Summary Of A Song For St. Cecilia's Day

The interesting fact about this composition is that the tempo is expressive of “religious solemnity” (Pilich). Obviously one can comprehend the fact that music contains not only mere words but can foster certain emotions that are associated with a particular piece of music.

Since it does, when reading each line, there is a resilient connection that allows the reader to put together and feel for what the narrator is speaking of. As each line is metrically linked, the words are further recited in a durable voice and the poem is virtually put together, musically. In the first and second lines of the third stanza, an apostrophe, a figure of speech that directly addresses an absent person or entity, is presented, “We smile, but O great Christ, our cries to thee from tortured souls arise.”

The longest fragment of Alcman consists of the hundred or so lines, complete or partial, of his parthenion or maiden song. It seems to have been sung by a choir of girls at a religious festival before dawn, competing in music and beauty with another choir… Its swift simplicity, brilliant images and melodic beauty convey the grace and gaiety of an archaic world. ‘’

In the third stanza, the diction of “heaven” and “noble” allows the speaker to craft an image of an almost godlike juggler. This view of the juggler creates the tone of amazement and ardent which breaks through the previous gloomy description of the earth in the first stanza which “falls/ So in our hearts from brilliance” (lines 3-4). This reveals that the world the juggler has made, unlike the earth which the speaker doesn’t appear to have fond feelings of, is a joyful and light-hearted place that the speaker is easily captivated by. As the juggler “reels that heaven in” (line 16), creates an atmosphere of an almost unearthly experience. This description of the juggler as a master of spiritual elements allows readers to view how the speaker's attitude is uplifted and enlightened.

To help Year Twelve students that are studying poetry appreciate it's value, this pamphlet's aim is to discuss a classic poem and a

A. The verse and tone of Ordo Virtutum contributes to the overarching theme of holiness and righteousness within the piece.

5. An article titled “the Free Verse Spectrum,” by Eleanor Berry, which appeared in the continuously paginated journal College English, volume 59, in December 1997, on pages 873-897.

According to their website, their songs express who God is and who we are in Him; capturing new and fresh expressions of worship.

to lend meaning to the poem beyond its existence as a work of historic fiction

     The structure of the last three stanzas leaves us hanging from each one. If there was a song to this as music would rise in volume and pitch at each of the final stanza lines. If you read the poem right, the lines seem to echo in your head and slow your progress to the next stanza.

Beethoven contributed one of the most significant musical developments through his fifth and ninth symphonies. He used a musical motive as the basic of his entire piece. (Beethoven described the motive as “Fate knocks at the door”.) It was the first time in history that anyone had done such a thing for a multi-movement piece. Beethoven’s contribution has become a norm in the music world, even to this day.

This premise is predicated on the hypothesis that music plays an independent and important role within scripture itself; that is to be an elevated carrier for liturgy and prayer, the use of which is mandated by God for corporate worship. Both corporate worship and individual faith would suffer if music were removed. As an act of worshipping obedience, and a way of more readily understanding and relating to God, we will examine

poem is not merely a static, decorative creation, but that it is an act of communication between the poet and

Because the poem is long, it won’t be quoted extensively here, but it is attached at the end of the paper for ease of reference. Instead, the paper will analyze the poetic elements in the work, stanza by stanza. First, because the poem is being read on-line, it’s not possible to say for certain that each stanza is a particular number of lines long. Each of several versions looks different on the screen; that is, there is no pattern to the number of lines in each stanza. However, the stanzas are more like paragraphs in a letter than

• A change of pace in the chorus’s speech signals that the chorus have become narrators outside the action of the play and are given divine wisdom and knowledge “The gods breathe power through my song”