accelerando


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accelerando

Music
1. (to be performed) with increasing speed
2. an increase in speed
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References in periodicals archive ?
Amplification avec des ornementations, de larges arpeges a la main gauche, augmentation de l'ambitus, fin de section accelerando. T2 Texture Tonalite majeure, + homophonique leggerio, piano et accompagnee dolce.
These unique features give rise to new resources for advocacy, like anamnesis and accelerando. At the same time, embodiment, immediacy, and immersion create the potential for new fallacies that require new standards of evaluation.
(Many of these items are transcribed in the KG notes, but, as the very existence of this facsimile edition attests, the original is always of interest.) Here one finds a table of 12-tone row permutations; a sketch in which the composer worked out the rotational chord; an excerpt from the narrator's part as it approaches the choral entrance; a note in which the composer calculated tempo markings for the accelerando at the same passage; and a sketch of the unison choral part.
"Accelerando, maestro, we have a busy dance programme, with lots of intricate excuse steps to follow."
I analyze form down to the smallest detail." Ivan Fischer, a pupil of Swarowsky's, noted that: " Toscanini was the first one to keep strictly to the score; he did not tolerate a rallentando or accelerando unless it was prescribed by the composer." And, Fischer again, speaking of Swarowsky's teaching, "If we launched into an explanation that the famous chord of the Egmont overture came directly from the depths of Hell, Swarowsky stopped to remind us that Hell had nothing to do with it; it was D minor and G major."
This stunning achievement, which may seem"mystically" rendered to some, is in fact mathematicallybuilt into tonality Not only is the dominant an overtone of the tonic,but the numerical ratio of their vibrating sounds is 3:2, which ofcourse yields not only the basic duple and triple time of classicalrhythm but of Western poetic meters, so that anticipations andsuspensions of dissonances can be mirrored in the scored syncopations ofthe rhythm, the ritardando and accelerando of the performance.
Timpani e trombe e tutto cio che, quando serra in campo le schiere, osserva Marte i suoi turbini spessi accelerando, ne la dotta sonata esprime l'arte, e tuttavia moltiplica sonando le tempeste de' groppi in ogni parte; e mentr'ei l'armonia cosi confonde, il suo competitor nulla risponde.
Among the authors participating are Brenda Cooper (The Creative Fire; The Silver Ship and the Sea), Ramez Naam (Nexus; Crux), Brad Aiken (Mind Fields), Charlie Stross (the Laundry Files series; Accelerando), Ben Bova (the Orion series; former editor of Analog magazine), and Madeline Ashby (vN).
Having said that she will concentrate on McAuley, Stableford, and Reynolds "[i]n order to delimit the corpus and sharpen my focus" (58), Herbe does not do that, diluting the focus with substantial analysis of MacLeod, Justina Robson's Natural History, Ian McDonald's River of Gods, and Charles Stross' Accelerando. Herbe makes a good case for focusing on the authors of the British boom and their novels, but seems less invested in the works she has designated (even in the subtitle of the volume) as her primary focus.
Collectively, they've conjured up countess numbers of inventions that ultimately have come to pass, from airplanes, spaceships and submarines to cell phones, electronic books, robots and computer eyewear (the latter novelty is marginal; Google Glass cannot store human memories like the spectacles worn by venture altruist Manfred Macx in Charles Stross's 2005 novel "Accelerando").
Collectively, they've conjured up countless numbers of inventions that ultimately have come to pass, from airplanes, spaceships and submarines to cell phones, electronic books, robots and computer eyewear (the latter novelty is marginal; Google Glass cannot store human memories like the spectacles worn by venture altruist Manfred Macx in Charles Stross's 2005 novel "Accelerando").