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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.
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.
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.
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.
No man is an island, entire of itself; no man is an island, entire of itself; every man is a piece of the continent, a part of the main. If a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friends or of thine own were.
This score for Handel's Lascia ch'io pianga shows the simple accompaniment for a recitative; much of the time, the basso continuo (the lower staff in bass clef) play half notes and whole notes underneath the vocalist's recitative part.
Due to his sudden and early death, Gibbons' output was not as large as that of his older contemporary William Byrd, [1] but he still managed to produce various secular and sacred polyphonic vocal works, including consort songs, services, more than 40 full anthems and verse anthems, a set of 20 madrigals as well as at least 20 keyboard works and ...
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