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Page "The Wheel of Time" ¶ 13
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tradition and symphonic
He wrote the first important symphonic work in Chilean tradition, " La Muerte de Alcino ", a symphonic poem inspired by the novel of Pedro Prado.
" It is one of his first major works to incorporate American vernacular music within a classical symphonic tradition.
As a composer, Hartmann attempted a difficult synthesis of many different idioms, including musical Expressionism and jazz stylization, into organic symphonic forms in the tradition of Bruckner and Mahler.
The most popular bands, such as Banco del Mutuo Soccorso, Premiata Forneria Marconi and Le Orme, played symphonic prog heavily influenced by classical music, against the backdrop of the Italian canzone tradition.
Bands like New Trolls, Osanna, Metamorfosi, Alphataurus, Semiramis and Biglietto per l ' Inferno had a harder edge, but still with traits of the symphonic tradition.
Piano trios that are set in the Sonata tradition share the general concerns of such works for their era, and often are reflective directly of symphonic practice with individual movements laid out according to the composer's understanding of the sonata form.
The former provided the driving force and often the life force that kept a tradition alive through the Mao years, especially in his adopted city of Beijing, and the latter has been instrumental in maintaining a high standard of symphonic music, as well as working hard for the popularization of the tradition further into the fabric of Chinese culture, across his long career, which continues to the present.
The Symphony was especially admired and influential among the younger generation of French composers and was highly responsible for reinvigorating the French symphonic tradition after years of decline.
* O. Zin ' kevïch: Dinamika obnovleniya: ukrainskaya simfoniya na sovremennoy ėtapye v svete dialektiki traditsii i novatorstva ( 1970 – 1980-kh godov ) dynamics of revival: Ukrainian contemporary symphonic music as part of the dialectics of tradition and innovation, in the period 1970 – 80 ( Kiev, 1986 )
" In order to depict that on the stage, because this is really a very English show, I knew I would have to have a color similar to the one found in the music of the great composers at that time, like Elgar or Vaughan Williams ; this was for me an opportunity to bring in the musical theater an element of the symphonic tradition that I think we really haven't had before.
In 1842, Gottfried Wilhelm Taubert instituted the tradition of regular symphonic concerts.
While Shostakovich reveals a large debt to the Russian symphonic tradition, it is the vital spiritual experience being conveyed that stands out, not the formulative influences in his style.
In content and structure, the 10th Symphony is an example of Shostakovich ’ s synthesis of allusions to the symphonic tradition on the one hand, and encoded references to his own particular time and place on the other.
The myriad of possible references and models by Brahms, Beethoven, and Czech folksongs demonstrate Dvořák ’ s synthesis of his nationalistic style with the Viennese symphonic tradition.
This was due to his rejection of the Austro-German symphonic tradition.
However, these works draw much more upon the concerto grosso tradition than the more symphonic treatment of the genre by Mozart.
The symphony consists of a dramatic sequence that is identified with Russian symphonic tradition.
In the Russian symphonic tradition, the motifs and themes of the preceding movements are collectively “ summed-up ” in the finale.
Although it represents a departure from the traditional Germanic symphonic tradition of the time, it follows a fairly standard symphonic outline: fast introductory movement, slow movement, scherzo, and finale.
Despite its poor initial reception the symphony is currently seen as a dynamic representation of the Russian symphonic tradition, with British composer Robert Simpson calling it " a powerful work in its own right, stemming from Borodin and Tchaikovsky, but convinced, individual, finely constructed, and achieving a genuinely tragic and heroic expression that stands far above the pathos of his later music.
In the early 20th century, Baltimore was home to several African American classically oriented music institutions which drew on a rich tradition of symphonic music, chamber concerts, oratorios, documented in large part by the Baltimore Afro-American, a local periodical.

tradition and poem
he usually draws some kind of comparison with the jazz tradition and the poem he is reading -- for instance, he draws the parallel between a poem he reads about an Oriental courtesan waiting for the man she loves, and who never comes, and the old blues chants of Ma Rainy and other Negro singers -- but usually the comparison is specious.
The title " teacher " was first given to Aristotle by Muslim scholars, and was later used by Western philosophers ( as in the famous poem of Dante ) who were influenced by the tradition of Islamic philosophy.
Walter Goffart believes it is probable that in this narrative Paul was making use of an oral tradition, and is sceptical that it can be dismissed as merely a typical topos of an epic poem.
