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Diction teachers are sought after in various contexts, including universities, drama and music schools, opera and theatre companies, corporate training institutes, and communication studios. [ 5 ] [ 6 ] [ 3 ] They provide support to those looking to improve their voice and verbal communication to achieve greater effectiveness in their ...
According to Andranik Tangian, [7] analytical phrasing can be quite subjective, the only point is that it should follow a certain logic. For example, Webern’s Klangfarbenmelodie-styled orchestral arrangement of Ricercar from Bach’s Musical offering demonstrates Webern’s analytical phrasing of the theme, which is quite subjective on the one hand but, on the other hand, logically consistent:
For example, in his poem ‘The Axolotl’ he rhymes "axolotl" with "whaxolotl". [4] Gerard Manley Hopkins (1844–89) is one of few poets who used multisyllabic rhymes to convey non-satirical subject matter. [5] An example of this is ‘The Bugler's First Communion’, [5] where he rhymes "boon he on" with "Communion".
Violating an anticipated structure in music could mean a harmonically unexpected note or chord in a musical sequence. As in language this is associated with a "processing cost due to the tonal distance" (Patel, 2008) and therefore means that more resources are needed for activating low-activation items.
It is intended as an intertribal song, so the use of non-lexical vocables prevents bias to one particular language. Other traditional musical forms employing non-lexical vocables include: Puirt à beul (traditional Scottish and Irish song form that sometimes employs nonsense syllables) Nigun in Jewish religious music
Music examples are an obviously valuable and necessary addition to Wikipedia, often superior to text. These are both far more valuable and far more free than music samples being abstract categories applicable to multiple examples without any of the copyright or other law applicable to samples.
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In vocal music, contrafactum (or contrafact, pl. contrafacta) is "the substitution of one text for another without substantial change to the music". [1] The earliest known examples of this procedure (sometimes referred to as ''adaptation'') date back to the 9th century used in connection with Gregorian chant.