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  • noun

Words related to canto

the highest part (usually the melody) in a piece of choral music

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a major division of a long poem

References in periodicals archive ?
La forma piu frequente di questi canti e quella in cui l'attacco sia dato a un solista, libero quindi di "melismare", cioe ornare con abbellimenti vocali come meglio crede il suo canto e variare le terze in maggiori o minori e le quarte in aumentate o giuste, accompagnato da un basso continuo che quasi sempre ha funzione di tonica, dominante, quarto grado, e da una seconda voce, molto nutrita, per terze (quasi a coprire, in volume, la prima voce).
Si notera che nei canti strofici, ballate narrative, epiche, le microvarianti tendono a essere tutte negli stessi punti della struttura del canto, mentre rigorosamente invariate rimangono le altre parti.
It appears senior officers turned a blind eye to Dr Canti's work.
PHOTOGRAPHER: Retired lung cancer expert Dr Gordon Canti today, aged 96, and left, as a young ship surgeon serving on HMS Wren during World War II, alongside Captain Frederick 'Johnnie' Walker,
Canti del caos may not be the best introduction to Moresco's work, but it is a highly original narrative that readers will not easily forget; most likely, they will also be compelled to read its conclusion, which is scheduled to appear in the spring of 2002.
"Alcune considerazioni sui Cinque canti." Giornale storico della letteratura italiana 165: 161-79.
"Appunti sui Cinque canti e sugli studi ariosteschi." In Studi e problemi di critica testuale, ed.
The connection sketched between the Cinque Canti and Ariosto's social world is one now traditional: the poem reflects the changes from "a feudal order of society that constituted chivalry as a system of values" to the "new social arrangement" of the princely court (25).
To my mind, the Cinque Canti break into modernity not by darkly depicting corporate or courtly man (the women such as Bradamante and Marfisa are as wonderfully wild as ever) but by the way Charlemagne's knights become sailors and plunderers.
Do either of these hypotheses (the autonomy and the fragmentary intention of the Cinque Canti) matter in that they affect our reading of the Furioso?
This appears especially in his well-known report that Heinrich Isaac (whose music for canti we have seen Lorenzo de' Medici sending to Pietro Alamanni in 1491), "Master of the Choir of San Lorenzo and a musician highly esteemed in those days," composed music - and in three voices (i.e.
The introduction does make some reference to traces (both explicit and implicit) of the Orlando furioso in the Tredici canti, but gives no systematic listing or analysis of them.
Some scholars from the sixteenth century to our day have theorized that Ariosto intended his incomplete Cinque Canti to be a sequel to the Orlando Furioso.