good-stack

It’s Valentine’s Day at Domino High.

Everyone is passing around chocolates and love letters to the people they have a crush on.

Anzu has a couple, and she’s feeling pretty confident.

Honda has a few as well, but these letters don’t really mean much to him.

Jonouchi is currently bragging relentlessly about the one valentine in his hand.

Yuugi has a good little stack on his desk. Being the king of games has its perks!

Ryo is currently buried under a sea of chocolates and love letters. It’s dark, and paper cuts are a huge threat as of now. It’ll be days before he’s out of there. Girls are piling more and more on top of him as we speak. Oh, God why? What has he done to deserve this Hell?

Save him.

Re: Benedetto Marcello.

I realize I’m whole months behind on explaining further my comments on this post by @jewishhenna; since Marcello has just come up on my blog again, now seems as good a time as any. All the attestations for Jewish tunes that come through Benedetto Marcello (1686-1739) are from his Estro poetico-armonico: Parafrasi sopra li primi venticinque salmi, published in Venice between 1724 and 1726. In my experience, this collection has been pretty widely recognized but pretty thoroughly misunderstood in the Jewish community.

The majority of Marcello’s output is vocal, including cantatas, chamber duets, serenatas, and oratorios. The Salmi don’t readily fit into any of these categories. The Italian psalm paraphrases were provided by Marcello’s friend Girolamo Giustiniani. The majority are set for solo voice and continuo alone, although some have a single obbligato instrument or call for additional voices. They are almost all through-composed, and have texturally contrasting sections rather than the discrete movements one would normally expect by this date. The Salmi also had an astonishingly long afterlife; in both Italy and England, they came to be viewed as important models of contrapuntal composition.

Marcello was essentially an amateur composer, which he used as a license to be weird. He was a member of the Venetian nobility and had a career as a government administrator; since he was never employed as a musician, his compositions were essentially written and published on his own terms, which already makes them atypical. Most of his music seems to have been performed privately in salon atmospheres where experimentation was welcome. In the Salmi in particular, he began with a closely-defined aesthetic mission: to revive characteristics from ancient music in order to imbue devotional song with an appropriate sense of dignity. Marcello identified a number of different qualities in the music of antiquity as it was known to scholars of his own time. Since the music of the Temple had been sung by the priests, most of the settings are for lower voices. Ornamentation is kept to a minimum. He saw monophony as an ideal, which is why he kept his basses unfigured and rarely used more than one solo voice. In addition, he was interested in drawing on “ancient” chant traditions preserved into his own day.

This is where the Greek and Hebrew melodies come in. For about a third of his fifty psalm-settings, Marcello took a tune from these repertoires, transcribed it, and used it (usually with minimal changes) as melodic material for a section of the psalm setting. In such cases, Marcello placed the original version of the melody above the section of the psalm in which he used it. Here’s the famous “Ma’oz Tzur” from Psalm 15 in the third volume:

As seen above, Marcello coped with the problem of Hebrew + music by writing the notes right to left, which is a trip to try and read, let me tell you. He also used a substantially older form of notation than that seen elsewhere in the book. Here’s how he incorporates the tune in the setting itself:

Pretty typical Italian printed music of the early eighteenth century, right? By contrast, the Greek and Hebrew melodies are printed without barlines or a time signature (the vertical lines represent only the ends of phrases) and in the long basic note values typical of “black notation” of the late Renaissance. The decision may in part have been prompted by typographical concerns, and Marcello may have thought it emphasized the supposed “ancientness” of his source material. More importantly, it suggests the difficulties of trying to transcribe an oral repertoire that reconciled only awkwardly with contemporaneous notational practices. This is clearly evident in his adaptation of the “Lecha Dodi” tune I recently posted; the black notation version suggests alternations between duple and triple meter, whereas Marcello’s setting is in strict 4/4, substantively altering the stress patterns.

