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Leitmotif associated with Siegfried's horn call in Richard Wagner's 1876 opera, Siegfried. A leitmotif or Leitmotiv [1] (/ ˌ l aɪ t m oʊ ˈ t iː f /) is a "short, recurring musical phrase" [2] associated with a particular person, place, or idea.
A recurring passage rolled chord See Arpeggio rondo A musical form in which a certain section returns repeatedly, interspersed with other sections: ABACA is a typical structure or ABACABA roulade (Fr.) A rolling (i.e. a florid vocal phrase) rubato Stolen, robbed (i.e. flexible in tempo), applied to notes within a musical phrase for expressive ...
1970s-era funk music often takes a short one or two bar musical figure based on a single chord one would consider an introduction vamp in jazz or soul music, and then uses this vamp as the basis of the entire song ("Funky Drummer" by James Brown, for example). Jazz, blues, and rock are almost always based on chord progressions (a sequence of ...
The larger Sunday crossword, which appears in The New York Times Magazine, is an icon in American culture; it is typically intended to be a "Wednesday or Thursday" in difficulty. [7] The standard daily crossword is 15 by 15 squares, while the Sunday crossword measures 21 by 21 squares.
A phrase is a substantial musical thought, which ends with a musical punctuation called a cadence. Phrases are created in music through an interaction of melody, harmony, and rhythm. [3] Giuseppe Cambini—a composer, violinist, and music teacher of the Classical period—had this to say about bowed string instruments, specifically violin ...
The New York Times has used video games as part of its journalistic efforts, among the first publications to do so, [13] contributing to an increase in Internet traffic; [14] In the late 1990s and early 2000s, The New York Times began offering its newspaper online, and along with it the crossword puzzles, allowing readers to solve puzzles on their computers.
In traditional music, repetition is a device for creating recognizability, reproduction for the sake of the music notes of that specific line and the representing ego. In repetitive music, repetition does not refer to eros and the ego, but to the libido and to the death instinct." Repetitive music has also been linked with Lacanian jouissance.
A phrase originally presented as a motif may become a figure which accompanies another melody, as in the second movement of Claude Debussy's String Quartet (1893). [8] Play ⓘ White would classify the accompaniment as motivic material since it was, "derived from an important motive stated earlier".