylogeny", i.e. the development of a single organism during its lifetime, from germ to adult, successively mirrors the adult stages of successive ancestors of the species to which it belongs. But this theory has long been rejected.
Another short section concluding with a run of octaves makes a bridge into a recapitulation of the first theme. Clarinet and low brass introduce the final section. A passage of harmonics in the violin precedes a sardonic passage of chords and slurred double-stops. A passage of broken octaves leads to an incredibly heroic few lines of double-stops and soaring octaves.
I. Allegro ma non troppo A minor. The exposition modulates to the submediant, F major, rather than to the usual mediant, C major. The recapitulation begins in the subdominant, D minor, and most of the recapitulation's second group is in A major before a short coda returns to the minor mode for the movement's ending. II. Allegretto quasi andantino E major.
Ends in the parallel major The work takes approximately 20 minutes to perform. Daniel Coren has summarised the nature of the recapitulation in the last movement of this sonata. Harald Krebs has noted that Schubert reworked the opening of the second movement of the D. 537 sonata into the opening theme of the finale of the A major piano sonata, D. 959.
At the outset of the recapitulation (which repeats the main melodic themes) in bar 301, the theme returns, this time played fortissimo and in D major, rather than D minor. The movement ends with a massive coda that takes up nearly a quarter of the movement, as in Beethoven's Third and Fifth Symphonies. A typical performance lasts about 15 minutes.
The text moves from a typical thanksgiving to encourage the listener to give honour to God. The tenor aria adopts the minor mode, despite the continued optimism of the text. Harmonically the movement consists of four contrapuntal lines created by the vocalist, continuo, and two oboes d'amore. Although there is no notated da capo, the music allows a recapitulation of the opening theme.
Heterochrony represents a gradual alteration in the original phylogenetic sequence due to embryonic adaptation.Richardson, Michael K. and Gerhard Keuck, "Haeckel's ABC of Evolution and Development," p. 506 As well, von Baer early noted that embryos of different species could not be easily distinguished from one another as in adults. Von Baer's laws governing embryonic development are specific rejections of recapitulation.
The Allegro in a modified sonata form begins with the solo harp expanding the material presented before. The woodwinds expose a second theme, accompanied by pizzicato. After a fortississimo climax in the development, a harp cadenza leads to a "straightforward" recapitulation and a close "without extensive fireworks or bombast of any kind". The work takes about 11 minutes to perform.
The first movement corresponds to the opening movement of a symphony, which is often in sonata form. The movement sets the first two verses of the psalm, which call for three actions: "" (rejoice), "" (serve), and "" (come). The three topics match two contrasting themes of the exposition of the sonata form, and its development. They are followed by a recapitulation of the two themes.
A recapitulation of the changing classifications of fossils at some time regarded as Proconsul can be found in For example, in 1987 Peter Andrews and Lawrence Martin, established palaeontologists, took the point of view that Proconsul is not a Hominoid, but is a sister taxon to it.. They also believed at that time that humans and African apes formed distinct clades.
Rhythm changes bridge (B section of an AABA form) in the key of C. In music, a section is a complete, but not independent, musical idea.Bye, L. Dean (1993). Mel Bay Presents Student's Musical Dictionary, p.51. . Types of sections include the introduction or intro, exposition, development, recapitulation, verse, chorus or refrain, conclusion, coda or outro, fadeout, bridge or interlude.
This movement is characterised by the use of developing variation. A brooding theme introduced by the cellos from bars 1 to 12, with a counter-melody in the bassoons, begins the second movement. A second theme, marked ', appears in bar 33. After a brief development section, the recapitulation of the first theme (the second theme is absent) is highly modified.
Nyhart, Biology Takes Form, pp. 132-133 In and around 1800, embryology fused with comparative anatomy as the primary foundation of morphology.Hopwood, "Pictures of Evolution and Charges of Fraud", p. 264 Ernst Haeckel, along with Karl von Baer and Wilhelm His, are primarily influential in forming the preliminary foundations of ‘phylogenetic embryology’ based on principles of evolution.Richardson and Keuck, "Haeckel’s ABC of evolution and development," p. 497 Haeckel's ‘Biogenetic Law’ portrays the parallel relationship between an embryo's development and phylogenetic history. The term, ‘recapitulation,’ has come to embody Haeckel's Biogenetic Law, for embryonic development is a recapitulation of evolution.Nyhart, Biology Takes Form, p. 9 Haeckel proposes that all classes of vertebrates pass through an evolutionarily conserved “phylotypic” stage of development, a period of reduced phenotypic diversity among higher embryos.Richardson and Keuck, "Haeckel’s ABC of evolution and development," p.
Rather than affirming the tonic of C minor, however, Brahms takes the recapitulation in a different direction: the opening section again ends on a dominant pedal on G with the violin and viola playing pizzicato octaves on E, but the E is used to turn the music to E minor. Chromatic descent is employed to bring the music to a half-cadence on D, leading to the second theme in G major. This is perhaps the only sonata form movement in the minor mode in which the recapitulation features the second subject in the key of the major dominant. The second theme is first stated by the viola, which is then followed by three new variations (the first being played by the violin, the second and third by the piano), and one of the same variations as the exposition.
This climaxes in a somewhat slower, but loud and chaotic passage driven by competing blaring brass and frantic strings. A slower, two-part section follows: a very prominent bassoon solo (introduced by a solo clarinet), then a soft, moving recapitulation of the first theme played by the strings. The short coda presents the invasion theme one last time, played by a solo trumpet and percussion.
After a repeat of the first and second themes, the development section starts in F major. It starts by focusing on the "turn" figure of the first theme. It then shifts to D major and on to G minor and eventually returns to F major before shifting to B for the recapitulation. This time around the second theme stays in B. The movement ends without a coda.
This marks the beginning of a series of modulations moving up a fourth each time. He modulates twice, arriving in B major for the recapitulation of the opening theme in m. 1. A G dominant seventh chord is used in the fourth beat of m 8. Measure 9 marks the beginning of a sequence that lasts two measures and further establishes C minor as tonic.
In between, in 1972 "Opus Festival", a cross-section-anniversary program "Cabaret? Cabaret!" related to the history of the Swiss cabaret with historical texts in 1975, and in 1980 "Opus USA" followed by a US tour were among Keiser's further works. This was followed by "Opus 2000: Achtung Schnappschüsse!" in 1992, "Frisch geliftet!" in 1996, and in 2002 by the recapitulation program "Opus Feuerwerk".
For example, transition may be defined as different from a subordinate theme (rondo form) or a developmental core.Caplin (2009). "Response to the Comments", p.54. . In sonata form, a retransition (the transition to the recapitulation) is the last part of the development section which prepares for the return of the first subject group in the tonic, most often through a grand prolongation of the dominant seventh.
However, after the first repeat, just as it seems to settle again in E major, the development part begins in F minor. Then, it modulates to C minor, to A major, to F minor, then D minor, and finally back to the tonic, E major at which point the recapitulation occurs. Throughout the second movement, chromaticism is present which occasionally evokes a slight sense of dissonance.
The movement concludes with a varied recapitulation of the Choral. The variations are thus structured in a mini- sonata form, creating a "sonata within a sonata". Throughout the movement, several passages have a toccata-like character. The work has been described as "a brilliant, multi-layered piece with echoes of Bartók and Prokofiev" as well as a "sonata that Debussy might have written... sensuous and classical".
The movement is believed to be one of several quartets sold to Anton Diabelli by Ferdinand Schubert following his brother's death in 1828. Remaining unpublished, the surviving manuscript comprising an incomplete movement that ends at the recapitulation came into the possession of the Gesellschaft der Musikfreunde during the latter half of the 19th century. Musicologist Alfred Orel prepared a performing version that was published in 1939.
This has the effect of melodically interchanging the development and recapitulation sections while maintaining their harmonic roles. Haydn had previously used this effect in his 75th Symphony. The second movement is a siciliano in with a flowing theme. Because of the movement's origins as a Lire Concerto (which could only play in a few key signatures), this is one of Haydn's more straightforward siciliano movements.
In music, a reprise ()Merriam-Webster Pronunciation is the repetition or reiteration of the opening material later in a composition as occurs in the recapitulation of sonata form, though—originally in the 18th century—was simply any repeated section, such as is indicated by beginning and ending repeat signs.Stein, Deborah (2005). Engaging Music: Essays in Music Analysis, Glossary, p.331. New York: Oxford University Press. .
The classifications found in the literature of one decade are not generally the same as those of another.A recapitulation of the changing classifications of fossils at some time regarded as Proconsul can be found in For example, in 1987 Peter Andrews and Lawrence Martin, established palaeontologists, took the point of view that Proconsul is not a Hominoid, but is a sister taxon to it.
The cello's eight throbbing notes act as more than an introduction. They reappear at critical junctures throughout the movement, including at the beginning of the development and recapitulation sections, illustrating that they are part of the movement's primary thematic material. The melody that follows the eight cello notes echoes Mozart's Violin Sonata K.454 and is echoed in Beethoven's String Quartet No. 1 (Op. 18, No. 1).
The development of just 30 measures ends with a crescendo leading directly to the recapitulation. The second movement in F major has a central section in F minor. 500px The timpano in C is used in this movement (the timpani were set to C and G for the first movement and are not changed in the course of work). The third movement is a Minuet with Trio.
Similar to the exposition, it uses themes from the first movement in addition to the new themes introduced in the exposition. The recapitulation is in B-flat major, and states the first theme from the third movement only once. It utilizes another past theme expansively to lead toward the coda. The coda utilizes themes from the first movement and is highly chromatic and brilliant.
Second theme of the first movement. The second theme, in A major, is also primarily pentatonic, but ornamented with melismatic elements reminiscent of Gypsy or Czech music. The movement moves to a development section that is much denser harmonically and much more dramatic in tempo and color. Fugato at end of development The development ends with a fugato section that leads into the recapitulation.
The recapitulation is straightforward, and the triumphant coda finishes this grand movement.Steinberg 1998. The Morning Chronicle said, "Nothing can be more original than the subject of the first movement, and having found a happy subject, no man knows like Haydn how to produce incessant variety, without once departing from it." The second movement, from which the symphony gets its name, begins with plucked strings and bassoons.
A wistful recollection of the melody from the preceding Larghetto appears and then diminuendos away. The movement's recapitulation starts with the main theme, followed in turn by the second and third themes. A 20-bar eighth-note passage leads into a quotation of the first movement's theme, bringing the piece full circle. A Presto coda follows, and the Serenade ends with three E major chords.
Irenaeus' interpretation of Paul's discussion of Christ as the New Adam is significant because it helped develop the recapitulation theory of atonement. Irenaeus emphasizes that it is through Christ's reversal of Adam's action that humanity is saved, rather than considering the Redemption to occur in a cultic or juridical way.Bandstra, "Paul and an Ancient Interpreter," p. 61.For other theories of atonement see Atonement in Christianity.
The second thematic group brings a contrasting atmosphere of sobriety and intensified differentiation of colour, a characteristic that will return for further development in the second movement . The development is confined almost entirely to material from the first thematic group, but after the recapitulation there is an extended coda that brings together motivic fragments from both groups. The transformation of the material from the lyrical, songlike style of the exposition and development into the persistent dance rhythms of the recapitulation bestows upon the movement the overall impression of a two-part rhapsody in the traditional lassú–friss pattern . The second movement can be described as a song form in three parts: a long opening section filled with introspection and poetic facets, where the violin plays almost entirely in harmonics, followed by a contrasting central section in folk style, and a return of the opening material with a concluding, gentle coda (; ).
A. L. Ringer, Clementi and the "Eroica", MQ xlii (1961), pp. 462–3 Unusually for sonata form, the development section begins with a quiet restatement of the opening melody in the subdominant (E minor), a tonality usually reserved for near the end of a sonata form movement somewhere in the recapitulation or coda, and rises to a prolonged climax in the same key, starting with a dramatic variant of the opening melody in the full orchestra with prominent trombones. The expected relative major (D) of the tonic minor first appears only at the end of that climax, and then again for the second subject of the recap (in place of the expected tonic B major)—instead of much earlier, in the second subject of the exposition, as customary. The flutes and oboes then resume their melodic role at the end of that dramatic outburst, transitioning to the recapitulation.
Comparison of Bach's Prelude No. 1 in C major (BWV 846) with Chopin's Étude Op. 10, No. 1 The étude, like all études by Chopin, is in ternary form (A–B–A), recapitulating the first part. The first part of the middle section introduces chromaticism in the left hand octave melody while the second one modulates to the C major recapitulation via an extended circle of fifths. James Huneker states that Chopin wished to begin the "exposition of his wonderful technical system" with a "skeletonized statement" and compares the étude to a "tree stripped of its bark." Excerpt of harmonic reduction (bars 41–49: circle of fifths leading to recapitulation) after Carl Czerny Its harmonies resemble a chorale and its relationship to Bach's Prelude No. 1 in C major (BWV 846) from The Well-Tempered Clavier has been noted by musicologist Hugo Leichtentritt (1874–1951), among others.
Ettore Bastico in North Africa Bastico was born in Bologna, Italy. When he came of age, Bastico joined the Italian Army and fought in World War I. In 1928, Bastico was promoted to brigadier (generale di brigata). At that time, the Kingdom of Italy was ruled by dictator Benito Mussolini. In this role, Bastico was a target of Giulio Douhet in Recapitulation (published with the work The Command of the Air).
The exposition concludes with a strong codetta. The development is primarily built around the head of the main theme, which is thoroughly developed. The recapitulation omits the head of the main theme, and the secondary theme is recapitulated in C major, thus ending the movement in a major key. It is the only one of the London symphonies that does not begin with a slow introduction to the first movement.
As the survivors of the Terra Nova returned to England several years later, recapitulation theory had begun to be discredited. Cherry-Garrard turned over the egg specimens to embryologists at London's Natural History Museum, who were largely uninterested in the donation. Cherry-Garrard describes how he was told that the retrieved eggs had not added much to their knowledge of penguin embryology, nor to scientific knowledge as a whole.
When it turns into an adult frog and moves to land, it excretes urea instead of ammonia. Thus an aquatic ancestry to land animal is established. A chick on up to its fifth day of development excretes ammonia; from its 5th to 9th day, urea; and thereafter, uric acid. Based on these findings, Baldwin sought a biochemical recapitulation in the development of vertebrates with reference to nitrogenous excretory products.
Both Primary and Normal classes are based on the Bible and the writings of Mary Baker Eddy. The Primary class focuses on the chapter, "Recapitulation" in Science and Health with Key to the Scriptures. This chapter uses the Socratic method of teaching and contains the "Scientific Statement of Being". The "Normal" class focuses on the platform of Christian Science, contained on pages 330-340 of Science and Health.
The recapitulation is a key change from G major to C major, which is finished by a cadenza, which begins with a sudden A-flat major chord. The cadenza is very light and vibrant and it ends with a long trill and descending chromatic scale in the right hand. The first movement is about 10 minutes long and is one of Beethoven's longest movements from his early period.
Wilhelm Kempff described it as "the most magnificent monologue Beethoven ever wrote".Schumann, Karl. Beethoven's Viceroy at the Keyboard In Celebration of Wilhelm Kempff's Centenary: His 1951–1956 Recordings of Beethoven's 32 Piano Sonatas. Structurally, it follows traditional Classical-era sonata form, but the recapitulation of the main theme is varied to include extensive figurations in the right hand that anticipate some of the techniques of Romantic piano music.
The development features the exploration of the two themes in different keys. It opens with the first theme in C minor, followed by the second theme in E major and F minor. The first theme is then heard contrapuntally leading towards the dominant allowing for a retransition to the tonic for the recapitulation. The first theme is recapitulated in G minor while the second theme is recapitulated in G major.
A series of rising and falling chromatic scales then transition the music to the true second theme of the piece, an ebullient G major theme, which can also be heard in Mozart's Third Horn Concerto. The usual development and recapitulation follow. There is a cadenza at the end of the movement, although Mozart's original has been lost. The famous Andante, in the subdominant key of F major, is in three parts.
In 1844 Vestiges adapted Agassiz's concept into theistic evolutionism. Its anonymous author Robert Chambers proposed a "law" of divinely ordered progressive development, with transmutation of species as an extension of recapitulation theory. This popularised the idea, but it was strongly condemned by the scientific establishment. Agassiz remained forcefully opposed to evolution, and after he moved to America in 1846 his idealist argument from design of orderly development became very influential.
This leads to the real recapitulation at rehearsal 53, which is followed by a coda. The movement harshness comes from a complete indulgence in rhythmic, tonal, and dynamic angularity. Tempo remains constant throughout its six-minute duration, however, so various rhythms diversify and give structure to the movement, characterized overall by a gritty relentlessness. The opening motif, stated in the violin, provides the rhythmic and thematic germ for the movement.
The recapitulation is greatly condensed with much of the transitional movement music removed and second theme appearing much sooner. The movement coda features the first theme over a tonic pedal played by first bassoon and second horn. The Adagio is similar to the slow movement of the 98th symphony in that features a hymn-like theme in triple meter. It is a sonata-form movement in G major featuring rich orchestration.
In the recapitulation, the transitional music previously heard in the winds is re-orchestrated for only strings. The second theme is restated twice and a smaller climax brings the movement to a close. The Minuet is in the key of E major with a trio in the distant key of C major. The finale is an example of the Sonata rondo form that Haydn frequently used in his later symphonic works.
Sound Patterns (1961) is a musical piece for a cappella mixed chorus by Pauline Oliveros. Oliveros won the Gaudeamus International Composers Award in 1962 with this work. Rather than a traditional text, the work is constructed of phonetic sounds chosen on the basis of their timbre. The piece is entirely notated, lasts about four minutes, and features an exposition (measures 1–12), development (12–46), and recapitulation (47–59).
The fourth and last movement is in lively tempo, marked Allegro; the key is again G major. The movement is written in sonata form (regardless of the fact that it is originally marked as 'Rondo'). Mozart specifies repeats not just for the exposition section but also for the following development and recapitulation section. The recapitulation's first theme is unusual because only its last two bars return in the parallel minor.
If an invention does have any recapitulation at all, it tends to be extremely short—sometimes only two or four measures. The composer repeats the theme in the upper voice and the piece ends. The repetition of the theme contains very little variation (or no variation at all) on the original theme. The lower line usually plays the countersubject, and if there is no countersubject, plays in free counterpoint.
The exposition withholds the expected cadence to the dominant almost until the exposition ends. And the movement itself has a tentative pianissimo ending that serves more as a link to the D-minor Adagio than a proper conclusion. The Adagio is in sonata form and presents a single theme. While the exposition modulates to a re-statement of the theme in F major, the recapitulation modulates to D major.
After a brief period of E minor, the second subject, in G major, in its fullest form, appears abruptly. The development section develops both themes, especially the first half of the second theme. The development of the second theme becomes unstoppable and hyperactive and eventually climaxes before modulating back to E minor for the recapitulation. The first subject gets its repeat in the tonic in its fullest form.
The Violin Concerto has an unusual construction. Though played without any breaks, it has four movements which recur in reverse order following the central cadenza for the solo violin: AndanteAllegroLargoScherzoCadenzaScherzoLargoAllegroAndante. The repetitions function in part as recapitulation but, because the material is considerably varied and transformed, also serve as development. The motivic material in the second half appears almost always in inverted form, with respect to the first half .
The piece ends in Liszt's bravura style, with the now-familiar downward chromatic octaves theme, played in this recapitulation at breakneck presto speed, before changing to contrary chromatic octaves, reaching the tonic key of E-flat major and dynamic. The orchestra alone has the last two notes, which Liszt carefully utilised to highlight the importance of the orchestra in the piece, not just as an accompanying device for the piano.
The melody is treated canonically, with multiple voices echoing above an extremely widespread left-hand accompaniment. The closing groups, also in D major, are grand and confident with rhythmic obsessiveness and directional gestures characteristic of Scriabin's heroic writing. In the recapitulation, the first subject is extensively elaborated with sweeping arpeggios in both hands. It is, however, truncated, giving way quite rapidly to a transition to the second theme.
In 1705 Boileau sold his house and returned to Paris, where he lived with his confessor in the cloisters of Notre Dame. In the 12th satire, Sur l'équivoque, he attacked the Jesuits in verses which Sainte-Beuve called a recapitulation of the Lettres provinciales of Pascal. This was written about 1705. He then gave his attention to the arrangement of a complete and definitive edition of his works.
The recapitulation concludes with the piano playing arpeggiated sixteenths before a cadential trill leads into a ritornello. The ritornello in turn leads into a fermata that prompts the soloist's cadenza. Mozart did not write down a cadenza for the movement, or at least there is no evidence of him having done so. Many later composers and performers, including Johannes Brahms, Ferruccio Busoni and Gabriel Fauré, have composed their own.
The recapitulation ability only follows after the knowledge of spatial and temporal patterns have been identified, along with giving the knowledge that corticogenesis can occur without input from the brain.Gaspard N, Bouschet T, Hourex R, Dimidschstein J, Naeije G, van den Ameele J, Espuny-Camacho I, Herpoel A, Passante L, Schiffmann SN, Gaillard A, Vanderhargen P. (2008). An Intrinsic mechanism of corticogenesis from embryonic stem cells. Nature, 455:351-357.
She was an Italian immigrant who survived captivity by her mother to become a famed artist and local art instructor. 1973, she obtained a teaching job at Charles Bloom School in Lumby, where she continued to teach until her retirement in 1984. During her years in Lumby, Sveva began to paint again. Her most important project, a series of 54 paintings which she called Recapitulation, was begun while she was teaching.
Now, however, the program takes over, beginning with a fugue, which is by its nature academic and undramatic, to depict the horde's discovery of Manfred within their midst.Brown, Man and Music, 297. The result, though in many ways becoming a condensed recapitulation of the latter half of the first movement,Wood, 93. becomes a fragmented movement with musical disruption and non-sequiturs, ending with the Germanic chorale depicting Manfred's death scene.
As in the exposition, the development includes strikingly similar musical characteristics such as the contrasting forte piano dynamics, hemiolas, left hand octaves, and parallel thirds in the right hand. The first movement concludes with the recapitulation starting at measure 133, where the first thematic area returns unchanged, the transition modulates to distant harmonies yet closes on the tonic, and the remainder of the exposition returns, transposed into the tonic.
Jean-Pierre Barracelli (1982), p. 158. The tempo quickens and the music reaches a climax; the second subject is recapitulated with little alteration from the exposition. Presumably the recapitulation represents the Eighth and Ninth Circles of Hell.Jean-Pierre Barracelli (1982), p. 152, identifies this section as representative of the sneering devils in the Eighth Circle (Cantos 21 and 22) and the sight of Lucifer in the Ninth Circle (Canto 34).
Brahms uses these keys in the same way in the second movement of this sonata as well. The exposition is repeated and leads to a complex development section in which the "fate motif" is incorporated. After the beginning of the recapitulation, the piece moves directly to the second subject, by-passing the C minor episode, in the parallel key of F major, and finishes with an extended coda.
Despite the structural flaws of the novel (its unrestricted romanticism, its poor division of the focus on Zaynab and Hamid, and a letter by Hamid which is unashamedly Haykal's own recapitulation of all the events that have transpired thus far), the novel is hugely important as the beginning point of the era of the modern Egyptian novel, infused with vernacular language, local characters, and a liberal politico-social dimension.
It is rounded by the cornets with the third section of the main theme. The tempo becomes slower (Un poco più lento) to let the violins sing the third theme, now in E major. However, it is constantly disturbed by the scattered elements of the main theme in other voices. The music modulates to A major, and the main theme rallies its forces (Tempo I) to begin the recapitulation.
In 1816 he returned to Stuttgart as scientific director of the royal library, botanical garden, et al. He died in Stuttgart. Kielmeyer was a pioneer of Naturphilosophie and was an important influence on the career of philosopher Friedrich Schelling. He was a prominent figure in pre-Darwinian evolutionary science, being remembered for development of an early theory of biological recapitulation--the idea that embryos pass through developmental stages that reflect their "primitive ancestors".
The first half of the book explores Ernst Haeckel's biogenetic law (recapitulation)—the largely discredited idea that embryonic developmental stages replay the evolutionary transitions of adult forms of an organism's past descendants—and how this idea influenced thinking in biology, theology, and psychology. The second half of the book details how modern concepts such as heterochrony (changes in developmental timing) and neoteny (the retardation of developmental expression or growth rates) influence macroevolution (major evolutionary transitions).
Rachmaninoff wrote a second Elegiac piano trio in 1893 after the death of Tchaikovsky. This work is cast in only one movement, in contrast to most piano trios, which have three or four. This movement is in the classical form of a sonata, but the exposition is built on twelve episodes that are symmetrically represented in the recapitulation. The elegiac theme is presented in the first part Lento lugubre by the piano.
Oxford, UK: Oxford University Press. As long-term memory is subject to fading in the natural forgetting process, maintenance rehearsal (several recalls/retrievals of memory) may be needed to preserve long-term memories. Individual retrievals can take place in increasing intervals in accordance with the principle of spaced repetition. This can happen quite naturally through reflection or deliberate recall (also known as recapitulation), often dependent on the perceived importance of the material.
I. Allegro ma non troppo (B major) Uses a four-key exposition (B major, G major, E major, F-sharp major). II. Andante (E major) III. Scherzo: Allegretto – Trio (G major, D major) IV. Allegro giusto (B major) The work takes approximately 24 minutes to perform. Daniel Coren has noted that the first movement of this sonata is the only such movement in Schubert's sonatas where the recapitulation is an exact transposition of the exposition.
Notes to Alpha CD ALPHA600, 2011 After a secondary element, introduced by a descending seventh, the second subject is a piano cantando of themes and motifs that are used to form the development. In the recapitulation the first subject returns with the roles of the parts reversed: the cello takes the lead, with the piano closely shadowing it. The movement ends in G major.Anderson, Keith. Notes to Naxos CD 8.557889, 2008; Blakeman, Edward.
Finally, a technically demanding piano passage bridges this section to the final part. ; Maestoso C minor 4/4 The solo piano marks the beginning of the final section by decisively repeating the first subject of the concerto. In this section, numerous glissandos are played by the soloist. Shortly after the recapitulation of the second theme, the tempo changes into Vivace and the soloist plays arpeggio against a timpani rhythm echoed from the first section.
Ernst Haeckel formulated his recapitulation theory in 1867, which stated that "ontogeny recapitulates phylogeny": the evolution of each individual reproduces the species' evolution, such as in the development of embryos. Hence, a child goes through all the steps from primitive society to modern society. This was later discredited. Haeckel did not support Darwin's theory of natural selection introduced in The Origin of Species (1859), rather believing in a Lamarckian inheritance of acquired characteristics.
The two groups are linked via a modulating transition, or bridge, passage. The exposition may conclude with a short codetta and/or closing theme, and may be repeated. In the succeeding development section, existing thematic material may be presented in new harmonic and textural contexts, and/or entirely new material may be introduced. The development transitions into the recapitulation, where all themes or theme groups from the exposition are now presented in the tonic key.
Most of Gershwin's orchestrations have been vastly simplified. Many string passages were reassigned to other instruments (for example, the string quartet portion of the adagio was rescored for violin, clarinet, oboe, and cello), or instruments that formerly had solos now have other instruments doubling their passages. Also, eight measures excised by the composer were re- added to the recapitulation by the editor. Michael Tilson Thomas has been a promulgator of Gershwin's original 1931 version.
Beethoven does not ask for the exposition to be repeated. The development section (which calls "radically simple") consists of restatements of the movement's initial theme in a falling sequence, with underlying semiquaver figures. Donald Francis compares the artful simplicity of the development with the entasis of the Parthenon's columns. The recapitulation begins conventionally with a restatement of the opening theme in the tonic (A major), Beethoven combining it with the arpeggiated transition motif.
Melody, tonality, rhythm and orchestral timbres work together to form an indivisible whole. In the first movement of the Fourth Symphony, he introduces a highly rhythmic theme in the brass. The structure of this movement is made up of a complete series of rotating thirds, from F to A, B D and back to F, then a recapitulation to a third below the tonic. The brass theme delineates each stage of the structure.
With the opus 20 quartets, Haydn moved forward the development of the sonata form. A movement written in sonata form has an exposition, where the themes and motifs of the movement are presented; a development section, where these themes are transformed; and a recapitulation, where the themes are restated. Traditionally, the restatement closely matched the original exposition. But Haydn, in opus 20, uses the restatement to further develop the material of the movement.
Throughout the first movement – and, indeed, for almost the entire quartet – the first violin leads with the concertante part. Even so, the texture is not galante, for the other parts play important and independent roles throughout. Haydn in the recapitulation continues developing the melody with new embellishments, and the coda wanders through strange modulations – D major, G minor – before returning to the plaintive F minor conclusion. The minuet continues the sombre mood in F minor.
The first movement is in sonata form, beginning with an introduction and ending with a Coda. The introduction, exposition, development, recapitulation, and Coda are clearly distinguished by different tempo markings and time signatures. Though the movement begins and ends in C major the tonal center is ambiguous as it is constantly shifting. The opening of the movement begins with a slow, newly composed introduction, a warm melody played by the woodwinds (ex.1).
