Search results
Results from the WOW.Com Content Network
A symphonic poem or tone poem is a piece of orchestral music, usually in a single continuous movement, which illustrates or evokes the content of a poem, short story, novel, painting, landscape, or other (non-musical) source.
The following is a brief summary of the history of the development of the telephone: Antonio Meucci's telephone. Reis's telephone around 1861, first device called telephone [22] A French Gower telephone of 1912 at the Musée des Arts et Métiers in Paris
The poem appears to the reader like a piece of found poetry. [4] Metrically, the poem exhibits no regularity of stress or of syllable count. Except for lines two and five (each an iamb) and lines eight and nine (each an amphibrach), no two lines have the same metrical form. [4]
The Telephone and Its Several Inventors: A History. Jefferson, NC: McFarland & Co. Evenson, A. Edward (2000). The Telephone Patent Conspiracy of 1876: The Elisha Gray – Alexander Bell Controversy. Jefferson, NC: McFarland & Co. Fischer, Claude S. (1994) America calling: A social history of the telephone to 1940 (Univ of California Press, 1994)
Lord Kelvin describes the telephone as "the greatest by far of all the marvels of the electric telegraph". [6] 10 August 1876: Alexander Graham Bell makes the world's first long-distance telephone call, one-way, not reciprocal, over a distance of about 6 miles, between Brantford and Paris, Ontario, Canada.
In writing a historical poem, poets have a slightly different responsibility than do historians. A modern historian is expected to present factually correct narratives. A poet who writes historical poems can adhere to this ideal, but may also use artistic license to communicate ideas beyond mere fact, such as mythical or emotional truths.
The poem, originally titled A Visit or A Visit From St. Nicholas, was first published anonymously on Dec. 23, 1823, in a Troy, New York newspaper called The Sentinel.
The tone poems of Richard Strauss are noted as the high point of program music in the latter part of the 19th century, extending its boundaries and taking the concept of realism in music to an unprecedented level. In these works, he widened the expressive range of music while depicting subjects many times thought unsuitable for musical depiction.