INTERNET SEARCH

YOUR ANSWER

Friday, June 29, 2012

HEALTH

United States have found new cancer in human beings caused by Silver Nitro Oxide. Whenever you buy recharge cards,
Don’t scratch with nails as it contains Silver Nitro Oxide coating and can cause skin cancer.Share this message with your loved ones ...
Important Health Tips:> Answer phonecalls with the left ear.>
Don't take ur medicine with coldwater.... >
Don't eat heavy meals after 5pm.>
Drink more water in the morning, less at night.>
Best sleeping time is from 10 pm to 4 am>
Dont lie down immediately after taking medicine.>
When phone's battery is low to last bar, don't answer the phone, bcos the radiation is 1000 times stronger.
· Kindly forward this to ppl u care abt?I just did! Kindness costs nothing and knowledge is power.__

Saturday, June 9, 2012

A LADY WHO SAID SHE CANNOT SPEND AN HOUR WITHOUT FORNICATION AT THE AGE OF 27:



Many were saying give your life to JESUS (Mtt.1:24) for he is our Savior; yes this is the one first, basic and important step but is that all?
Such a person needs to be informed about good works that compliments faith as JESUS himself retorted ‘it is not anyone who says to me, Lord, Lord who will enter the kingdom of Heaven but the person who does the will of my Father in Heaven’ [Mtt.7:21] also St. James rightly stated “how does it help my brothers when someone who has never done a single god act claims to have faith? Will that faith bring salvation? {James 2:14}
Hence such a person needs to flee from this sin as a snake (Sirach 21:2)as well as renounce it which involves change of  environment thus
Be informed that as a human being (imago Dei; image of God: Gen.1:26-27) you are masters of everything including your passions hence “do not be governed by your passions, restrain your desires. If you allow yourself to satisfy your desires, this will make you the laughing-stock of your enemies” {Sirach 18:30-31}
Change the type of friends you keep or hang out with new ones who practice genuine Christianity not lip-service Christians (‘this people worship me with their mouths but their hearts are far away from me’ Mtt.15:8) because bad company ruins good moral (1 Cor.15:34) hence “cultivate your neighbors to the best of your ability and consult with the wise. For conversation seek the intelligent, let all your discussions bear on the law of the Most High. Have the upright for your table companions and let your pride be in fearing the Lord” {Sirach 9:14-16}.
Change the type of books you read, videos and films you buy, watch and keep around you, pictures you watch, download on your phones and laptops and hang in your rooms, shops and company’s and the places you visit because all these things are the gateways through which we feed our thoughts, thoughts control our passions and desires which manifest themselves in our speech, reasoning and actions hence “More than else, keep watch over your heart, since here are the wellsprings of life” (Prov.4:23) and ‘out of the abundance of the heart, the mouth speaks’
Change the type of clothes you wear as well as your entire fashion sense because when you wear tops that are too-tight to your breast; you always the screeching of such tops against your nipples which excites lustful passions in some women or tops that reveals your breast and makes you admire your breast more than necessary which also has been proven psychologically and medically to be a medium of sexual ecstasy on most women or those admiring you whether male or female colleagues hence you hear accusing statements and expressions of inner lust from such people as this “you are looking sexy, cute, sharp, hot e.t.c in tandem with this passage ‘…the accuser of our brethren who accuses them day and night before our God’ {Rev.12:10} while some will fornicate with you in their hearts (‘if anyone looks at a woman lustfully, he has committed fornication with her in his heart’ Mtt.5:27) as others will go home masturbating while calling your name since you are very quick at giving out your names to people who compliment your indecent dressing mode.