It begins with a relaxed melody played by muted violins, featuring a repeated "hiccuping" motif. The mood gradually becomes more somber and meditative with an alternation between major and minor modes, resembling many similar passages in the later work of Schubert. There follows a series of dissonant suspensions carried across the bar line, which are extended to extraordinary lengths by Haydn when the same material appears in the recapitulation. James WebsterWebster (1991).
The Darwinian Revolution. Chicago: University of Chicago Press. Embryology theories of Ernst Haeckel and Karl Ernst von Baer compared Haeckel advanced a version of the earlier recapitulation theory previously set out by Étienne Serres in the 1820s and supported by followers of Étienne Geoffroy Saint- Hilaire including Robert Edmond Grant. It proposed a link between ontogeny (development of form) and phylogeny (evolutionary descent), summed up by Haeckel in the phrase "ontogeny recapitulates phylogeny".
41–44 Steiner's ethical philosophy is neither utilitarian nor deontological. For Steiner, the highest morality exists when a person acts in the world through deeds of love realized by means of individually developed and contextually-sensitive moral imaginations, This of course raises the difficulty of the one who loves evil and acts on the basis of this love. Are his actions of "the highest morality"? This all is by way of introduction and recapitulation.
70-71 as described by DeWitt John, a Christian Science teacher who taught the 1982 normal class."The 1982 Normal Class" The Christian Science Journal (February 1983). Retrieved May 8, 2013 The class follows the chapter "Recapitulation" from Science and Health, using the Bible and all Eddy's published works as research and reference to explain the chapter. Following hours of class time, students are given hours of homework, both reading and written assignments.
The tonic key, however, is almost entirely absent, with the music mostly remaining in G minor/major until the introduction of the lyrical theme C in the remote key of E major at m. 114. The music modulates to G-sharp minor to begin what is essentially a recapitulation in m. 136, with B returning in E-flat to finally establish the true tonic in m. 178, very late in a lengthy movement.
The first movement is in a classical sonata form, with repeats for the exposition, the development and recapitulation. There are two basic characteristics exemplified in the first movement: the song-like themes and the combination of styles. Mozart uses diverse styles including galant homophony, learned counterpoint, and even the intense Sturm und Drang style. In the first theme of the exposition begins with a right hand melody over a left hand Alberti bass figure.
A codetta follows to conclude the exposition, then the exposition is repeated. The development starts in G minor and modulates through several keys. The recapitulation begins, unusually, in the subdominant key of F major. The Alberti bass that began as a C major triad at this point becomes an F major triad, followed by a left hand F major scale pattern which emulates the rhythm of the previous right hand A minor scale.
There is a marked difference, however, in that the themes themselves retain their original form, rather than being chopped up into pieces as they would be in, say, a sonata by Beethoven. As developmental tools go, more emphasis is placed on alternating rhythmic patterns and shifts of key and accent. In measure 212 we reach a recapitulation. This section of the piece is an altered repeat of the beginning of the exposition.
Proceedings of the 1st International Roberto Gerhard Conference, p. 65. Regarding the use of these hexachords in the themes, he develops the relationships between these two structures, using retrogrades and inversions to develop the areas that correspond to exposition, development, recapitulation, and primary and subordinate themes. Thus, for example, he can only present one hexachord (with its respective transpositions) in the exposition, and reserve certain combinations of transpositions for occurrences of very specific motifs.
Leonovich says he develops the concluding rondo in typical Tchaikovsky style, with key areas of B minor and G major and, in the recapitulation, B minor and A major. The coda restates the second theme in B major, in a much slower tempo, (resulting from the inability to perform a tempo) but then accelerates to round off the piece quoting the "Allegro maestoso" theme. The cadenza may be repeated as an encore.
Thus, according to recapitulation theory, the hiccup is evolutionarily antecedent to modern lung respiration. Additionally, they point out that hiccups and amphibian gulping are inhibited by elevated CO and may be stopped by GABAB receptor agonists, illustrating a possible shared physiology and evolutionary heritage. These proposals may explain why premature infants spend 2.5% of their time hiccuping, possibly gulping like amphibians, as their lungs are not yet fully formed. Fetal intrauterine hiccups are of two types.
Artists attempted to depart from traditional forms of art, which they considered outdated or obsolete. The poet Ezra Pound's 1934 injunction to "Make it new!" was the touchstone of the movement's approach. Modernist innovations included abstract art, the stream-of-consciousness novel, montage cinema, atonal and twelve-tone music, and divisionist painting. Modernism explicitly rejected the ideology of realism and made use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision and parody.
The first movement is in sonata form. There is disagreement over the break-up of thematic material with one source claiming six separate units of thematic material while another source divides them into three themes each with two periods. There is to an extent extra thematic material during the recapitulation. At least one of the thematic units is based closely on the opening theme of the third movement of the earlier Piano Sonata in G major, D 894.
The most demanding of the solo parts most likely lies in the Second Strathclyde Concerto, for cello (1987). In the last two of the Strathclyde Concertos, Davies increased the number of soloists. The Ninth (1994) is scored for six woodwind soloists, while the Tenth (1996) is a concerto for orchestra whose finale is a sort of recapitulation of ideas heard in the earlier concertos. The first two concertos were recorded by Unicorn-Kanchana, with the composer conducting.
Here, as in many of Schubert's sonata form movements, a repeat sign is written for an exceedingly long exposition, while the material of the exposition is repeated a third time in the recapitulation with little alteration. This has led some musicians to omit the exposition repeat when performing these movements. In the last two sonatas, however, unlike other movements, the first ending of the exposition contains several additional bars of music, leading back to the movement's opening.
The allegro con fuoco section that follows however is highly Baxian, and all the features of his composition style are evident here. The second subject sees the return of Sibelian moods, but Bax's comprehensive musical technique is noticeable. The recapitulation is particularly exciting, making it one of the most energetic opening movements of all Bax's symphonies. The second movement is majestic and a relatively short slow movement for Bax, but makes good use of brass and the percussion section.
Cantata Profana concludes with the choirs' recapitulation of the narrative. Haunting and lyrical, the melodies are woven into rich diatonic harmonies, bringing a sense of the timelessness of myth to the ending of the piece. As the chorus finishes its retelling of the story, the tenor returns with an impassioned flourish on the words, "from cool mountain springs". The work ends as it began, with an ascending scale, but this time in an inverted form of the opening scale.
Professor Charles Keil classified forms and formal detail as "sectional, developmental, or variational." ;Sectional form: This form is built from a sequence of clear-cut units that may be referred to by letters but also often have generic names such as introduction and coda, exposition, development and recapitulation, verse, chorus or refrain, and bridge. Introductions and codas, when they are no more than that, are frequently excluded from formal analysis. All such units may typically be eight measures long.
This is the complete arpeggiation of the triad. Once elaborated, it may consist in a succession of three tonalities, especially in pieces in minor. In these cases, III stands for a tonicisation of the major relative. This often occurs in Sonata forms in minor, where the first thematic group elaborates degree I, the second thematic group is in the major relative, degree III, and the development leads to V before the recapitulation in the tonic key.
Egan theory on how knowledge and understanding develop in the mind through learning is five categorical kinds of understanding. This individual process reflects "logical and psychological pressures." Egan differentiates his theory from the conceptions of recapitulation common in the late 19th century and early 20th century. People can learn cognitive tools that are grouped and classified into five kinds of understanding: # Somatic - somatic understanding is the innate understanding of one's physical functions as well as emotions.
Thus, the four-movement layout was by this point standard for the string quartet, and overwhelmingly the most common for the symphony. The usual order of the four movements was: # An allegro, which by this point was in what is called sonata form, complete with exposition, development, and recapitulation. # A slow movement, an Andante, an Adagio or a Largo. # A dance movement, frequently Minuet and trio or—especially later in the classical period—a Scherzo and trio.
The C-naturals come as a surprise to the listener: the note does not appear at all in the exposition. The rest of the development consists mainly of sustained notes for the woodwinds and opening descending pairs of notes in three-part counterpoint in the strings. In the recapitulation, the second half of the first theme group is heard in canon. The second movement is a double variation canon in the form ABA1B1A2, beginning and ending in the minor.
Beethoven played a crucial role in advancing timpani writing by not only extending the written range of the timpani, but also including more extended techniques like double stops. Like Haydn, Ludwig van Beethoven began one of his famous works, his Violin Concerto, with a timpani solo. Unlike in the Drum Roll symphony, Beethoven's solo actually forms the opening theme; the same notes when they reappear in the recapitulation section (m. 365) are played by the full orchestra.
The novel draws inspiration from the literary gothic novel, Jungian archetypes, fairy tales, and from DH Lawrence's Sketches of Etruscan Places.Rosati, Alessandro, Echi di D.H. Lawrence in "The Etruscan" di Linda Lappin, tesi di laurea, Università degli Studi dell Tuscia, Viterbo, Italy, 2006, pp. 136 Critically, The Etruscan has been analyzed as a recapitulation of the entire tradition of English/American fiction set in Italy.Prampolini, Gaetano, "The Etruscan di Linda Lappin," Oltre il Racconto Venice: Mazzanti editore, pp.
A recapitulation of the development with rising crescendo markings adds to the tensions which characterize this movement. The climax is achieved in the form of a glissando in the treble voice which heralds a new arpeggio. A series of accented triplets in minor keys marked strepitoso forms the basis for a transition back into C major and the conclusion of the work.Library of Congress Copyright Office – Catalog of Copyright Entries: Third Series Music July–December 1968, Vol.
Ward writes of it, "The fugue worked very well, with tension maintained and intensifying strongly. The recapitulation of the triplet horn theme, where Bruckner’s completed bifolios cease, continues and builds and then falls quiet." In his completion of the coda of the final movement, Schaller draws on themes and motives from across Bruckner's works in the form of a compositional retrospective with building-blocks from earlier symphonies, choral symphonic works and thematic references to other movements of the Ninth.
The recapitulation consists mostly of orthodox sonata-form restatement of the themes, except that Schubert restates the melodious second theme in the relative key of D major instead of the usual B major (parallel to the tonic B minor). The dramatic closing section, however, does end in B major and leads to a coda in the tonic B minor. This recalls the opening theme for still another, final, dramatic reworking to pave the way for the emphatic concluding chords.
The sonata form first movement contrasts a broad first theme in the cello, accompanied by flowing piano arpeggios, developed by the piano towards an intense climax. As tension abates, a ray of light appears with the tender second theme, with unusual tonal shifts, announced by the piano and imitated by the cello. In the development a spiky rhythmic motif penetrates through the flowing textures of the first theme. The recapitulation appears with the second theme rather than the first.
Haydn used this coda not only to make fun of audiences confused as to where to applaud, but also amateur musicians who were too "beat-driven," and what he deemed a redundant rondo form. The entire movement is filled with other little “jokes.” For example, the large dominant preparation over a pedal base in the B section merely resolves to a small recapitulation of the opening theme. This toys with the audience and leaves their expectations cut short.
The work is in standard four movement form and scored for flute, two oboes, two bassoons, two horns and strings. #Vivace, #Andante con moto in C major, #Minuet, #Vivace assai, The first movement, opens with five forte staccato chords followed by a flowing piano melody. The development section maintains the thematic order of the exposition, but develops the harmonic structure. Then in the recapitulation, the music stays in the tonic, but the themes themselves are developed.
The Sonata unfolds in approximately 30 minutes of unbroken music. While its distinct movements are rolled into one, the entire work is encompassed within an overarching sonata form — exposition, development, and recapitulation. Liszt effectively composed a sonata within a sonata, which is part of the work's uniqueness, and he was quite economical with his thematic material. The first page contains three motive ideas that provide the basis for nearly all that follows, with the ideas being transformed throughout.
Instead of actually adjusting tempo or dynamics, Shostakovich often prefers growing perceived accelerandos and crescendos out of thickening textures and shorter note values, which, particularly at Rehearsal 32, 47, and 51 give the movement the effect of frenzy or perhaps desperation. A grim tone-row (beginning 4 after Rehearsal 56) repeated in shorter and shorter note values during the recapitulation signals a departure from previous material, which is followed by a sarcastic herald call and the movement's abrupt end.
The development uses material from the A theme, going through several modulations throughout and making use of the main idea from Theme A in sequence. At measure 216, the A theme returns in the recapitulation, lasting until measure 228. There is a transition from 229–244, bringing back the B theme at measure 245, this time in the tonic key. At 327, B major returns briefly, moving back to D in 334 with a Coda from measures 340–360.
Dvořák was inspired to write the concerto after meeting Joseph Joachim in 1878, and composed the work with the intention of dedicating it to him. However, when he finished the concerto in 1879, Joachim became skeptical about it. Joachim was a strict classicist and objected, inter alia, to Dvořák's abrupt truncation of the first movement's orchestral tutti. Joachim also didn't like the fact that the recapitulation was cut short and that it led directly to the slow second movement.
It opens with a lyrical G minor theme in the cellos, horns, clarinets and bassoon with trombones, violas and double basses pizzicato. This gives way to a "bird call" flute melody, reaching the symphony's key G major. Writing about a performance by the National Symphony Orchestra, Peter Laki notes that the development section "works up quite a storm." In the recapitulation, the second main theme is played by the English horn, two octaves lower than in the exposition.
At measure 77, the other half of the second theme makes its appearance along with the first theme. After the musically unstable development, the recapitulation of the sonata form begins at measure 95. The eight-bar first theme is stated again in the original key, although now modified so as to lead directly to the second theme, without any transition in between. The second theme remains unchanged, now transposed to the home key of F# major.
176-187 Virey commented that "It is thus plausible that, thanks to such evolution, nature has arisen from the most tenuous mould to the majestic cedar, to the gigantic pine, just as it has advanced from microscopic animals up to man, king and dominator of all beings." Virey also sketched an early version of the recapitulation theory. He was a polygenist minimalist, proposing two human species (the "White" and "Black"), divided into six chromatic races.Stocking, George W. (1988).
The second subject is newly composed for the symphony, and is a minor third away, in A major. The development consists primarily of a large section from the ballet's fifth number, dominated by horns and tuba. The toccata-like material from the first theme is also subjected to heavy development. The recapitulation is prefaced by a jarring statement of the theme from the fifth number in B-flat major, followed by a blaring diminished- seventh fanfare.
The recapitulation is similar to the exposition and is in B-flat major. There is a rather difficult cadenza composed by Beethoven himself, albeit much later than the concerto itself. Stylistically, the cadenza is very different from the concerto, but it makes use of the first opening theme. Beethoven applies this melody to the cadenza in several different ways, changing its character each time and displaying the innumerable ways that a musical theme can be used and felt.
The opening, slow section functions as an exposition. The middle section, in a faster tempo, is a sort of development section, and the final section returns to the opening tempo and material as a recapitulation (; ). In contrast to the polyphonic texture of the first movement, the second is more homophonic, with a slow boogie-woogie rhythm in the bass . The violin is muted throughout, and becomes separated from the increasingly heavy piano part as it floats upward.
95–105), featuring an increasingly dense texture while presenting the first four pitches in the chord only; and the fourth and final section combines each element of harmony, melody, and rhythm in a recapitulation, while introducing the remaining pitches of the chord upon which the work is based (A-sharp, C-sharp, and E-sharp).Floyd, p. 921 The final phrase (mm. 171–180) builds to the climax that includes all ten performers and all eight pitches in m.
Induction and Recapitulation of Deep Musical Structure. In Working Notes of the IJCAI-95 Workshop on Artificial Intelligence and Music. pp. 41-48. and in 1997 Brad Johanson and Riccardo Poli developed the GP-Music System which used genetic programming to breed melodies according to both human and automated ratings. Since 1996 Rodney Waschka II has been using genetic algorithms for music composition including works such as Saint AmbroseCapstone Records:Rodney Waschka II - Saint Ambrose and his string quartets.
Because of the morphological similarities present in embryos of different species during development, it was once assumed that organisms re-enact their evolutionary history as an embryo. It was thought that human embryos passed through an amphibian then a reptilian stage before completing their development as mammals. Such a re-enactment, often called recapitulation theory, is not supported by scientific evidence. What does occur, however, is that the first stages of development are similar in broad groups of organisms.
Egan theory on how knowledge and understanding develop in the mind through learning is five categorical kinds of understanding. This individual process reflects "logical and psychological pressures." Egan differentiates his theory from the conceptions of recapitulation common in the late 19th century and early 20th century. People can learn cognitive tools that are grouped and classified into five kinds of understanding: # Somatic - somatic understanding is the innate understanding of one's physical functions as well as emotions.
Bar 155 of the movement repeats the symphony's first subject again, but instead of the joyful outburst heard earlier, Brahms introduces the movement's development section. A mid-movement tranquillo section (bar 206, and reappearing in the coda) elaborates earlier material and slows down the movement to allow a buildup of energy into the recapitulation. The first theme comes in again (bar 244) and the familiar orchestral forte is played. The second theme also reappears in the tonic key.
Ignoring the apparent clues left by Tchaikovsky as to how he would have developed this movement, Leonovich also takes the development into his own hands, following a linear pattern similar to that in the Fourth Symphony and Second Piano Concerto. Exploring the mediant area Leonovich calls typical of Romantic composers, he allows the music to move to D major instead of B major in the recapitulation. He says he also made this decision for practical reasons.
Mendelssohn wrote it in three sections, ABA', with a recapitulation of text and music of the first verse after the second. The first line is sung only by the four upper voices in homophony, beginning softly (piano) in steady walking rhythm, with an accent, in high pitch and by double length, on "Engeln" (angels). It is similarly answered by the lower voices. The antiphonal treatment continues for the second line, with a climax in eight-part homophony.
Finale IV. Rondo: Allegro vivace A minor; Rondo - Allegro vivace This movement is in sonata rondo form with foreshortened recapitulation. The toccata-like rondo theme, like the allegro and scherzo themes, begins in A minor and soon modulates to C major. The V-I- V-I chord sequence featured in the first and third movements again appears prominently in the intervening episodes. The movement is economical, especially for a Schubert finale, and ends briskly with an accelerando closing section.
After the first theme of 'minor seconds' closes, Chopin introduces a Più Lento section in which a new melody (without dissonant minor seconds) is played in the parallel key, E major. The final section of the piece starts with a recapitulation of the first theme, with climaxes in a coda played in E Major. The second section is marked as Più Lento (It. More Slow) despite Chopin's metronome mark of ♩=168, a very quick tempo.
204 The development section – "a lively romp" – is followed by a cadenza-like passage leading to the recapitulation. Where a cadenza might be expected in such a concerto movement, Ravel writes three: first for harp, then for the woodwind, and finally for the piano; the last of these draws on the fifth theme of the exposition. An extended coda concludes the movement, bringing back some of the material from the development section and finishes with a series of descending major and minor triads.
In measure 274 (letter G), the key returns to E major. The texture also changes as the melody fades away and the strings begin a long rising tremolo figure as related to the woodwinds' sixteenth-note pattern of the second theme. In some ways this key change acts as a transition back to the main Scherzo section. Stedman adds to Abraham's analysis by explaining that this return to the Scherzo acts as a recapitulation to the overall sonata form structure.
91; Rosen, "Schubert and the Example of Mozart", p. 19. The recapitulation is traditional – staying in the tonic, and emphasizing the tonic minor and the flat submediant (F major) as subdominant tonalities. The coda restates the first theme, this time in a much more 'hesitant' manner, pianissimo and with further allusions to subdominant tonalities. The movement ends with serene arpeggios; however, for the penultimate chord, Schubert chose a striking Italian sixth on II, instead of the more usual dominant or diminished seventh chords.
The overall structure of the piece is:Jasen (1978): 100 : Intro AA BB A CC Intro A The structure is unusual for a Joplin rag; Edwards characterized it as a rondo. The recapitulation of the A strain at the end is also found in "Magnetic Rag" and "Scott Joplin's New Rag", which appeared about the same time. The introduction and the A strain are both in B-flat major. At the start of the B strain, the piece modulates to G minor.
The third movement (15–20 minutes) is structured much like the second, with a slow initial theme, a faster middle section that evokes the first movement, and a recapitulation of the initial theme. Shostakovich stated elsewhere that he had hoped to portray Leningrad by twilight, its streets and the embankments of the Neva River suspended in stillness. Woodwinds begin with slow, sustained notes, accentuated by the horns. This simple theme cadences, and is followed by a declamatory theme played by violins.
Striking is the frequent use of Sesto in the Ländler-like eighth-note of the first viola, which is due to the line of the second violin and the violoncello of the first part and refers directly to the trio in Scherzo. An airy counterpart of the first violin pushes playfully unstoppable upwards. The actual implementation theme becomes the starting point of a fugue whose theme is contrasted with a striking triplet figure. Finally, the recapitulation follows in D flat major.
The symphonic design for this movement is highly unusual. The slow introduction announces the motif on which the allegro vivo is based. While the allegro vivo is a three part structure, it differs from sonata form in having an exposition, a second exposition and a development instead of the usual order of exposition- development-recapitulation. This means that after the actual exposition, the thematic material is developed in two places, with the second exposition actually being an elaboration of the first.
Another conventionalized stage speech is the exit speech, which may take the form of a poem followed by a single spoken line. This speech is usually delivered by a supporting character, and describes his or her present situation and state of mind. Finally, there is the recapitulation speech, in which a character will use prose to recount the story up to that point. These speeches came about as a result of the zhezixi tradition of performing only one part of a larger play.
This is followed by the braying of Bottom with the "hee-hawing" being evoked by the strings. A final group of themes, reminiscent of craftsmen and hunting calls, brings the exposition to a close. The fairies dominate most of the development section, while the Lover's theme is played in a minor key. The recapitulation begins with the same opening four chords in the winds, followed by the Fairies theme and the other section in the second theme, including Bottom's braying.
The trumpets and drums resume, leading to an interlude connecting finally with the body of the overture: a fugal Allegro (referred to by Schindler) at the work's centre, in both single and double counterpoint. Different groups of instruments enter in turn, producing a fugal texture. The theme appears in the first violins, flute, and oboe, and a counter theme in the second violins and clarinets. This section crescendos rapidly, and – following the recapitulation – a forceful coda brings the overture to a brilliant close.
The Andante is full of expressive shading, the result of Mozart's harmonic freedom. This movement is based in F major, the subdominant of the whole work's tonal home and is structured in sonata form. By the end of the exposition, Mozart has modulated to the dominant, C major and begins the development in this key. The work then quickly makes temporary transitions through G and D minor, in order to move back to the tonic for the recapitulation, which follows the exposition closely.
Gamow, G., (1953), Kongelige Danske Videnskabernes Selskab, 39 In this paper, Gamow determined the density of the relict background radiation, from which a present temperature of 7 K was predicted – a value which was slightly more than twice the presently-accepted value. In 1967, he published reminiscences and recapitulation of his own work as well as the work of Alpher and Robert Herman (both with Gamow and also independently of him).Alpher, R. A., Gamow G., Herman R., (1967), Proc. Natl. Acad Sci.
According to Newbould, the exposition and development of the first movement are completely written out, so the recapitulation is based on the exposition, with the pertinent transpositions. Only 11 bars based on earlier transitional material or composed by Newbould were added. As for the coda, his reconstruction became more speculative, but Schubert left a series of modules marked presto which left the overall plan clear. In his opinion, the composer left enough clues so as to decide the correct order of the modules.
Bach, as some of his contemporaries, devotes individual expression to every verse of the canticle, one even split in two for a dramatic effect. In a carefully designed structure, four choral movements are evenly distributed (1, 4, 7, 11). They frame sets of two or three movements sung by one to three voices, with individual instrumental colour. The work is concluded by a choral doxology (12), which ends in a recapitulation of the beginning on the text "as it was in the beginning".
The first movement begins with an immediate presentation of the opening thematic material, a ten- note statement of the strings in conjunction with powerful timpani strikes. The strings and brass proceed to develop this statement while the soloists provide relatively constant rhythmic undertone. After perhaps two minutes, woodwinds introduce a new, less fierce theme which leads into a slightly varied recapitulation of the first statement. Glass then inserts a characteristic series of chord progressions often present in his mature style.
Stepwise harmonic and melodic motion in the diatonic scale: The simple and fundamental diatonic scale, particularly an ascent often followed by a descent, is used to create a rich variety of melodies and textures. Allegro vivace - the opening bars outline a diatonic ascent from D to A (12345). The second theme outlines the same pattern, this time descending as well. The unaltered diatonic scale appears prominently in the final lines of the exposition and recapitulation, ascending and descending across the entire keyboard.
Romanes' 1892 copy of Ernst Haeckel's allegedly fraudulent embryo drawings (this version of the figure is often attributed incorrectly to Haeckel).Richardson and Keuck, "Haeckel’s ABC of evolution and development," p. 516 Haeckel's illustrations show vertebrate embryos at different stages of development, which exhibit embryonic resemblance as support for evolution, recapitulation as evidence of the Biogenetic Law, and phenotypic divergence as evidence of von Baer's laws. The series of twenty-four embryos from the early editions of Haeckel's Anthropogenie remain the most famous.
It also, probably deliberately, evokes the climactic contrapuntal finales of works such as Mozart's Jupiter Symphony. The movement as a whole can be noted for the rondo-like reappearances of the opening theme A1, which consistently avoids the tonic key until the final fugato; for its innovative key scheme, which combines the restless modulations of a traditional sonata development with the idea of recapitulation in the tonic; and for its successful integration of counterpoint within a non-contrapuntal formal structure.
For this reason, a sonatina is sometimes defined, especially in British usage, as a short piece in sonata form in which the development section is quite perfunctory or entirely absent:Encyclopædia Britannica Online: sonata the exposition is followed immediately by a brief bridge passage to modulate back to the home key for the recapitulation. Subsequent movements (at most two) may be in any of the common forms, such as a minuet or scherzo, a slow theme-and-variations, or a rondo.
Brunswik wrote a great deal about the history of psychology. His historical analysis is remarkable for its development in structural terms rather than in the customary longitudinal recapitulation of names, dates, and places. It consists of a general identification of the kinds of variables that have traditionally been employed in psychological theory and research and a description of the changes in the emphasis of these variables over time.cf. Brunswik, E. (1952): The Conceptual Framework of Psychology, International Encyclopedia of Unified Science (Vol.
One night, Prince informs Amy that her would-be killer has been released, and that she must confront him. It is never directly revealed who the killer is, although it is implied to be Prince. The confrontation scene ends ambiguously—it is unclear if Mary is finally killed. The next scene recalls the opening lines of the novel, but it is not certain whether this is a recapitulation, an event that happened in Mary's past, or what occurred after the confrontation scene.
While in New York City Rane illustrated such works as Meet Kit: An American Girl by Valerie Tripp.scholastic announcement of publication of Meet Kit He has also illustrated editions of Wallace Stegner's Recapitulation and Ellen Glasgow's In This Our Life. He also illustrated the Franklin Library 1978 edition of William Faulkner's Absalom, Absalom. A member of The Church of Jesus Christ of Latter-day Saints, in the early 1990s the Church asked him to begin creating works of art on religious themes.
The relaxation also appears at the end of the movement giving the listener the quiet curtain raising music that often occurs at the end of an opera overture.A. Peter Brown, The Symphonic Repertoire (Volume 2) (Bloomington and London: Indiana University Press, 2002) (), pp. 112–13. In the slow movement, the winds are silent for most of the movement—leaving the listener to expect that the movement is scored for strings alone. These expectations are quelled when full orchestration enters for the second theme in the recapitulation.
He shows how "the four defining 'recapitulatory' features, however – theme, tempo, Scherzo character, and 'tonic colour' – are set into place not simultaneously but one after another." The return of the "theme" happens at measure 106 with the A-group materials heard in the brass with woodwind sixteenth-notes above. What he means by "tempo" and "Scherzo character" is the accelerando into the Allegro moderato section. Finally, he shows how "tonic colour" returns in measure 158 (letter B), putting into place all elements of the recapitulation.
This second theme, a hymn-like E major melody in four-part harmony, greatly contrasts with the first, though its melodic contour is prefigured in the sudden A major departure. Both themes progress somewhat in the style of variations and are structured with irregular phrase lengths. The development section is highly chromatic and is texturally and melodically distinct from the exposition. The recapitulation is once again traditional, staying in the tonic and stressing subdominant tonalities (D, the lowered second degree – in the first theme).
In the ensuing middle section (35 bars) yet another orchestral theme is introduced, H: the scheme is HAHAHA. This is followed by a long recapitulation, also of 116 bars, where, as is typical of his concertos, Mozart rapidly departs from a simple repetition of the previous material: the scheme is ABAyADA Free. Finally, the movement is brought to a close with the final ritornello (36 bars): AGA Cadenza (Mozart's own exists) EF - hence the two closing themes of the prelude are finally heard again at the end.
Immediately after the interruption, the basses interject a muscular passage before snares resume with a similar episode. The music quiets and returns to a lyrical sequence. After several minutes of gradual growth, the movement reaches its climax, a complete recapitulation of the opening theme and its developing material, executed by the brass with a shimmering undercurrent of violins, and punctuated by timpani. After a short respite, Dohnányi makes two more brief reiterations of the introductory theme, and then proceeds to the final bars, a massive ending.
