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Verbatim means word for word. It may refer to: Verbatim, a 1996 album by Bob Ostertag "Verbatim" (song), a 2015 song by Blackbear; Verbatim (brand), a brand of storage media and flash memory; Verbatim (horse), an American racehorse; Verbatim, edited by Erin McKean; Verbatim theatre, a form of documentary theatre
In instrumental music, a style of playing that imitates the way the human voice might express the music, with a measured tempo and flexible legato. cantilena a vocal melody or instrumental passage in a smooth, lyrical style canto Chorus; choral; chant cantus mensuratus or cantus figuratus (Lat.) Meaning respectively "measured song" or "figured ...
The techniques of making music are often transmitted as part of a cultural tradition. Music is played in public and private contexts, highlighted at events such as festivals and concerts for various different types of ensembles. Music is used in the production of other media, such as in soundtracks to films, TV shows, operas, and video games.
Most transcripts are written in a non-verbatim form, including the words that were said as part of the dialogue. Verbatim transcription is the most accurate form of transcription, which includes the dialogue along with stutters, false starts, and sounds.
Musical quotation is to be distinguished from variation, where a composer takes a theme (their own or another's) and writes variations on it.In that case, the origin of the theme is usually acknowledged in the title (e.g., Johannes Brahms's Variations on a Theme by Haydn).
In Western music theory, the term sentence is analogous to the way the term is used in linguistics, in that it usually refers to a complete, somewhat self-contained statement. Usually a sentence refers to musical spans towards the lower end of the durational scale; i.e. melodic or thematic entities well below the level of movement or section ...
Often this process is performed on films by replacing the original language to offer voiced-over translations. After sound editors edit and prepare all the necessary tracks—dialogue, automated dialogue replacement (ADR), effects, foley, and music—the dubbing mixers proceed to balance all of the elements and record the finished soundtrack.
The same music could be associated with a wide range of emotional responses in the listener. Chabanon rejected the rhetorical approach to music, because he did not believe that there was a simple correspondence between musical characteristics and emotional affects. Much subsequent philosophy of music depended on Chabanon's views. [9]