The aria is, by its music of energetic syncopes, dotted rhythms and leaps, an image of a majestic heavenly king.
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New elements compared to traditional hymns are rhythms with syncopes and stresses on the offbeat, contemporary lyrics, and melodies that can be easily learned.
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The tenor aria depicts the "sinking" of "" (We were already too deeply sunk) in downward motifs and an irregular rhythm of syncopes, observed by Dürr as an image of "a giddy descent into the abyss of sin".
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Video recordings of other forms of anoxic seizures (vasovagal syncopes) suggest that there may be marked asymmetry. Parents may report the eyes to have rolled or to be “popping out of the head.” A few clonic jerks of the limbs or spasms are often noted. Urinary incontinence is not uncommon.
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The melody and four-part setting were composed by Herbert Heine (born 1934). It is in D major and common time. The melody of the verses has many syncopes, suggesting free speech, while the refrain follows the regular beat. The last line of the melody, rising to the top note and returning, suggests the contour of a tent.
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Rule #6 It is forbidden to repeat the same melodic turn above a cantus firmus, especially if the cantus firmus contains that same repetition. Rule #7 Avoid two or more consecutive cadences of the same pitch even if cantus firmus allows it. Rule #8 In all counterpoint, try to achieve manifoldness and variety by altering measure, tempo, and cadences. Use syncopes, imitations, canons, and pauses.
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Johann Stobäus wrote a melody in 1613, which shows characteristic leaps and syncopes. He composed a five-part motet in 1642. When a hymnal for several Lutheran provinces was edited in the 1920s, the tune by Stobäus was replaced by the melody of "" by ,Deutsches Evangelisches Gesangbuch No. 196 but for the hymnal Evangelisches Gesangbuch the original melody was restored. An American-German Lutheran hymnal of 1894 has the hymn with the melody of "" by Martin Luther.
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In Golliwogg's Cakewalk, the middle section satirically quotes the beginning of Tristan und Isolde by Richard Wagner, a composer who had influenced Debussy when he was young but from whose late romantic style Debussy later distanced himself. Debussy regularly sought exotic influences. In The Little Nigar, he alluded to banjo chords and drums, influenced by American minstrel shows. The piece, marked allegro, begins with a first theme presenting "jazzy" syncopes in 2/4 time, in the then popular ragtime style.
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The piece is set in 2/2, begins in B-flat major and is marked "Happily". It begins with eight measures of instrumental introduction, with broken chords in constant flowing eighth-notes in an obbligato flute and harp, accompanied by strings. The sopranos alone enter, singing a long lyric melody. The melody follows the text, first upward, reaching the key note on "earth"; it culminates in the refrain on "Lord of all, to thee we raise", illustrating the raising, an renders the final line "this our joyful hymn - of praise" with a soft descent in syncopes.
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The patient had in childhood infrequent vasovagal syncopes and/or syncope-like epileptic seizures. At last communication with her, she was 29 years of age and following a successful professional career. Case 2. This case illustrates autonomic status epilepticus with behavioral disturbances that would be difficult to attribute to seizure activity before the motor focal ictal events. A 6-year-old normal boy had a seizure at 4 years of age while traveling on a train with his parents who vividly described the event: “He was happily playing and asking questions when he started complaining that he was feeling sick, became very pale, and quiet.
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