You need to spend more time reading the WORD (‘in the beginning was the WORD, the WORD was with GOD and the WORD was GOD’ Jn.1:1) as you implore the Holy Spirit of God (‘after making man out of the dust of the earth, He breathed into him the breath of life’ Gen.2:7) in you to aid your understanding of the Scriptures in the right sense (“any of you who lacks wisdom must ask God, who gives to all generously and without scolding; it will be given” James 1:5) as you open your self to HIS GRACE and the guidance of the Holy Spirit (‘but when you are led by the Spirit, you are not under the Law’ Gal.5:18) because with God nothing is impossible (Lk.1:37).
Men who exploit people of this category who come around you with a quest for fingering, oral-sex, fornication, massaging, and prostitution or for counseling/help/prayers should be mindful of the words of Christ (Mtt.18:6, Mk.9:42, Lk.17:1-2) “anyone who leads any of these little ones of mine into sin is better thrown into the ocean with a big-stone hung around his neck” so you better practice self-control than inflict more pains on these people who need our help.
Ladies who admire those who go on skimpy dresses like trousers, tight-tops, tight-skirts, hot-mini, see-through apparels (clothes that reveal under wear), show back/breast/tummy, shot-bomb, sleeveless e.t.c as well as other funny fashion life-style of fixing artificial nails, weavons, eye-lashes, attachments, lip-sticks, color-rioting in the name of make-ups for what God was not able to make well that depicts and often transfers the wicked and promiscuous life of Jezebel into them should be careful because all that glitters is not gold. Many who are finding it difficult to control their sexual libido and would freely open their legs to any man as well as dogs, cats, horses, rabbits their fingers, candle-sticks, banana-sticks and sexual vibrators were those who said let me just have a fling or a quickie with their boyfriends during campus days, house-boys when the husband went for a trip, office-colleague inside the comfort-room/main office behind closed doors after office hours, inside the change-over cubicle within boutiques when there is no other customer, at the back of the house when no one seems to be watching e.t.c. You sit in your grace-filled realm as a child of GOD admiring them or planning how to join their social status while they weep every second as they pray God to grant them the Grace of last return and denunciation of their present predicament. They might receive answers to their prayers towards the tail-end of their lives and they will be giving few strokes (purgatory) according to St. Luke gospel “the one who did not know, but has acted in such a way that deserves a beating, will be given fewer stokes…” (Lk.12:48) but “the servant who knows what his master wants but has got nothing ready and done nothing in accord with those wishes will be given a great many strokes of the lash” {Lk.12:47} because Ezekiel prophesied thus “if I say to someone upright: you are to live and then trusting in this uprightness, he does wrong none of the uprightness will be remembered; because of the wrong doing he will die. If however I say to someone wicked: you are to die and he turns back from sin and does what is lawful and upright, if he returns pledges, restores what he has stolen, keeps the laws that give life and no longer does wrong, he will live and will not die” (Ezek.33:13-15) but do not wait for last minute rush because the hour, time and moment that the master will come you do not know (Lk.12:35-36) in essence ‘make the best of the present time for it is a wicked age’ (Eph.5:16)by spending every passing second as if it were my (your) last. Those who died today you are not holier, healthier, stronger or better than them.

