Information om | Engelska ordet STROPHIC

Exempel på hur man kan använda STROPHIC i en mening

• BWV 1127 – "Alles mit Gott und nichts ohn' ihn" (strophic aria composed in Weimar in 1713, rediscovered in 2005).
• The quiet and calm of this mood is portrayed by the monotony of the arpeggiated accompaniment, by the repetitiveness of the melodic pattern, and by the strophic form itself.
• Chorus form, or strophic form, is a sectional and/or additive way of structuring a piece of music based on the repetition of one formal section or block played repeatedly.
• Many classical art songs are also composed in strophic form, from the 17th century French air de cour to 19th century German lieder and beyond.
• The muwaššaḥ, an Andalusi genre of strophic poetry, typically included kharjas, or closing lines often in a different language.
• His works are formally unsophisticated, often strophic, and usually in the minor mode; but his stage works (notably Prostachka (‘The Simpleton’), 1870) are representative of a popular folk genre that was melodically fluid, singable, pictorial and emotionally evocative.
• In 1618 she published a collection of thirty-six solo songs and soprano/bass duets (Il primo libro delle musiche) that is a compendium of contemporary styles, ranging from intensely moving, harmonically adventurous laments to joyful sacred songs in Italian and Latin, to witty strophic songs about the joys and perils of romantic love.
• While the qasida and the maqama were adapted from the Mashriq, strophic poetry is the only form of Andalusi literature known to have its origins in the Iberian Peninsula.
• The Summer Songs use a simple strophic form, the "dance strophe" (German , from MHG , "circle dance", "carole") characterised by simple couplet and triple rhymes, e.
• This influence is most evident in his strophic songs, one of which is in 5/4 (although actually notated in duple meter); asymmetrical meters are a normal feature of Balkan folk music but are absent in Italian.
• The song is similar to a folkish strophic form and uses a Dylanesque acoustic guitar figure in compound duple time, normally committed to score in 6/8 or 12/8 time, with chiefly acoustic accompaniment, no backing voices and light percussion from brushed snare, tambourine and maraca.
• The motet, a lyrical piece of music in several parts, evolved from the Notre-Dame school when upper-register voices were added to discant sections, usually strophic interludes, in a longer sequence of organum.
• Khuen's songbooks reflect the aims of the Bavarian Counter-Reformation in their insistence on Marian, sanctoral, and Christological imagery; their vernacular poetry and folklike strophic melodies were designed for broad appeal.
• Nedîm's works are a diverse collection; consisting of 170 ghazals, 34 şarkıs, 44 qasidas, 88 strophic forms, 3 mathnawis, 11 rubais and 2 koşmas, as well as a few poems of other forms.
• Khaqani's Divān contains qasidas (both panegyrics and non-panegyric odes), tarjiʿāt (strophic poems), ghazals (profane love poems), and rubaʿis (quatrains).
• The metre differs but slightly from the rhythm of prose, is easy to construct and to memorize, adapts itself very well to all kinds of subjects, offers sufficient metric variety in the odd feet (which may be either iambic or spondaic), while the form of the strophe lends itself well to musical settings (as the English accentual counterpart of the metric and strophic form illustrates).
• What follows is a set of three loosely structured variations which avoid the simple strophic pattern of previous sets by allowing the lead-ins and interludes to overlap and a coda which features a small fugato.
• Epodic metres are a simple kind of strophic verse practised by some Ionian poets of the archaic period, namely Archilochus, Hipponax, and Anacreon.
• The setting is strophic; Berlioz maintains the villanelle rhythm of the original poem, while varying the orchestral accompaniment with string counterpoints, and, at the end of each verse, a bassoon solo, pitched higher at each iteration.
• It is noted that, although his developments in strophic form and inviting harmonicity were praiseworthy, he still had clear theoretical mistakes when it came to musical grammar and prosody.

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