Steinberg, p. 159 except for the fourth movement, in which "Beethoven first explores the idea of shifting the centre of gravity toward the end of a multimovement work".Steinberg, p. 163 The first movement starts with a gentle and unassuming theme: Beethoven String Quartet 3 opening Beethoven Quartet, Op. 18 No. 3, opening. However, its return at the start of the recapitulation shows the theme in an entirely different light. Philip Radcliffe (1965, p. 24) describes this moment as “beautifully contrived”.Radcliffe, P. (1965) Beethoven’s String Quartets.
Amongst Stravinsky's compositions using variation form, the concerto is unusual for several reasons. First, it employs this form as a finale. Second, the variation movement begins and ends in the same key (which would be normal for most composers, but not Stravinsky, who only adheres to this practice in one other composition, the Sonata for Two Pianos). Third, the second variation literally repeats the melodic theme, thus functioning as a sort of internal recapitulation and thereby suggesting a fusing of variation with rondo form.
In the development section, these sets are explored melodically, while the dotted rhythm figure gains even more importance. In the recapitulation, the chord progression of the first thematic complex is brought to the higher registers, preparing the coda based on secondary theme cantabile element, which gradually broadens. The second movement shifts to a different expressive world. A simple ternary form with a cadenza–AB (cadenza) A, the B section represents an acoustic departure as the chromatic figurations in the left hand, originating in section A, are muted.
An important moment in the first movement occurs in measure 109 (and repeats in the recapitulation in measure 327). In these measures, Schubert holds a tonic B pedal in the second bassoon and first horn under the dominant F chord, that evokes the end of the development in Beethoven's Eroica Symphony. Unfortunately, a well-meaning but inexperienced editor removed this dissonance by altering the second bassoon and first horn part. Conductors must check these parts carefully to make sure that the B pedal is intact.
The movement ends with two E major chords. The second movement is often marked Larghetto, but the indication is missing from the autograph. The opening theme is played by the winds at the beginning of the movement but by the piano in the recapitulation. The development, after spending one bar on a German augmented sixth chord with a root of C, abruptly goes into the distant key of E minor for one bar, and four bars later, ends up back in the home B major.
After this, the music returns to minor for a new transitional episode, in which the descending theme reappears played by the strings con sordini with a mysterious piano arpeggio accompaniment. It is quite long (about 2 minutes) and ends with a piano trill announcing the final part. The work ends with a brilliant final in the parallel F major (Allegro non troppo). It is a compact sonata-form movement, complete with first (the descending theme) and second (the ascending theme) subjects, development, and recapitulation.
The second subject, a supple melodic line, unaccompanied in its opening bar, incorporates a descending chain of first inversions, a favourite harmonic formula of the baroque and classical periods. (There are analogous passages in the subsidiary themes in Gluck’s overture Iphigénie en Tauride and the first movements of J. S. Bach’s Italian Concerto). This functions as a solo passage in contrast to the ensuing tutti entries in m.30. The development moves through a circle of minor keys before the recapitulation begins in measure 72.
Averroes rejected the eccentric deferents introduced by Ptolemy. He rejected the Ptolemaic model and instead argued for a strictly concentric model of the universe. In the 11th–12th centuries, astronomers in al-Andalus took up the challenge earlier posed by Ibn al-Haytham, namely to develop an alternate non-Ptolemaic configuration that evaded the errors found in the Ptolemaic model. Like Ibn al-Haytham's critique, the anonymous Andalusian work, al-Istidrak ala Batlamyus (Recapitulation regarding Ptolemy), included a list of objections to Ptolemic astronomy.
" It concludes once again with the hook line, after which there is a repetition of the second verse. According to Harrison, "The competition between E and A for tonic control is made clear during the break between verse 2 and the recapitulation of verse 1 lyrics. ... the allusion to the harmonic structure of the verse is made subtle both by the transposition and by different melodic activity. Only when the music of the now A-major refrain is encountered do the voices return to their familiar words.
The third quartet of the set, in E-flat major, is numbered III/46 in the Hoboken- Verzeichnis catalogue. Its movements are: #Allegro con brio #Andante più tosto allegretto #Menuetto: Allegretto #Finale: Presto This is a concise work, in terms of its duration, the economy of thematic material presented, and also the narrow registers within which the four parts operate. The first movement is in 6/8 time and a monothematic sonata form. The development and recapitulation sections feature an example of Haydn's musical jokes.
The second movement, in B-flat major, is in two parts: an exposition and a recapitulation. The first violin plays the leading role throughout, although the movement is characterised by rich textures between the four parts created by compositional devices such as contrary motion. It is this movement that gives the Op. 50 No. 5 the nickname of "Der Traum", or "The Dream". The minuet is in F major, but it is not until well into its second half that a strong chord in the tonic arrives.
It has been argued that Davis was also influenced by ideas from the field of biology, especially the Neo-Lamarckian thought that was current in the late 19th-century United States. It is thought that Davis received some of this Neo-Lamarckian influence from his tutor, Nathaniel Shaler. Other biological theories that may have shaped the cycle of erosion are those of orthogenesis and recapitulation both of which are linked to Neo-Lamarckianism. Darwin's evolution theory was a lesser influence relative to Neo-Lamarckism.
The exactness of Ernst Haeckel's drawings of embryos has caused much controversy among Intelligent Design proponents recently and Haeckel's intellectual opponents in the past. Although the early embryos of different species exhibit similarities, Haeckel apparently exaggerated these similarities in support of his Recapitulation theory, sometimes known as the Biogenetic Law or "Ontogeny recapitulates phylogeny". Furthermore, Haeckel even proposed theoretical life-forms to accommodate certain stages in embryogenesis. A recent review concluded that the "biogenetic law is supported by several recent studies - if applied to single characters only".
Haeckel was not the only one to create a series of drawings representing embryonic development. Karl E. von Baer and Haeckel both struggled to model one of the most complex problems facing embryologists at the time: the arrangement of general and special characters during development in different species of animals. In relation to developmental timing, von Baer's scheme of development differs from Haeckel's scheme. Von Baer's scheme of development need not be tied to developmental stages defined by particular characters, where recapitulation involves heterochrony.
The angels are not centered directly under the ribs and therefore do not support the weight of the vaults. The Pórtico de la Gloria operates as a highly symbolic narrative whose function is to combine the present and the individual act of pilgrimage with meaning; by inscribing them within the universal and the eternal. The pilgrimage to Compostela is a reenactment of the pattern of the life of Christ and the microcosm of Salvation. This suggests that individual pilgrimages achieve transcendence through its recapitulation of sacred events.
This motive returns at crucial parts to identify Manfred's part in the action. Beneath this theme is a musical structure that, while not conforming to the traditional recapitulation of themes in sonata form, succeeds in moving forward without losing unity or degenerating into a series of episodes. It is a musical portrait of the guilty, doomed sensibility, drawn strongly as Berlioz' Harold. This was perhaps the aspect of Byron which appealed most vividly to Russians; it also may have touched closely on Tchaikovsky's own situation.
The E major start soon transposes into a section in A-flat major, where both hands bounce around with a dotted melody which is the second theme. This section turns slightly slower and less jolly with scales up and down in the right hand which rise and get quicker before a brillante slide down the keys leads neatly into a recapitulation of the first theme. The gaiety continues on into a final flourish at the end. The piece carries a dedication to Harriet Cohen.
The last movement, in the home key of C major, brings the springlike mood back full force, in the form of an energetic finale. The opening immediately sets a cheerful mood with trills and light-hearted melodies. There is, however, still a darker side which clashes with the happy mood in the exciting development, which leads to the vibrant recapitulation and coda. The ending bars are an impressive climax, with the viola and cello playing rapid notes in their lowest registers while the violins hammer out C major chords above.
Through the third variation, each appearance of the ternary theme with winds appearing only in the middle section framed by muted strings in the outer sections. In the second outer section, the theme in two voices is inverted. Also, through each of the first three variations the surface rhythms are accelerating from eighth notes to sixteenth notes to triplet-sixteenths to thirty-seconds. The fourth variation varies from this pattern in that it is fully scored for the entire variation and serves as a recapitulation for the movement.
The winter journey to the penguin rookery eventually became a case study on how a paradigm shift in scientific methodology can devalue data that had begun to be gathered before the shift. At the time the Terra Nova expedition sailed, many biologists believed in recapitulation theory. They believed that examining the embryos of key species, such as the Emperor penguin, would show how the species—and, by extension, how the family of birds as a whole—had evolved. The expedition's chief scientist Wilson determined to try to collect specimens based upon this theory.
This music is an interpretation of the text 'Herr, Gott, des die Rache ist, erscheine'; a head-motif is followed by a descending chromatic scale. Ascending chords on the manual follow, a musical invocation of God. The development section of the first movement, from the allegro con fuoco, depicts the second group of verses, leading into a recapitulation in organo pleno. The adagio second movement depicts the Bekümmernisse (sorrows) and Tröstungen (consolations) moods of the third group of verses, and closes with a reappearance of the opening theme of the sonata.
First, he points out that descriptions believed by speakers about a referent are not uniquely specifying, and thus are incapable of fixing reference. His second line of criticism states that even in those limited cases where the speaker does believe something uniquely specifying, what is uniquely specified turns out not to be the referent. Two other issues arise by way of recapitulation: First, Kripke concedes that there exist certain limited cases where descriptions do in fact determine reference. In these cases, however, they do no other semantic work.
This theory applied to both vertebrates and invertebrates, and also stated that higher animals go through embryological stages analogous to the adult stages of lower life-forms in the course of their development, a version of the recapitulation theory later ossified in the statement "Ontogeny recapitulates phylogeny" of Ernst Haeckel. In the field of teratology, Serres explained the presence of malformations as cases of arrested development or overdevelopment. He had disagreements with Charles Darwin regarding the latter's evolutionary theories. Serres believed that humans were creatures set apart and a supreme goal of all creation.
This composition, like all of Villa-Lobos's quartets except the first, consists of four movements: # Poco animato # Allegretto # Andante, quasi adagio # Allegro vivace Instead of the usual sonata-allegro form, the first movement presents a sectional structure. Four contrasting sections (with transitions between the first and second, and between the third and fourth) are followed by a recapitulation of the first section, and an extended coda. There is no development section . The second movement is in a three-part, ABA song form in the character of the Brazilian improvised serenade known as the choro .
His mission is to make contact with Professor von Braun (Howard Vernon), a famous scientist who has fallen mysteriously silent, and is believed to be suppressed by the computer. Pierrot le Fou (1965) featured a complex storyline, distinctive personalities, and a violent ending. Gilles Jacob, an author, critic, and president of the Cannes Film Festival, called it both a "retrospective" and recapitulation in the way it played on so many of Godard's earlier characters and themes. With an extensive cast and variety of locations, the film was expensive enough to warrant significant problems with funding.
The second theme is restated in the high register of the piano, first as blocked chords, then as frenetic sixteenth-note arpeggios. Several non-melodic scales allow the music to wind down to a quiet throb in the orchestra on a dissonant chord, C-A♭-D. The orchestra then resumes the pulsating low Cs; the piano makes a shortened restatement of the scalar passage that led to the recapitulation, which is now used to end the movement, with a dissonant harmony followed sarcastically by barely tonal open C octaves.
His popularity began when he published his 1968 work La révolte contre le père (The revolt against the father). Deleuze and Guattari assessed this book as one example of the "drivel on Oedipus".Deleuze, Guattari (1972) Anti-Œdipus, section 2.6 A recapitulation of the three syntheses p.116, 118-9 Mendel argued that the father "died over a period of thousands of years" and that the "internalization" corresponding to the paternal image was produced during the Paleolithic right up until the start of the Neolithic, "approximately 8,000 years ago".
This Allegro is the main focus of the symphony because of the solidity of its formal structure and its greater length than the other movements . To describe it as a sonata- allegro, however, refers to its character but not its form, which is both simple and original. Chávez replaces the usual exposition–development–recapitulation with two alternating sections, each of which occurs three times. Development occurs during the appearances of the second of these, through either the reappearance of motives from the first section, or the production from them of variants .
As in his earlier works, Anselm instead held that Adam's sin was borne by his descendants through the change in human nature which occurred during the Fall. Parents were unable to establish a just nature in their children which they had never had themselves. This would subsequently be addressed in Mary's case by dogma surrounding the circumstances of her own birth. ("On the Procession of the Holy Spirit Against the Greeks"), written in 1102, is a recapitulation of Anselm's treatment of the subject at the Council of Bari.
The middle rendition of "A" is truncated, consisting of just one repetition of "a" rather than the full "a b a".Forte, Allen (1980) Generative chromaticism in Mozart's music: The Rondo in A minor, K. 511. The Musical Quarterly 66: 459-483. Concerning the episodes "B" and "C", Forte suggests that each is a brief instantiation of sonata form; it moves to the dominant key in the first part (exposition), and in the second part first explores remote keys (development) then returns to the original material all in the tonic key (recapitulation).
The second melody follows in the woodwinds with violins and bass accompaniment, this in turn followed by a theme reminiscent of the "Dresden Amen" in a long tremolo, the trumpets giving out their original theme, to full accompaniment. After recapitulation the main theme appears in the horns, the violins in agitated accompaniment. The close of the section is vehement, gradually dying away and leading to the second movement without halt. A slow, tender melody appears in the woodwinds and horns and later in the strings, the trumpets repeating their call in the first movement.
The first movement is in sonata form and begins with both hands in unison, followed by some trills and a repeat in E minor. This material is used and varied for the first theme, finally cadencing to the dominant, where the second theme provides a more graceful contrast to the grandness of the first. The development section includes many different keys, but starts in the dominant, using counterpoint and harmonic imbalance and exploration. This gives a feeling of tension, which is then resolved before returning to the recapitulation in the home key.
The second is in G minor and undergoes a transformation such that it resembles a Czech polka. The exposition's closing theme in G major is known for being similar to the African-American spiritual "Swing Low, Sweet Chariot". The development primarily focuses on the main and closing themes, and the recapitulation consists of a repetition of the main theme as well as a transposition of the second and closing themes up a semitone. The movement is concluded with a coda, with the main theme stated by the brass above an orchestral tutti.
The forms of American march music typically are of three categories: the military march form, the regimental march form, and a general group containing recapitulation marches, "four-step" marches, and other diverse forms. All marches have at least three common elements, including: different (i.e., contrasting) sections called strains; several different melodies; and a "trio" section of strains/"repeats" that offers pronounced contrasts in phrasing. Most American marches use (seemingly) simple chord progressions, but—using chromatic harmonies, sevenths extensions, and secondary dominants—composers often complicated their marches with interesting chords and rapid chord changes.
Bateman's death in 1355 prevented the full accomplishment of his scheme. At that time the body consisted only of the master, three fellows, and two scholars. A licence for building a chapel was given by the bishop of Ely on 30 May 1352, to which the founder bequeathed vestments, jewels, and plate. In the list of books given by the bishop to his new college theology is represented only by a small Bible, together with a Compendium and a Recapitulation of the Bible, all the rest being books of canon or civil law.
Palingenesis (; also palingenesia) is a concept of rebirth or re-creation, used in various contexts in philosophy, theology, politics, and biology. Its meaning stems from Greek , meaning 'again', and , meaning 'birth'. In biology, it is another word for recapitulation—the largely discredited hypothesis which talks of the phase in the development of an organism in which its form and structure pass through the changes undergone in the evolution of the species. In political theory, it is a central component of Roger Griffin's analysis of fascism as a fundamentally modernist ideology.
The four ballades are said to have been inspired by poet Adam Mickiewicz.Chopin: Complete Music Analysis – Ballades The exact inspiration for each individual ballade, however, is unclear and disputed. Though the ballades do not conform exactly to sonata form, the "ballade form" created by Chopin for his four ballades is a variant of sonata form with specific discrepancies, such as the mirror reprise (presenting the two expositional themes in reverse order during the recapitulation). The ballades have directly influenced composers such as Franz Liszt and Johannes Brahms who, after Chopin, wrote ballades of their own.
Sinfonietta (1930) is Milošević's diploma work in the class of Josef Suk and at the same time the first work of this kind in the history of Serbian music. The introduction of the first movement's sonata form features an anticipation of subsequent theme in fugato. A humorous second subject is delivered first in bassoons, and then in oboes. In the development, the composer exhibits his contrapuntal skills, and recapitulation of the first subject along with the brief recollection of the second subject completes this movement of a predominantly cheerful spirit.
The principal, toccata-like processed material of the last movement is countered by a brief, lyrical intermezzo, followed by a fierce coda at the work's end. In the String quartet (1928), Milosevic enriched his expression by the more pronounced use of polytonal and atonal chords, but nonetheless in the aspects of form and polyphonic work remained grounded within modernist canonical criteria. The first movement delivers two subjects—one voluble and the other somewhat pathetic. The ensuing musical narrative develops upon contrapuntal interaction of the two subjects until their reduced reoccurrence in recapitulation.
Ernst Haeckel supposed that embryonic development recapitulated an animal's phylogeny, and introduced heterochrony as an exception for individual organs. Modern biology agrees instead with Karl Ernst von Baer's view that development itself varies, such as by changing the timing of different processes, to cause a branching phylogeny. The concept of heterochrony was introduced by the German zoologist Ernst Haeckel in 1875, where he used it to define deviations from recapitulation theory, which held that "ontogeny recapitulates phylogeny". As Stephen Jay Gould pointed out, Haeckel's term is now used in a sense contrary to his coinage.
Yale University Press. The music at this point is in B minor, and carries the expectation is that the chord of F sharp (Chord V) will be followed by the tonic chord of B. However, "Dynamics become softer and softer; dominant and tonic chords of B minor appear isolated on the first beat of a bar, separated by silences: until in sudden fortissimo ... the recapitulation bursts on us in the tonic E minor, the B minor dominants left unresolved." Mellers, W. (1983, p.210), Beethoven and the Voice of God.
In 1979, The Rose of Versailles was released in Japan as a 40-episode (and 1 recapitulation) animated television series, which ran from October 1979 to September 1980. Besides Japan, the series has also been broadcast in several other countries of Europe and Latin America under the title of Lady Oscar. The anime was directed by Tadao Nagahama (episodes 1-18) and Osamu Dezaki (episodes 19-40), who brought a cinematic approach to the series. Shingo Araki was the animation director and co-character designer along with Akio Sugino and Michi Himeno.
The sonata is in three movements: The first movement opens with a series of ascending fourths in the right hand, followed by a quartet-like echoing of a phrase in different octaves. The second theme, in B major, is based on a descending run followed by an ascending chromatic run. The development is full of sixteenth- note arpeggios in the left hand, and sixteenth-note left-hand scales accompany the start of the recapitulation, but the movement ends quietly. The second movement is minuet-like; the main section ends on the tonic major chord.
I. Allegro F minor. Fragment (ends after the development on the dominant of B-flat minor) The entire movement revolves around the rhythm of the first bars, and there is an extensive use of trills, an element which forms part of the initial motive. The second subject could be described as being "a consolatory version of the first." As is the case with other Schubert sonatas, the composer left the movement unfinished, breaking off at the beginning of the recapitulation after a substantial development section that modulates extensively.
In the trio, Haydn uses off-beat entries and second-beat sforzandos to disrupt what would otherwise be a regular and conventional triple metre. The fourth movement, in sonata form but with characteristics of a rondo, is replete with Haydnesque false recapitulations and conclusions. In one example, the music lands in the tonic at the end of the recapitulation and apparent coda, and is followed by two measures of complete silence, creating an illusion of finality. However, the main theme is then reprised, and the real conclusion to the work follows some 20 measures later.
The servants and Raoul quickly attempt to cover up any existence of Roger but almost immediately there is a new crisis: a man identical to Roger, calling himself Richard Lennox and claiming to be Roger's brother, appears. He claims to know about the boating incident and is apparently using that as leverage to take over one of Elena's companies. Where before the figure of Lennox was passive and docile, he is now shrewd and aggressive; it is Elena that now becomes pliant. The power struggle reaches a climax in a recapitulation of the boating scene.
Her first book, L'Origine des animaux (1883), was written in response to Charles Darwin's The Origin of Species, which had been published in France in an 1862 translation by Clémence Royer. Renooz described Darwin's theory as unscientific, arguing instead for an evolutionary theory based on embryology. Renooz concluded that humanity's ancestors could be traced to the plant kingdom and specifically to the bean family, a concept possibly influenced by Ernst Haeckel's recapitulation theory. In Renooz's theory, the human head corresponded to the root ball of a plant, and the body to the stem and branches.
The different species are arranged in columns, and the different stages in rows. Similarities can be seen along the first two rows; the appearance of specialized characters in each species can be seen in the columns and a diagonal interpretation leads one to Haeckel's idea of recapitulation. Haeckel's embryo drawings are primarily intended to express his theory of embryonic development, the Biogenetic Law, which in turn assumes (but is not crucial to) the evolutionary concept of common descent. His postulation of embryonic development coincides with his understanding of evolution as a developmental process.
During this elaboration, two new ideas are combined with the B-Theme (subthemes D and E): > D – "We're gonna turn this mother out" > E – "Let us in we'll turn this mother out" The three main themes are rarely layered on top of each other. The C-Theme elaboration lasts only 8 bars, and is interpolated with the A-Theme (for 2 bars). With this development section complete, the three main themes are recapitulated (beginning at 5:18). A fadeout during this recapitulation ends the song with the B-Theme.
The climactic development section follows, finding space for a third theme, which eventually combines with the first two themes. After a grave climax with gigantic orchestral chords and a last "struggle" in marching rhythms, the ethereal recapitulation ensues, in which the first and second themes are integrated, although much reduced and played softer, as if only the shadow of what was before remains. The second movement, a meditative andante with a tripartite structure, displays Prokofiev's talent in creating fragile, gossamer textures. The central section is more brooding in nature, with the theme consisting of semitones.
It seems indeed clear from Hiltl's stylistic examination that the musical material itself is all Bruckner's, because some of these ideas even anticipate some music from the Ninth Symphony, composed some 25 years later, which nobody can have known already in 1876. In all, this "Symphonic Prelude" constitutes an extremely advanced, "experimental" sonata movement, with a dramatic, almost radical second part combining development, recapitulation and coda to a unified and radical second part. The musical language and structure anticipate much of Bruckner's last composition, the symphonic choralwork Helgoland (1893).
The first movement is longer and more complex than any that Mozart had previously composed in the concerto genre. It is in ; among Mozart's 27 piano concertos, No. 4 in G Major, No. 11 in F major and No. 14 in E major are the only others to commence in triple metre. The first movement follows the standard outline of a sonata form concerto movement of the Classical period. It begins with an orchestral exposition, which is followed by a solo exposition, a development section, a recapitulation, a cadenza and a coda.
The wide range of thematic material presented in the orchestral and solo expositions poses a challenge for the recapitulation. Mozart manages to recapitulate all of the themes in the home key of C minor. The themes are necessarily compressed, are presented in a different order, and in their restated form, contain few virtuosic moments for the soloist. The last theme to be recapitulated is the secondary theme of the orchestral exposition, which has not been heard for some 400 measures and is now adorned by a passage of triplets from the piano.
Other notable exponents are Leopoldo Lugones, José Asunción Silva, Julio Herrera y Reissig, Julián del Casal, Manuel González Prada, Aurora Cáceres, Delmira Agustini, Manuel Díaz Rodríguez and José Martí. It is a recapitulation and blending of three European currents: Romanticism, Symbolism and especially Parnassianism. Inner passions, visions, harmonies and rhythms are expressed in a rich, highly stylized verbal music. This movement was of great influence in the whole Hispanic world (including the Philippines), finding a temporary vogue also among the Generation of '98 in Spain, which posited various reactions to its perceived aestheticism.
This was followed by "Opus 2000: Achtung Schnappschüsse!" in 1992, "Frisch geliftet!" in 1996, and in 2002 by the recapitulation program "Opus Feuerwerk". Almost all programs premiered at the Theater am Hechtplatz, then Keiser and Läubli went on tour in Switzerland and partly they gave guest performances in Germany and in the United States, in Washington and New York. The programs were recorded on tape and on television. Keiser wrote the texts, in the first two programs supported by Fridolin Tschudi and later by Lorenz Keiser, Margrit Läubli's and his son.
The entire work is not only extremely long, playing up to and sometimes over an hour, but it is designed with the utmost spaciousness in mind. There is nothing else in Tchaikovsky's works that captures the long-breathed deliberation of the third movement or the practically verbatim recapitulation of the widely variegated opening section of the second movement following the equally huge middle section. At least one critic has suggested that, in its heroic but perfectly judged dimensions, Manfred resembles Richard Strauss's later tone poem Ein Heldenleben.Wood, 91.
The piece has a duration of 9 minutes and a total of 89 bars. It is in E major and has an unchanging time signature of . According to double bar separation, the piece has three sections: a very short first section which is marked "Sans hâte" (Without haste), a second section marked "Lent" (Slow) starting at bar 4, and a lengthy third section marked "Modéré, presque vif" (Moderate, almost quick) starting at bar 17, which contains the development, the recapitulation, and the coda. These three sections are also divided by fermatas.
Kent, p. 42. A clearer and more grounded tune appears later in the cellos, commanding this section until the transformation into what appears to be a super- development. Elgar quickly thickens out the score and fills it with punctuating accents and six bars of downward leaps into the main theme, thus beginning the transition back into the primary material. This bridging section contains a break after the first bar of rehearsal 42 which gives the audience a chance to catch its breath before plunging into the recapitulation, which follows the standard outline.
The first movement is in a modified version of traditional sonata form. There are clearly delineated sections – introduction, exposition, development, recapitulation and coda – but Bartók eschews the customary relationships between keys, beginning the movement in F and ending in C major, with excursions into several unexpected keys in between. This structural tritone relationship is not unusual for Bartók; it may be found in many of his other compositions, including the first movement of his well-known work, Music for Strings, Percussion and Celesta. The rhythm of this movement is varied within an overall time.
The recapitulation features an abridged version of the first subject, working around to C minor for the transition section. In the second subject group, the consoling second theme is omitted, and instead the first theme repeats, with a reappearance of the stormy climactic build that was previously heard in the exposition, but this time in B major. However, this time the excitement is cut short by a deceptive cadence. A brief closing section, made of G-flat major chords played by the whole orchestra and the piano, is heard.
The anthem ends with a recapitulation of the exuberant beginning, with even more syncopation. The anthem was published by Oxford University Press in 1973. It was recorded several times, including a 1993 performance conducted by the composer in 1993 with his Cambridge Singers and the City of London Sinfonia, reissued in 2005 as part of an album Gloria : The sacred music of John Rutter, which also contains A Gaelic Blessing and "The Lord bless you and keep you", among many others. In 1997, Klaus Uwe Ludwig conducted the organ version with the Bach-Chor Wiesbaden.
Often, and with increasing frequency in the nineteenth century, (but by no means exclusively) the secondary theme is marked by a quieter, more lyrical character than the energetic TR that preceded it. The main objective of the S action space, however, is to confirm the new key with a perfect authentic cadence. This cadence is the overarching goal of a sonata exposition, and its equivalent moment in the recapitulation is the chief goal of the sonata form as a whole. Thus S space is often characterized by dramatic methods of delaying this cadential arrival.
Isaiah 48 is the forty-eighth chapter of the Book of Isaiah in the Hebrew Bible or the Old Testament of the Christian Bible. This book contains the prophecies attributed to the prophet Isaiah, and is one of the Books of the Prophets. Chapters 40-55 are known as "Deutero-Isaiah" and date from the time of the Israelites' exile in Babylon. According to John Skinner, this chapter, which is "largely a recapitulation of certain outstanding themes of the prophecy", consists of "exhortations addressed to the exiles in the near prospect of deliverance".
The work is closed by a grand scale chorus in da capo form, choir I and II mostly in unison for the first part (We sit down in tears), but in dialog in the middle section, choir II repeating "" ("Rest gently, gently rest!"), choir I reflecting: "Your grave and headstone shall, for the anxious conscience, be a comfortable pillow and the resting place for the soul. Highly contented, there the eyes fall asleep." These are the last words (before the recapitulation), marked by Bach himself: p pp ppp (soft, very soft, extremely soft).
Douhet devotes many pages to critically examining six "basic theories" put forth by Bastico and how they relate to the future of an Independent Air Force's role in future wars.Douhet, Giulio; The Command of the Air, book three (Recapitulation), pp. 263-269; Office of Air Force History, Washington, D.C. Bastico was promoted to major general on 29 May 1932 and in 1935, he commanded the 1st Blackshirt Division (23 Marzo) during the Second Italo-Abyssinian War. In 1935, Bastico was the commander of the III Corps in Ethiopia and on 10 February 1936 he was promoted to lieutenant general (generale di corpo d'armata).
The first movement is in sonata form: after an introduction follows an exposition that ends with a repeat sign, a development, a recapitulation and a coda. The introduction is twenty measures long and marked "Adagio". It opens with the orchestra playing the tonic note, D, in unison, avoiding the establishment of the home key of D major with root-position harmony. The introduction then proceeds on an harmonic excursion, through the dominant (A major), a Neapolitan chord (E major, built on G), a diminished seventh, the parallel minor (D minor), and the subdominant minor (G minor), before concluding with a dominant seventh chord.
The development proper is based on a scalar variation of the second theme heard at the end of the exposition. Here, in contrast to the striking modulatory excursions nested in the exposition, the tonal plan is static, shifting constantly between C major and B major (later B minor). After the development theme is finally stated in the tonic minor, the dramatic retransition has the unconventional role of only shifting to the major mode to prepare the recapitulation, rather than fully preparing the tonic key (which in this case has already been established).Rosen, "Schubert's Inflections of Classical Form", p.
