Search results
Results from the WOW.Com Content Network
In Old English, the caesura has come to represent a pronounced pause in order to emphasize lines in Old English poetry that would otherwise be considered to be a droning, monotonous line. [5] This makes the caesura arguably more important to the Old English verse than it was to Latin or Greek poetry. In Latin or Greek poetry, the caesura could ...
A jazz term which instructs chord-playing musicians such as a jazz pianist or jazz guitarist to perform a dominant (V7) chord with at least one (often both) altered (sharpened or flattened) 5th or 9th altissimo Very high; see also in altissimo alto High; often refers to a particular range of voice, higher than a tenor but lower than a soprano
Lyrics often contain political, social, and economic themes—as well as aesthetic elements—and so can communicate culturally significant messages. These messages can be explicit, or implied through metaphor or symbolism. Lyrics can also be analyzed with respect to the sense of unity (or lack of unity) it has with its supporting music.
Called ðæt in Old English; now called eth or edh. Derived from the insular form of d with the addition of a cross-bar. Both þ and ð could represent either allophone of /θ/, voiceless [θ] or voiced [ð], but some texts show a tendency to use þ at the start of words and ð in the middle or at the end of a word. [51]
The Old English phoneme /f/ descended in some cases from Proto-Germanic *f, which became [v] between voiced sounds as described above. But /f/ also had another source. In the middle or at the end of words, Old English /f/ was often derived from Proto-Germanic * [β] (also written *ƀ), a fricative allophone of the phoneme *b.
This is a list of English words inherited and derived directly from the Old English stage of the language. This list also includes neologisms formed from Old English roots and/or particles in later forms of English, and words borrowed into other languages (e.g. French, Anglo-French, etc.) then borrowed back into English (e.g. bateau, chiffon, gourmet, nordic, etc.).
Ælfric also wrote an Old English work on time-reckoning, and pastoral letters. [71] In the same category as Ælfric, and a contemporary, was Wulfstan II, archbishop of York. His sermons were highly stylistic. His best known work is Sermo Lupi ad Anglos in which he blames the sins of the English for the Viking invasions.
The second revival was generally left wing in politics and emphasised the work music of the 19th century and previously neglected forms like erotic folk songs. [4] Topic Records, founded in 1939, provided a major source of folk recordings. [17] The revival resulted in the foundation of a network of folk clubs in major towns, from the 1950s. [21]