Described in minute detail, as in Tell me about last night's party, blow by blow. This term originated in radio broadcasts during the 1930s, in which the sportscaster gave a detailed account of each punch struck in a boxing match. It soon was transferred to a detailed account of anything at all.
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection, The New York Public Library. "["Blow, blow, little breeze, And Conrad's hat seize."]" The New York Public Library Digital Collections. 1920. -5725-2471-e040-e00a18063653
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The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection, The New York Public Library. "["Blow, blow, little breeze, And Conrad's hat seize."]" New York Public Library Digital Collections. Accessed December 2, 2023. -5725-2471-e040-e00a18063653
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection, The New York Public Library. (1920). ["Blow, blow, little breeze, And Conrad's hat seize."] Retrieved from -5725-2471-e040-e00a18063653
The numbers pop up. Ugh; down from my last appointment. But, it was just my first blow. I still have two more tries, at least. I can still bring the numbers up. I shrug it off and nervously laugh at the RT and say, "Well, that was just my practice blow." And then I repeat the process, again.
While he lived in New York, Parker developed many relationships with fellow\r\n musicians that led to frequent performances of his compositions. One of these\r\n relationships was with Frank Van der Stucken, the conductor of the New York\r\n Arion Society male chorus. Van der Stucken's choir performed many of\r\n Parker's works for male chorus, and may have taken his part-song Blow,\r\n Blow, Thou Winter Wind, op. 14, on its first European tour in 1892. This setting\r\n of William Shakespeare's poem from As You Like It features effective\r\n word painting and text declamation, for example, the repetitive crescendos on the\r\n word \"blow\" and \"freeze\" and the descriptive snap rhythm\r\n of \"holly\" and \"jolly.\" The ornamental piano accompaniment\r\n adds vivid color to the work's texture; its compound meter provides\r\n an unsettling contrast to the duple rhythm of the choral parts. Written\r\nin 1888, the octavo was not published until 1892 by G. Schirmer.
When icicles hang by the wall, 1862. Unknown engraver, after a drawing by Sir John Gilbert, history painter and draughtsman, 1817-1897. Etching. Illustration of the song "When icicles hang by the wall" from Shakespeare's Love's Labours Lost, act 5, scene 2, in The Poets of the Elizabethan Age. London: Sampson Low, Son, Co., 1862, 38. General Collections, Library of Congress. LC call number: PR1207. P6 Copy 2While he lived in New York, Parker developed many relationships with fellow musicians that led to frequent performances of his compositions. One of these relationships was with Frank Van der Stucken, the conductor of the New York Arion Society male chorus. Van der Stucken's choir performed many of Parker's works for male chorus, and may have taken his part-song Blow, Blow, Thou Winter Wind, op. 14, on its first European tour in 1892. This setting of William Shakespeare's poem from As You Like It features effective word painting and text declamation, for example, the repetitive crescendos on the word "blow" and "freeze" and the descriptive snap rhythm of "holly" and "jolly." The ornamental piano accompaniment adds vivid color to the work's texture; its compound meter provides an unsettling contrast to the duple rhythm of the choral parts. Writtenin 1888, the octavo was not published until 1892 by G. Schirmer.
Blow, blow, thou winter wind. This poem, from Act II Scene 7 of Shakespeare's As You Like it, is a very popular setting for musical compositions. Stephen Chatman's version premiered in 1992, but was first published in 1995. Written for mixed voice chorus and piano, it was commissioned by the Choral Music Association of Calgary for the Mount Royal Youth Choir. Harry Freedman's work for unaccompanied choir was composed in 1974, commissioned by the Canada Council for the Arts. Alfred Kunz wrote his version in 1981 for mixed chorus. be457b7860
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