The second thematic group is written in the traditional dominant key; however, it is very long, modulating through many different subdominant tonalities. The development section, in contrast, culminates in a long passage in C minor with a climax characterized by a tension-building ambiguity between E major and C minor and a greatly prolonged evasion of a cadence. This leads to a false recapitulation in F major, which then modulates to begin again in the home key. In the coda, the main theme returns fragmented, with full bar pauses, which lead each time to unexpected changes of key.
"Sunny" begins with bowed bass and lazy vibes introducing a powerful organ solo, accompanied by frenzied screaming (it was, said Mann "a pretty wild session"), dissolving into a fast cadenza and recapitulation. "Wild Thing" sets a piano- driven soul riff over which the melody features tone-bending tricks on Mann's Mellotron brass. "Getaway" has the song's short theme on bowed bass, filled out by vibraphone and organ, leading to an organ and then a bowed bass solo with uncredited scat unison vocal. "With a Girl like You" has a solo guitar, a military waltzing snare and more spontaneous vocals.
This movement is in sonata rondo form with an opening theme requiring fast passage work from the soloist. The opening exposition leads into a brief second B major theme which is played by the soloist and builds to a series of rapidly ascending and descending arpeggios, reminiscent of the cadenza from the first movement. The orchestra then plays a variation of the opening melody, after which the music moves into a short development section in G major. The recapitulation is essentially similar to the exposition, apart from the addition of a counter-melody in the strings.
The second movement opens with a six-bar transition in place of a central development section, which opposes a first section consisting mostly of a clarinet melody over muted strings against a second group of themes in which – as in the first movement – several upward runs of scales are given to the first violin, alternating with brief phrases of clarinet melody. These scales are given to the clarinet in the recapitulation (bar 51). In the last few bars of the movement, more chromatic than the rest, the scales turn into triplet arpeggios traded between the strings under the closing clarinet phrases.
The aria is scored for modest forces: two clarinets, two bassoons, two horns, the usual string section, and the tenor soloist. Mozart's musical setting mostly follows the scheme of Schikaneder's poem. There is an opening section in E-flat corresponding to the first quatrain, a modulation to the dominant key of B-flat for the second quatrain, a chromatic and modulating passage for the first tercet, and a return to E-flat for the last. Both Branscombe and Kalkavage have suggested that Mozart's arrangement of keys embodies a variety of sonata form, with the standard elements of exposition, development, and recapitulation.
Comparison of a woodblock print by Hiroshige (left) to its copy by Vincent van Gogh Through all of the history of literature and of the arts in general, works of art are for a large part repetitions of the tradition; to the entire history of artistic creativity belong plagiarism, literary theft, appropriation, incorporation, retelling, rewriting, recapitulation, revision, reprise, thematic variation, ironic retake, parody, imitation, stylistic theft, pastiches, collages, and deliberate assemblages.Derrida [1959] quotation: (p.40): "The boundaries between permissible and impermissible, imitation, stylistic plagiarism, copy, replica and forgery remain nebulous."Eco (1990) p. 95 quotation: Alfrey (2000)Genette [1982] note 3 to ch.
Since the law was changed to permit altruistic non-directed living organ donations in the UK in 2006, the first altruistic living liver donation took place in Britain in December 2012. In a typical adult recipient LDLT, 55 to 70% of the liver (the right lobe) is removed from a healthy living donor. The donor's liver will regenerate approaching 100% function within 4–6 weeks, and will almost reach full volumetric size with recapitulation of the normal structure soon thereafter. It may be possible to remove up to 70% of the liver from a healthy living donor without harm in most cases.
The biblical text is Psalm 23, in the King James Version (). After a short instrumental introduction, the first verses are sung by the sopranos, while the men's voices continue in unison "He shall convert my soul". "Yea, though I walk thro' the valley of the shadow of death" is expressed by five parts (with divided bass voices) in homophony in low register, while "I will fear no evil" turns to four part setting, which is kept for the following verses, structured by instrumental interludes. In a recapitulation of the beginning, sopranos and now also tenors sing in unison "But thy loving kindness".
A particularly common exception is for the dominant to be substituted with the dominant of the relative minor key: one example is the first movement of Haydn's String Quartet in E major, Op. 54 No. 3. Occasionally, the retransition can begin with a false recapitulation, in which the opening material of the first theme group is presented before the development has completed. The surprise that ensues when the music continues to modulate toward the tonic can be used for either comic or dramatic effect. An example occurs in the first movement of Haydn's String Quartet in G major, Op. 76 No. 1.
The work is in three movements: #Allegro energico #Adagio molto cantabile #Con anima Far from the experimental approaches Chávez adopted in his earlier symphonies, the Sixth accepts the classical forms. The first movement is a sonata-allegro, beginning with a C-major theme recalling the symphonic style of the Romantic era. A bitonal transition leads to the second theme, in the dominant key of G. After extensive development, the recapitulation is followed by a developmental coda, including a strict mirror canon on the first theme. The movement fades to nothing in a constant march in triplets .
The purpose of this section is to lower harmonic tension without sacrificing interest: it introduces an allusion to the subdominant or to the related "flat" keys.Rosen (1988, 289) The significance of the use of subdominant or similar harmony is related to Rosen's general views on sonata form, in which the exposition section creates a sense of musical tension by moving to the dominant key (which lies upward from the home key by one on the circle of fifths). This tension which is "resolved" in the recapitulation by the return to the tonic.For discussion see Rosen (1997, Chap. 1).
Several others also appear to great disadvantage in the film, among them James Mason, Omar Sharif, Mel Ferrer, and Anthony Quayle." Philip K. Scheuer, reviewing for the Los Angeles Times, felt the film was "more like a recapitulation of all the great movie spectacles, historical and pseudo, than a monumental entity in itself." He further wrote "Yet the only emotion it engenders is excitement — intermittent excitement, and its art lies in its parts (the camera work, the color, a few of the performances, even the music) but not in their sum. Its triumph is the triumphs of its technicians, of matter over mind.
Nectoux, p. 421 At the climax of the movement the two main themes are combined, and after a brief recapitulation the Andante ends calmly, in C major. ;Finale—Allegro vivo The concluding movement, in B flat major in 2/4 time, serves the function of both scherzo and finale.Nectoux, p. 423 It opens with an ascending theme for the piano, answered by the cello with a descending scale. The first main theme is a syncopated tune that Nichols calls "almost jazzy". The piano introduces a new chordal theme marked sans ralentir in simple four-part harmony.
The Presto has two themes with distinct bridges between themes however it is difficult to define which section is the exposition, development and recapitulation, if in fact there even are such sections. The movement finishes with a modified version of the Adagio at the beginning of the movement.A. Peter Brown, The Symphonic Repertoire, Volume 2 (Bloomington and London: Indiana University Press, 2002): 77–78. . The work is one of the few symphonies of the Classical era to place the Minuet second (others include Haydn's 44th and "B" as well as his brother Michael's 15th and 16th).
It is reflected in the vase paintings, figurines, graves and grave goods, and surviving customs and myths of Europe. In the north, the goddess could manifest herself as the mistress of animals, grain, distaff and loom, household, and life and death.The reader may find a thorough recapitulation in Davidson (1998), whose chapter titles the above list repeats; however, the topic has received attention from many noted scholars and writers. The works of the noted late archaeologist Marija Gimbutas present a major study of the iconography and surviving beliefs of the European Neolithic, including the Linear Pottery culture.
Whilst Mendelssohn admired Liszt's virtuosity at the keyboard, he found his music jejune. Berlioz said of Mendelssohn that he had "perhaps studied the music of the dead too closely." The musicologist Greg Vitercik considers that, while "Mendelssohn's music only rarely aspires to provoke", the stylistic innovations evident from his earliest works solve some of the contradictions between classical forms and the sentiments of Romanticism. The expressiveness of Romantic music presented a problem in adherence to sonata form; the final (recapitulation) section of a movement could seem, in the context of Romantic style, a bland element without passion or soul.
They considered Lamarckism to be more progressive and thus philosophically superior to Darwin's idea of natural selection acting on random variation. Butler and Cope both believed that this allowed organisms to effectively drive their own evolution, since organisms that developed new behaviors would change the patterns of use of their organs and thus kick-start the evolutionary process. In addition, Cope and Haeckel both believed that evolution was a progressive process. The idea of linear progress was an important part of Haeckel's recapitulation theory of evolution, which held that the embryological development of an organism repeats its evolutionary history.
In 2007, DNASTAR was awarded a Reader's Choice Gold Award by Scientific Computing Magazine for the Lasergene sequence analysis software. The 2008 book Inventing Entrepreneurs: Technology Innovators and their Entrepreneurial Journey by Gerard George and Adam J. Bock includes DNASTAR as an example of an innovative and entrepreneurial success story. A research study by BMC Genomics in 2010 determined that SeqMan (DNASTAR's next-gen sequence assembly application) assemblies performed best, with more novel sequences and better recapitulation of transcripts. Another BMC Genomics study in 2011 determined that the best overall contig performance resulted from a SeqMan NGen assembly.
The work is in four movements: The first movement is built from two strongly contrasting motifs, the first one energetic and repetitive, the second lyrical, based on the style of certain folk tunes from the northeast of Brazil . A recapitulation of the initial material, transposed a minor third upward, is followed by a development section and stretto, diminishing and accelerating to the end of the movement . The second movement is in ternary form with alterations to the returning opening part (ABA'), ending with an extended coda. Each of the main sections is cast in either rounded binary or ternary form.
The first movement of the sonata is in sonata form, and consists of three themes of new material, a development, in which the themes from the exposition are varied and combined, and a recapitulation, in which the exposition is repeated and varied. The sonata begins with the first theme of the exposition, which itself begins with a forte arpeggiated chord, followed by three thirds. The theme next contains a series of falling quarter notes over block chords and Alberti bass, rapid sixteenth notes, and falling fifths. The second theme consists of legato triplets in the right hand over octaves in the left.
For the second movement, Newbould repeated the F major melody (this time in the tonic, B) at the end of the recapitulation, in analogy to the exposition. He also used the coda that Schubert had discarded, since in his view, it had been crossed out in order to restate the melody before. For the third movement, Newbould reshuffled some sections (as they were not in order in his view), and discarded two of them, which in his opinion had been discarded by Schubert (despite no explicit deletion in the manuscript) as their material or function was overtaken by other sections.
Lastly, the pitch inventory consists of two diminished seventh chords, on B and G, symmetrically divided over the figure. # Within the fourth episode, the figure is limited to A, B, D, G for a few measures. This seems mostly a necessity for pianistic reasons, but the resulting figure is quite similar to the one bridging the fourth and fifth episodes # Bridging the fourth and fifth episodes, for only one measure the figure changes to B, D, F, G, A. This figure is the first half of a cadence which resolves in the recapitulation of the first theme.
A brief forte, backed by the orchestra, leads to a third, expansive, walking theme performed again by the solo pianist; Layton notes that this "looks forward to its counterpart in the Third Piano Concerto: there is no mistaking its slightly flippant character".Layton, p.206 The recapitulation section is in effect carried entirely by the soloist's notoriously taxing five-minute cadenza, one of the longer and more difficult cadenze in the classical piano repertoire, taking the listener all the way to the movement's climax. Noted in two staves, the piano plays a reprise of its own opening theme.
The term Arabeske is used here as a poetic metaphor, not only to describe florid decoration, but also, in Schlegel's terms, to suggest a fluid, organic system of fragments that transcends artificial Classical forms. Schumann employs modified rondo form to encompass a short ABACA rondo form, with the gently lyrical main section A, two more intense episodes B (Florestan) and C, and a beautifully pensive Epilog (Eusebius). The piece moves lithely between contrasting moods, and seems to conclude with a gentle recapitulation of the opening material. The poignant postlude that follows comes as an exquisite surprise.
The first movement, in sonata form, is marked Allegro aperto. "Aperto" literally means "open", an attribute often used in Mozart's early concertos, and while the exact meaning Mozart intended is unknown, it conveys "radiance and gaiety", as the pianist Angela Hewitt notes. The development offers an episode of minor mode arpeggios and broken octaves in the piano, contrasted by "plaintive intervals" of the oboe. It is in the development, and only there, that Girdlestone considers that the movement "gives us a glimpse of the true Mozart", as the recapitulation reprises the "well-bred, aristocratic good temper" of the movement's opening.
Nor statement of this requires long time, and a new valse-like theme (in B minor) is presented in the brass, which is derived from the principle theme of the first movement. After some 30 bars it ends abruptly with piano stating the cadenza theme (Poco più lento). The recapitulation of the first theme entrancingly imitates musical snuff-box; it is slightly expanded and lacks the final section. Different reminiscences upon the valse theme follow (mostly in D major, showing it to be the real second subject of this movement) before the skittish melody returns (Poco più mosso, again in F major).
In this case he tinkers with the movement's sonata form by reference to an historical variation of it. The recapitulation starts only with a statement of the second phrase of the movement's theme, which is in the dominant. This would have been a common technique earlier in the eighteenth century that, in this instance, is liable to confuse the unknowing listener looking for the statement of the first phrase of the theme in the tonic. It is not until 27 measures later that the listener is presented with a more emphatic reprise, which is actually a coda.
The second half of the movement, however, takes a darker turn, when the piano, after concluding the scherzo section, plays an eerie, tremolando passage in the lower registers, with a development of the first theme played above, at dynamic. After this, the downward chromatic octaves reappear, but this time at level, before the orchestra plays an ascending chromatic section, leading into a tonal recapitulation of the first theme. The movement ends with very similar music as the first movement begins, with a blistering piano passage ending in an F diminished seventh chord (r.h.: F–A-flat–D–F).
The work opens with a short instrumental introit in G major, marked "Bright and joyful", alternating between 3/8 and 3/4 time. Simple polyrhythms are achieved by dividing the 3/4 measure in two for the orchestra and in three for the chorus. While Bach structured the first verses of the canticle in several movements of different scoring, Rutter unites the first three verses in one choral movement, treating the different ideas to different motifs and setting, and repeating the first verse at the end as a recapitulation. The soprano and alto enter in unison ' (My soul doth magnify [the Lord]).
The idea of recapitulation was first formulated in biology from the 1790s onwards by the German natural philosophers Johann Friedrich Meckel and Carl Friedrich Kielmeyer, and by Étienne Serres after which, Marcel Danesi states, it soon gained the status of a supposed biogenetic law. The embryological theory was formalised by Serres in 1824–26, based on Meckel's work, in what became known as the "Meckel-Serres Law". This attempted to link comparative embryology with a "pattern of unification" in the organic world. It was supported by Étienne Geoffroy Saint-Hilaire, and became a prominent part of his ideas.
The Modernismo literary movement was a Spanish-American literary movement, best exemplified by Nicaraguan Rubén Darío, who is respectfully referred to as the "Father of Modernism". In the late 19th century, Modernismo emerged, a poetic movement whose recapitulation was a blending of three European currents: Romanticism, Symbolism and especially Parnassianism. Inner passions, visions, harmonies and rhythms are expressed in a rich, highly stylized verbal music. This movement was of great influence in the whole Spanish-speaking world (including the Philippines), finding a temporary vogue also among the Generación del 98 in Spain, which posited various reactions to its perceived aestheticism.
And in both works, the first theme is brought back in the recapitulation over passages in the strings that recall the fugal development. Third movement Although quite different in tempo and character, Bizet's scherzo makes several references to the Gounod's scherzo in the trio section. Both are variants of the opening theme and both are played on the woodwinds over a string pedal point. Final movement Beyond a general thematic sympathy between the two finales, Bizet directly imitates Gounod's closing phrase in his own work, drawing on the same rhythmic shape and architecture to create a miniature coda.
Their ambitious programme to reconstruct the evolutionary history of life was joined by Huxley and supported by discoveries in palaeontology. Haeckel used embryology extensively in his recapitulation theory, which embodied a progressive, almost linear model of evolution. Darwin was cautious about such histories, and had already noted that von Baer's laws of embryology supported his idea of complex branching. Asa Gray promoted and defended Origin against those American naturalists with an idealist approach, notably Louis Agassiz who viewed every species as a distinct fixed unit in the mind of the Creator, classifying as species what others considered merely varieties.
Dupree, pp. 216–232 Edward Drinker Cope and Alpheus Hyatt reconciled this view with evolutionism in a form of neo-Lamarckism involving recapitulation theory. French-speaking naturalists in several countries showed appreciation of the much-modified French translation by Clémence Royer, but Darwin's ideas had little impact in France, where any scientists supporting evolutionary ideas opted for a form of Lamarckism. The intelligentsia in Russia had accepted the general phenomenon of evolution for several years before Darwin had published his theory, and scientists were quick to take it into account, although the Malthusian aspects were felt to be relatively unimportant.
158 According to the conductor Sir Adrian Boult, the clashing keys arose because someone made a bet with Elgar that he could not compose a symphony in two keys at once. It has also been speculated that the contrast was intended to represent two sides of Elgar's own personality - the successful and popular 'Bard of Empire' is heard in the noble A flat motif, set against the inner worries that continually troubled him.Stephen Johnson, notes to LSO Live recording LSO0017 (2002). The movement is in traditional sonata form with two main themes, a development and a recapitulation.
During the duo's tour, the magazine Billboard made a recapitulation of their previous releases. Unveiling the existence of the upcoming track, Gil Kaufman of the publication deemed it "an unreleased ballad into the lineup near the beginning of the set [...] before leaning into the sentimental chorus, "I think I might push my luck with you," over Pall's gentle [i.e. Alex Pall, the other half of the duo], swaying keyboard line". A few hours prior the release, Karlie Powell of Your EDM noted that the song is "about pushing your luck with someone, acting on those butterfly feelings from the jumpsounds".
The Chamber Symphony transcends the cyclical principles of Enescu's earlier works, in that the entire composition is constructed as a single sonata-allegro overarching entity, cast in four movements : #Molto moderato, un poco maestoso: a double exposition, leading to the combined thematic synthesis that will be developed in the following movements #Allegretto molto moderato: a combined scherzo and theme and variations #Adagio: unites the materials worked out in the previous movement into a vast melodic line #Allegro molto moderato: a first section continues working out the thematic synthesis, and a second provides the recapitulation of the first-movement material.
The cellos and double-basses start the first-movement sonata form in a tranquil mood by introducing the first phrase of the principal theme, which is continued by the horns. The woodwinds develop the section and other instruments join in gradually progressing to a full-bodied forte (at bar 58). At bar 82, the violas and cellos introduce the movement's second "Lullaby" theme in F-sharp minor, which eventually moves to A major. After a development section based mostly on motives of the principal theme group, the recapitulation begins at bar 302, with the second theme returning at bar 350.
The final notes of the theme (F–E) are sequenced and inverted repeatedly, recalling the significance of descending seconds in the first movement of this quartet. This moves from D minor to G minor to C minor. The end of the development section sees a very high and prolonged A, which parallels the end of the development section of the first movement. The recapitulation, which reinstates the key signature of C minor, begins with the initial violin theme stated forte by all strings, accompanied by the piano playing broken octaves in triplets, outlining the main notes of its theme.
The coda begins at measure 311, with the piano loudly declaring the homorhythmic theme, alternating with the strings. The violin theme is then played by the strings in C major, but it soon shifts back to C minor (the key signature too returns). The four-note idea from the development section comes back, this time with its first note removed. The chromatic descending scale in the piano, an abbreviation of the violin theme in the viola, the four-note theme, and the chord progression (i – I – iv) indicate that the coda draws more from the development section than from the exposition or recapitulation.
Sonata Theory understands the rhetorical layout of a sonata as progressing through a set of action spaces and moments of "structural punctuation." These action spaces largely correlate with the "themes" or "groups" of the sonata, though each space is differentiated primarily by the unique generic goal that the music pursues within that particular space. The exposition lays out each space, establishing a rotational order which the recapitulation also follows. Frequently the development will only articulate a subset of these action spaces, moving only through a partial rotation, although fully rotational, entirely episodic, and non-rotational developments also occur.
Robert Christgau noted that the album includes "technocratic dance-kitsch as amusing as 'Electricity' and 'Enola Gay', and 'Talking Loud and Clear', their cutest and catchiest romantic medium-tempo [song]". He added that "the many others here included will certainly entertain the hookily inclined." Mike DeGagne in AllMusic also highlighted the band's knack for strong hooks, and referred to The Best of OMD as an "excellent compilation" from a group who "were responsible for some of the catchiest and brightest synth pop that the '80s had to offer". Trouser Press called it "a concise recapitulation of the band's artistic development".
There is further dialogue between harpsichord and orchestra followed by an extended episode with semiquaver triplet passagework in the relative minor key, F minor. 850px This is followed by an eight-bar "unison" ritornello modulating from F minor to C minor. Section B concludes with a second extended solo episode in the mediant key of C minor, during which the orchestral ritornello material is heard over a harpsichord trill and in counterpoint before the cadence. The recapitulation section A′, back in the tonic and dominant keys, begins with the first six bars of the ritornello, the harpsichord doubling the strings.
He can also be thought of as the father of the sonata form as a means of structuring works. His string quartets and symphonies in particular display not merely the range of applications of the form, but also the way to exploit its dramatic potential. It is predominantly Haydn who created the transition to the development and the transition to the recapitulation, as moments of supreme tension and dramatic interest. It is also Haydn who enabled a more expansive contour for works, by making every aspect of the harmony of a work implicit in its main theme.
The events shown in the film are a miniature version of the mirror structure of the opera as a whole (Lulu enters prison and then leaves again) and the music accompanying the film is an exact palindrome – it reads the same forwards as backwards. The centre-point of this palindrome is indicated by an arpeggio played on the piano, first rising, then falling (shown here on the top staff). Berg assigns specific vocal styles to each character with descriptive orchestral representation, recapitulative episodes to emphasise psychological significance and pitch-sets. Recapitulation includes having single singers performing multiple roles.
This leads back to a restatement of the meno mosso e moderato section. This time, though, instead of a silky pianissimo, the fugato is played forte, heavily accented (Beethoven writes on every sixteenth-note group), march-like. Analysts who see the fugue as a variation of sonata-allegro form consider this to be part of the recapitulation section. In this section, Beethoven uses another complex contrapuntal device: the second violin plays the theme, the first violin plays the main subject in a high register, and the viola plays the main subject in inversion – that is, upside down.
The Guardian's review by John Fordham said "Damaged In Transit is a no-frills, flat-out, brilliantly executed piece of stylistically-sweeping jazz jamming, with nothing else to listen to but some very long sax solos on very direct and outwardly simple tunes, underpinned by Swallow's elegant bass-playing and Adam Nussbaum's rumbly, Elvin Jones-like drumming". In JazzTimes Stuart Nicholson wrote: "Damaged in Transit is a masterpiece of fin de siecle postbop, a style doomed to perpetual virtuosic recapitulation".Nicholson, S. JazzTimes Review, April 2004 BBC reviewer Peter Marsh observed "Swallow's trio engage the head, heart and feet with their unpretentious yet cerebral swing. Unreservedly recommended".
Headed by Professor Carol Pollock, Renal Research conducts research into the molecular mechanisms underpinning progressive kidney disease using cell culture models of diabetes and studies of patients with diabetes. The laboratory uses a number of approaches, including studying the single cell, cells in culture, animal models of diabetes through to studies on people with diabetes. Work from Renal Research has highlighted the parallels between developmental biology and cancer cell biology in progressive kidney disease. In 2007 a key focus of our work has been to elucidate the cellular abnormalities inherent in epithelial to mesenchymal transition (common to cancer cell biology) and the recapitulation of developmental signaling processes in kidney disease.
In the recapitulation, the initial statement of the theme is embellished by a solo flute. The slow movement in D major consists mainly of embellishments of the legato oboe and solo cello theme which opens it, though every so often is punctuated by chords played by the whole orchestra. After hearing this slow movement, Johannes Brahms is said to have remarked, 'I want my Ninth Symphony to sound like this'.Classical CDs of the week: Borrowed Time, Haydn, Brahms and more... The Daily Telegraph, 15 September 2007 It is the second of Haydn's symphonies to use trumpets and timpani in the slow movement, the first being the Symphony no.
After a series of modulations, the exposition ends in the traditional relative major, E. The development section begins in C with a new theme, derived from the last bars of the exposition. Later on, additional material from the exposition is developed, gradually building up towards a climax. The recapitulation is also written in three keys; the first theme is drastically shortened, and this time the second theme veers to B minor, the result being that the closing section appears in the traditional tonic. The coda begins with a long anticipatory passage which stresses A, the submediant, and then reintroduces the first theme, restoring most of the music omitted from its reprise.
The sketches were written during the spring and summer of 1828, possibly even earlier. The inner movements were sketched up to the final bar, while the outer, sonata-form movements were only sketched up to the beginning of the recapitulation and in the coda. In the sketches, passages from different movements (or even different sonatas) sometimes appear on the same leaf; such evidence suggests that the last two sonatas were composed in parallel, at least in part. Furthermore, in the B Sonata, Schubert sketched the finale before completing the first movement, unlike his usual practice, in which finales were conceived at a later stage.
Mendelssohn's Violin Concerto influenced the concertos of many other composers, who adopted aspects of it in their own concertos. For example, the unusual placement of the cadenza before the recapitulation is reflected in the violin concerto of Tchaikovsky (where the cadenza is similarly placed) and the violin concerto of Sibelius (where the cadenza serves to extend the development section). Moreover, following this concerto it was very rare for a composer to leave a cadenza unwritten for the soloist to improvise as in the days of Mozart and Beethoven. The linking of the three movements also influenced other concertos, such as Liszt's Second Piano Concerto.
The work consists of the following four movements and, with the intended repetitions, has a duration of between 31 and 38 minutes, usually around 35 minutes. 1st movement: Allegro,The C. F. Peters Leipzig edition of the score marks the movement as Allegretto A major, time = 4/4, 197 bars, where bars 1 to 79 and bars 80 to 197 are repeated. This movement shows the typical sonata form with exposition, development and recapitulation. 2nd movement: Larghetto, D major, time = 3/4, 85 bars 3rd movement: Menuetto with Trio I in A minor and Trio II in A major, time = 3/4, 31 + 41 + 51 bars.
There are three main groups of play theories: #Classical theories focus on play from the aspects of burning off excess energy; recreation and relaxation; replenishing energy after hard work; practicing future roles, and recapitulation theory (passing through successive stages by ancestors). Herbert Spencer suggests that play is a mechanism that allows humans to expend excess energy not required for survival; this can be achieved by children through play. #Modern theories examine play from the perspective of how it impacts a child's development. According to Dietze and Kashin, “The learner is no longer regarded as a passive receiver of knowledge, but as an active constructor of meaning”.
The middle section features a fugato on a subject related to the cantilena (xangô) motive from the second movement. This passage is the first occurrence of the atonal, chromatic, legato style found often in Villa-Lobos's subsequent quartets . The finale is similar in structure to the first movement, consisting of three successive, contrasting sections and a recapitulation of the first, concluding with a short coda . Unlike the first movement, however (and unlike all of the composer's earlier quartets), there is a certain thematic kinship amongst the sections, with a recurrence of a falling-third figure and the use of pseudo-Indian motifs influenced by Antonín Dvořák's "American" Quartet .
The quartet consists of the traditional four movements: # Allegro non troppo # Lento # Scherzo (Allegro vivace) # Allegro vivace (con fuoco) The first movement is in ternary, ABA form, rather than the expected sonata-allegro form, and has a long concluding coda of thirty-seven measures . The second movement is also in ternary form and has the character of the improvised instrumental serenade called a choro . The third movement is a traditional scherzo with trio, followed by a concluding coda . The finale breaks with traditional forms, offering instead a succession of three unrelated sections, a transition, and a recapitulation of the first half of section one, and an extended coda .
The standard definition focuses on the thematic and harmonic organization of tonal materials that are presented in an exposition, elaborated and contrasted in a development and then resolved harmonically and thematically in a recapitulation. In addition, the standard definition recognizes that an introduction and a coda may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form. After its establishment, the sonata form became the most common form in the first movement of works entitled "sonata", as well as other long works of classical music, including the symphony, concerto, string quartet, and so on.
Occasionally, especially in some Romantic works, the sonata form extends only as far as the end of the exposition, at which point the piece transitions directly into the next movement instead of a development section. One example is Henryk Wieniawski's Violin Concerto No. 2 in D minor. Another example is Fritz Seitz's Violin Concertos for students, where such a truncated sonata form is used ostensibly to cut down on the first movements' length. Sometimes, the third movement of such works is the recapitulation of the first movement (one example being Franz Strauss' Horn Concerto in C Minor), making the entire work effectively a single-movement sonata.
The symphony is in four movements, lasting 30–35 minutes: #Moderato #Allegretto #Andante espressivo #Vivace The first movement, in sonata form, opens with a melancholic first theme on violins, which contrasts with the warm and lyrical second theme on winds. After a brief development section, the recapitulation of the two themes follows, and the movement ends in a reflective mood with the clock-ticking sounds on glockenspiel and xylophone. The second movement is an autumnal waltz, reminiscent of Prokofiev's ballet Cinderella, while the third movement is an expressive and singing slow movement. The finale, in D-flat major (C-sharp major enharmonic), contains an innocent cheerfulness.
