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"Infinity TV is a TV channel based at Dubai Media City in the United Arab Emirates. It was launched on October 2004.http://www.infinitytv.tv/AboutInfinity.aspx?Lang=en Programming * Ihlamurlar Altında References External links * Infinity TV (Official website) See also * Dubai Media City Category:Television stations in the United Arab Emirates Category:Mass media in Dubai "
"Nepheronia thalassina, the Cambridge vagrant, is a butterfly of the family Pieridae. It is found in afrotropical Africa.Nepheronia, funet.fi The wingspan is 50–55 mm for males and 55–60 mm for females. Adults are on the wing year- round, peaking from February to May. The larvae feed on Hippocrates obtusifolia, Hippocrates africana, and Jasminium spp. Subspecies *N. t. thalassina (Boisduval, 1836) (Senegal, the Gambia, Guinea, Sierra Leone, Liberia, Ivory Coast, Ghana, Togo, Benin, Nigeria) *N. t. sinalata (Suffert, 1904) (Sudan, Ethiopia, Uganda, Kenya, Tanzania, Malawi, Zambia, eastern and northern Zimbabwe, northern Botswana, northern Namibia, Swaziland, South Africa) *N. t. verulanus (Ward, 1871) (Cameroon, Congo, Democratic Republic of the Congo, western Uganda, northern Angola, northern Zambia) References *Seitz, A. Die Gross-Schmetterlinge der Erde 13: Die Afrikanischen Tagfalter. Plate XIII 15 Category:Butterflies described in 1836 thalassina Category:Butterflies of Africa Category:Taxa named by Jean Baptiste Boisduval "
"Michael Tippett's Concerto for Double String Orchestra (1938–39) is one of his most popular and frequently performed works. Like other works of the composer's early maturity such as the First Piano Sonata and the First String Quartet, the Concerto is characterized by rhythmic energy and a direct melodic appeal. Representing both a meeting point for many of his early influences and a release for the catalytic experiences that defined the decade after leaving London and the Royal College of Music, the Concerto was an experiment in multiplicities, where the diversity of the thematic material (invented and imported) became synthesized through the timbral unity of the ensemble—two ensembles in fact, a further manifestation of the opposition and divisions contributing to the work’s multi-dimensionality.Thomas Schuttenhelm, The Orchestral Music of Michael Tippett: Creative Development and the Compositional Process (London: Cambridge University Press, 2013) 35. The influence of Bartok and Stravinsky can be shown, as well as that of the 17th century English Madrigal School. From these, and from folk-song, Tippett derives his distinctive and personal technique of 'additive rhythm'. This has been described as 'a kind of rhythm the effect of which is determined by an accumulation of irregular, unpredictable accents in the music'.Bowen, Meiron (1988). CD Liner notes, VC 7 90701-2 The composer David Matthews describes the effect thus: "[I]t is the rhythmic freedom of the music, its joyful liberation from orthodox notions of stress and phrase length, that contributes so much to its vitality".Matthews, David (1980). Michael Tippett: An introductory study. Faber and Faber. p.27 By dividing the orchestra into two equal and identical sections Tippett is able to play one off against the other, using syncopation and imitation to add further to the rhythmic vitality and propulsion of the music. This antiphonal effect is similar to that found in Renaissance and early Baroque choral music by composers such as Monteverdi and Gabrieli. The first movement (Allegro con brio) is in sonata form and contrasts a vigorous, driving theme in octaves with a more delicate, lightly scored idea on violins and cellos. The slow movement (Adagio cantabile) opens with one of Tippett's most affecting and heartfelt melodies for low solo violin, revealing the composer's deep love of Blues, especially the singing of Bessie Smith. A fugue offers chromatic contrast, and the movement is rounded off by a return of the opening tune on solo cello. In the rondo finale (Allegro molto) Tippett uses a melody generally described as 'based on a Northumbrian bagpipe tune' to bring the work to an exciting and uplifting climax. However this melody, as it appears here, is unlike any traditional Northumbrian bagpipe tune, and, having a compass of two octaves, would be unplayable on the instrument. As in the 1941 oratorio A Child of Our Time and the Symphony No. 3 of 1973, Tippett's humanitarian concerns are clearly evidenced in his use of melodies deriving from, and referring to, folk and popular musical sources. Tippett completed the score on June 6 1939 and it was premiered April 21 1940.Thomas Schuttenhelm The Orchestral Music of Michael Tippett: Creative Development and the Compositional Process (London: Cambridge University Press, 2013) 57. The tonality * Modal :Tippett uses tonal centres (but they are not related e.g. A and A flat) e.g. the tonal centre of A bars 1-20 Textures * There are various textures used throughout the piece. Bars 1-8 is a two-part counterpoint; there is also inverted imitation in bars 8-10. Bars 21-30 is melody-dominated homophony. There is an arpeggio accompaniment from bar 30 onwards. Structure Movement 1 - Allegro con brio While the movement initially sounds like ritornello form, it is actually in sonata form. * Exposition: :1st Subject - bars 1-20 :2nd Subject - bars 33-67 * Development: :The development section occurs between bars 68 to 128. * Recapitulation: :Both subjects are heard again, now both based in A. * Coda :bars 194-232 Melody * The melody is based on motifs, e.g. the opening oscillating quaver pattern, bars 21 onwards this is used as an accompaniment. * The second motif is then in Orchestra 2 - bars 1-4 * Other motifs include the 'trill' motif bar 22-23 Harmony * Dissonant e.g. 51, but tonal. * Some chord based bars 33-35 * Use of some recognisable harmonic features e.g. bar 20-21 a Phrygian cadence (IVb-V in a minor key) Rhythm * Use of syncopation, e.g. bars 68-70 * Use of additive rhythm. :Quaver used as a building block for different rhythmic patterns e.g. bar 15. References Category:Compositions by Michael Tippett Category:1939 compositions Category:Compositions for string orchestra Tippett "