The dating of the events in the poem has been confirmed by archaeological excavations of the barrows indicated by Snorri Sturluson and by Swedish tradition as the graves of Ohthere ( dated to c. 530 ) and his son Eadgils ( dated to c. 575 ) in Uppland, Sweden.
Similarly, in 1971, Alistair Campbell stated that the apologue technique used in Beowulf is so infrequent in the epic tradition aside from when Virgil uses it that the poet who composed Beowulf could not have written the poem in such a manner without first coming across Virgil's writings.
Rather, given the implications of the theory of oral-formulaic composition and oral tradition, the question concerns how the poem is to be understood, and what sorts of interpretations are legitimate.
The poem is composed orally and extemporaneously, and the archive of tradition on which it draws is oral, pagan, Germanic, heroic, and tribal.
There is a third view that sees merit in both arguments above and attempts to bridge them, and so cannot be articulated as starkly as they can ; it sees more than one Christianity and more than one attitude towards paganism at work in the poem, separated from each other by hundreds of years ; it sees the poem as originally the product of a literate Christian author with one foot in the pagan world and one in the Christian, himself a convert perhaps or one whose forbears had been pagan, a poet who was conversant in both oral and literary milieus and was capable of a masterful " repurposing " of poetry from the oral tradition ; this early Christian poet saw virtue manifest in a willingness to sacrifice oneself in a devotion to justice and in an attempt to aid and protect those in need of help and greater safety ; good pagan men had trodden that noble path and so this poet presents pagan culture with equanimity and respect ; yet overlaid upon this early Christian poet's composition are verses from a much later reformist " fire-and-brimstone " Christian poet who vilifies pagan practice as dark and sinful and who adds satanic aspects to its monsters.
M. H. Abrams and Stephen Greenblatt assert in their introduction to Beowulf in the Norton Anthology of English Literature that, " The poet was reviving the heroic language, style, and pagan world of ancient Germanic oral poetry it is now widely believed that Beowulf is the work of a single poet who was a Christian and that his poem reflects well-established Christian tradition.
The romance tradition did, however, remain sufficiently powerful to persuade Thomas Hardy, Laurence Binyon and John Masefield to compose Arthurian plays, and T. S. Eliot alludes to the Arthur myth ( but not Arthur ) in his poem The Waste Land, which mentions the Fisher King.
The description and the tradition provide a contrast between the daemonic and genius within the poem, and Khan is a ruler who is unable to recreate Eden.
Many scholars believe that the original poem was composed in an oral tradition by an aoidos ( epic poet / singer ), perhaps a rhapsode ( professional performer ), and was more likely intended to be heard than read.
The Sampo is a pivotal element of the plot of the Finnish epic poem Kalevala, compiled in 1835 ( and expanded in 1849 ) by Elias Lönnrot based on earlier Finnish oral tradition.
The Greek poet Hesiod, around the 8th century BC, in his compilation of the mythological tradition ( the poem Works and Days ), explained that, prior to the present era, there were other four progressively more perfect ones, the oldest of which was the Golden Age.
At Maecenas ' insistence ( according to the tradition ) Virgil spent the ensuing years ( perhaps 37 – 29 BC ) on the longer didactic hexameter poem called the Georgics ( from Greek, " On Working the Earth ") which he dedicated to Maecenas.
The Indian tradition is unanimous in its agreement that the poem is the work of a single poet, the sage Valmiki, a contemporary of Rama and a peripheral actor in the drama.
It became conventional to refer to Russians as Scythians in 18th century poetry, and Alexander Blok drew on this tradition sarcastically in his last major poem, The Scythians ( 1920 ).
One argument is that the poem was written to celebrate Byrhtnoth's actions and goad others into heroic action, and Byrhtnoth's action stands proudly in a long tradition of heroic literature.
Bellows ( 1936 ) identifies as the core of the poem a " collection of proverbs and wise counsels " which dates to " a very early time ", but which, by the nature of oral tradition, never had a fixed form or extent.
A different tradition, attested in a lost poem of Stesichorus makes Penthesilea the slayer of Hector, seen as a son of Apollo.
Welsh bardic tradition appears to end in the same 13th century, the Welsh campaigns of Edward I supposedly culminating in the legendary suicide of The Last Bard ( c. 1283 ), as commemorated in the poem The Bards of Wales by the Hungarian poet János Arany in 1857 as a way of encoded resistance to the suppressive politics of his own time.

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