Haydn was particularly fond of the so-called monothematic exposition, in which the music that establishes the dominant key is similar or identical to the opening theme. Haydn also differs from Mozart and Beethoven in his recapitulation sections, where he often rearranges the order of themes compared to the exposition and uses extensive thematic development. Haydn's formal inventiveness also led him to integrate the fugue into the classical style and to enrich the rondo form with more cohesive tonal logic (see sonata rondo form). Haydn was also the principal exponent of the double variation form—variations on two alternating themes, which are often major- and minor- mode versions of each other.
Ultimately, Hegel considered that there could be no truth that was not intimately linked with the ongoing process of human beings as thinking subjects; truth was their truth. The supposed objectivity of the world of nature was in fact an alienation, for man's task was to discover, behind these appearances, his own essential life and finally to view everything as a facet of his own self-consciousness. The same principle applied to the world of culture in which such spheres as art and religion, if viewed as independent of man, constituted so many alienations to be overcome by integration into the final understanding and recapitulation which was Absolute Knowledge.
After the silence, a slow succession of chords, repeating "dona nobis pacem" in homophony in very low register, modulates to distant keys such as C major and F major. After another silence, a kind of recapitulation begins with the soprano and tenor singing the melody in unison on "Agnus Dei ... dona nobis pacem", while alto and bass counter with "miserere nobis". In the final line, the alto broadens the beginning of the melody to a last "dona nobis pacem", marked "mf molto espr. sost." (medium strength, very expressive and sustained), while the other parts end on a very soft "miserere nobis", marked "morendo" (dying).
Menuhin himself loved the concerto and thought Mendelssohn was probably quite proud of it. He also found points of similarity with the later E minor Concerto. He said: :"Both are in minor, in a somewhat tumultuous mood: The written out cadenzas, of the second and third movements; a long solo passage of short notes in the last movement reminiscent of the passage of the third of the E minor which ushers in the recapitulation... :"The Concerto in D minor is full of invention and not in any way inhibited by too-strict traditional concepts. It exhibits, in fact, a remarkable freedom and elasticity of form.
Marked Allegretto (half-note equals 100), the second movement is abrasively energetic and violent. It is in a Sonata form,with the two main themes first heard one after another (the first at rehearsal 28, the second at 31) and then restated almost contiguously until the cadence at rehearsal 34. Long development sections based on the first and then second theme follow and end at rehearsal 45, with the same cadence motive found at 34. A "fake" recapitulation follows, that is a clear restatement of the first theme, followed by another short development based on the first and them the second theme, and the first theme again.
Andante lugubre - Allegro maestoso (G minor → G major) #:Tchaikovsky uses the folk-song "Распашу ли я млада, младeшенка" (Raspashu li ya mlada, mladeshenka) as the basis for both the introduction and the second subject (in B minor). This song also colors the vigorous first subject. Tchaikovsky had borrowed the folk-song motive into the prelude and the finale of his Cantata for the Opening of the Polytechnic Exhibition in Moscow 1872 (commemorating the bicentenary of the birth of Peter the Great).Tchaikovsky Research: Cantata for the Opening of the Polytechnic Exhibition (TH 67)Tchaikovsky, in the recapitulation, restates the movement's introduction, instead of the secondary theme.
For example, the Finale is a combined fugue and sonata form movement: the first theme (characterized by the downward leap of an octave) appears in the exposition as a four-part fugue in the strings and the concluding theme of the exposition is presented first as a chorale in the brass, then as a four-part fugue in the development, and culminating in a double fugue with the first theme at the recapitulation; additionally, the coda combines not only these two themes but also the main theme of the first movement. Bruckner never heard it played by an orchestra.Derek Watson, Bruckner. New York: Schuster & Macmillan (1997): 101.
In a Glass House received a physical release on CD as part of a 40th Anniversary series of reissues this time without any bonus tracks with plans to release vinyl versions of all the band's albums from In a Glass House through Giant for a Day in late 2010."Progressiveland" interview with Derek Shulman by Wayne Klein, 17 February 2010 The final track of the album is hidden. Following the song "In a Glass House", there is a delay then a brief recapitulation of every other track on the album. The song is named "Index" in LP releases but not marked in the cover of the CD releases.
The first movement is in sonata form and, without introduction, presents a rather violent yet melodic first theme in D minor. The second theme, in the dominant major key of A major, is much calmer; it flows from the first theme almost effortlessly and then proceeds into the development and recapitulation, which concludes with a quick coda. The slow movement, in D major, has a very innocent, romantic theme initially stated by the first violin with pizzicato accompaniment before being taken up by the cello. Following interruption by an interlude for all of the instruments, the theme returns for a repeat of the first section.
According to René Leibowitz, the first movement is "entirely written in the twelve-tone technique, [it] is a sonata movement without the development. Thus the recapitulation follows directly upon the exposition; but, because of the highly advanced twelve-tone technique of variation, everything in this movement is developmental" . The tone row of the first movement is :Movement I tone row : Pople adds a bar line to group the first and the last six pitches () . He also depicts it as: :Movement I tone row Whenever a given row-form is immediately repeated, a reversed coupling of the hexachords is employed to produce a secondary set.
The effect is like listening to a gigantic toccata or chorale prelude. Sometimes the effect is predominantly that of dance-music, as in the Symphony No.9, which sounds for long stretches like a huge Mahler scherzo, sometimes the effect is grimmer, with march rhythms or angry declamation predominating, as in the Symphony No.13. Pettersson maintains the listener's interest by varying the sounds and moods of the different sections, so some are more lyrical, others faster and more angry. The architecture of his symphonies is built on similar thematic material emerging at key points in the work (rather than classical statement-development-recapitulation), by rhythmic vitality and tonal progression.
The themes of jihad and martyrdom also remained important in the Báb's writings. The Báb often wrote theoretically about jihad in the sense of armed struggle, but he never explicitly announced the beginning of a jihad, and he completely undermines the concept of jihad by defining holy war in a way as to make it contingent on impossible conditions, thus nullifying it. The various Bábí struggles appear to have primarily involved defensive jihad. Martyrdom, an immensely important theme in Shí'ism, was important to Bábís as well, with the siege of the Bábí fort at Shaykh Tabarsí being viewed as a Bábí recapitulation of the events of Karbila.
Yet including unlikely variants from patently unreliable sources likewise serves the performer badly. Where the editor must go farthest out on a limb is in identifying misprints or scribal errors. The great danger—not at all hypothetical—is that an eccentric or even inspired choice on the composer's part will be obliterated by an overzealous editor. One other source of difficulty arises from the fact that works of music usually involve passages that are repeated (either identically or similarly) in more than one location; this occurs, for instance, in the recapitulation section of a work in sonata form or in the main theme of a rondo.
The concept of a biotope was first advocated by Ernst Haeckel (1834-1919), a German zoologist famous for the recapitulation theory. In his book General Morphology (1866), which defines the term "ecology", he stresses the importance of the concept of habitat as a prerequisite for an organism's existence. Haeckel also explains that with one ecosystem, its biota is shaped by environmental factors (such as water, soil, and geographical features) and interaction among living things; the original idea of a biotope was closely related to evolutional theory. Following this, F. Dahl, a professor at the Berlin Zoological Museum, referred to this ecological system as a "biotope" (biotop) (1908).
The fourth quartet of the set, in F-sharp minor, is numbered III/47 in the Hoboken-Verzeichnis catalogue. Its movements are: #Allegro spiritoso #Andante #Menuetto: Poco allegretto #Finale: Fuga, allegro molto This is the only quartet of the set in a minor key. Haydn employed F-sharp minor as the home key of only three of his known works: this, his Symphony No. 45 ("Farewell"), and his Piano Trio No. 40 (Hob. XV/26). The first movement's exposition commences in the tonic of F-sharp minor, before modulating to the relative major of A. After a long development section, the recapitulation both arrives and concludes in F-sharp major.
At 130 measures, the Recordare is the work's longest movement, as well as the first in triple meter (); the movement is a setting of no fewer than seven stanzas of the Dies irae. The form of this piece is somewhat similar to sonata form, with an exposition around two themes ( 1–37), a development of two themes (mm. 38–92) and a recapitulation (mm. 93–98). In the first 13 measures, the basset horns are the first the present the first theme, clearly inspired by Wilhelm Friedemann Bach's Sinfonia in D Minor, the theme is enriched by a magnificent counterpoint by cellos in descending scales that are reprised throughout the movement.
Throughout Holt Biology Texas, the theory of evolution is described as a true scientific theory that will be refined and improved in the light of new evidence."Response to Oral Testimony Holt, Rinehart & Winston, Textbook: Holt Biology Texas, July 9, 2003. page 6 To Wells' assertion in Icons that Haeckel's embryos and recapitulation theory appearing in biology textbooks is evidence of flaws in the teaching of evolution, Myers said "I'd say Jonathan Wells' claim is pretty much dead. Haeckel's work is not one of the pillars upon which evolution is built, and biologists have been saying so for at least 85 years (and more like over a century).
English philosopher Herbert Spencer was one of the most energetic proponents of evolutionary ideas to explain many phenomena. In 1861, five years before Haeckel first published on the subject, Spencer proposed a possible basis for a cultural recapitulation theory of education with the following claim: G. Stanley Hall used Haeckel's theories as the basis for his theories of child development. His most influential work, "Adolescence: Its Psychology and Its Relations to Physiology, Anthropology, Sociology, Sex, Crime, Religion and Education" in 1904 suggested that each individual's life course recapitulated humanity's evolution from "savagery" to "civilization". Though he has influenced later childhood development theories, Hall's conception is now generally considered racist.
After this, the development proceeds to a stormy exchange between the piano and the orchestra, which the twentieth-century Mozart scholar Cuthbert Girdlestone describes as "one of the few [occasions] in Mozart where passion seems really unchained", and which Tovey describes as a passage of "fine, severe massiveness". The exchange resolves to a passage in which the piano plays a treble line of sixteenth notes, over which the winds add echoes of the main theme. This transitional passage ultimately modulates to the home key of C minor, bringing about the start of the recapitulation with the conventional re-statement, by the orchestra, of the movement's principal theme.
The first symphony (D major) in the set has been particularly popular, seeing a continuous performance and publication tradition all the way through the 19th century, which makes it the earliest such symphony. Some of its more unusual features have been taken as characteristic of Bach's style:Richard Crocker, A History of Musical Style the work, although it is in D major, begins on a D major chord, which then turns into a D dominant-seventh chord, outlining G major. In fact, there is no cadence on D major (D major is not "confirmed" as the key of the piece) until the beginning of the recapitulation, quite late in the piece.
Anton Dohrn and other naturalists in Heligoland His ideas changed in summer 1862 when he returned to study at Jena, where Ernst Haeckel introduced him to Darwin's work and theories. Dohrn became a fervent defender of Darwin's theory of evolution by natural selection. At that time comparative embryology was the keystone of morphological evolutionary studies, based on Haeckel's recapitulation theory, the idea that an organism during its embryonic development passes through the major stages of the evolutionary past of its species. Morphology became one of the major ways in which zoologists sought to expand and develop Darwinian theory in the latter years of the 19th century.
Inheritance of acquired characteristics was part of Haeckel's recapitulation theory of evolution, which held that the embryological development of an organism repeats its evolutionary history. Critics of neo-Lamarckism, such as the German biologist August Weismann and Alfred Russel Wallace, pointed out that no one had ever produced solid evidence for the inheritance of acquired characteristics. Despite these criticisms, neo-Lamarckism remained the most popular alternative to natural selection at the end of the 19th century, and would remain the position of some naturalists well into the 20th century. Orthogenesis was the hypothesis that life has an innate tendency to change, in a unilinear fashion, towards ever-greater perfection.
The piece opens with a tutti descending fanfare, which segues into a major-key moderato section, interspersed by an Allegretto e poco stringendo section consisting of two measures in length. Foreshadowing into a slow, lyrical theme played by the solo viola, Elgar cascades between solo voice and orchestra by use of echo. Elgar writes that this theme is a quotation of a song sung by a distant voice that he had heard during a holiday in Wales.Elgar Society website, accessed 8 November 2007 An expressive, romantic section leads into a recapitulation of the opening fanfare and Welsh theme, ending the Introduction and transitioning jovially into the Allegro.
For reasons that are not entirely clear, but must have had something to do with the war, Enescu broke off work at this point . At some later date (perhaps in Romania before September 1946, or later, in Paris), Enescu set about the orchestration, completing twenty-five pages (about two-thirds) of the first movement, up to a culminating chord in the fifth bar of the recapitulation . The first movement of the Symphony, in the completion by Cornel Țăranu, was premiered at the Cluj Musical Autumn in 1972 under the baton of Emil Simon. Encouraged by its reception, Țăranu set about the more difficult task of completing the rest .
He was ordained as a deacon of the Church of England in 1879, with his first post as curate of Christchurch, Swindon. Lodgings in the town were provided in Bellevue Road by Frederick Osman, a grocer and business associate of his father. Now 23 years old, Pitt moved into a parish in turbulent times, with the Swindon Advertiser reporting on 29 March 1879 "The circumstances attending the leaving of curate after curate are too vividly remembered in the town to need recapitulation". In the same article, Charles Ellicot, the Bishop of Gloucester and Bristol, regarded Christchurch as "the one black spot" in his diocese.
On 22 July 2014, the day that the KPU was due to announce its official tally, Prabowo withdrew from the recapitulation process after having insisted on his victory since the initial quick counts were released. He attributed this withdrawal to Indonesia "failing in its duty to democracy" because of "massive cheating that is structured and systematic", and stated that he and Hatta "exercise our constitutional right to reject the presidential election and declare it unconstitutional". His speech, aired live, implied that he would challenge the results in the Constitutional Court (Mahkamah Konstitusi). Later reports indicated confusion over whether Prabowo had resigned from the election or simply rejected the count.
The KPU gave Joko Widodo a victory of 53.15% of the vote (representing 70.99 million voters), to Prabowo's 46.85% (62.57 million votes). This was the closest vote in the history of free elections in the country; the two previous elections, in 2004 and 2009, had been landslide victories for Yudhoyono. The Prabowo camp continued to reject the KPU's count, announcing that they trusted the count provided by the PKS, which gave a Prabowo victory, more than the Commission's. Prabowo's camp later stated that it intended to report the KPU to the police for continuing its recapitulation despite calls for a delay and questions of the vote's validity.
Commenters have stated that this "outburst of rage ... forms the kernel of the whole movement", and Beethoven reportedly got out in his beat when conducting the orchestra in Christmas 1804, forcing the confused players to stop and go back. Rather than leading to the recapitulation at this point, a new theme in E minor is then introduced instead (mm. 284). This eventually leads to a near-doubling of the development's length, in like proportion to the exposition. Ferdinand Ries (1784–1838), Beethoven's friend, pupil, and secretary At the end of the development, one horn famously appears to come in early with the main theme in E (mm.
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.
He also stresses that contemporary readers must be careful to understand that some actions (i.e., having multiple wives) which were acceptable among the ancients are no longer acceptable, and must therefore be interpreted figuratively. Understanding tropes such as irony and antiphrasis will also be beneficial for interpretation. The final section of Book Three is one of Augustine's late additions to the work (with Book Four), consisting of Tyconius’s seven rules for interpreting scripture: The Lord and His Body, The Twofold Division of the Body of the Lord, The Promises and the Law (or The Spirit and the Letter), Species and Genus, Times, Recapitulation, and The Devil and His Body.
An effective dynamic increase begins in bar 23 but does not end in a climax as the crescendo does not lead to fortissimo but eases off in diminuendos (bars 36 and 40). Harmonically the section (bars 23–41) may be interpreted as an extended and ornamented D-flat major cadence. Musicologist Hugo Leichtentritt (1874–1951) compares the left hand of bars 33–48 to horn signals. These "announce" the recapitulation of the A part which begins as a literal restatement in bar 49, seems to approach a climax and eases off with a sudden delicatissimo pianissimo smorzando passage, leading via a cadence to the coda.
The movement drew heavily on the woodcraft ideas of naturalist Ernest Thompson Seton (also a key part of the early Scout programme). Hargrave also imported into the movement his fondness for 'symbology', art and ritual – drawing his ideas on art from Jane Ellen Harrison, and on education from G.Stanley Hall's then fashionable theory of 'recapitulation'. Kibbo Kift was also strongly influenced by ideas about myth and religion from James Frazer's popular anthropological study, The Golden Bough. In the second half of the 1920s the Kindred's educational ideas tended to be swamped by Hargrave's enthusiasm for the economic theory of Social Credit, but the faith in ritual and ceremony remained strong.
Palmer draws attention to instrumental combinations, such as oboe doubling cello and viola playing with bassoon and cor anglais. After an opening that evokes a strong breeze, with harp glissandi and a swift and agile woodwind theme, a muted solo cello moves the melodic content forward. The main theme, a descending, chromatic, three-note figure, dominates the first part of the work, which is developed before the second subject, an andante con moto, in which harp and celeste add colour to a theme played by cor anglais, bassoon and viola. A central section, with pianissimo strings and high horns precedes a brief sonata form development and recapitulation.
Movement I, opening bars I. Moderato A minor; Alla breve The first movement is composed in an atypical sonata form. A plaintive, somewhat ominous pianissimo unison octave phrase ornamented with a mordent opens the work, with a contrasting chordal consequent. The rhythmically similar first and second subjects of the exposition are not clearly separated structurally, a feature continued later in the ambiguous segue into the recapitulation. The atmospheric and expansive development, unusual for its time, is characterized by a sense of time dilation and wandering, and is an early example of this defining feature of Schubert’s mature works (see the developments of the late sonatas and the string quintet).
The development section is predominantly melodic, with new large-breathed phrases emerging from the previously presented themes . The fugato second theme at first takes the lead, then is contrapuntally interwoven with the first theme in iridescent orchestrational colours . The unorthodox recapitulation begins with fragments of the first theme presented in various keys, then quasi-developmentally juxtaposing the first three themes for about thirty bars, "the way fragments scattered away by an explosion might fall back again" . The two themes of the second thematic group are then recapitulated together, transposed a semitone upward to begin in the tonic, D major (instead of the C major of the exposition), but closing therefore unexpectedly in B major, forte, in the first horn.
The book opens with an 'Introduction' by the editor, Charles Henry Hull, which gives biographic information on Petty and Graunt, and an extensive recapitulation of the debate concerning the authorship of the "Observations upon the Bills of Mortality". The biography of Petty (p. xiii- xxxiii) is among many other sources, based on some early publications, like the Athenae Oxoniensis by Anthony Wood (published 1691), Petty's will, first published in the Tracts relating chiefly to Ireland (first published 1769),The autobiographical part of Petty's will is published in 1894: chapter I: Materials for Petty's Biography. the Brief Lives of John Aubrey,Aubrey's biography of Petty is published in 1894: chapter I: Materials for Petty's Biography.
The tempo is unusually fast for a symphonic "slow movement." Richard Wagner has argued that the third movement was intended as the slow movement of this symphony and that the second should be played as a scherzo. The key is B major, the subdominant of F, and the organization is what Charles Rosen has called "slow movement sonata form"; that is, at the end of the exposition there is no development section, but only a simple modulation back to B for the recapitulation; this also may be described as sonatina form. The second subject includes a motif of very rapid sixty-fourth notes, suggesting perhaps a rapidly unwinding spring in a not-quite-perfected metronome.
The link between the GP and self-aware agency also appears in children's language development, which can be linked to the origin of language in a version of the long-dismissed "ontogeny recapitulates phylogeny" hypothesis of recapitulation theory. McNeill considers that when something emerges in current-day ontogenesis only at a certain stage of development, the original natural selection of the feature (if there was any) might have taken place in a similar psychological milieu in phylogenesis. This opens a window onto the mindset of the creature in which the Mead's Loop "twist" was evolving. As a mode of reasoning, it exploits the fact that children's intellectual status is not fixed but changing.
Following the third modulation, the four brass ensembles, specified by Berlioz to be placed at the corners of the stage but more commonly deployed throughout the hall, first appear with a fortissimo E-flat major chord, later joined by 16 timpani, two bass drums, and four tam- tams. The loud flourish is followed by the choral entry, "Tuba mirum", a powerful unison statement by the chorus basses at the top of their register, followed by the rest of the choir. There is a recapitulation of the fanfare, heralding the coming of the Last Judgment ("Judex ergo") by the full choir in canon at the octave. The choir whispers with woodwinds and strings to end the movement.
In contrast to the previous sonatas, here the development section elaborates on several different themes from the exposition. It reaches a dramatic climax in D minor, in which the first theme is presented, fluctuating between D minor and the home key, in a manner similar to the parallel passage from the previous sonata (see above). In the recapitulation, the bass line in the first theme rises to B instead of descending to F (as in the exposition), and the second theme enters in B minor, instead of F minor. The rest of the exposition is repeated without alterations, transposed a fourth up, meaning that it returns to the home key, B, for the third tonal area.
Stockey and Wehr report: "The Eocene was a time of rapid evolution and diversification in Angiosperm families such as the Rosaceae ...." The Princeton finds are among a large number of angiosperm fossils from the Okanagan Highlands dating to the late early and middle Eocene. Crataegus is found at three locations: McAbee Falls, Idaho; Republic, Washington, and Princeton, British Columbia, while Prunus is found at those locations and Quilchena, British Columbia and Chu Chua, British Columbia. A recent recapitulation of research on the topic reported that the Rosaceae were more diverse at higher altitudes. The Okanagan formations date to as early as 52 mya, but the 44.3 mya date, which is approximate, depending on assumptions, might still apply.
Howard Shore composed "The Valley of Imladris" - a diegetic piece for lute, lyre, wood flute and harp that is performed in Rivendell, a recapitulation of a piece of music introduced in the underscore previously as Elrond rides into Rivendell to meet the Dwarves. Shore also composed the horn-call at the end of Battle of the Five Armies, which is in fact a statement of the Erebor theme. Other sound effects used in Mirkwood and the Treasure Hoard scene, while non-diegetic, were performed by the orchestra and feature on the album.The sound effects of the Treasure Hoard utilize a Gamelan Orchestra, Tibetan Singing Bowls, Shakuhachi, Gongs and a Tanpura, echoing the rattling jewels.
Villa-Lobos emphasizes the beginning of the recapitulation in the first movement with a sudden change of register of the accompanying triplets. At bar 153 (rehearsal-number 12), over an augmentation of the first cyclic theme, he introduces for the first time a figuration evoking the call of a Brazilian bird called sabiá da mata (English name: cocoa thrush). This call occurs in several of Villa-Lobos's later works, including the Fourth and Eighth String Quartets, but most notably in the second movement (Dança: Martelo) of the Bachianas Brasileiras No. 5, where text by Manuel Bandeira names the bird. This is the only moment in this quartet where there is any hint of nationalism .
In 1990 during a thaw in diplomatic relations Cerezo invited the noted Russian linguist and epigrapher Yuri Knorozov to Guatemala to present him with a medal. Knorozov had been instrumental in the decipherment of Maya hieroglyphics, and this was the first opportunity for the scholar to visit the lands and sites of the former Maya civilization. In May 1990 an important agreement was signed in Madrid with the URNG in which they promised not to disturb the forthcoming elections. With this success behind him Cerezo felt able to give a positive recapitulation of his presidency, and he was able to hand power over to his successor Jorge Serrano in the first democratic transition of power since 1951.
During the late Romantic period, it was also possible to modulate to remote tonal areas to represent divisions of the octave. In the first movement of Tchaikovsky's Symphony No. 4, the first subject group is in the tonic F minor but modulates to G minor and then to B major for the second subject group. The recapitulation begins in D minor and modulates to F major, and goes back to the parallel F minor for the coda. Also in the late Romantic period, it was possible for a minor-key sonata form movement to modulate to the major dominant, as in the first movements of Tchaikovsky's Symphony No. 1 and Brahms' Symphony No. 4.
In some pieces in sonata form, in the recapitulation, the first subject group is omitted, leaving only the second subject group, like the second movement of Haydn's Sonata Hob. XVI/35, as well as the opening movements of Chopin's Piano Sonata No. 2 and No. 3. It is also possible for the first subject group to be slightly different in comparison of the exposition, like the fourth movement of Dvorak's Symphony No. 9. Another example occurs in the finale of Mozart's string quartet KV 387, where the opening of the first subject group is cut, and in the quintet KV 515, where a later portion of the first subject group is cut.
Without ever quoting actual folk tunes, the material possesses the authenticity of a sort of "super folklore". The violin is cast in the role of a gypsy fiddle, and the writing for the piano imitates the cimbalom and kobza . The sonata is divided into three movements: #Moderato malinconico #Andante sostenuto e misterioso #Allegro con brio, ma non troppo mosso The first movement is in a loose sonata-allegro form, beginning with a suave and nostalgic first thematic group presented in continuous and supple lines in the piano and more hesitantly in the violin. When this material returns in the recapitulation it will be transformed into a kind of "horă bătrînească" (old men's dance).
The God who raised Jesus from the dead would also give new life to the "mortal bodies" of Gentile Christians, who had become with Israel, the "children of God", and were therefore no longer "in the flesh". Modern Christian churches tend to be much more concerned with how humanity can be saved from a universal condition of sin and death than the question of how both Jews and Gentiles can be in God's family. According to Eastern Orthodox theology, based upon their understanding of the atonement as put forward by Irenaeus' recapitulation theory, Jesus' death is a ransom. This restores the relation with God, who is loving and reaches out to humanity, and offers the possibility of theosis c.q.
The use of the subdominant in secondary developments, a downward move from the tonic on the circle, provides a sort of balance.The same is true for the "related 'flat' keys" mentioned in the quotation above, which lie even lower on the circle than the subdominant; Rosen (1997, 24) As Rosen says, "it is the restoration of harmonic equilibrium as well as the need for variation that gives the Secondary Development its function."Rosen (1988, 290) Sometimes the secondary development serves a rather mechanical structural function. In a recapitulation, the musical material that was laid out in the exposition is restated so as to occur entirely (or almost so) in the main key.
As the chief adviser of the covenanting leaders Johnston drew up their remonstrances. On 22 February 1638, in reply to a royal proclamation, he read a strong protestation to an enormous multitude assembled at the Mercat Cross in Edinburgh. Together with Alexander Henderson he was the co-author of the National Covenant of 1638, drawing up the second part as a recapitulation of all the Acts of Parliament that had condemned "popery" while asserting the liberties of the Scottish church. Johnston was appointed clerk to the Tables (the revolutionary executive) and also clerk and afterwards procurator or counsel to the General Assembly held at Glasgow the same year, when he discovered and presented several missing volumes of records.
The finale, which is in F major, is in time. The movement is in sonata rondo form, meaning that the main theme appears in the tonic key at the beginning of the development as well as the exposition and the recapitulation. Like many finales, this movement emphasizes a symmetrical eight-bar theme, in this case representing the shepherds' song of thanksgiving. The coda starts quietly and gradually builds to an ecstatic culmination for the full orchestra (minus "storm instruments") with the first violins playing very rapid triplet tremolo on a high F. There follows a fervent passage suggestive of prayer, marked by Beethoven pianissimo, sotto voce; most conductors slow the tempo for this passage.
Louis Agassiz (here in 1870, with drawings of Radiata) believed in a sequence of creations in which humanity was the goal of a divine plan. British science developed in the early 19th century on a basis of natural theology which saw the adaptation of fixed species as evidence that they had been specially created to a purposeful divine design. The philosophical concepts of German idealism inspired concepts of an ordered plan of harmonious creation, which Richard Owen reconciled with natural theology as a pattern of homology showing evidence of design. Similarly, Louis Agassiz saw the recapitulation theory as symbolising a pattern of the sequence of creations in which humanity was the goal of a divine plan.
The ransom view can be summarized as follows: St. Augustine wrote the following to explain the theory: "Redeeming" in this case literally means "buying back," and the ransoming of war captives from slavery was a common practice in the era. The theory was also based in part on and , where Jesus and Paul mentioned the word "ransom" in the context of atonement. The ransom theory was the main view of atonement through the first thousand years of Christian history (although the same has been said of two other theories, namely the recapitulation and moral influence views), though it was never made a required belief. There were some who held different positions, however.
Following is a cello solo, which exploits a wide tessitura. Low register flutes play a dotted motif in sixths, accompanied by cello trills which subsequently is expanded upon by the solo trombone. A side-drum roll brings the entire brass section to a fortissimo statement of the initial flute theme, and a fortississimo restatement of the opening chorale for brass, timpani, bassoons and double basses sounds against a chromatic melody for strings and high woodwind. After a recapitulation of the trombone melody, an adagio celesta solo is imitated by the combination of cello string harmonics and vibraphone, eventually accompanied by the solo double bass, before a final reference to the opening brass chorale.
According to Eastern Christian theology, based upon their understanding of the atonement as put forward by Irenaeus recapitulation theory, Jesus' death is a ransom. This restores the relation with God, who is loving and reaches out to humanity, and offers the possibility of theosis or divinization, becoming the kind of humans God wants us to be. In Eastern Orthodoxy and Eastern Catholicism salvation is seen as participation in the renewal of human nature itself by way of the eternal Word of God assuming the human nature in its fullness. In contrast to Western branches of theology, Eastern Orthodox Christians tend to use the word "expiation" with regard to what is accomplished in the sacrificial act.