Music History


The modern state of Italy did not come into being until 1561, though the roots of music on the Italian Peninsula can be traced back to the music of Ancient Rome. However, the underpinnings of much modern Italian music come from the Middle Ages.Contents  [hide]
1 Before 1500
2 Renaissance era, 16th century
3 Baroque era, 16th – 18th centuries
4 19th century
5 References
6 Notes

[edit]
Before 1500

Italy was the site of several key musical developments in the development of the Christian liturgies in the West. Around 230, well before Christianity was legalized, the Apostolic Tradition of Hippolytus attested the singing of Psalms with refrains of Alleluia in Rome. In 386, in imitation of Eastern models, St. Ambrose wrote hymns, some of whose texts still survive, and introduced antiphonal psalmody to the West. Around 425, Pope Celestine I contributed to the development of the Roman Rite by introducing the responsorial singing of a Gradual, and Cassian, Bishop of Brescia, contributed to the development of the monastic Office by adapting Egyptian monastic psalmody to Western usage. Later, around 530, St. Benedict would arrange the weekly order of monastic psalmody in his Rule. Later, in the 6th century, Venantius Fortunatus created some of Christianity's most enduring hymns, including "Vexilla regis prodeunt," which would later become the most popular hymn of the Crusades.[1]

The Guidonian Hand

The earliest extant music in the West is plainsong,[2] a kind of monophonic, unaccompanied, early Christian singing performed by Roman Catholic monks, which was largely developed roughly between the 7th and 12th centuries. Although Gregorian chant has its roots in Roman chant and is popularly associated with Rome, it is not indigenous to Italy, nor was it the earliest nor the only Western plainchant tradition. Ireland, Spain, and France each developed a local plainchant tradition, but only in Italy did several chant traditions thrive simultaneously: Ambrosian chant in Milan, Old Roman chant in Rome, and Beneventan chant in Benevento and Montecassino. Gregorian chant, which supplanted the indigenous Old Roman and Beneventan traditions, derived from a synthesis of Roman and Gallican chant in Carolingian France. Gregorian chant later came to be strongly identified with Rome, especially as musical elements from the north were added to the Roman Rite, such as the Credo in 1014. This was part of a general trend wherein the manuscript tradition in Italy weakened and Rome began to follow northern plainchant traditions. Gregorian chant supplanted all the other Western plainchant traditions, Italian and non-Italian, except for Ambrosian chant, which survives to this day. The native Italian plainchant traditions are notable for a systematic use of ornate, stepwise melodic motion within a generally narrower range, giving the Italian chant traditions a smoother, more undulating feel than the Gregorian.[3] Crucial in the transmission of chant were the innovations of Guido d'Arezzo, whose Micrologus, written around 1020, described the musical staff, solmization, and the Guidonian hand (image, right). This early form of do-re-mi created a technical revolution in the speed at which chants could be learned, memorized, and recorded. Much of the European classical musical tradition, including opera and symphonic and chamber music can be traced back to these Italian medieval developments in musical notation,[4] formal music education and construction techniques for musical instruments.

Even as the northern chant traditions were displacing indigenous Italian chant, displaced musicians from the north contributed to a new thriving musical culture in 12th-century Italy. The Albigensian Crusade, supposedly to attack Cathar heretics, brought southern France under northern French control and crushed Occitan culture and language. Most troubadours fled, especially to Spain and Italy. Italy developed its own counterparts to troubadours, called trovatori, including Sordello of Mantua. Frederick II, the last great Hohenstaufen Holy Roman Emperor and King of Sicily, encouraged music at the Sicilian court, which became a refuge for these displaced troubadours, where they contributed to a melting pot of Christian, Jewish, and Muslim musical styles. Italian secular music was largely the province of these jongleurs, troubadors, and mimes.[5] One important consequence of the troubadour influence during this period, in Italy and across Europe, was the gradual shift from writing strictly in Latin to the local language, as championed by Dante in his treatise De vulgari eloquentia; this development extended to the lyrics of popular songs and forms such as the madrigal,[6] meaning "in the mother tongue." Also around this time, Italian flagellants developed the Italian folk hymns known as spiritual laude.

Between 1317 and 1319, Marchettus of Padua wrote the Lucidarium in artae musicae planae and the Pomerium artis musicae mensuratae, major treatises on plainchant and polyphony, expounding a theory of rhythmic notation that paved the way for Trecento music (Italian ars nova). Around 1335, the Rossi Codex, the earliest extant collection of Italian secular polyphony, included examples of indigenous Italian genres of the Trecento including early madrigals, cacce, and ballate. The early madrigal was simpler than the more well-known later madrigals, usually consisting of tercets arranged polyphonically for two voices, with a refrain called a ritornello. The caccia was often in three-part harmony, with the top two lines set to words in musical canon. The early ballata was often a poem in the form of a virelai set to a monophonic melody.[7] The Rossi Codex included music by Jacopo da Bologna, the first famous Trecento composer.

The Ivrea Codex, dated around 1360, and the Squarcialupi Codex, dated around 1410, were major sources of late Trecento music, including the music of Francesco Landini, the famous blind composer. Landini's name was attached to his characteristic "Landini cadence," in which the final note of the melody dips down two notes before returning, such as C-B-A-C. Trecento music influenced northern musicians such as Johannes Ciconia, whose synthesis of the French and Italian styles presaged the "international" music typical of the Renaissance.

During the 15th century, Italy entered a slow period in native composition, with the exception of a few bright lights such as the performer and anthologist Leonardo Giustinian. As the powerful northern families such as the d'Este and Medici built up powerful political dynasties, they brought northern composers of the Franco-Flemish school such as Josquin and Compère to their courts. Starting in the last decades of the century, Italian composers such as Marchetto Cara and Bartolomeo Tromboncino wrote light, courtly songs called frottole for the Mantuan court of Isabella d'Este. With the support of the Medici, the Florentine Mardi Gras season led to the creation of witty, earthy carnival songs called canti carnascialeschi.
[edit]
Renaissance era, 16th century
For more details, see also Roman School, Venetian School, Venetian polychoral style, Music of Venice

Saint Mark's in Venice. The spacious, resonant interior was one of the inspirations for the music of the Venetian School.

