From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #10794 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Sunday, February 26 2023 Volume 14 : Number 10794 Today's Subjects: ----------------- You have won an Ninja Air Fryer Celebrating Bed Bath & Beyond anniversary with an Ninja Air Fryer ["Bed Bath & Beyond Customer Support" Subject: You have won an Ninja Air Fryer Celebrating Bed Bath & Beyond anniversary with an Ninja Air Fryer You have won an Ninja Air Fryer Celebrating Bed Bath & Beyond anniversary with an Ninja Air Fryer http://gutterguardian.today/4iSwT-bmz22wPFV8qvh_7RnGK5kL-wB2_RtR88dJDZV2uOsaXw http://gutterguardian.today/xJCqX16m7Y-Zy6B4xgC95cFIFTjS11JSmSGGFYzKYisiS_o6Vg horal music changed during the Baroque era; passion and emotion, contrasting dynamics, timbre and musical texture were introduced, and monody was replaced by polyphony. The new polychoral culture became known as the partesnyy ("singing in parts") style. During the 19th century, Znamenny chants were gradually superseded by newer ones, such as the Kyiv chant, which in their turn, were replaced by music that was closer to recitative. Most Znamenny melodies gradually become lost or forgotten. In the early 19th century, music in West-European was making the transition from classical to predominantly Romantic, having earlier shifted away from the Baroque style. The tradition of Russian church music can be traced back to Dmitry Bortniansky, who revered the Russian liturgical musical tradition. The early part of the 19th century was a period which marked a low ebb in the fortunes of traditional Russian music. Bortniansky studied in Venice before eventually becoming the director of music at the court chapel in St Petersburg in 1801. Composing in an era when attempts were being made to suppress the Russian Empire's cultural heritage, Bortniansky's choral concertos, set to texts in Russian, were modelled on counterpoint, the concerto grosso and Italian instrumental music. Under him, the Imperial Court Chapel expanded its role so it influenced, and eventually controlled, church choral singing throughout the Russian Empire. Vedel followed Bortniansky in combining the Italian Baroque style to ancient Russian hymnody, at a time when classical influences were being introduced into Ukrainian choral music, such as four-voice polyphony, the ------------------------------ Date: Fri, 24 Feb 2023 11:30:18 +0100 From: "Portable WiFi" Subject: Internet.connection.anywhere.anytime.for.anyone Internet.connection.anywhere.anytime.for.anyone http://venmosurvey.today/h-JRSlp_iOAWcWlaSK9lwOyWWAjdvvV1d5Xj4CnsnwRw_plQCA http://venmosurvey.today/35MoTXaLd3UhRSKxrRiS3kPHttxPKSSudIIO_1udc6D1XTzfEQ he musicologists Ihor Sonevytsky and Marko Robert Stech consider Vedel to be the archetypal composer of Ukrainian music from the Baroque era. An outstanding tenor singer, he was one of the best choral conductors of his time. He helped to raise the standard of choral singing in Ukraine to previously unknown levels. Vedel was considered during his lifetime to be a traditional and conservative composer, in contrast to his older contemporaries Berezovsky and Bortniansky. Unlike Vedel, they composed secular, non-spiritual works. He was a famous violinist, but no music by Vedel for the violin is documented. His works, perhaps even more than those of Berezovsky or Bortnyansky, represented a development in Ukrainian musical culture. According to Koshetz, Vedel's music was based on Ukrainian folk melodies. Vedel's music was written at a time when Western music had largely emerged from the Renaissance and Baroque eras. The style of his compositions reflected two contrasting traditions. He was strongly influenced by the baroque traditions of the Ukrainian hetman culture, with its religious-mystical music linked with ideas about spiritual enlightenment, but was also influenced by developments in new operatic and instrumental styles emerging from Western Europe at that time ------------------------------ Date: Thu, 23 Feb 2023 13:42:45 +0100 From: "Rots your Teeth" Subject: Why cavemen had no cavities (plus "healthy" foods that rot your teeth) Why cavemen had no cavities (plus "healthy" foods that rot your teeth) http://bbwdatings.us/-84ga_P6zonmk9vABw7EdP4ej_uWKzpHG7fGVro_ytmpxXhfPA http://bbwdatings.us/ef4E4wZZhXETVwGU-cX7nvReY0LmOGftKHmN_w31___WGoeR1g e Overlord planners had identified a need for shallow-draft vessels, and the Combined Chiefs of Staff had allocated 625,000 deadweight tons (635,000 deadweight tonnes) of coasters for the first six weeks of the operation. This represented about two-thirds of the British coaster fleet, on which critical industries depended for the transport of iron, coal and other commodities. The allocation of so much coastal shipping to Overlord entailed temporarily shutting down a quarter of the UK's blast furnaces. The British therefore wanted the shipping returned as soon as possible. It was planned that after the first six weeks, the allocation to Overlord would be reduced to 250,000 deadweight tons (254,000 deadweight tonnes). Under the circumstances, the coasters could not be released. Some 560,000 deadweight tons (570,000 deadweight tonnes) of coasters were still engaged in the cross-Channel run in September, and this actually rose to over 600,000 deadweight tons (610,000 deadweight tonnes) in November. The crux of the problem was slow turnaround times. A survey of coaster movements in late October and early November found that 63 round trip voyages had required 1,422 ship-days instead of the planned 606. Diversions to alternate ports, increasingly bad weather, and vessels being laid up for repairs all contributed to this situation. Between 20 and 25 percent of the coaster fleet was laid up for repairs in November and December. Not until December, after the opening of the port of Antwerp, was it possi ------------------------------ Date: Thu, 23 Feb 2023 11:46:01 +0100 From: "Klaudena" Subject: Sit comfortably everywhere you go Sit comfortably everywhere you go http://macfeesurvey.today/R-5T5cIGuiOCTG__5P3BRDOR7svEobbDFJYtjNHwf2z2uRLBdg http://macfeesurvey.today/4ns7rSyTGWXXwuJl7umsZukZDKmytw1pdI2U1JK2Ac1D8OHwRA ontrol over the Advance Section (ADSEC) of COMZ as the senior American commander on the continent. As such, he had prescribed stock levels in the depots and priorities for the delivery of supplies, and apportioned service units between the armies and the Communications Zone. Bradley believed that as the senior operational commander he should exercise such authority, as was the case in the British forces. Under the American organization, COMZ headquarters also functioned as the headquarters of the European Theater of Operations, United States Army (ETOUSA). The Allied commanders pushed their forces to the limits logistically to take advantage of the chaotic German retreat. By 3 August, Patton's Third Army was advancing into Brittany. Bradley ordered Patton to turn east, leaving only minimal forces behind. This decision entailed grave risk, for under the Operation Overlord plan, the ports of Lorient and Quiberon Bay were to be developed for the logistical support of the American forces under the codename Operation Chastity. This was the first in a series of critical decisions that subordinated logistical considerations to short-term operational advantage. A mechanic stands atop a pile of wrecked vehicles and says: "I'll be derned. Here's one what wuz wrecked in combat." Stars and Stripes cartoon by Bill Mauldin In mid-August, Eisenhower decided to continue the pursuit of the retreating German forces beyond the Seine. This stretched the logistical system. Between 25 August and 12 September, the Allied armies advance ------------------------------ End of alt.music.moxy-fruvous digest V14 #10794 ***********************************************