I ' Pyrrhic Stress
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Syllabification and Accent in the Paradise Lost
SYLLA BI FI CA TI ON A ND A C C ENT I N THE PA RA DI SE LOST A D I S S ERTA T I O N P R E S E NT E D TO T H E B O A RD O F U N IV ER S I TY S TU D I E S O F T H E JOH N S HO P KI N S U N IV ER S I TY F O R T H E D E E E P I L S P Y G R O F D O C TOR O F H O O H . EOR E DOBB N BRO N G G I W . n m : B A L T I M O R E JOH N M U RP HY C O M P A NY 1 90 1 C O N T EN TS . INTRODUCTION. P A GE. M etrical views of 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Masson A b bo tt and Seeley Symonds — A R I SY A IFICA I N. P T . -
Lilypond Music Glossary
LilyPond The music typesetter Music Glossary The LilyPond development team ☛ ✟ This glossary provides definitions and translations of musical terms used in the documentation manuals for LilyPond version 2.23.3. ✡ ✠ ☛ ✟ For more information about how this manual fits with the other documentation, or to read this manual in other formats, see Section “Manuals” in General Information. If you are missing any manuals, the complete documentation can be found at http://lilypond.org/. ✡ ✠ Copyright ⃝c 1999–2021 by the authors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation; with no Invariant Sections. A copy of the license is included in the section entitled “GNU Free Documentation License”. For LilyPond version 2.23.3 1 1 Musical terms A-Z Languages in this order. • UK - British English (where it differs from American English) • ES - Spanish • I - Italian • F - French • D - German • NL - Dutch • DK - Danish • S - Swedish • FI - Finnish 1.1 A • ES: la • I: la • F: la • D: A, a • NL: a • DK: a • S: a • FI: A, a See also Chapter 3 [Pitch names], page 87. 1.2 a due ES: a dos, I: a due, F: `adeux, D: ?, NL: ?, DK: ?, S: ?, FI: kahdelle. Abbreviated a2 or a 2. In orchestral scores, a due indicates that: 1. A single part notated on a single staff that normally carries parts for two players (e.g. first and second oboes) is to be played by both players. -
The New Dictionary of Music and Musicians
The New GROVE Dictionary of Music and Musicians EDITED BY Stanley Sadie 12 Meares - M utis London, 1980 376 Moda Harold Powers Mode (from Lat. modus: 'measure', 'standard'; 'manner', 'way'). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; most significantly, a concept involving scale type and melody type. The term 'mode' has always been used to designate classes of melodies, and in this century to designate certain kinds of norm or model for composition or improvisation as well. Certain pheno mena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see SOUND, §5. I. The term. II. Medieval modal theory. III. Modal theo ries and polyphonic music. IV. Modal scales and folk song melodies. V. Mode as a musicological concept. I. The term I. Mensural notation. 2. Interval. 3. Scale or melody type. I. MENSURAL NOTATION. In this context the term 'mode' has two applications. First, it refers in general to the proportional durational relationship between brevis and /onga: the modus is perfectus (sometimes major) when the relationship is 3: l, imperfectus (sometimes minor) when it is 2 : I. (The attributives major and minor are more properly used with modus to distinguish the rela tion of /onga to maxima from the relation of brevis to longa, respectively.) In the earliest stages of mensural notation, the so called Franconian notation, 'modus' designated one of five to seven fixed arrangements of longs and breves in particular rhythms, called by scholars rhythmic modes. -
Some Problems in Prosody
1903·] Some Problems in Prosody. 33 ARTICLE III. SOME PROBLEMS IN PROSODY. BY PI10PlCSSOI1 R.aBUT W. KAGOUN, PR.D. IT has been shown repeatedly, in the scientific world, that theory must be supplemented by practice. In some cases, indeed, practice has succeeded in obtaining satisfac tory results after theory has failed. Deposits of Urate of Soda in the joints, caused by an excess of Uric acid in the blood, were long held to be practically insoluble, although Carbonate of Lithia was supposed to have a solvent effect upon them. The use of Tetra·Ethyl-Ammonium Hydrox ide as a medicine, to dissolve these deposits and remove the gout and rheumatism which they cause, is said to be due to some experiments made by Edison because a friend of his had the gout. Mter scientific men had decided that electric lighting could never be made sufficiently cheap to be practicable, he discovered the incandescent lamp, by continuing his experiments in spite of their ridicule.1 Two young men who "would not accept the dictum of the authorities that phosphorus ... cannot be expelled from iron ores at a high temperature, ... set to work ... to see whether the scientific world had not blundered.'" To drive the phosphorus out of low-grade ores and convert them into Bessemer steel, required a "pot-lining" capable of enduring 25000 F. The quest seemed extraordinary, to say the least; nevertheless the task was accomplished. This appears to justify the remark that "Thomas is our modem Moses";8 but, striking as the figure is, the young ICf. -