The 16th century saw the advent of printed polyphonic music and advances in instrumental music, which contributed to the international distribution of music characteristic of the Renaissance. In 1501, Ottaviano dei Petrucci published the Harmonice Musices Odhecaton, the first substantial collection of printed polyphonic music, and in 1516, Andrea Antico published the Frottole intablate da sonari organi, the earliest printed Italian music for keyboard. Italy became the primary center of harpsichord construction, violin production started in Cremona in the workshop of Andrea Amati, and lutenist Francesco Canova da Milano earned Italy an international reputation for virtuosic musicianship.[8]

Carlo Gesualdo, Prince of Venosa.

Music achieved new heights of cultural respectability. Castiglione's The Book of the Courtier recommended proficiency at music as a courtly virtue, and Santa Maria di Loreto, the first music conservatory, was built in Naples. Adrian Willaert developed music for double chorus at St. Mark's in Venice. This tradition of Venetian polychoral music would reach its height in the early baroque music of Giovanni Gabrieli. Unlike the earlier, simpler madrigals of the Trecento, madrigals of the 16th century were written for several voices, often by non-Italians brought into the wealthy northern courts. Madrigalists aspired to create high art, often using the refined poetry of Petrarchan sonnets, and utilizing musically sophisticated techniques such as text painting. Composers such as Cipriano de Rore and Orlando di Lasso experimented with increasing chromaticism, which would culminate in the mannerist music of Carlo Gesualdo. In 1558, Gioseffo Zarlino, the premier musical theorist of the period, wrote the Istitutioni harmoniche, which addressed such practical musical issues as invertible counterpoint. Lighter music was represented by the villanella, which originated in popular songs of Naples and spread throughout Italy.

Music was not immune to the politically charged atmosphere of Renaissance Italy. In 1559, Antonio Gardano published Musica nova, whose politically pro-republican partisan songs pleased the northern Italian republics and riled the Church.[9] In 1562-1563, the third portion of the Council of Trent addressed issues of music in the Church. Most paraliturgical music, including all but four Sequences were banned. An outright ban on polyphonic music was debated behind the scenes, and guidelines were issued requiring that church music have clear words and a pure, uplifting style. Although the tales of Giovanni Pierluigi da Palestrina "rescuing" polyphony with the Missa Papae Marcelli are no longer accepted by scholars, Palestrina's music remains the paradigm of the musical aesthetic promoted by the Church.[10] Shortly afterwards, in 1614, the Editio medicea (Medicean Edition) of Gregorian chant was released, rewriting the Gregorian chant repertory to purge it of perceived corruptions and barbarisms, and return it to a "purer" state closer in style to Palestrinian melodies.

In the late 16th century and early 17th century, composers began pushing the limits of the Renaissance style. Madrigalism reached new heights of emotional expression and chromaticism in what Claudio Monteverdi called his seconda pratica (second practice), which he saw originating with Cipriano de Rore and developing in the music of composers such as Luca Marenzio and Giaches de Wert. This music was characterized by increased dissonance and by sections of homophony, which led to such traits of the early baroque as unequal voices where the bass line drove the harmonies and the treble melody became more prominent and soloistic. This transitional period between the Renaissance and baroque included the development of the Sicilian polyphonic school in the works of Pietro Vinci, the first extant polyphony written by women, the fusion of Hebrew texts and European music in the works of Salomone Rossi, and the virtuosic women's music of Luzzasco Luzzaschi performed by the Concerto delle donne in Ferrara.
[edit]
Baroque era, 16th – 18th centuries

Claudio Monteverdi

The exact nature of ancient Greek musical drama is a matter of dispute. What is important, however, for the later development of Italian and European music is that poets and musicians of the Florentine Camerata in the late 16th century thought—in the words of one of them, Jacopo Peri--that the "ancient Greeks sang entire tragedies on the stage".[11] Thus was born the musical version of the Italian Renaissance: paying tribute to classical Greece by retelling Greek myths within a staged musical context—the first operas. The works emerged in this period with relatively simple melodies and the texts about Greek mythology sung in Italian. (Opera may have deeper roots in the Tuscan maggio drammatico tradition[12][13]). Three cities are especially important in this period in Italy: Venice, as the birthplace of commercial opera; Rome, for Palestrina's school of Renaissance polyphony; and Naples, as the birthplace of church-sponsored music conservatories. These conservatories evolved into training grounds, providing composers and musicians for Italy and, indeed, Europe as a whole. Claudio Monteverdi is considered the first great composer of the new musical form, opera, the person who turned Florentine novelty into a "unified musical drama with a planned structure."[14]

The years 1600 to 1750 encompass the musical Baroque. A new dominance of melody within harmony at the expense of text led to great changes, including the expansion of instrumental resources of the orchestra. The keyboard was extended, and the making of stringed instruments by Antonio Stradivari became a great industry in Cremona. Instrumental music started to develop as a separate "track," quite apart from the traditional role of accompanying the human voice. Instrumental forms include such things as the sonata, symphony, and concerto. Important names in music within this period in Italy are Alessandro Scarlatti, and Antonio Vivaldi, representing the importance of Naples and Venice, respectively, within this period.