Movement II begins in the tonic this time, but key areas and tonality are more difficult to distinguish due to added dissonances. The music is mostly composed of standard seventh chords and the dissonances are created by adding intervals of major and minor seconds to the chords. The climax point of the movement resolves to what sounds like a recapitulation, an altered version of the main melody in the first movement, during which Pӓrt’s "motifs" are heard throughout, where the melody is outlined by ascending and descending intervals of sixths, fifths, and tri- tones. The second movement also includes quotations from Pӓrt's own work, These Words, a piece also for strings and percussion.
The symphony is in four movements: The work is scored for 2 flutes (2nd doubling piccolo), 2 oboes (1st doubling cor anglais), 2 clarinets (in A and B), 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. The orchestration of piccolo and cor anglais is unusual in this symphony. The piccolo only sustains a long note in unison with the flute at the exposition of the first movement and the cor anglais only plays a short, but exposed phrase during the second recapitulation of the main "bird call" theme, also in the first movement. In some editions, the second oboe doubles on cor anglais rather than the 1st oboe as indicated in most scores.
However, these four sections are linked together to form a single large sonata-allegro form movement . The first movement functions as the exposition and the finale as recapitulation, while development is pursued in the inner two movements. The idea of cyclically integrating all of the movements of a symphony into a single overarching form can be traced back to Beethoven's Fifth Symphony, and was developed further by Hector Berlioz, Robert Schumann, and Franz Liszt. The most likely model for Enescu's organization of the Octet is the latter's Piano Concerto in E-flat major (1855) which, even more than Liszt's B-minor Sonata pursues the outline of a sonata form throughout its four movements .
Allegro maestoso — typical performance lasts 20 minutes Both the first and second movements feature unusual modulations; in the opening Allegro, the exposition modulates to the parallel major, i-I, instead of the expected i-III. This tonal relation (i-III) between the second and the third theme finally occurs in the recapitulation, where an actual i-I modulation would have been expected, producing a different effect. The first movement of the E minor concerto has three themes, which are introduced by the orchestra. The piano then plays the first theme (bar 139), followed by the lyric second theme (bar 155), accompanied by the main motif of the first theme in bass counterpoint.
At the energetic age of 18 (1925), Caballero joined the Philippine Constabulary where he honed to the fullest the versatilities of his arnis system. He formally named his arnis system “De Campo Uno-Dos-Tres Orehenal”. “De Campo” to counter the strikes of his opponent (Also means from the fields), “Uno” to fake or feint, “Dos” to counter the counter strikes of the opponent, “Tres” to hit (finish) the opponent and “Orehenal” a reference to the technique as his own original style. In recapitulation it could be deduced that the name “De campo Uno-Dos-Tres Orihenal” is actually a set procedure, a step by step series of effective action against an opponent.
Visions of Cody is derived from experimental spontaneous prose inserts that Kerouac added to the original manuscript of On the Road in 1951–52. Part of the novel is a fast-forward recapitulation of the events described in On the Road, which was also about Kerouac and Neal Cassady. When Kerouac appeared on The Steve Allen Show in 1959, he secretly read from the introduction to the then-unpublished Visions of Cody although he was supposedly reading from On The Road, the book he was holding. Excerpts from the novel were published by New Directions in 1959 as a 120 page, signed limited-edition of 750 copies, the entire novel being 'considered unpublishable' at the time.
Since high concentrations of stem cells are delivered into the root canal space when lacerating the apical papilla in the immature permanent tooth, this clinical procedure accomplishes one major element of the triad of tissue engineering. Ongoing research has evaluated combinations of stem cells, growth factors, and scaffolds that result in histological regeneration of pulp tissues. On the contrary, the concept of revascularization focuses only on the delivery of blood into the root canal space to allow the pulp space to be filled with vital tissue as a means of prompting wound healing. Therefore, a focus on “revascularization” would disregard the potential role of growth factors and scaffolds in histological recapitulation of the pulp-dentin complex.
The conclusion of the idea, (in God my saviour), is expressed by a descending line, alternating the rhythm, one measure in 3/4, one 6/8, and alternating the women's voices in sequences. A short recapitulation of marks the end of the second verse. The beginning of the third verse, (For he hath regarded the low estate [of his handmaiden]), is rendered even simpler: the sequences are repeated in even rhythm, then broadened and coloured by parallel triads. The continuation, ' (for, behold, [from henceforth … shall call me blessed]), builds in similar fashion, with all parts divided, to the climax of the first movement on the word ("blessed" or "happy"), marked "f dolce".
As a response to Haeckel's theory of recapitulation, von Baer enunciates his most notorious laws of development. Von Baer's laws state that general features of animals appear earlier in the embryo than special features, where less general features stem from the most general, each embryo of a species departs more and more from a predetermined passage through the stages of other animals, and there is never a complete morphological similarity between an embryo and a lower adult.Gould, Ontogeny and Phylogeny, p. 56 Von Baer's embryo drawings display that individual development proceeds from general features of the developing embryo in early stages through differentiation into special features specific to the species, establishing that linear evolution could not occur.
The second subject, meanwhile, is recapitulated in grandeur rather than tenderness: an apotheosis not unlike the thematic transformation of the main subject in Chopin's first Ballade from its initial tender statement in E♭ major to its grand exuberance in A major. Despite the implications of freedom and improvisation entailed in the title "Fantasy," the work is really a rather straightforward (if not formulaic) sonata allegro. Its exposition has a clear first subject and transition, followed by a second subject and closing groups in the relative major. The development section is characteristically stormy, sequencing motives from the exposition; and except for the truncation of the first theme the recapitulation maps measure for measure onto the exposition.
The second theme is in the piano, with a series of syncopated E-minor chords, and is followed by a developmental fugue for the winds and strings. The recapitulation has the first theme in its original key but the second now in D minor, and the movement closes with a short coda. The main theme of this movement anticipates the pitch material of the second and third movements, as its recurring thematic motto is the same as the first five notes of the tone-row used in the Passacaglia and Gigue.Frank W. Hoogerwerf, "Tonal and Referential Aspects of the Set in Stravinsky's Septet", Journal of Musicological Research 4, nos. 1–2 (1982): 69–84.
The symphony consists of four movements: #Allegro non troppo #Lento #Allegretto quasi animato #Allegro The main theme of the symphony was devised by projecting the outline of mountains at Belo Horizonte, Brazil, onto graph paper and transcribing the result as a melody. Villa-Lobos called this technique milimetrazação (graphing), sometimes rendered in English as "millimetrization" or "milmeterization" . A harmonized version of this melody for piano, together with a similar treatment titled New York Skyline, was initially published in the October 1942 issue of New Music, devoted to works by Brazilian composers . The first movement is in a slightly unconventional sonata-allegro form which, according to the composer's usual methods, omits the second theme from the recapitulation.
During that period, the group, with their early collaborators Irwin and Rdeči Pilot founded the informal art organization Neue Slowenische Kunst (German for New Slovene Art). The following year, the group released their debut studio album, Laibach, through the Ljubljana ŠKUC Ropot label, which did not feature the group name on the album cover, due to its ban, and a sample from a speech by Tito on one of the album tracks was also censored. During the same year, the German label WUS released a compilation album Rekapitulacija 1980–1984 (Recapitulation 1980-1984). With the Gledališče Sester Scipion Nasice, the group performed in their own play Krst pod Triglavom (A Baptism Under Triglav) at the Ljubljana Cankarjev dom.
The first movement begins passionately, with the theme first played by the violin and amenable like so many of Schumann's themes to canonic treatment. (Schumann once remarked on this fact himself. ) This theme serves to introduce a compact, driven sonata form pushed ahead by economical use of rhythms (new themes often are based on some of the same rhythms as older ones, and overlap with them as well). The sonata is also driven by the intensity added by canonic treatment of themes, revolving around and pushing towards a small number of climaxes, one of which is the reappearance of the opening theme in a much-slowed-down form just preceding (and followed without pause by) the recapitulation.
The initial theme returns, and is followed by a substantial development of a gentle, contemplative melody. A recapitulation of the principal theme takes the piece to its conclusion. Copland wrote that it was with this work that Fauré first fully emerged from the shadow of Chopin, and he said of the piece, "The breath and dignity of the opening melody, the restless C sharp minor section which follows (with the peculiar syncopated harmonies so often and so well used by Fauré), the graceful fluidity of the third idea: all these elements are brought to a stormy climax in the short development section; then, after a pause, comes the return of the consoling first page."Copland, Aaron.
B major, ', alla breve in revised version This movement is a sonata form movement in B major. It begins with a broad theme in the cello and piano and builds in intensity. Between the two versions of the trio, Brahms made hardly any changes to the first 80 bars or so, except for omitting little interjections by the violin that he supposedly only included in the first version to meet a desire of Joseph Joachim. In the first version, the second subject group in G minor (bar 84) includes various thematic elements, only one of which is taken up in the recapitulation as the basis for a fugue in stile antico (bar 354).
A fifth variation leads to a short digression in C major but becomes chromatic and ends with a development the first theme, coming to a cadence on C. This is followed by a brief coda that expands on the first motives heard in the piece. Nevertheless, the key of C minor is arguably not clearly established by the recapitulation (the key signature of C minor is present at the end of the movement for less than two complete pages). The movement ends with a clear tonic–dominant–tonic perfect cadence, stated piano. The expansive and exploratory nature of the movement, along with the quiet closing dynamic, helps make the conventional final cadential progression appear mysterious.
The admiral explained that > he was not trying to scare anyone, but the cruel reality is that in case of > a new war, the United States could be attacked by planes flying over one or > both poles. This statement was made as part of a recapitulation of his own > polar experience, in an exclusive interview with International News Service. > Talking about the recently completed expedition, Byrd said that the most > important result of his observations and discoveries is the potential effect > that they have in relation to the security of the United States. The > fantastic speed with which the world is shrinking – recalled the admiral – > is one of the most important lessons learned during his recent Antarctic > exploration.
30, and the Variations for Orchestra, represent the most extreme point of his neoclassicism . The first movement follows standard sonata- allegro layout, and "is perhaps the most notorious example of a twelve-tone movement imitating a tonal form", with a repeated two-theme exposition, a development section, and a recapitulation in which the second theme is transposed up a perfect fourth, as if it were a tonal work with the second key area originally in the dominant . The mistaken impression is easily formed that this is "some sort of musical taxidermy—rondo and sonata-allegro skins stuffed and mounted with chromatic sawdust" but, despite superficial appearances, the structure is quite a different thing . The opening theme of the first movement, for example, is in two phrases.
As the finale of this piano concerto, the theme is arranged into a polyphonic canon. It is also apparent that the tune from "The East is Red" is persistent throughout the entire movement; among the various versions of the Yellow River Concerto that are currently in circulation, including Yin Chengzong's film recording, we can hear a recapitulation of the theme of "Defending the Yellow River" played canonically against the strings after the climatic tutti of "The East is Red". Then the first phrase of "The East is Red" is played by the trumpet, and tightly followed by the final phrase of the "Internationale", as an example of thematic writing huan wei (換尾; literally "Changing the end") that is often found in traditional Chinese music.
Kerman, J. Concerto Conversations, HUP (1999) The tune is played by the solo violin itself before a short codetta ends the exposition section of the opening movement. The opening two themes are then combined in the development section, where the music builds up to the innovative cadenza, which Mendelssohn wrote out in full rather than allowing the soloist to improvise. The cadenza builds up speed through rhythmic shifts from quavers to quaver-triplets and finally to semiquavers, which require ricochet bowing from the soloist.Mendelssohn, F. Violin Concerto in E minor, Op. 64, Bärenreiter (2005) This serves as a link to the recapitulation, where the opening melody is played by the orchestra, accompanied by the continuing ricochet arpeggios by the soloist.
The opening Adagio acts as an austere and brief introduction, moments of extreme tension contrasting with gently flowing counterpoint, with minor sevenths being particularly prominent. The opening goes headlong into the extended part of the work, a large scale Severo based on a variant of the quartet's opening theme. The intensity and severity is sustained for a considerable period of time until a hushed section emerges, building up to a harsh passage of sevenths piled on top of each other before subsiding to another buildup that gradually increases in volume. A climax is eventually reached, and a modified recapitulation of the opening of the Severo section is heard before it quickly dissipates into fragments, leaving a high C sustained on the first violin.
To this > extent, the famous theory of the survival of the fittest does not seem to me > to be the only viewpoint from which to explain the progress of strengthening > of a man or of a race.Friedrich Nietzsche, Human, All Too Human, §224 Ernst Haeckel's recapitulation theory was not Darwinism, but rather attempted to combine the ideas of Goethe, Lamarck and Darwin. It was adopted by emerging social sciences to support the concept that non-European societies were "primitive", in an early stage of development towards the European ideal, but since then it has been heavily refuted on many fronts. Haeckel's works led to the formation of the Monist League in 1904 with many prominent citizens among its members, including the Nobel Prize winner Wilhelm Ostwald.
It has been used widely since the middle of the 18th century (the early Classical period). While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this general structure, sonata form is difficult to pin down to a single model.
And in the last movement of Schubert's Symphony No. 9 in C major, the first subject group is in the flattened mediant E major, modulates to the subdominant F major and then back to tonic for the second subject group and coda. It is also possible to have the second subject group in a key other than tonic while the first subject group is in the home key. For instance in the first movement of Richard Strauss's Symphony No. 2 in F minor, the recapitulation begins with the first subject group in tonic but modulates to the mediant A major for the second subject group before modulating back to F minor for the coda. Another example is the first movement of Dvorak's Symphony No. 9.
Sonata form shares characteristics with both binary form and ternary form. In terms of key relationships, it is very like binary form, with a first half moving from the home key to the dominant and the second half moving back again (this is why sonata form is sometimes known as compound binary form); in other ways it is very like ternary form, being divided into three sections, the first (exposition) of a particular character, the second (development) in contrast to it, the third section (recapitulation) the same as the first. The early binary sonatas by Domenico Scarlatti provide excellent examples of the transition from binary to sonata-allegro form. Among the many sonatas are numerous examples of the true sonata form being crafted into place.
A significant earlier example of the use of 'progressive tonality' by a British composer is the First Symphony (The Gothic) by Havergal Brian. This huge six-movement, two- part work begins with a sonata movement in D minor whose second-subject area is initially D-flat, becoming C-sharp; this moves to E in the matching portion of the recapitulation. This is a harbinger of E's later importance. Part I of the symphony closes in D major (end of movement 3), and Part II begins there, but during movement 4 the tonality shifts to E major, which for the remainder of Part II is opposed by its relative minor C-sharp until the unequivocal E major of the final a cappella bars.
Following Schoenberg's advice, Berg decided to publish the finished movement and let it stand by itself. Although the piece has the nominal key of B minor, Berg makes frequent use of chromaticism, whole-tone scales, and wandering key centers, giving the tonality a very unstable feel, which only resolves in the final few bars. The structure of the piece is traditional sonata form, with an exposition, development and recapitulation; however, the composition also relies heavily on Arnold Schoenberg's idea of "developing variation", a method to ensure the unity of a piece of music by deriving all aspects of a composition from a single idea. In this case, much of the composition can be traced back to the two opening gestures.
Sharpe identifies the tiny oblivious stick-figure passersby as the element that mostly removes the work from "a straightforward recapitulation of ancient religious iconography and into postwar modernity". Bacon was self-critical, and often destroyed or disowned his own work, including pieces held in high regard by critics and buyers. He came to dislike Fragment of a Crucifixion, viewing it as too simplistic and explicit,Deleuze (2005), 19 in the words of Russell, "too near the conventions of narrative-painting".Schmied (1996), 75 This was an issue with which Bacon struggled throughout his career: he aimed to create imagery that would be instantly recognisable, immediate and directly involving for the viewer, while also staying loyal to his creed of producing "non-illustrative painting".
Heilmann's illustrations, redrawn from Beebe's work, showing the hindlimbs of various nestlings and one reptile In the fourth section of The Origin of Birds, Heilmann examines the Tetrapteryx hypothesis proposed by William Beebe in 1915. This hypothesis was based on observations of bird embryos and hatchlings, which Beebe found to possess a presumably atavistic fringe of flight feathers on their hindlimbs. His main evidence came from examination of incipient quill feathers on the thigh of a four-day-old white-winged dove. He theorized based on this embryological fringe and the recapitulation theory that birds had once passed through a "Tetrapteryx" stage in their distant evolution, which he represented as a hypothetical four-winged gliding animal.Beebe (1915) pp. 38–52.
The form of this movement is ABCB1A1DXA2, with A being the glowing melody and X a reminiscence of the symphony's introduction. The BCB1 component can be considered a ternary episode. B suggests a sonata transition, while the C material arrives with the weight of a sonata second subject. In a purported sonata allegro scheme, the B1 section would inaugurate the development, given its more active texture and return to the main key of C. The A theme is developed next, with canonic imitations in E-flat major, after which surface the mysterious B-major chords of section D. These two sections (D and X) shatter the proposed sonata scheme, and in place of a recapitulation, the movement closes with another reprise of the lyrical A theme.
B. Morphological character of the kingdom of protists. Ba. Character of the protist Individualities. The essential tectological character of protists lies in the very incomplete formation and differentiation of individuality generally, however particularly of those of the second order, the organs. Very many protists never rise above the morphological level of individuals of the first order or plastids.) Haeckel promoted and popularised Charles Darwin's work in Germany and developed the influential but no longer widely held recapitulation theory ("ontogeny recapitulates phylogeny") claiming that an individual organism's biological development, or ontogeny, parallels and summarises its species' evolutionary development, or phylogeny. The published artwork of Haeckel includes over 100 detailed, multi-colour illustrations of animals and sea creatures, collected in his Kunstformen der Natur ("Art Forms of Nature").
Bach wrote the cantata during his fourth year in Leipzig, for the 18th Sunday after Trinity. The prescribed readings for the Sunday were from the First Epistle to the Corinthians, Paul's thanks for grace of God in Ephesus (), and from the Gospel of Matthew, the Great Commandment (). The unknown author of the text concentrated on the love of God in movements 2 to 5 and added one movement about the love of your neighbour in movement 6, continued in the concluding chorale, the third stanza of Martin Luther's "". The poet connected the first recitative to the following aria by starting the two thoughts in the recitative by a related line from the aria as a motto, and ending both with the a recapitulation of the first line.
This statement was made as part of a recapitulation of his own > polar experience, in an exclusive interview with International News Service. > Talking about the recently completed expedition, Byrd said that the most > important result of his observations and discoveries is the potential effect > that they have in relation to the security of the United States. The > fantastic speed with which the world is shrinking – recalled the admiral – > is one of the most important lessons learned during his recent Antarctic > exploration. I have to warn my compatriots that the time has ended when we > were able to take refuge in our isolation and rely on the certainty that the > distances, the oceans, and the poles were a guarantee of safety.
In the recapitulation, the material in the exposition is repeated or paraphrased either in the home key (as by Mozart), or the parallel major of the home key if it is minor (as by Beethoven), although as with the exposition, a different modulation may be used (such as to the mediant in Dvorak's "New World Symphony"). If the movement starts with an introductory section, this introduction is not usually analysed as being part of the movement's exposition. In many works of the Classical period and some of the Romantic era, the exposition is often bracketed by repeat signs, indicating that it is to be played twice. This is something which is not always done in concert from the 20th Century onwards.
Book V discusses the base of "property"--that which is attributable only to a particular subject and is not an essential attribute. Property is subdivided into essentialThis does not mean that it expresses an attribute comprising an essential element of the subject, but rather that it is a characteristic that is predicated solely of that subject and that it is an effect of the essential nature of the subject and permanent, versus relative and temporary. Book VI describes "definition" and the numerous means that may be used to attack and defend a definition. Book VII is a short recapitulation of "definition" and "sameness", and compares the various difficulties involved in forming arguments, both pro and con, about the other bases of dialectical disputation.
These differences were, in turn, caused by "heredity". His compared the shapes of embryonic structures to those of rubber tubes that could be slit and bent, illustrating these comparisons with accurate drawings. Stephen Jay Gould noted in his 1977 book Ontogeny and Phylogeny that His's attack on Haeckel's recapitulation theory was far more fundamental than that of any empirical critic, as it effectively stated that Haeckel's "biogenetic law" was irrelevant. Embryology theories of Ernst Haeckel and Karl Ernst von Baer compared Darwin proposed that embryos resembled each other since they shared a common ancestor, which presumably had a similar embryo, but that development did not necessarily recapitulate phylogeny: he saw no reason to suppose that an embryo at any stage resembled an adult of any ancestor.
The second part (bar 148) brings two elements from the main theme in variants, leading into a threefold outburst of it in the dominant (bar 195), tonic (bar 201) and subdominant (bar 207). The recapitulation of the second theme is a fugato (bar 221) with a development section, which again reflects the Third Symphony (bars 249), leading into a climax, in which both first and second themes appear simultaneously (bar 267). The rather short coda is merely a final cadence with almost no thematic material left, only reflecting the closing theme, as a repeated chain of minor seconds. One may assume that this elaboration by Krzyzanowski, which sounds rather provisional, may have been filled-up later with more concise motivic derivations.
A recapitulation theory of evolutionary development was proposed by Étienne Serres in 1824–26, echoing the 1808 ideas of Johann Friedrich Meckel. They argued that the embryos of 'higher' animals went through or recapitulated a series of stages, each of which resembled an animal lower down the great chain of being. For example, the brain of a human embryo looked first like that of a fish, then in turn like that of a reptile, bird, and mammal before becoming clearly human. The embryologist Karl Ernst von Baer opposed this, arguing in 1828 that there was no linear sequence as in the great chain of being, based on a single body plan, but a process of epigenesis in which structures differentiate.
Motives of the original theme emerge in the development, which, unconventionally, returns to the second theme (as opposed to the first) for the recapitulation, which is in B major. The scherzo, in the distant key of E-flat major and in strict ternary form, characterised by ebullient quaver runs in the right hand, with a more demure chordal middle section in B major. If played slowly, the main E-flat major theme sounds somewhat similar to the E-flat major melody from the composer's Ballade No. 1. Unlike the scherzo of the B-flat minor sonata (and, indeed, the rest of Chopin's contributions to the genre outside of the sonatas), it is exceptionally short, typically lasting barely two minutes in performance.
At the end of the development, new lyrical melodic material leads to a return of the main theme and a modulation back to E major. Thus, the recapitulation follows in fairly standard fashion at rehearsal 157; it brings back the same themes and firmly establishes E major. The coda at rehearsal 167, marked più tranquillo, again puts the main theme of the movement in the cellos and brings back the "Spirit of Delight" motive from the first movement, now heard in the woodwinds at a slower tempo at rehearsal 168. The movement ends peacefully, and Elgar, who had premiered his First Symphony and his Violin Concerto to "endless ovations", is said to have been disappointed by the less generous reception of the Second Symphony.
Later in the development, a seemingly new tune, which is actually an inversion of part of the second theme, is introduced. In the climax of the development, Chopin combines three elements at once: the motifs from the Grave introduction and the main theme in the bass and treble respectively, with crotchet triplets in the middle. In the recapitulation, the principal section containing the main theme does not return, possibly inspired by the older binary sonata form typical of Domenico Scarlatti's keyboard sonatas;Leikin (1994), p. 187 instead, only the lyrical second theme returns in the tonic's parallel major of B. The movement is closed with a brilliant 12-bar coda, marked stretto and ending in three B-flat major chords marked fff (fortississimo).
The triumphant and exhilarating finale is written in an unusual variant of sonata form: at the end of the development section, the music halts on a dominant cadence, played fortissimo, and the music continues after a pause with a quiet reprise of the "horn theme" of the scherzo movement. The recapitulation is then introduced by a crescendo coming out of the last bars of the interpolated scherzo section, just as the same music was introduced at the opening of the movement. The interruption of the finale with material from the third "dance" movement was pioneered by Haydn, who had done the same in his Symphony No. 46 in B, from 1772. It is unknown whether Beethoven was familiar with this work or not.
Some critics suggest that, like Gretchen, Mephistopheles can be seen as an abstraction—in this case, one of the destructive aspects of Faust's character, with Faust mocking his humanity by taking on Mephistopheles' character. Regardless of which interpretation a listener chooses, since Mephistopheles, Satan, the Spirit of Negation, is not capable of creating his own themes, he takes all of Faust's themes from the first movement and mutilates them into ironic and diabolical distortions. Here Liszt's mastery of thematic metamorphosis shows itself in its full power – therefore we may understand this movement as a modified recapitulation of the first one. The music is pushed to the very verge of atonality by use of high chromaticism, rhythmic leaps and fantastic scherzo-like sections.
Time, the sound in its various aspects, the rhythmic figure, the color and the texture are the dominant components... The influence of electronic music is in evidence. Transition from one period to the next is gradual, the language in all of them being atonal and the compositions developing from one basic idea. (D) All Tal's works contain a recapitulation, which he terms "closing the cycle"... Tal sees his compositions as a metaphor for geometric circle, a perfect form, the life cycle. Life begins with the note C (doh) – a "center of gravity"... Tal employs innovative instrumental and orchestral techniques while retaining a predisposition for tradition, especially the Baroque... He divides the orchestra into sound and color group, sometimes also attaching a special texture to each group.
The rhetorical form, on the other hand, concerns the manner in which themes, textures, and musical ideas are presented; it "includes personalized factors of design and ad hoc expression: modular and textural layout, selection and arrangement of musical topics, varieties of structural punctuation, and so on." A key consideration of the theory in this regard is the rotational layout of the usual sonata design. An exposition usually presents a number of differing musical ideas in a specific order. Later sections of the piece (such as the development, recapitulation, and coda) usually revisit these ideas in the same order—though not necessarily touching on every one—as if rotating through a pre-set sequence, like hours on a clock or channels on a television dial.
Despite the support of the Pharmacy Guild the claims in MyGene's nutrigenetic dietary program were met with scepticism particularly as supporting clinical research was found to be lacking. Dr. Ken Harvey, from the school of public health at La Trobe University challenged MyGene to provide evidence on the sensitivity and specificity of the tests being offered. With no response to the increasing number of questions being raised about MyGene's nutrigenetic test and a campaign by the Professional Pharmacists Australia association to have Pharmacy endorsement rescinded the Weightloss Complete Genetic Program was withdrawn from the market during 2012. In 2016, in a recapitulation of MyGene's contentious reception in the Australian market, the myDNA pharmacogenetic test met with similar scepticism regarding clinical utility and patient benefits.
Theme of the scherzo movement Trio section of the scherzo Cobbett describes the third movement as the "dance of the demon fiddler". There is indeed something demonic in this fast-paced scherzo, full of syncopations and, like the other movements, dramatic leaps from fortissimo to pianissimo. The scherzo is designed as a classical minuet: two strains in time, repeated, in D minor, followed by a contrasting trio section in D major, at a slower tempo, and ending with a recapitulation of the opening strains. The trio section is the only real respite from the compelling pace of the whole quartet: a typically Schubertesque melody, with the first violin playing a dancing descant above the melody line in the lower voices, then the viola takes the melody as the first violin plays high eighth notes.
The slow introduction to the first movement, like that of the thirteenth quartet, is based on a motif that recurs throughout the late quartets and in the Große Fuge as well: the second tetrachord of the harmonic minor scale. The movement is in a modified sonata form which involves three full rotations of the expositional primary and secondary thematic material, each with a different tonal plan, in contrast to the usual sonata form which only cycles fully through this material twice (for the exposition and recapitulation). The first expositional rotation begins in the tonic and moves down a third to VI (F major) for the second key area (m. 48), while the second – following a developmental episode – is almost a direct transposition that begins in E minor (m.
In the opening movement of the A major Sonata, the transition was originally written a fourth higher; as it appears, only after figuring out the recapitulation, did Schubert decide to transpose the transition in the exposition in accordance with the recapitulation's harmonic scheme, thus creating the more Classical type transition that establishes V of V, found in no other opening movement in late Schubert.Hans-Joachim Hinrichsen, Untersuchungen zur Entwicklung der Sontenform in der Instrumentalmusik Franz Schuberts, cited in Fisk, Returning Cycles, p. 300n; James Webster, "Schubert's Sonata Forms", part I, p. 24. In the analogous place in the finale of the same sonata, Schubert started writing the transition but eventually discarded it and started again, once he realized he was still in the tonic, rather than establishing the dominant.
"Haydn added the trumpet and timpani parts later but they are moulded into the texture in an eminently skilful manner and their omission would be unthinkable (although, unfortunately, not unheard-of)." #Vivace con brio, (D major) #Specie d'un canone in contrapunto doppio Andante, (D minor) #Allegretto, (D major) #Allegro con brio, (D minor, ending in D major) The first movement is a sonata form allegro in time, dominated by a motif established in the opening bars and consisting of two descending pairs of notes, firmly establishing the home key by using only notes in the D major triad. 500px The exposition is marked for repeat, as are the development and recapitulation. The development begins with a repetition of the exposition's ending, but on unison C-naturals in the woodwinds and strings.
