Symhpony

Literally "song" in Italian, a canzone (plural: canzoni ) (cognate with English to chant ) is an Italian or Provençal song or ballad. It is also used to describe a type of lyric which resembles a madrigal. Sometimes a composition which is simple and songlike is designated as a canzone, especially if it is by a non-Italian; a good example is the aria "Voi che sapete" from Mozart's Marriage of Figaro.

The term canzone is also used interchangeably with canzona, an important Italian instrumental form of the late 16th and early 17th century. Often works designated as such are canzoni da sonar ; these pieces are an important precursor to the sonata. Terminology was lax in the late Renaissance and early Baroque music periods, and what one composer might call "canzoni da sonar" might be termed "canzona" by another, or even "fantasia". In the work of some composers, such as Paolo Quagliati, the terms seem to have had no formal implication at all.

See also

• Chanson, a genre derived from the French version of the word

Derived from the Provençal canso , the very lyrical and original Italian canzone consists of 5 to 7 stanzas typically set to music, each stanza resounding the first in rhyme scheme and in number of lines (7 to 20 lines). The canzone is typically hendecasyllabic (11 syllables). The congedo or commiato also forms the pattern of the Provençal tornado , known as the French envoi , addressing the poem itself or directing it to the mission of a character, originally a personage. Originally delivered at the Sicilian court of Emperor Frederick II during the 13th century of the Middle Ages, the lyrical form was later commanded by Dante, Petrarch, Boccaccio, and leading Renaissance writers such as Spenser (the marriage hymn in his Epithalamion ).

A mermaid (from the Middle English mere in the obsolete sense 'sea' (as in maritime , the Latin mare, "sea") + maid(en) ) is a legendary aquatic creature with the head and torso of human female and the tail of a fish. The male version of a mermaid is called a merman; gender-neutral plurals could be merpeople or merfolk . Various cultures throughout the world have similar figures.

Much like sirens, mermaids would sometimes sing to sailors and enchant them, distracting them from their work and causing them to walk off the deck or cause shipwrecks. Other stories would have them squeeze the life out of drowning men while trying to rescue them. They are also said to take them down to their underwater kingdoms. In Hans Christian Andersen's The Little Mermaid it is said that they forget that humans cannot breathe underwater, while others say they drown men out of spite.

The Sirens of Greek mythology are sometimes portrayed in later folklore as mermaid-like; in fact, some languages use the same word for both creatures. Other related types of mythical or legendary creature are water fairies (e.g. various water nymphs) and selkies, animals that can transform themselves from seals to humans.

Prior to the mid 19th century, mariners referred to Manatee and Dugongs as mermaids.

In music, a melody , also tune , voice , or line , is a series of linear events or a succession, not a simultaneity as in a chord (see harmony). However, this succession must contain change of some kind and be perceived as a single entity (possibly Gestalt) to be called a melody. Most specifically this includes patterns of changing pitches and durations, while most generally it includes any interacting patterns of changing events or quality. "Melody is said to result where there are interacting patterns of changing events occurring in time."

Change is necessary for events "to be understood as related or unrelated." Melodies often consist of one or more musical phrases, motifs, and are usually repeated throughout a song or piece in various forms. Melodies may also be described by their melodic motion or the pitches or the intervals between pitches (predominantly conjuct or disjunct or with further restrictions), pitch range, tension and release, continuity and coherence, cadence, and shape. "Many extant explanations confine us to specific stylistic models, and they are too exclusive."