Criminal Obsessions: Why Harm Matters More Than Crime
Second edition Criminal obsessions: Why harm matters more than crime Danny Dorling Dave Gordon Paddy Hillyard Christina Pantazis Simon Pemberton Steve Tombs Harm and Society About the Authors Edited by Will McMahon Danny Dorling is Professor of Human Geography at the University of Sheffield. Our thanks go to Catriona Foote and Tammy McGloughlin for their assistance in producing Dave Gordon is Professor of Social Justice at this book. the University of Bristol. Centre for Crime and Justice Studies Paddy Hillyard is Professor of Sociology at King’s College London Queen’s University, Belfast. Strand London WC2R 2LS Christina Pantazis is senior lecturer at the Tel: 020 7848 1688 University of Bristol. Fax: 020 7848 1689 Simon Pemberton is lecturer in social policy [email protected] at the University of Bristol www.crimeandjustice.org.uk Steve Tombs is Professor of Sociology at A project of the Centre for Crime Liverpool John Moores University. and Justice Studies (ISTD), School of Law, King’s College London. The views expressed in this document are Registered Charity No 251588 those of the authors and not necessarily A Company Limited by Guarantee those of the Centre for Crime and Justice Registered in England No 496821 Studies. © Paddy Hillyard, Christina Pantazis, Dave Gordon and Steve Tombs Acknowledgements September 2005 The Centre for Crime and Justice Studies © Simon Pemberton September 2008 would like to thank the authors for their permission to reproduce and edit the four essays in this book which originally appeared ISBN 978-1-906003-14-2 in Hillyard, P., Pantazis, C., Tombs, S. and Gordon, D.(eds)(2004) Beyond Criminology. -
Gregorian Chant
CATHOLIC EDUCATION SERIES MUSIC FOURTH YEAR GREGORIAN CHANT THE CATHOLIC EDUCATION SERIES MUSIC FOURTH YEAR CHILDREN'S MANUAL GREGORIAN CHANT according to the principles of DOM ANDRE MOCQUEREAU OF SOLESMES BY JUSTINE WARD THE CATHOLIC EDUCATION PRESS WASHINGTON, D. C. PRINTED IN U. S. A. NlHIL OBSTAT January 7th, 1923, Baltimore, Md. LEO P. MANZETTI, Mus. D. Censor Deputatus IMPRIMATUR MICHAEL J. CURLEY Archbishop of Baltimore ALL RIGHTS OF REPRODUCTION, TRANSLATION AND ADAPTATION RESERVED FOR ALL COUNTRIES INCLUD- ING RUSSIA A MON CHER ET VÉNÉRÉ MAITRE DOM ANDRE MOCQUEREAU QUI A RENDU LES AILES A LA COLOMBE DE SAINT GRÉGOIRE INTRODUCTION BY DOM MOCQUEREAU Bien chère Madame J. Ward, Very dear Mrs. Ward, Vous me demandez de presenter au You have asked me to introduce to public américain votre premier livre sur the American public your first book on le Chant Grégorien,« Gregorian Chant» Gregorian Chant, the fourth volume of — le quatrième de votre série rnusicale— your series of Music Text-books pre- destine aux enfants fréquentant les pared for the use of the children in the Ecoîes Catholiques. J'accepte avec Catholic schools of the United States. d'autant plus de joie, que c'est pour moi I accept with all the more pleasure l'occasion de témoigner ouvertement et because it gives me an opportunity of la haute estime que je professe pour expressing publicly the high esteem \\\ votre enseignement et, en même temps, which I hold your method as well as la reconnaissance profonde que je vous the gratitude I feel toward you. I will dois. Je m'expìique. -
Robert Hayden (1913-1980)
ROBERT HAYDEN (1913-1980) “RUNAGATE RUNAGATE” (1962) √A highly moving—rhythmic—poetic evocation of the Underground Railroad: sights, sounds, fears, threats, the heroine Harriet Tubman, language from “WANTED” posters. Different VOICES. √ THE CONCISE OXFORD COMPANION TO AFRICAN AMERICAN LITERATURE: “One of Robert Hayden’s most successful historical poems, ‘Runagate Runagate’ (first published in 1962), employs a montage of voices to portray the tumultuous world of escaped slaves, and ultimately the fundamental human impulse toward freedom. ‘Runagate,’ a term for a runaway slave, refers specifically to Harriet Tubman and by extension to a series of symbols suggesting freedom and emancipation.” [http://oxfordindex.oup.com/view/10.1093/oi/authority.20110803100433238] √ Cental