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“Some Velvet Morning” sounds like two songs spliced together by a madman, or an avant-garde short film in song form." [ 6 ] In August 2006, music critic Rob Mitchum placed the song at #49 spot on Pitchfork ' s list of the 200 greatest songs of the 1960s, saying "Even after thousands of listens, I still don’t know quite what to make of ...
Female songbirds often assess potential mates using song, based on qualities such as high song output, complexity and difficulty of songs, as well as presence of local dialect. [22] Song output serves as a fitness indicator of males, since vocalizations require both energy and time to produce, and thus males capable of producing high song ...
These are lists of songs.In music, a song is a musical composition for a voice or voices, performed by singing or alongside musical instruments. A choral or vocal song may be accompanied by musical instruments, or it may be unaccompanied, as in the case of a cappella songs.
Sonograms of female copulatory vocalizations of a human female (top), female baboon (middle), and female gibbon (bottom), [19] with time being plotted on the x-axis and the pitch being represented on the y-axis. In non-human primates, copulatory vocalizations begin towards the end of the copulatory act or even after copulation. [2]
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Aria (canzonetta) for voice and piano, transcription of an insertion aria sung by Luigi Marchesi with several texts in several operas. The version with the text "Ridente la calma" was inserted in Francesco Bianchi's Il trionfo della pace (1782). [1] The original author of the music may be Josef Mysliveček.
The contralto singing voice has a vocal range that lies between the F below "middle C" (F 3) to two Fs above middle C (F 5) and is the lowest type of female voice. In the lower and upper extremes, some contralto voices can sing from two Bs below middle C (B 2) [1] to two B ♭ s above middle C (B ♭ 5). [2]
Nearly three-quarters of her printed works were written for the soprano voice, but she also published works for other voices. [30] Her compositions are firmly rooted in the seconda pratica tradition. Strozzi's music evokes the spirit of Cavalli, heir of Monteverdi. Her style, however, is more lyrical, and more dependent on sheer vocal sound. [31]