Under what circumstances Marcello could have heard these tunes remains something of a mystery. He attributes them with surprising specificity–the “Ebrei Tedeschi” above, for instance, refers to the Venetian Ashkenazi community in particular–and some of them have been independently collected by much later ethnographers. Did he have contacts who were able to sing them for him out of context? Did he actually hear them in a synagogue–which, in the city that invented the ghetto, was a matter of dubious legality?*

What is clear is that Marcello at no point arranged “Ma’oz Tzur” or “Lecha Dodi” or any of these other songs. What he did was transcribe them and then incorporate their tunes as a small element in much larger Italian psalm-settings. So if you see a piece like this…

… labeled “harm. Benedetto Marcello,” it just ain’t so. The above arrangement uses Marcello’s transcribed melody** and newly-written bass as the skeleton on which to build a harmonization that ultimately has little to do with Marcello published. He deliberately classed four-voice harmonizations of this type as outside the aesthetic aims of the Salmi; this arrangement also adds textual overlaps even further removed from his ideals of “ancient music.” (Not to mention the liberties with tempo and the final cadence, which are out of place for the early eighteenth century in general.) Moreover, and by my lights more importantly, Marcello never intended to arrange these pieces. He intended to record them and then assimilate their melodies into his own writing. The above piece is lovely; it is also not what anything sounded like in 1724, especially not “Ma’oz Tzur.”

All eight volumes of the original publication of Estro poetico-armonico are available on IMSLP, as well as in a lovely facsimile edition from Gregg Press. You can also hear the full Psalm 15 setting as Marcello wrote it: low solo voice, obbligato cello, unfigured bass, paratastic form and all. The “Ma’oz Tzur” tune makes its appearance at 10:53.

*Given that Marcello was half of a high-profile miscegenation case and got himself exiled more than the average Venetian citizen, illegality may not have been sufficient threat to stop him.

**There are some prominent and rather inexplicable mistakes of rhythmic value in the modern-notation transcription displayed in the video, too. Perhaps we were better off sticking to black notation?

Let’s all take a moment to appreciate this rig from @foxygear
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anonymous asked:

Tips for taking care of books?

Hey Nonnie!

I don’t have a very set list, but this is what I do with my books:

- dust them regularly

- when you put them on bookshelves, don’t stick them to the wall/back of the bookcase, because the pages need to breathe, so it’s a good thing to leave a bit of breathing room

- don’t keep them in rooms with high umidity

- as far as I know, it’s not a good idea to stack them one on top of the other, but I’m not sure it’s a no-no

- I usually take the dust jacket off hardbacks when I read them, especially if I travel with the book in my bag, because if an accident happens and I spill something on it, I have the dust jacket in pristine condition to cover the actual hardback

This is everything I could come up with. Guys, if you have any other tips of your own, please share them!

Happy reading and have a lovely day! <3

today at 10:15 i smoked my last cigarette.

I’m determined to not pick this up again. I smoked in high school, like early high school and then quit and didnt smoke for 2 years. then I picked it back up again for a stupid reason that I should have known was a lie.

I can’t stand how I smell and how I can feel my lungs getting fucked up.

I’m done and I’m gonna do it this time.

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isthisabird liked your post:

he’d have thought the weirdest things he’d ever have to deal with would be from the dark hour — blood oozing from every crevice, coffins lined up like a death sentence, shadows bearing down on them…

well, alright — this might not totally compete, but after the last few long nights, anything even remotely out of the ordinary is too much for his sleepless brain.

“uh, senpai?” he crouches down beside her and glances at the dog before them. koromaru always looks so happy — even now with several… objects? he’s not really sure what’s stacked on top of the dog.  “….what’re you doing?” well, at least koromaru doesn’t look displeased.

vide-ame asked:

Hannah do you know any good bright/neon eyeshadow palettes? I want to try something new!!

check out the brand sugarpill in general, and also the melt cosmetics radioactive stack. other good options are the urban decay electric palette and the makeup forever artist #2 palette has such beautiful bright shadows

2

So it’s my mumma’s birthday today so happy birthday to my number one lady

For her birthday I made me a super homemade sushi lunch

Prawn summer rolls with a peanut dipping sauce and a spicy tuna California stack

For real the most amazing thing I’ve ever made and it only took me around an hour and a half to make it all I’ll link the recipes below seriously so tasty and filling.

Also it was all SUPER healthy literally no bad stuff in it

Summer rolls w/ peanut dipping cause - (http://sallysbakingaddiction.com/2015/04/07/homemade-fresh-summer-rolls-with-easy-peanut-dipping-sauce/)

Spicy California stack - ( http://www.skinnytaste.com/2015/10/spicy-california-shrimp-stack.html?m=1#more)

Namaste Everyone

EGruns (erica gray)