Idea: Quest for Freedom, of slaves in the American South √ Poetic Meter: Utilizes a variety of meters: dactyl, iamb, amphibrach, cretic, anapest, spondee—yet is strongly grounded in the TROCHAIC. The poem’s opening line is in Trochaic Heptameter, with other major line-groupings of 6 trochees, 4 trochees, 3 trochees, pairs of trochees “bookending” another single meter; the “hoot-owl calling” quatrain near the poem’s conclusion has all 4 lines in Trochaic Tetrameter. The use of TROCHEE is, further, associated with moments of high drama. Three MOLOSSUS in highly emotionally charged moments. √ Historical, Evocative, Powerful, Personal √ Historical sources of some of the poetic language: spirituals, hymns, abolitionist songs, WANTED posters, voices of slaves, the voice of Harriet Tubman. √ Reiteration and Alliteration: “Catch them if you can….”; “she says”; “movering, movering”; “Mean (mean mean) to be free”; “brethren brethren”; “air”; “leaves”; “No more”; “Some go (some in)”; “for me”; “darkness”; “beckoning beckoning”; “and the hunters pursuing and the hounds pursuing”; “and the night cold and the night long”; “keep on going”; “when you try to catch them”; “Many thousands”; “If you see”; “woman of earth, whipscarred, a summoning, a shining”; “Tell me . -
The Poetry Handbook I Read / That John Donne Must Be Taken at Speed : / Which Is All Very Well / Were It Not for the Smell / of His Feet Catechising His Creed.)
Introduction his book is for anyone who wants to read poetry with a better understanding of its craft and technique ; it is also a textbook T and crib for school and undergraduate students facing exams in practical criticism. Teaching the practical criticism of poetry at several universities, and talking to students about their previous teaching, has made me sharply aware of how little consensus there is about the subject. Some teachers do not distinguish practical critic- ism from critical theory, or regard it as a critical theory, to be taught alongside psychoanalytical, feminist, Marxist, and structuralist theor- ies ; others seem to do very little except invite discussion of ‘how it feels’ to read poem x. And as practical criticism (though not always called that) remains compulsory in most English Literature course- work and exams, at school and university, this is an unwelcome state of affairs. For students there are many consequences. Teachers at school and university may contradict one another, and too rarely put the problem of differing viewpoints and frameworks for analysis in perspective ; important aspects of the subject are omitted in the confusion, leaving otherwise more than competent students with little or no idea of what they are being asked to do. How can this be remedied without losing the richness and diversity of thought which, at its best, practical criticism can foster ? What are the basics ? How may they best be taught ? My own answer is that the basics are an understanding of and ability to judge the elements of a poet’s craft. Profoundly different as they are, Chaucer, Shakespeare, Pope, Dickinson, Eliot, Walcott, and Plath could readily converse about the techniques of which they are common masters ; few undergraduates I have encountered know much about metre beyond the terms ‘blank verse’ and ‘iambic pentameter’, much about form beyond ‘couplet’ and ‘sonnet’, or anything about rhyme more complicated than an assertion that two words do or don’t. -
Audible Punctuation Performative Pause In
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/140838 Please be advised that this information was generated on 2021-09-25 and may be subject to change. AUDIBLE PUNCTUATION Performative Pause in Homeric Prosody Audible Punctuation: Performative Pause in Homeric Prosody Proefschrift ter verkrijging van de graad van doctor aan de Radboud Universiteit Nijmegen op gezag van de rector magnificus prof. dr. Th.L.M. Engelen, volgens besluit van het college van decanen in het openbaar te verdedigen op donderdag 21 mei 2015 om 14.30 uur precies door Ronald Blankenborg geboren op 23 maart 1971 te Eibergen Promotoren: Prof. dr. A.P.M.H. Lardinois Prof. dr. J.B. Lidov (City University New York, Verenigde Staten) Manuscriptcommissie: Prof. dr. M.G.M. van der Poel Prof. dr. E.J. Bakker (Yale University, Verenigde Staten) Prof. dr. M. Janse (Universiteit Gent, België) Copyright©Ronald Blankenborg 2015 ISBN 978-90-823119-1-4 [email protected] [email protected] All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the author. Printed by Maarse Printing Cover by Gijs de Reus Audible Punctuation: Performative Pause in Homeric Prosody Doctoral Thesis to obtain the degree of doctor from Radboud University Nijmegen on the authority of the Rector Magnificus prof. -