The San Carlo theater (building on right in photo) in Naples.

The physical resources for music advanced greatly during the 18th century. The great opera houses in Naples and Milan were built: the Teatro di San Carlo and La Scala, respectively. It is the age, as well, of the rise to prominence of the Neapolitan—and then Italian—Comic opera. Important, too, is the restoring of balance between text and music in opera, largely through the librettos of Pietro Trapassi, called Metastasio.[15]

Important Italian composers in this century are: Domenico Scarlatti, Benedetto Marcello, Giovanni Battista Pergolesi, Niccolò Piccinni, Giovanni Paisiello, Luigi Boccherini, Domenico Cimarosa, and Luigi Cherubini. It is also the age in which Italian music became international, so to speak, with many Italian composers beginning to work abroad.

Giuseppe Verdi.
[edit]
19th century

The 19th century is the age of Romanticism in European literature, art, and music. Italian opera forsakes the Comic opera for the more serious fare of Italian lyric Romanticsm. Although the generally light-hearted and ever-popular Rossini was certainly an exception to that, Italian music of the 19th century is dominated at the beginning by the likes of Bellini and Donizetti, giving to Italian music the lyrical melodies that have remained associated with it ever since. Then, the last fifty years of the century were dominated by Giuseppe Verdi, the greatest musical icon in Italian history. Verdi's music "sought universality within national character";[16] that is, much of what he composed in terms of historical themes could be related to his pan-Italian vision. Verdi was the composer of the Italian Risorgimento, the movement to unify Italy in the 19th century. Later in the century is also the time of the early career of Giacomo Puccini, perhaps the greatest composer of pure melody in the history of Italian music.

Frontispiece from the score of Cavalleria Rusticana, a masterpiece of Italian Verismo from 1890.

Perhaps the most noteworthy feature of Italian musical form in the 19th century, and that which distinguishes it from musical developments elsewhere, is that it remained primarily operatic. All significant Italian composers of the century wrote opera almost to the exclusion of other forms, such as the symphony.[17] There are no Italian symphonists in this century, the way one might speak of Brahms in Germany, for example. Many Italian composers, however, did write significant sacred music, such as Rossini a Stabat Mater and his late Petite Messe solennelle and Verdi Messa da Requiem and Quattro Pezzi Sacri.

Romanticism in all European music certainly held on through the turn of the century. In Italy, the music of Verdi and Puccini continued to dominate for a number of years. Even the realistic plots and more modern compositional techniques of the operas of Italian Verismo, such as Mascagni's Cavalleria Rusticana, did not greatly affect the extremely melodic nature of Italian music.
[edit]
References
Atlas, Allan W. (1998). Renaissance Music. New York: W. W. Norton & Company. ISBN 0-393-97169-4.
Crocker, Richard L (1966). A History of Musical Style. New York: McGraw-Hill. ISBN 0-486-25029-6.
McKinnon, James, ed. (1991). Antiquity and the Middle Ages. Eaglewood Cliffs: Prentice Hall. ISBN 0-13-036153-4.
Hiley, David (1995). Western Plainchant: A Handbook. Clarendon Press. ISBN 0-19-816572-2.
Ulrich, Homer; Paul Pisk (1963). A History of Music and Musical Style. New York: Harcourt Brace Jovanoich. ISBN 0-15-537720-5.
Gallo, Alberto (1995). Music in the Castle: Troubadours, Books and Orators in Italian Courts of the Thirteenth, Fourteenth and Fifteenth Centuries. Chicago: University of Chicago Press. ISBN 0-226-27968-5.
Hoppin, Richard (1978). Medieval Music. New York: W. W. Norton & Company. ISBN 0-393-09090-6.
(Italian) Magrini, Tullia (ed.), ed. (1992). Il maggio drammatico: una tradizione di teatro in musica. Bologna: Edizioni Analisi.
Palisca, Claude V. (1985). Humanism in Italian Musical Thought. New Haven: Yale University Press. ISBN 0-300-04962-5.