When Geoffroy went further and sought homologies between Georges Cuvier's embranchements, such as vertebrates and molluscs, his claims triggered the 1830 Cuvier-Geoffroy debate. Geoffroy stated the principle of connections, namely that what is important is the relative position of different structures and their connections to each other. The Estonian embryologist Karl Ernst von Baer stated what are now called von Baer's laws in 1828, noting that related animals begin their development as similar embryos and then diverge: thus, animals in the same family are more closely related and diverge later than animals which are only in the same order and have fewer homologies. von Baer's theory recognises that each taxon (such as a family) has distinctive shared features, and that embryonic development parallels the taxonomic hierarchy: not the same as recapitulation theory.
It is the unique Jesus Christ-crucified on a cross, buried, risen three days later- contemplated through the texture of Scripture-the Law, the Psalms, and the Prophets-who is revealed as the Son of God. The incarnation, then, is not the single moment in which something began but rather a recapitulation—the same presence of the same word. It is through the Word of God previously hidden in the Scripture, as preached by the Apostles, revealed by the Holy Spirit, that the invisible, incomprehensible Father is made visible and comprehensible by the crucified and risen Jesus Christ. It is he who is always the Coming One, whom through continual contemplation and immersion in Scripture, devotion and death in his name, allows us to participate in the fullness of God.
In completing the lengthy agreement process, the university decided to hire a recent graduate to represent them. The bargaining process was complicated by the union's lack of experience, skepticism, political ideology, and decentralized nature. The TAA operated as a participatory democracy and, as such, did not have a consistent bargaining group, which led to recapitulation and confusion on both sides of the negotiation. The two parties struggled to find common ground on the union's demands for the "bread-and-butter" wages and working conditions alongside additional asks for academic and human rights, such as job security through continual employment guarantees, class size limits, health benefits, office environment standards of light levels and space requirements, policies intended to end discrimination, participation in university governance, and evaluation by teams of students, faculty, and TAs, evenly split.
In this period, Alexander Pope is exceptional in that he noted the tendency to exaggeration in these competing critical portraits: "It is ever the nature of Parties to be in extremes; and nothing is so probable, as that because Ben Johnson had much the most learning, it was said on the one hand that Shakespear had none at all; and because Shakespear had much the most wit and fancy, it was retorted on the other, that Johnson wanted both."Alexander Pope, ed. Works of Shakespeare (London, 1725), p. 1 For the most part, the 18th century consensus remained committed to the division that Pope doubted; as late as the 1750s, Sarah Fielding could put a brief recapitulation of this analysis in the mouth of a "man of sense" encountered by David Simple.
The opening theme reappears, now the first theme in the recapitulation, which later leads to the secondary theme but this time in G major and march-like. The movement ends with a coda triumphantly, almost as a deceptive finale. It is probably no coincidence that the movement, with its stormy character through restless strings, wind-like whistling woodwinds and thundering brass instruments, is reminiscent of the finale from Joachim Raff's Symphony No. 3 "In the forest";Look at the scores or compare for example Stadlmair's recording of Raff's final (start from minute 11:00) with the last third of this movement. the symphony was one of the most played of its time and Tchaikovsky had already been inspired by Raff in his 5th Symphony with its famous horn solo.
Seeing the whole work as an obscure elder sibling to T. S. Eliot's The Waste Land, literary scholar Richard Chase has argued that the "sterility of modern life is the central symbolic idea of the poem", and that, after the "extremities of titanism in Pierre", Melville reached the culmination of his later thought: "the core of the high Promethean hero". These remarks paved the way for a generation of critics who saw the poem as the crucial document of Melville's later years, such as Ronald Mason, who reads the poem as "a contemplative recapitulation of all Melville's imaginative life", and Newton Arvin, who calls it "Melville's great novel of ideas in verse".Bezanson (1960), pp. xlvii-xlviii Melville's centennial epic is also his most direct commentary on the era of Reconstruction.
Although the poem seems to have been written in close proximity to the Nibelungenlied, stylistic and linguistic differences make it clear that it was not written by the same author. Although the beginning of the Klage emphasizes that it is the beginning of a new work, the layout of the manuscripts presents it as a mere continuation of the Nibelungenlied. Due to deviations from the Nibelungenlied in the Klage's recapitulation of the events of that poem, older scholarship sometimes supposed that the two works had been written independently of each other or even that the Klage was the earlier of the two. Müller prefers to see the Klage as reacting to the oral tradition behind the Nibelungenlied in many respects rather than to the specific version offered by the poem.
Michael Haydn's Symphony No. 2 in C major, Perger 2, Sherman 2, MH 37, was written in Oradea in 1761. Scored for 2 oboes, 2 bassoons, 2 horns, 2 trumpets and strings and continuo, in four movements: #Allegro #Andante, in F major #Menuetto e Trio #Presto The first movement begins almost like a concerto grosso, but is in fact in a proto-sonata form (with the very brief development carried almost entirely by the violins without accompaniment). The exposition has a repeat, and the development and recapitulation are also marked off by a repeat (which is not always observed). The slow movement is written for strings only, but the continuo is generally understood to continue through; the violas rather than the second violins double the first violins at the octave (Delarte, 2006).
While the delegation started the discussions with the Muslim neighbours, in the place where the Castle of Capdepera now stands, James I ordered the building of large fires that could be clearly seen from Menorca as a way to make the Moors from the neighbouring island believe that there was a great army encamped there ready to invade. This act had its desired effect, causing the recapitulation of Menorca and the signing of the Treaty of Capdepera. After the surrender, Menorca remained in Muslim hands, but after the signing of the treaty of vassalage and the payment of taxes on the Miquel Nunis tower in the current Capdepera, on June 17, 1231, it became a tributary to the king of Majorca. The island was finally taken in 1287 by Alfonso III of Aragon.
The "Fantasy" elements take over, however, at the end of the recapitulation: rather than settling comfortably into B major, the piece launches into a coda that is at turns free and improvisational, sequential (almost a second development), and recapitulatory. (See for comparison the fourth movement of Scriabin's sonata in F# minor, which seems to be on ambiguous formal borderline between sonata-allegro and sonata-rondo.) Ultimately the coda ends triumphantly in B major, with a strong evocation of Wagner's "Isoldes Liebestod." At any rate the texture at the close is very similar to that of Liszt's transcription of the Wagner; the key is the same; and in each case the major tonic is approached by the supertonic half diminished seventh chord. The Fantasy contains some of Scriabin's most difficult writing.
The theory of recapitulation, also called the biogenetic law or embryological parallelism—often expressed using Ernst Haeckel's phrase "ontogeny recapitulates phylogeny"—is a historical hypothesis that the development of the embryo of an animal, from fertilization to gestation or hatching (ontogeny), goes through stages resembling or representing successive adult stages in the evolution of the animal's remote ancestors (phylogeny). It was formulated in the 1820s by Étienne Serres based on the work of Johann Friedrich Meckel, after whom it is also known as Meckel–Serres law. Since embryos also evolve in different ways, the shortcomings of the theory had been recognized by the early 20th century, and it had been relegated to "biological mythology"Ehrlich, Paul; Richard Holm; Dennis Parnell (1963) The Process of Evolution. New York: McGraw–Hill, pg.
Schumann's use of the same themes but in very different contexts and moods lends the cello concerto a strong sense of character development and an extended emotional arc, from its opening measures vacillating between deeply meditative and agitated to the brilliant, affirmative conclusion. The first movement of the concerto begins with a very short orchestral introduction followed by the presentation of the main theme by the soloist, which in turn is followed by a short tutti that leads into additional melodic material that is both new and related to what has preceded it. In this way, the character of the work is one of improvisation and fantasy, although much of the recapitulation follows the exposition fairly closely. In the brief, intensely melodic second movement, the soloist occasionally uses double stops.
This large-scale movement (usually lasting around 30 minutes) is a very loose sonata-form with a short central development and a protracted recapitulation. One might say that this movement represents the very synthesis of the whole symphony, since many of its themes and motives appear throughout the score in various guises, a process of thematic transformation which Liszt mastered to the highest level during his Weimar years. The basic key of the symphony (C minor) is already rather blurred by the opening theme made up of augmented triads and containing all twelve notes of the chromatic scale consecutively (this is the first published use of a twelve-tone row, other than a simple chromatic scale, in any music). This theme evokes the gloomy Faust, a dreamer, in everlasting search for truth and knowledge.
The second section is a chorale fantasia of the complete tune, with the cantus firmus in long notes in the soprano, while the lower voices add character to the text, for example by singing in a low register when the second line begins with the word "Mitternacht" (midnight). The third section is a short recapitulation of the beginning. The second Movement on the text of the second stanza begins with "Zion hört die Wächter singen", set freely with "only hints of the chorale tune". Its line "Hosianna" quotes the tune, followed by word painting setting “Wir folgen all zum Freudensaal" (We follow all to the joyful hall). The musicologist S. Lachtermann notes: "The shape of the lines, and the contour of the harmonic progression are 'modern', but the interlacing of voices and the focus on individual words harken back to his father’s art.
Peter Hitchens, writing for The Spectator, stated he did not like the "conversational and accessible" writing style and amount of "recapitulation," but believed it had "moving moments," "good advice" with a message "aimed at people who have grown up in the post- Christian West" with special appeal to young men. Park MacDougald of New York shared a similar view, stating that on paper Peterson lacks "coherence, emotional depth" compared to lectures, but "still, he produces nuggets of real insight." Pankaj Mishra's review in The New York Review of Books described 12 Rules as a repackaged collection of pieties and late-nineteenth century Jungian mysticism which has been discredited by the modern field of psychology. Mishra compared the book, and Peterson's ideas, to historical authors who influenced Peterson, but whose serious moral failings, including racism and fascism, Peterson fails to address.
Given that it was not published until 1824, it is even possible that Beethoven made further revisions at the time of publication, a period when he was producing some of his greatest works, including the Diabelli Variations, the Missa Solemnis and the Ninth Symphony. Direct evidence for this comes, among other elements, in the form of the extremely energetic and tight counterpoint of the double fugue in G minor that makes up the transition from variation X to the allegretto finale. This double fugue is highly reminiscent, both of that in the finale of the 9th Symphony linking the tenor solo to the recapitulation of the "Freude..", and of the Handelian fugue near the end of the Diabelli Variations. The presence of such tight and dramatic fugal writing is one of the hallmarks of Beethoven's late style.
Duration of roughly 9–11 minutes. The first movement, like many other works by Beethoven in C minor, is stormy and impassioned—the tempo markings may be translated, respectively, as "majestic" and "brisk, with vigor and passion". It abounds in diminished seventh chords, as in for instance the first full bar of its opening introduction, which may have provided the inspiration for the introduction of Chopin's Second Piano Sonata: :550px Unlike Beethoven's other C minor sonata-form movements, the exposition of this movement moves to the submediant (A major), not to the mediant, as its second key area. The quiet second theme bears a resemblance to the second theme in the final movement of the fourteenth piano sonata, made even more explicit in the recapitulation where this theme is restated ominously in the bass in minor mode, after initially appearing in C major.
Overall, the first movement contains motivic similarities with Mozart's Adagio and Fugue in C minor, which Beethoven arranged for a string quartet (Hess 37). The A major closing theme of the exposition, based on the first motif of the first theme, initiates a chromatic descent to its dominant with the motif A–C–G – and the same motif appears in the theme's restatement in the recapitulation, this time at the culmination of the chromatic descent instead of at the beginning. This moment is also prepared by the inclusion of the minor-mode inflected flattened sixth (F) at the corresponding point in the exposition's closing theme. In a move that mirrors the Piano Sonata, Op. 49 No. 1, and the Cello Sonata, Op. 5 No. 2, Beethoven ends this movement with a Picardy third that directly prepares the major-mode finale.
In B, this sequence begins with an EØ, followed by an E-7, D-7 and D dim, before resolving onto C-7 (the supertonic minor seventh) and cadencing onto B. The bridge is also unusual, with an immediate, fleeting and often (depending on the version) unprepared key change up a minor third, before an equally transient and unexpected return to the key centre. In B, the bridge begins with a D major seventh, then moves back to B with a B major seventh chord. This repeats, and is followed by a recapitulation of the second section outlined above. The vocal verse is also unusual in that most of the melody consists entirely of a single note repeated 35 times —the same dominant pedal, that begins the body of the song—with rather inconclusive and unusual harmonies underneath.
He was a really close friend of Ludwig van Beethoven, whose symphonies show traces of his influence. For example, the coda of the finale of Eberl's E-flat symphony performed at the same concert in between Beethoven's First and newly composed Third ("Eroica," in the same key of E-flat; see below) that drew high praise from a reviewer who (reflecting typical contemporary conservative criticism) thought much less of the "Eroica" (for its radical length and otherwise advanced style) ends with a descending bugle-call theme in dotted rhythm in E-flat that is more or less identical to the closing theme of the first movement of Beethoven's monumental Ninth (stated in B-flat at the end of the exposition leading into the development, and in D minor at the end of the recapitulation leading into the coda).
A short transition back to the tonic E major ushers in the recapitulation—notable for how it restates the second theme in the subdominant A minor (instead of the expected tonic parallel E minor) begun by the oboe and continued by the clarinet (vice versa to their roles in the exposition). The coda starts with a new theme that is simply an extension of the two-bar E major cadential figure that opens the movement. This gives way to the laconic triadic first-violin transition motto, which leads to a restatement of the first theme by the woodwinds in distant A major followed by the motto again leading back to the tonic E major for a final extended transformation of the first theme, leading in turn to a final extended version of the opening cadential figure that reappears to close.
Despite its using horns in F, which became standard, the parts are still fairly limited to few notes in addition to F and C. However, in the recapitulation of the first movement, the first horn doubles the first violins an octave lower on the first theme. In the slow movement, the celli, instead of doubling the bassoons and basses on the bass line, double the first violins an octave lower and are written in tenor clef (changing to bass clef for a few measures in which they rejoin the bass complex). Completed on February 10, the autograph score was bequeathed by Prince Esterházy to Hungary's national library in Budapest. Charles Sherman based his edition for Ludwig Doblinger "on a set of performance parts, bearing corrections in the composer's hand," from "the music collection of the Benedictine Archabbey of St. Peter in Salzburg."C.
As this following development reaches a climax in preparation for a stretto, the band abruptly enters and transforms the character of the composition. In this second, bustling and colourful section, orchestra A deals primarily with the treble, and orchestra B with the bass, while the band occupies the middle region and prepares for its eventual dominant position amongst the three ensembles. A third section ensues, introducing a new atmosphere of percussive sounds, including many characteristic Brazilian instruments: the camisão (a single-headed frame drum), caxambu (a double-headed barrel drum), tartaruga (a sea-turtle shell), tambu and tambi (low and high stamping tubes, also used at the outset of Chôros No. 6), and pio (a ”cheeper”). The sound of the battery gradually diminishes to link to a fourth section having the function of a recapitulation, ending with a series of stretti.
In his critical introduction, Foucault calls Barbin's pre-masculine upbringing a "happy limbo of non-identity" (xiii). Judith Butler, in her book Gender Trouble, takes this as an opportunity to read Foucault against himself, especially in History of Sexuality, Volume I. She calls Foucault's introduction a "romanticized appropriation" of Barbin's experience; rather, Butler understands Barbin's upbringing not as an intersex body exposing and refuting the regulative strategies of sexual categorization (à la Foucault) but as an example of how the law maintains an "'outside' within itself". She argues that Barbin's sexual disposition—"one of ambivalence from the outset"—represents a recapitulation of the ambivalence inherent within the religious law that produces her. Specifically, Butler cites the "institutional injunction to pursue the love of the various 'sisters' and 'mothers' of the extended convent family and the absolute prohibition against carrying that love too far".
The piano sonata D. 279, composed in September 1815, has three completed movements: ;I. Allegro Moderato : C major, with the recapitulation in the subdominant key of F major. ;II. Andante : F major. ;III. Menuetto (Allegro vivace) - Trio : A minor, with the trio in A major. :D. 277A is a slightly different version of the same Minuet, with a different Trio in F major. D. 277A probably predates the D. 279 Sonata.Deutsch 1978, pp 171-172 Since 1928 several scholars, the first being Walter Rehberg, have suggested D. 346 to be the finale of the sonata D. 279:Tirimo 1997 ;(IV. Allegretto D. 346) : Fragment in C major ending at measure 231, where the second theme ends in F minor. :Both Martino Tirimo and Paul Badura-Skoda published a completion of this Allegretto, as fourth movement to D. 279, in 1997.
This request on Jimmy's part provokes the beginning of the next section, which is a new song in a poppish format.: There's a dog in the station With an ugly mutation And it needs lubrication each day There's a dog in the station Contemplating rotation As a form of recreation and play A dog... At this point there is a blues jam on the piano by Page McConnell. Then: There's a dog in the station With a bad reputation It's a sign of the nation's decay But the dog in the station Doesn't need a vacation As the people rush by dressed in gray... A dog... A final jam through the melody of "Dog in the Station" and a recapitulation of the lick that introduced the "story" section on top of a final "A dog...." ends the song.
The piece is written for two oboes, bassoon, two horns (in A and E), and strings (violins in two sections (four in the final Adagio), violas, cellos and double basses). The turbulent first movement of the work opens in a manner typical of Haydn's Sturm und Drang period, with descending minor arpeggios in the first violins against syncopated notes in the second violins and held chords in the winds. The movement can be explained structurally in terms of sonata form, but it departs from the standard model in a number of ways (just before the recapitulation, for example, new material is introduced, which might have been used as the second subject in the exposition in a more conventional work). Also, the exposition moves to C minor, the dominant minor, rather than the more usual relative major.
The third, slow movement is a monothematic sonata-allegro form, with a shift from B minor to D major marking both the exposition and the course of the work as a whole . The finale is cast in sonata-allegro form, though with unconventional tonal relationships. The two main themes have tonics separated by a tritone, E and B in the exposition, transposed upward by a minor third in the recapitulation to G and D. The tonal plan therefore projects a diminished seventh chord, with an upward progression of a semitone at the end to conclude the Allegro on D. Thematically, the movement contains not only its own themes and the main cyclic theme of the symphony, but also recalls motivic material from themes in all the preceding movements . The symphony takes approximately 50 minutes to perform.
Immediately following the announcement of this second thematic element which will reappear at various stages later on in the part is the second subject – the only part of the movement offering any respite at all and played in an oboe solo. It is an elaboration of elements of the first subject, but will not appear again. The development section follows, and the music becomes increasingly tense, building up to a devastating climax which consists of a dramatic restatement of the second thematic element in the first subject. Following this sort of climax is an angry and intense fugato, gradually building up to a varied recapitulation of the opening storm before being dramatically cut off at the point where the second subject would reappear – here The Chord is revealed, in exactly the same sound that opened the symphony, ppp in the strings.
The first (motto) theme The second (main) theme (a) The second (main) theme (b) The second (main) theme (c) The woodwinds motive The third theme (clarinet stave, transposed) Les Éolides is a symphonic poem with a complex structure slightly resembling the sonata form. There are three main themes, two of which are in A major (that is the first subject), while the last is stated in F minor (second subject). A long development section begins with a new statement of the second theme, but it soon gives place for proper thematic development, ending with a slower tempo section based mainly on the third theme (E major). In the recapitulation the A major themes return, and a slower tempo section is heard again, this time in the home key (thus it can be said to be a proper sonata form).
This chapter ends with a summary of his theory illustrated with two woodcuts each showing two different stages of reef formation in relation to sea level. In the sixth chapter he examines the geographical distribution of types of reef and its geological implications, using the large coloured map of the world to show vast areas of atolls and barrier reefs where the ocean bed was subsiding with no active volcanos, and vast areas with fringing reefs and volcanic outbursts where the land was rising. This chapter ends with a recapitulation which summarises the findings of each chapter and concludes by describing the global image as "a magnificent and harmonious picture of the movements, which the crust of the earth has within a late period undergone". A large appendix gives a detailed and exhaustive description of all the information he had been able to obtain on the reefs of the world.
Denisov was Shostakovich's protégé for a long time. Benjamin Britten's Rejoice in the Lamb (1943) contains the DSCH motif repeated several times in the accompaniment, progressively getting louder each time, finally at fortissimo over the chords accompanying "And the watchman strikes me with his staff". The vocal text given to the motif is "silly fellow, silly fellow, is against me". A further reference appears in Britten's The Rape of Lucretia (1946), where the DSCH motif acts as the main structural component of Lucretia's aria "Give him this orchid." The DSCH motif also appears in the orchestral accompaniment of Viola Concerto (Walton) - (1929) in bars 115-116 (up a minor 6th - 'B', 'C', 'A', 'G#') and in 122-123 (at the original pitch - 'D', 'Eb', 'C', 'B') of the First Movement (Andante Comodo) and, during the orchestral tutti before the Recapitulation of the same movement.
The concerto has three movements, played without any breaks: #Largo non troppo – Allegro agitato – Largo non troppo #Molto lento – Poco meno lento – Andante tranquillo #Finale: Allegro non troppo The first movement represents two-thirds of the entire concerto, and is in a modified sonata- allegro form with a thirty-bar introduction and a cadenza linking the end of the recapitulation to the coda . The movement is modal, predominantly in E Phrygian with excursions to F and G, eventually returning to E Phrygian but with a final cadence on the subdominant, A . The second, slow movement has two main parts, which are preceded by an introduction and concluded with a canonic coda. Harmonically the movement is dominated by quartal harmonies, anchored over pedals of A (bridging from the first movement), D (beginning with and continuing through most of the second section), and G from b.
The first backbend occurs at the end of a sequence where Astaire sends Rogers into a spin, collects her upstage and maneuvers her into a linked-arm stroll forward, repeats the spin but this time encircles her while she turns and then takes her in his arms. As the music becomes more energetic, the dancers flow across the floor and Rogers, moving against the music, suddenly falls into a deeper backbend, which is then repeated, only deeper still. The music now transitions to a quiet recapitulation of the main melody during which the pair engage in a muted and tender partnering, and here the second passage involving sequential imitation appears. With the music reaching its grand climax Astaire and Rogers rush toward the camera, then away in a series of bold, dramatic manoeuvers culminating in three ballroom lifts which showcase Rogers' dressHyam (2007), p.
This leads into what is perhaps the most recognizable pianistic feat of the first movement: several lines of octaves interspersed with close tones either above or below (in a triplet rhythm), moving up and down the keyboard with the hands usually on top of one another. This is followed by a restatement of the opening clarinet theme, played loudly in the full orchestra, which transitions to a haunting variation of the theme by the solo piano. A quick, scalar passage from the movement's beginning is now taken up by the piano, in what is arguably the most difficult passage in the first movement for its challenges of fingering and phrasing. This leads into an exact recapitulation of the piano's entrance, which now leads into a brilliant coda involving various figurations of the octave-triplet idea, as well as runs on the piano consisting entirely of ascending parallel triads and glissandi.
Then the assessors read off a list of charges, all of which had been dealt with in previous examinations, and asked her, in reference thereto, whether or not she felt herself in mortal sin as a result. She replied: : Joan: "I do not think I am in mortal sin, and if I am, it is for God, and the priest in confession, to know it." Apart from this, her replies to the charges (concerning the attack on Paris on a Feast Day, the allegation that she had stolen a horse from the Bishop of Senlis, her leap from the tower of Beaurevoir, her wearing of male clothing, and the aforesaid charge concerning a prisoner who was put to death) were a recapitulation of earlier replies. Regarding the horse, her statement was that she had purchased the horse from the Bishop, but that she did not know if he received the money.
Especially tetraphonia and a reflection and verdict against transposition are somehow present among Carolingian authors. Nevertheless, it is remarkable that its practical use within the Greek octoechos was not only recognized, but also explained by the proper Greek terms. In the later treatises about psaltic art (15th century), which offer further explanations to the Papadike like those by Gabriel Hieromonachos, Manuel Chrysaphes, and by Ioannis Plousiadinos, there was obviously only a problem of ignorance, but not the Western one that the tetraphonic system excluded the heptaphonic and vice versa. The simple solution of Manuel Chrysaphes was a formal distinction between the musical structure written in notation, its recapitulation by the solfeggio or the use of tetraphonic ' (παραλλαγή) which is called metrophonia (μετροφωνία),See Gregorios Stathis' definition of metrophonia: and the establishment of the musical performance by the "thesis of the melos" (θέσις τοῦ μέλου) according to its traditional "method" (μέθοδος).
Between 1899 and 1906 Biegeleisen wrote and published a five volume literary study titled An Illustrated History of Polish Literature (Ilustrowane dzieje literatury polskiej), which was a rare and valuable compendium and recapitulation of his lifelong research. His other work published between 1927 and 1931 were studies of Polish customs, beliefs and age-old traditions in several volumes titles Mother and Child in the Rites, Beliefs, and Customs of the Polish Folk (Matka i dziecko w obrzędach, wierzeniach i zwyczajach ludu polskiego), Medicine of the Polish Folk (Lecznictwo ludu polskiego), Weddings (Wesele), At the Cradle – Before the Altar – By the Tomb (U kolebki – przed ołtarzem – nad mogiła), and Death in the Rites, Customs, and Beliefs of the Polish Folk (Śmierć w obrzędach, zwyczajach wierzeniach ludu polskiego).Henryk Biegeleisen, Śmierć w obrzędach, zwyczajach i wierzeniach ludu polskiego (djvu), complete book in the Polish language from Commons.
The sounds may be understood to reflect Oliveros' interest in electronic music, which she had recently begun to work with. Heidi Van Gunden (1983) illustrates this point by highlighting four types of sounds that correspond to basic electronic music techniques: #white noise #ring-modulated sounds #percussive envelopes #filtered techniques White noise is created vocally through the initial consonant "sh" and variations such as s, z, wh, p, t, h, ct, d, ch, th, k, and sw. Ring modulation is imitated through rapidly changing the vowel content, percussive envelopes through "lip pops," "tongue clicks," "snap fingers," and "flutter lips", and filtering through muting such as by covering the mouth with one's hand, sounding the consonant "M" through tightly closed lips, or singing through clenched teeth. It is Oliveros' "most carefully composed piece" and features only one measure of controlled improvisation linking the development to the recapitulation.
Villa-Lobos calls particular attention to a number of features of the work : # the energetic and mechanical rhythm of the opening; # the melody with a primitive character (number 29) # that simultaneously serves as a bass for crossed arpeggios, with the same sounds of the primitive scale; # unforeseen and strange modulations (number 41); # various melodic types accompanied by unusual harmonies (number 46); # a sentimental melody with a simple dissonant harmony and on a vague rhythm, forming a characteristic space (number 55); # an unimportant melody enriched by harmony; # a theme of primitive form that serves as a subject for a short fugato (number 78); # at rehearsal number 80 appears a recapitulation, restating one of the early themes of the work a major third lower; # finally, a warm, passionate, and extremely vague melody appears, in the midst of contrary and syncopated harmonies and rhythms, muddying the rhythmic center of gravity.
Socrates then goes on to say, :"Every speech must be put together like a living creature, with a body of its own; it must be neither without head nor without legs; and it must have a middle and extremities that are fitting both to one another and to the whole work." Socrates's speech, on the other hand, starts with a thesis and proceeds to make divisions accordingly, finding divine love, and setting it out as the greatest of goods. And yet, they agree, the art of making these divisions is dialectic, not rhetoric, and it must be seen what part of rhetoric may have been left out. When Socrates and Phaedrus proceed to recount the various tools of speechmaking as written down by the great orators of the past, starting with the "Preamble" and the "Statement Facts" and concluding with the "Recapitulation", Socrates states that the fabric seems a little threadbare.
A five-part rondo with an unconventional key scheme as follows: A (E major) → B (C major) → A (F major) → C (D minor) → A (E major) Schubert also composes brief transitions at the ends of each episode--that between the B section and the medial A section features a small amount of the B section's material in F major (the medial A section's key), while that between the C section and the final A section modulates from the C section's D minor up a tone to E minor, and then sits on its dominant for a few measures before the return to the movement's tonic key with the final A section. The movement ends with a short coda that is completely diatonic. III. Allegro vivace A minor. In sonata form without development (the exposition modulates to E major, and the recapitulation then begins in E minor and moves to A major).
At the time, there was an allegation of fraud that allegedly occurred during the vote recapitulation counting in the election offices of West Binjai, North Binjai, East Binjai, South Binjai, and Binjai City. There was also the strong notion that Dhani- Meutya’s ballots were intentionally cut by 200, from 22,287 to 22,087. Besides that, many Dhani-Meutya votes were canceled because of too many ballots punched up symmetrically in the back of the voting paper that caused them to automatically be void, plus many ballots were also pinned in the middle that benefited a certain candidate. Hafid filed a lawsuit to the Constitutional Court about the issue, and asked for the ballot boxes to be recounted, as well as seeking the truth about the in Binjai City election, of where the fraud was allegedly to have happened in some of the polling stations in the District of West Binjai.
Much of the evidence for evolution has been accused of being fraudulent at various times, including Archaeopteryx, peppered moth melanism, and Darwin's finches; these claims have been subsequently refuted. It has also been claimed that certain former pieces of evidence for evolution which are now considered out-of-date and erroneous, such as Ernst Haeckel's 19th-century comparative drawings of embryos, used to illustrate his recapitulation theory ("ontogeny recapitulates phylogeny"), were not merely errors but frauds. Molecular biologist Jonathan Wells criticizes biology textbooks by alleging that they continue to reproduce such evidence after it has been debunked. In response, the National Center for Science Education notes that none of the textbooks reviewed by Wells makes the claimed error, as Haeckel's drawings are shown in a historical context with discussion about why they are wrong, and the accurate modern drawings and photos used in the textbooks are misrepresented by Wells.