National Conference on Science and the Law Proceedings
U.S. Department of Justice Office of Justice Programs National Institute of Justice National Conference on Science and the Law Proceedings Research Forum Sponsored by In Collaboration With National Institute of Justice Federal Judicial Center American Academy of Forensic Sciences National Academy of Sciences American Bar Association National Center for State Courts NATIONAL CONFERENCE ON SCIENCE AND THE LAW Proceedings San Diego, California April 15–16, 1999 Sponsored by: National Institute of Justice American Academy of Forensic Sciences American Bar Association National Center for State Courts In Collaboration With: Federal Judicial Center National Academy of Sciences July 2000 NCJ 179630 Julie E. Samuels Acting Director National Institute of Justice David Boyd, Ph.D. Deputy Director National Institute of Justice Richard M. Rau, Ph.D. Project Monitor Opinions or points of view expressed in this document are those of the authors and do not necessarily reflect the official position of the U.S. Department of Justice. The National Institute of Justice is a component of the Office of Justice Programs, which also includes the Bureau of Justice Assistance, Bureau of Justice Statistics, Office of Juvenile Justice and Delinquency Prevention, and Office for Victims of Crime. Preface Preface The intersections of science and law occur from crime scene to crime lab to criminal prosecution and defense. Although detectives, forensic scientists, and attorneys may have different vocabularies and perspectives, from a cognitive perspective, they share a way of thinking that is essential to scientific knowledge. A good detective, a well-trained forensic analyst, and a seasoned attorney all exhibit “what-if” thinking. This kind of thinking in hypotheticals keeps a detective open-minded: it prevents a detective from ignoring or not collecting data that may result in exculpatory evidence. -
I. a Humanist John Merbecke
Durham E-Theses Renaissance humanism and John Merbecke's - The booke of Common praier noted (1550) Kim, Hyun-Ah How to cite: Kim, Hyun-Ah (2005) Renaissance humanism and John Merbecke's - The booke of Common praier noted (1550), Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2767/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Renaissance Humanism and John Merbecke's The booke of Common praier noted (1550) Hyun-Ah Kim A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Durham University Department of Music Durham University .2005 m 2001 ABSTRACT Hyun-Ah Kim Renaissance Humanism and John Merbecke's The booke of Common praier noted (1550) Renaissance humanism was an intellectual technique which contributed most to the origin and development of the Reformation. -
Image and Influence: the Political Uses of Music at the Court of Elizabeth I
Image and Influence: The Political Uses of Music at the Court of Elizabeth I Katherine Anne Butler Royal Holloway, University of London Submitted for the Degree of Doctor of Philosophy Acknowledgements With thanks to all the people who supported me throughout my research, especially: My supervisor, Stephen Rose, My advisors, Elizabeth Eva Leach and Anna Whitelock, The Arts and Humanities Research Council for funding this research, Royal Holloway Music Department for conference grants, My proofreaders, Holly Winterton, Sarah Beal, Janet McKnight and my Mum, My parents and my fiancé, Chris Wedge, for moral support and encouragement. Declaration of Authorship I, Katherine Butler, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Abstract In their Cantiones sacrae (1575), court musicians William Byrd and Thomas Tallis declared that ‘music is indispensable to the state’ (necessarium reipub.). Yet although the relationship between Elizabethan politics and literature has been studied often, there has been little research into the political functions of music. Most accounts of court music consist of documentary research into the personnel, institutions and performance occasions, and generally assume that music’s functions were limited to entertainment and displays of magnificence. However, Elizabethans believed that musical concord promoted a social harmony that would ease the process of government; hence politics and music were seen as closely connected. This thesis is an interdisciplinary investigation into the role of music in constructing royal and courtly identities and influencing Elizabeth’s policies and patronage.