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Melodeclamation (from Greek “melos” = song, and Latin “declamatio” = declamation) was a chiefly 19th century practice of reciting poetry while accompanied by concert music. [1] It is also described as "a type of rhythmic vocal writing that bears a resemblance to Sprechstimme ."
Thomas Dunn English wrote the poem "Ben Bolt" in 1842 at the specific request of Nathaniel Parker Willis. [1] While he was then an active participant in the New York City literary scene and lived much of his life in New Jersey, English is popularly believed to have written the poem while visiting Tazewell, Virginia on a hunting trip, as claimed by regional folklorists.
The hymn was first published in 1848 in Mrs Cecil Alexander's Hymns for Little Children. [1] It consists of a series of stanzas that elaborate upon the clause of the Apostles' Creed that describes God as "maker of heaven and earth", and has been described as asserting a creationist view of the natural world.
In Ancient Rome, declamation was a genre of ancient rhetoric and a mainstay of the Roman higher education system. It was separated into two component subgenres, the controversia, speeches of defense or prosecution in fictitious court cases, and the suasoria, in which the speaker advised a historical or legendary figure as to a course of action.
Late Renaissance composers in particular were concerned with matching text up with music in such a way that the latter could be said to express the former. Madrigalists used a declamation technique known as word painting (text painting or tone painting) to make musical notes illustrate word meanings, trying literally to paint visual images with sonic materials.
Twenty-four Pieces for Children (also 24 Pieces for Children), Op. 25, is a 1936 romantic piano composition written in all twenty-four major and minor tonalities by Ukrainian pianist and composer Viktor Kosenko. [1]
The third piece, which is an arrangement of a folk tune, already presents some of the elements seen in the previous pieces, both unison and accompaniment. The fourth piece, in turn, becomes a slow tenuto piece where the melody is played with both the left and the right hand, but not in unison. The fifth piece is the longest in the set.
The work in two parts opens with a declamation by Elijah, after which the overture is played. The sections are listed in the following table, with the text in both German and English, a biblical source for the passage (the dramatic action highlighted by a background colour), and the voices. The choir is mostly four-part SATB, but up to eight parts.
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