After an abrupt interjection, the development section begins, which is in two sections, the first of which introduces new melodic ideas, and the latter of which revolves around a descending scale. The recapitulation initially only presents the first subject, before moving into a dominant pedal, building up to the triumphant restatement of the broad melody now in the home key of E major, in which fragments of the first theme, motto theme, and descending scale can be heard in the accompaniment. A whirlwind coda brings the symphony to a close, with a fortissimo restatement of the brass chorale that appeared at the end of the second movement. The final bars present another fixture of Rachmaninoff's large-scale works, the characteristic decisive four-note rhythm ending (in this case presented in a triplet rhythm), also heard in his Cello Sonata, second and third piano concertos, and in an altered form in his fourth piano concerto and Symphonic Dances.
247-254 A (piano), in F major 255-262 A (orchestra) 262-273 B (orchestra, piano accompanies) 273-278 A (orchestra) 278-285 A (piano, orchestra accompanies) 286-297 A (orchestra, piano accompanies, 291-293 linking passage) 297-305 y (orchestra) 305-315 y (piano, on its own apart from 309-311) 316-330 A (orchestra, piano accompanies) 330-334 transition passage to D, like 32-36 (orchestra, piano accompanies) 335-340 D (orchestra, piano accompanies), 338-340 linking passage by piano 340-347 subsidiary theme like 42-49 (piano, orchestra accompanies) 348-352 transition passage like 32-36 (orchestra, piano accompanies) leading to D 353-359 D (piano, orchestra accompanies), 356-359 linking passage 360-366 A (orchestra, piano accompanies) 367-368 A (piano, orchestra accompanies) 369-370 A (orchestra, piano accompanies) 371-378 Free passage, piano in broken chord triplets, leading to shake on g at 378 signifying the end of the recapitulation.
1-10 A (orchestra) 10-14 B (orchestra) 15-20 Connecting passage, modulating through various keys back to C major 21-25 A (orchestra) 26-29 A (piano) 30-35 A (passes back and forwards between piano and orchestra) 35-38 C new thematic material, passing into 39-43 free passage that modulates to G major 44-47 A (orchestra), in G major treated canonically 48-51 A (piano, orchestra accompanies), in G major treated canonically 52-57 D new thematic material (piano), closing the first group 58-61 E Opening of second group with unprepared modulation to g minor (orchestra) 62-66 E (piano, strings accompany) 67-70 F new thematic material in orchestra 71-73 same, with piano, modulating to G major at end 74-76 G (piano in G major) 76-77 G (orchestra, piano accompanies) 77-78 connecting passage (piano) 79-85 H (piano, orchestra accompanies) turning into free passage that modulates back to C major at the close for the recapitulation.
It is important to remember that for Künneth, Christ assumes our mortality in more than the fashion of "putting on the clothes of our flesh" (the Gnostic view of appearances), but that he is not half-human, nor is Jesus subordinated to "time-bound humanity" : he is the transcendent Son. For Künneth, steering a path between Gnosticism on the one hand, and empirical Liberalism on the other, does not mean accepting the neo- Orthodoxy of the paradox theologians. If we accept Placher's "post-liberal" reasoning on the subject, the answer as to how he does this is that he returns to the issue of the extra-Calvinisticum : that is, he returns to a wrestling with Christology that accepts the Nicene Creed, but that (unlike Logos Christianity), is unwilling to interpret the difficult Pauline passages about the Recapitulation and the relationship between the Father and the Son solely in light of a simplistic and literal reading of the first chapter of John.
The latter case transposes the second repeat of its exposition by a fifth, starting on the minor dominant (instead of the tonic) and finishing on the major mediant (instead of the submediant). The first movement of Richard Strauss's Symphony No. 2, in F minor, modulates to the submediant D minor, as do the F minor first movements of Brahms' first clarinet sonata and piano quintet; all three works balance this downward third by moving up to the major mediant (A major) for the key of the second movement. Rarely, a major-mode sonata form movement will modulate to a minor key for the second subject area, such as the mediant minor (Beethoven Sonata Op. 31/1, i), the relative minor (first movements of Beethoven Triple Concerto and Brahms Piano Trio No. 1) or even the minor dominant (Brahms Piano Concerto No. 2, i). In such cases, the second theme will often return initially in the tonic minor in the recapitulation, with the major mode restored later on.
Although F major is usually notated as its enharmonic equivalent of E major, because E major has four sharps only as opposed to F major's eight flats (including the B), part of Richard Strauss' Metamorphosen uses F major, which one commentator has called "a bitter enharmonic parody" of the earlier manifestations of E major in the piece. Beethoven also used F major in his Piano Sonata No. 31, Op. 110. In the first movement's exposition, the transitional passage between the first and second subjects consists of arpeggiated figuration beginning in A major and modulating to the dominant key of E major. In the recapitulation, the key for this passage is changed to bring the second subject back in A major: the transitional passage appears in a key that would theoretically be F major, but which is notated in E major, presumably because Beethoven judged this easier to read – this key being a major third below the key of the earlier appearance of this passage.
In Christianity, salvation (also called deliverance or redemption) is the "saving [of] human beings from sin and its consequences, which include death and separation from God" by Christ's death and resurrection, and the justification following this salvation. While the idea of Jesus' death as an atonement for human sin was derived from the Hebrew Bible, and was elaborated in Paul's epistles and in the Gospels, Paul saw the faithful redeemed by participation in Jesus' death and rising. Early Christians regarded themselves as partaking in a new covenant with God, open to both Jews and Gentiles, through the sacrificial death and subsequent exaltation of Jesus Christ. Early Christian notions of the person and sacrificial role of Jesus in human salvation were further elaborated by the Church Fathers, medieval writers and modern scholars in various atonement theories, such as the ransom theory, Christus Victor theory, the recapitulation theory, the satisfaction theory, the penal substitution theory, and the moral influence theory.
The in vivo bioreactor (IVB) is a regenerative medicine paradigm where bone is grown in vivo. The IVB has basic elements: # Creation of a confined environment in vivo that is adjacent to a tissue locality rich in pluripotent cells, # Injection of a Hydrogel Biomaterial with the appropriate physicochemical and biophysical characteristics in this confined environment so as to predictably alter the signaling environment or trigger a process within this confined environment leading to recapitulation of developmental processes and de novo formation of a functional tissue mass, and # The harvest of the tissue from the confined site and transplantation of this tissue into another site within the patient, leading to a complete autologous tissue engineering strategy. An example of the implementation of the IVB approach was in the engineering of autologous bone by injecting calcium alginate in a sub- periosteal location. The periosteum is a membrane that covers the long bones, jawbone, ribs and the skull.
Both tracks on the album consist of three distinct parts that could be thought of as an exposition, development, and recapitulation, with the first and last third of each track being the same piece. In a Silent Way was assembled from takes from a three-hour session from Studio B at CBS 30th Street Studio in New York City, on February 18, 1969. "Shhh/Peaceful" was composed solely by Davis, while the opening and closing section to "In a Silent Way/It's About That Time" is based on Zawinul's "In a Silent Way" which he would record in its original form in 1970 for his third solo album Zawinul (1971). After Zawinul presented the tune to the group, it was rehearsed as it was originally written, but Davis wished for it to sound more rock-oriented and stripped the various chord changes to leave a more basic melody, allowing the band to play around it from a single pedal point.
For example, the woman whom the dragon tries to drown introduces the Goths again, 'flooding from the Danube', but in a different context than before, as Arians with their confederates the pagan Germanic tribes. Horae Apocalypticae Vol 3 p. 60. When the flood is absorbed by the earth, this was the tribes being gradually absorbed into mainstream Christianity. This idea was taken from Charles Webb Le Bas Life of Wiclif London: Rivingtons (1832) p. 17 This recapitulation was necessary so that the reader could understand who the Beast was, a matter complicated by Edward Elliott's somewhat unusual insistence that there was only one Beast involved. This meant that the Beast from the sea, the Beast from the abyss, the Beast that killed the two witnesses, the dragon that menaced the woman in travail, the 'little horn' of Daniel 7: 7 - 14, the antichrist and the 'man of sin' from 2 Thessalonians 2: 1-12 were all manifestations of exactly the same entity.
The music eventually reaches the end of the recapitulation in a passage that sounds very much as if it were the end of the symphony but suddenly breaks off in a dominant cadence. What follows is a long coda-like section, in essence a second slow movement, which is highly unusual in Classical symphonies and was probably quite surprising to the Prince. (It is in this section of the last movement where the musicians stop playing, snuff out their candles, and leave in turn.). This is written in time, modulates from A major to F major (pivoting between the two with C minor/major), and includes a bit of stage business that may not be obvious to a listener hearing a recorded performance: several of the musicians are given little solos to play, after which they snuff out the candle on their music stand and take their leave; other musicians leave without solos.
The reputation of Inga's deceased husband is not smeared either when the existence of a batch of letters to Edie Bly can be established without doubt but when it turns out at the same time that they have no sensational value because they belong to the realm of fiction--they are addressed to the character Bly played in one of the author's films rather than Bly the actress and mother of his child. Bernard Burton proves instrumental in procuring the letters without succumbing to the temptation to actually read them, in a chivalric act in which he dresses up as a frightful bag lady in order not to reveal his identity, a scene which also provides some comic relief. The conclusion of the novel is a four-page stream- of-consciousness-like recapitulation of the story's images racing through Erik's mind, and the assurance that the characters' fragmented lives will remain that way.
The philosophy of the Institutes consists of several interrelated beliefs: that every child has genius potential, stimulation is the key to unlocking a child's potential, teaching should commence at birth, the younger the child, the easier the learning process, children naturally love to learn, parents are their child's best teacher, teaching and learning should be joyous and teaching and learning should never involve testing. This philosophy follows very closely to the Japanese Suzuki method for violin, which is also taught at the institute in addition to the Japanese language itself. The Institutes consider brain damage, intellectual impairment, "mental deficiency", cerebral palsy, epilepsy, autism, athetosis, attention deficit hyperactivity disorder, "developmental delay", and Down syndrome as conditions encompassing "brain injury", the term favored by IAHP. Much of the work at The Institutes follows from Dr. Temple Fay who believed in recapitulation theory, which posits that the infant brain evolves through chronological stages of development similar to first a fish, a reptile, a mammal and finally a human.
Verses 44-50 represent the close of Jesus' public ministry. He "cries out" (verse 44), a phrase which the Cambridge Bible for Schools and Colleges says "implies public teaching".Cambridge Bible for Schools and Colleges on John 12, accessed 2 June 2016 - emphasis in original Verse 36 ("These things Jesus spoke, and departed, and was hidden from them") indicate that the final verses of the chapter act as an "epilogue and recapitulation",Bengel's Gnomon of the New Testament on John 12, accessed 14 June 2016, also Welsey's Notes on John 12, accessed 14 June 2016 "a sort of summary and winding up of His whole testimony",Jamieson-Fausset-Brown Commentary on John 12, accessed 14 June 2016 or "the thoughts of St. John as he looked back on the unbelief of Judaism".Ellicott's Commentary for Modern Readers on John 12, accessed 8 June 2016 The evangelist summarises Jesus' mission: he was sent by God the Father to offer eternal life (verse 50).
The symphony is in three movements (rather than the conventional four), and lasts 40–45 minutes: #Allegro moderato (E-flat minor, ends in E-flat major) #Largo (A-flat major) #Vivace (E-flat major) The first movement is characterized by an overall sombre mood, which Prokofiev described as "the painful results of war". It contains three themes: The first, on 1st violins and violas, is like the winds of a graveyard; the second, played by oboes, is slower and more melancholic; the third theme is played by the cor anglais accompanied by a lugubrious marching rhythm. The ensuing development section builds up tension using elements from the first theme before reaching an excruciating climax, the aftermath of which is the ghostly pulsating echoes on horns. The recapitulation only consists of the second and third themes, while the coda contains a final struggle until a C-flat major (enharmonically B major) climax, eventually to recede into silent despair, ending in E-flat major with a minor plagal cadence.
Then, as if Elgar had lost his sense of restraint, we hear a build-up of dynamic, an increase in tempo, and more imaginative scoring leading to a triumphant F major climax in the brass, marked "Nobilmente e semplice" (rehearsal 76). The "sigh" figure is again heard in the closing thematic area at rehearsal 78, as if to recall earlier grief, slowly melting into the recapitulation of the C minor March theme at rehearsal 79. The primary theme is now heard against a new countersubject in the oboe, resembling a solo lament of which Elgar, conducting, said: The lyrical string second theme follows immediately at rehearsal 81 without a transition, this time in E major, the key of the "Spirit of Delight" theme. Everything follows according to sonata form convention until the coda (three bars after rehearsal 88), an extended V chord resolving to a warm and mournful return to C minor at rehearsal 89.
This long section begins to slowly pick up and results in the tumultuous, extremely chromatic and violent development. After reprising a portion of the slow section, a final quick, mocking fragment of the main theme is presented which ends in the only full statement of the key of the piece with a quiet, quick roll of the B major chord. The music is labeled as being in the key of B-flat major, and contains musical elements pointing to B-flat as a home note in the vein of the classical sonata form: a first theme centered on B-flat, a second theme whose iteration in the exposition is centered on A-flat and whose iteration in the recapitulation is centered on B-flat, and an ending that returns the tonal center to B-flat and concludes the piece with a B-flat major chord. However, this movement distinctively lacks the key signature of B-flat major.
The first phrase of this concerto begins ambiguously. A unison E followed by a C, then a G, is followed by the dominant chord's leading tone (A) trilled up to the dominant, B. It's interesting that this progression seems to suggest a dominant cadence in the dominant key of B. In other words, Cmin to F to B (ii – V – I in B). There is an immediate modulation, through a fiery C-minor passage, into B major. Here a possible second theme is heard, played by strings, winds not coming in until its later strain (near the modulation back into E). Also interesting about this concerto is that the first movement ventures off from the normal conception of the concerto. Usually, when it comes time for the cadenza at the end of the recapitulation, the soloists will have a cadential trill on the tonic after which the orchestra will play part of the ritornello leading to the I 6/4 at which point the soloists performs the cadenza.
It is also considered by several authors, including Alfred Einstein, to be part of his last series of three great violin sonatas which starts with the Regina Strinasacchi sonata in B-flat K. 454 from 1784 (his annus mirabilis, the year also of the six great piano concertos 14 - 19 and the quintet for piano and winds) and continuing with the E-flat violin sonata from December 1785. The first movement is a movement in sonata form in 6/8 time, with more evenly divided contributions between the two instruments than in the earliest of his sonatas, an exposition divided between its two tonal groups (A and E major), and a compact but unwasteful development section. The second movement has, for a classical period slow sonata form, an extended development -- it is much more characteristic for slow movements in sonata form, especially middle slow movements, to have exceptionally brief middle sections before the return of the main material, and that is not the case here. The passage just before the recapitulation brings a sequence of enharmonic changes and, for the period, wide modulations.
A special case is the recapitulation that begins in the tonic minor, for example in the slow movement of Haydn's quartet Op. 76 No. 4 in E, or the opening movement of Haydn's Symphony No. 47 in G major. In the Classical period, the subdominant is the only possible substitute for the tonic at this position (because any other key would need resolution and would have to be introduced as a false reprise in the development), but with the erosion of the distinction between the sharp and flat directions and the blurring of tonal areas true recapitulations beginning in other keys became possible after around 1825. It is also possible for the first subject group to begin in tonic (or a key other than tonic), modulate to another key and then back to tonic for the second subject group. In the finale of the original 1872 version of Tchaikovsky's Symphony No. 2, the first subject group begins in the tonic C major, modulates to E major, then through E major, and then modulates back to tonic for the second subject group and coda.
Michael Haydn's Symphony No. 4 in B-flat major, Perger 51, Sherman 4, MH 62, was written in Salzburg, completed on December 7, 1763. Charles H. Sherman's modern edition of this work has been published by Musikverlag Doblinger and also appears in an anthology from Garland Publishing that includes symphonies by Anton Cajetan Adlgasser and Johann Ernst Eberlin, two other Salzburg composers. Scored for 2 oboes, 2 bassoons, 2 horns, and strings, in three movements: #Allegro #Andante, in E-flat major, called "La Confidenza" #Allegro molto Charles Sherman finds the first movement "noteworthy for the length of its development section (nearly equal in number of measures to the exposition and to the recapitulation) and for the persistence with which it treats a motive derived" from the main theme.C. Sherman, "Johann Michael Haydn" in The Symphony: Salzburg, Part 2 London: Garland Publishing (1982): lviii - lix Another unusual feature of the first movement is that it ends piano, something rare even in the following century (for example, Beethoven's Eighth and Bruckner's Eighth).
But his main efforts were to continue the labours of Aristotle in natural history. This is testified to not only by a number of treatises on individual subjects of zoology, of which, besides the titles, only fragments remain, but also by his books On Stones, his Enquiry into Plants, and On the Causes of Plants (see below), which have come down to us entire. In politics, also, he seems to have trodden in the footsteps of Aristotle. Besides his books on the State (Πολιτικῶν and Πολιτικοῦ), we find quoted various treatises on Education (Περὶ παιδείας βασιλέως and Περὶ παιδείας), on Royalty (Περὶ βασιλείας, Περὶ παιδείας βασιλέως and Πρὸς Κάσανδρον περὶ βασιλείας), on the Best State (Περὶ τῆς ἀρίστης πολιτείας), on Political Morals (Πολιτικῶν ἐθῶν), and particularly his works on the Laws (Νόμων κατὰ στοιχεῖον, Νόμων ἐπιτομῆς and Περὶ νόμων), one of which, containing a recapitulation of the laws of various barbarian as well as Greek states, was intended to be a companion to Aristotle's outline of Politics, and must have been similar to it.
The chronicle was first made known in Assemani's abridged Latin version (B O i. 260–83) and was edited in 1876 by Paulin Martin and (with an English translation) by William Wright in 1882. After an elaborate dedication to a friend the priest and abbot Sergius, a brief recapitulation of events from the death of Julian in 363 and a fuller account of the reigns of the Persian kings Peroz I (457-484) and Balash (484-488), the writer enters upon his main theme: the history of the disturbed relations between the Persian and Roman Empires from the beginning of the reign of Kavadh I (489–531), which culminated in the great war of 502–6. From October 494 to the conclusion of peace near the end of 506, the author gives an annalistic account, with careful specification of dates, of the main events in Mesopotamia, the theatre of conflict such as the siege and capture of Amid by the Persians (502–3), their unsuccessful siege of Edessa (503), and the abortive attempt of the Romans to recover Amida (504–5).
The symphony is scored for an orchestra comprising 3 flutes (1 doubling piccolo), 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, cymbals, bass drum, piano (two and four hands), organ, and strings. After its slow introduction, the first movement leads to a theme of Mendelssohnian (or Schubertian) character, followed by a second subject of a gentler cast, with various secondary themes played in major, and soon after repeated in minor forms; chromatic patterns play an important role in both movements. This material is worked out in fairly classical sonata-allegro form, and gradually fades to a quieter mood, which becomes a slightly ominous series of plucked notes in cello and bass, ending on a G pitch, followed by a slow and soft sustained A note in the organ, resolving into the new key of D major for the Poco adagio section of the movement. This evolves as a beautiful dialogue between organ and strings, recalling the earlier main theme of the movement before the recapitulation.
The lengthy history of Hasidism, the numerous schools of thought therein, and particularly its use of the traditional medium of homiletic literature and sermons – comprising numerous references to earlier sources in the Pentateuch, Talmud and exegesis as a means to grounding oneself in tradition – as the almost sole channel to convey its ideas, all made the isolation of a common doctrine highly challenging to researchers. As noted by Joseph Dan, "every attempt to present such a body of ideas has failed." Even motifs presented by scholars in the past as unique Hasidic contributions were later revealed to have been common among both their predecessors and opponents, all the more so regarding many other traits that are widely extant – these play, Dan added, "a prominent role in modern non-Hasidic and anti- Hasidic writings as well".Joseph Dan, Hasidism: Teachings and Literature, The YIVO Encyclopedia of Jews in Eastern Europe The difficulty of separating the movement's philosophy from that of its main inspiration, Lurianic Kabbalah, and determining what was novel and what merely a recapitulation, also baffled historians.
The structure of a musical composition is often understood hierarchically (for example by Heinrich Schenker (1768–1835, see Schenkerian analysis), and in the (1985) Generative Theory of Tonal Music, by composer Fred Lerdahl and linguist Ray Jackendoff). The sum of all notes in a piece is understood to be an all- inclusive surface, which can be reduced to successively more sparse and more fundamental types of motion. The levels of structure that operate in Schenker's theory are the foreground, which is seen in all the details of the musical score; the middle ground, which is roughly a summary of an essential contrapuntal progression and voice-leading; and the background or Ursatz, which is one of only a few basic "long-range counterpoint" structures that are shared in the gamut of tonal music literature. The pitches and form of tonal music are organized hierarchically, all pitches deriving their importance from their relationship to a tonic key, and secondary themes in other keys are brought back to the tonic in a recapitulation of the primary theme.
The lengthy history of Hasidism, the numerous schools of thought therein, and particularly its use of the traditional medium of homiletic literature and sermons – comprising numerous references to earlier sources in the Torah, Talmud and exegesis as a means to grounding oneself in tradition – as the almost sole channel to convey its ideas, all made the isolation of a common doctrine highly challenging to researchers. As noted by Joseph Dan, "Every attempt to present such a body of ideas has failed". Even motifs presented by scholars in the past as unique Hasidic contributions were later revealed to have been common among both their predecessors and opponents, all the more so regarding many other traits that are widely extant – these play, Dan added, "a prominent role in modern non-Hasidic and anti- Hasidic writings as well".Joseph Dan, Hasidism: Teachings and Literature, The YIVO Encyclopedia of Jews in Eastern Europe The difficulty of separating the movement's philosophy from that of its main inspiration, Lurianic Kabbalah, and determining what was novel and what merely a recapitulation, also baffled historians.
The three movements are: #Allegro con spirit #Andante, in G major #Fugato. Molto vivace The first movement is notable for its use of horns in G instead of the usual horns in C (compare Haydn's earlier C major symphonies and those of his brother Joseph), so that the horns can participate in the harmonization of ii chords. The music begins straightaway with a triadic theme and bass on the beat, offset by half-beat syncopation in the second violins and violas. 500px For the recapitulation, the horns change to horns in C. There are even more horn crook changes in store for the players: in the second movement, the first horn switches to horn in E while the second player switches to horn in D, "a clever use ... to increase the range of notes available on instruments without valves."Robbins Landon, 1967 Robbins Landon also points out that in the Andante of this symphony of Haydn's uses the low C of the second trumpet, something Wolfgang Amadeus Mozart also did later when he wrote his Symphony No. 41 in C major (also written in 1788).
Oxford: Oxford University Press (1945): 127 - 128. "And it is quite certain that we would not have possessed the finale of the 'Jupiter' Symphony in its particular form, in its contrapuntal texture, had it not been for the finale, entitled Fugato, of a C major symphony of Michael's, dated 19 February 1788. Here no doubt is possible: Ex. 8 [twelve bars of music are quoted in [piano reduction] And if this should still be thought an accident, there is the rhythmic motive, which appears at first in the horns: Ex. 9 [bar and half quoted, for two horns in G at written pitch but there is a small mistake involving the first dyad, which is a plain octave C in the Sherman edition but quoted as an E-C sixth in this book] or a counter-motive to the principal theme: Ex. 10 [three bars of music are quoted] --further, the play of syncopation, the introduction of groups of rapid eighth-notes; the juxtaposition of all these motives." As in the first movement, in the last movement the two horns again begin in G and switch to in C for the recapitulation.
It was agreed by all European evolutionists that all vertebrates looked very similar at an early stage, in what was thought of as a common ideal type, but there was a continuing debate from the 1820s between the Romantic recapitulation theory that human embryos developed through stages of the forms of all the major groups of adult animals, literally manifesting a sequence of organisms on a linear chain of being, and Karl Ernst von Baer's opposing view, stated in von Baer's laws of embryology, that the early general forms diverged into four major groups of specialised forms without ever resembling the adult of another species, showing affinity to an archetype but no relation to other types or any transmutation of species. By the time Haeckel was teaching he was able to use a textbook with woodcut illustrations written by his own teacher Albert von Kölliker, which purported to explain human development while also using other mammalian embryos to claim a coherent sequence. Despite the significance to ideas of transformism, this was not really polite enough for the new popular science writing, and was a matter for medical institutions and for experts who could make their own comparisons.
This is also based on the main material of the movement, and is only a brief moment in which to relax before the scurrying sixteenths return. A transitional passage leads to the recapitulation, which is for about twenty bars the same as the equivalent passage in the exposition. The material which leads to the second group opens in C major this time rather than A minor, however, and the second group is heard in A major. The major-mode themes are accorded slightly less space this time around before A minor returns in the form of a quiet pair of octaves, F in tremolo in the left hand and A held in the right, occasionally alternating with the scurrying sixteenths; over which the violin plays the longer version of its main theme from the first movement, twice, then, crescendo, joins in the piano's perpetual motion frenzy until a recall of the canonic theme that had opened the development is reached - now played sforzando (mit Violoncell, Schumann also writes), opening the last stage of the coda punctuating the rush to the final chords sixteen bars later.
One key source of this knowledge is a warm tribute paid to Sylvain Lévi and his ideas of an expansive, civilising India by Jawaharlal Nehru himself, in his celebrated book, The Discovery of India, which was written during one of Nehru's periods of imprisonment by the British authorities, first published in 1946, and reprinted many times since.... The ideas of both Lévi and the Greater India scholars were known to Nehru through his close intellectual links with Tagore. Thus Lévi's notion of ancient Indian voyagers leaving their invisible 'imprints' throughout east and southeast Asia was for Nehru a recapitulation of Tagore's vision of nationhood, that is an idealisation of India as a benign and uncoercive world civiliser and font of global enlightenment. This was clearly a perspective which defined the Greater India phenomenon as a process of religious and spiritual tutelage, but it was not a Hindu supremacist idea of India's mission to the lands of the Trans- Gangetic Sarvabhumi or Bharat Varsha." stayed away from explicit "Greater India" formulations. Quote: "To him (Nehru), the so-called practical approach meant, in practice, shameless expediency, and so he would say, "the sooner we are not practical, the better".
This culminates in two bars where the music is at its most intense: the upper and middle strings play a variant of the original uninverted ritornello theme; in the harpsichord a descending chromatic fourth in the left hand plays beneath sighing figures reprised from the first episode which descend to a closing cadence in B minor. At the cadence there is a full orchestral tutti—the lowest strings once more joining the ripieno section—in a version of the opening ritornello, but now with a rising chromatic fourth in the top notes of the first violin, as the key modulates to F minor. The harpsichord enters with a five bar episode formed by three phrases starting on sustained notes off the beat: the first three bars long with a falling chromatic fourth in the left hand of the hand harpsichord; the second and third, fragmentary one bar statements. These lead into a full recapitulation of the eight-bar Seitensatz, but now with darker colours: the harpsichord starts lower down in the key of D major and the left hand part is joined by the lowest strings.
Paul Joosse has argued that while classic moral panic theory styled itself as being part of the 'sceptical revolution' that sought to critique structural functionalism, it is actually very similar to Émile Durkheim's depiction of how the collective conscience is strengthened through its reactions to deviance (in Cohen's case, for example, 'right-thinkers' use folk devils to strengthen societal orthodoxies). In his analysis of Donald Trump's victory in the 2016 United States presidential election, Joosse reimagined moral panic in Weberian terms, showing how charismatic moral entrepreneurs can at once deride folk devils in the traditional sense while avoiding the conservative moral recapitulation that classic moral panic theory predicts. Another criticism is that of disproportionality: there is no way to measure what a proportionate reaction should be to a specific action. Writing in 1995 about the moral panic that arose in the UK after a series of murders by juveniles, chiefly that of two- year-old James Bulger by two ten-year-old boys but also including that of 70-year-old Edna Phillips by two 17-year-old girls, the sociologist Colin Hay pointed out that the folk devil was ambiguous in such cases; the child perpetrators would normally be thought of as innocent.
Part of the process of recapitulation is for Christ to go through every stage of human life, from infancy to old age, and simply by living it, sanctify it with his divinity. Although it is sometimes claimed that Irenaeus believed Christ did not die until he was older than is conventionally portrayed, the bishop of Lyon simply pointed out that because Jesus turned the permissible age for becoming a rabbi (30 years old and above), he recapitulated and sanctified the period between 30 and 50 years old, as per the Jewish custom of periodization on life, and so touches the beginning of old age when one becomes 50 years old. (see Adversus Haereses, book II, chapter 22). In the passage of Adversus Haereses under consideration, Irenaeus is clear that after receiving baptism at the age of thirty, citing Luke 3:23, Gnostics then falsely assert that "He [Jesus] preached only one year reckoning from His baptism," and also, "On completing His thirtieth year He [Jesus] suffered, being in fact still a young man, and who had by no means attained to advanced age." Irenaeus argues against the Gnostics by using scripture to add several years after his baptism by referencing 3 distinctly separate visits to Jerusalem.

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