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93-418: Parades were of three types. In the first and generally most violent form, an alleged wrongdoer (or wrongdoers) might be dragged from his or her home or place of work and paraded by force through a community. In the process, the victim was subject to the derision of the crowd and might be pelted and was frequently dunked at the end of the proceedings. A safer form involved a neighbour of the wrongdoer impersonating

186-409: A trombone recitative as part of its Introduction). Arnold Schoenberg labeled the last of his Five Pieces for Orchestra , Op. 16, as " Das obligate Rezitativ ", and also composed a piece for organ , Variations on a Recitative , Op. 40. Other examples of instrumental recitative in twentieth century music include the third movement of Douglas Moore 's Quintet for Clarinet and Strings (1946),

279-484: A charivari victim's firing on his accusers: these incidents resulted in two people being blinded and three killed. Some victims committed suicide, unable to recover from the public humiliation and social exclusion . Norman Lewis recorded the survival of the custom in 1950s Ibiza "in spite of the energetic disapproval of the Guardia Civil ". It was called cencerrada , consisted of raucous nocturnal music, and

372-429: A different composer (some of Mozart 's so-called concert arias fall into this category). This division of labour persisted into the 19th century: Rossini 's La Cenerentola (1817, recitatives by Luca Agolini ) is a famous example. Later it remained a custom to replace originally spoken dialogue with new recitatives: Carl Maria von Weber 's Der Freischütz (1821, adapted 1841 with recitatives by Hector Berlioz for

465-411: A donkey, back to back, their elbows tied to one another's! She's facing the head, and he's facing the tail." "Is it meant for anybody in particular?" "Well--it mid be. The man has got on a blue coat and kerseymere leggings; he has black whiskers, and a reddish face. 'Tis a stuffed figure, with a falseface." (...) The numerous lights round the two effigies threw them up into lurid distinctness; it

558-516: A female straw effigy or drowning it in a river, or both. It is a folk custom in Poland, Slovakia and the Czech Republic, taking place on the day of the vernal equinox . Funeral effigies made from wood, cloth and wax played a role in the royal funeral rituals in early modern France and England. Following the medieval European doctrine of the double body of the king, these effigies represented

651-470: A funeral effigy, for instance British prime minister Pitt the Elder , the naval hero Horatio Nelson , French emperor Napoleon, and Frances Stewart, Duchess of Richmond , who also had her parrot stuffed and displayed at her own request and expense. From the time of the funeral of Charles II in 1685, effigies were no longer placed on the coffin but were still made for later display. The effigy of Charles II

744-470: A loud and strident charivari against the newlyweds at their home. As practised in North America, the charivari tended to be less extreme and punitive than the traditional European custom. Each was unique and heavily influenced by the standing of the family involved, as well as who was participating. While embellished with some European traditions, in a North American charivari participants might throw

837-587: A more structured way. The term recitative (or occasionally liturgical recitative) is also applied to the simpler formulas of Gregorian chant , such as the tones used for the epistle , gospel , preface and collects ; see accentus . The first use of recitative in opera was preceded by the monodies of the Florentine Camerata in which Vincenzo Galilei , father of the astronomer Galileo Galilei , played an important role. The elder Galilei, influenced by his correspondence with Girolamo Mei on

930-542: A plural, creating the singular effigy .) In effigie was probably understood as a Latin phrase until the 18th century. The word occurs in Shakespeare 's As You Like It of 1600 (II, vii, 193), where scansion suggests that the second syllable is to be emphasized, as in the Latin pronunciation (but unlike the modern English pronunciation). Hanging or burning the effigy of a political enemy to ridicule and dishonour them

1023-578: A political effigy is the figure of Guy Fawkes , one of the conspirators in the Gunpowder Plot who tried to assassinate King James I in 1605 by blowing up the House of Lords . Already a year later, the 5th of November was declared a holiday to celebrate the survival of the king and was celebrated with bonfires. Soon after, effigies of Guy Fawkes were burned. Traditionally, children make effigies from old clothing filled with straw to beg for "a penny for

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1116-454: A pond or river). The very essence of the practice was public humiliation of the victim under the eyes of their neighbours Rough music practices were irregularly scattered throughout English communities in the nineteenth century. In the twentieth they declined but endured in a few places, such as Rampton, Nottinghamshire (1909), Middleton Cheney (1909) and Blisworth (1920s and 1936), Northamptonshire. There were in fact some examples after

1209-483: A reference to the Hussites or followers of John Huss ). Noisy, masked processions were held outside the home of the accused wrongdoer, involving the cacophonous rattling of bones and cleavers, the ringing of bells, hooting, blowing bull's horns, the banging of frying pans, saucepans, kettles, or other kitchen or barn implements with the intention of creating long-lasting embarrassment to the alleged perpetrator. During

1302-411: A reminder of human mortality. In the field of numismatics , effigy describes the portrait on the obverse of a coin. A practice evident in reference literature of the 19th century, the obverse of a coin was said to depict "the ruler's effigy". The appearance and style of effigy used varies according to the preference of the monarch or ruler being depicted - for example, some, such as George VI of

1395-610: A rival attraction for admirers of Nelson. A tomb effigy , in French gisant ("recumbent") is the usually life-size sculpted figure depicting the deceased on a tomb monument . Although these funeary and commemorative reliefs were first developed in Ancient Egyptian and Etruscan cultures, they appear most numerously in Western Europe tombs from the later 11th century, in a style that continued in use through

1488-412: A rough music performance, the victim could be displayed upon a pole or donkey (in person or as an effigy), their "crimes" becoming the subject of mime, theatrical performances or recitatives , along with a litany of obscenities and insults. Alternatively, one of the participants would "ride the stang" (a pole carried between the shoulders of two or more men or youths) while banging an old kettle or pan with

1581-599: A silver chain with numerous pendants like a mini silver box of needles, a small pair of scissors, a tiny bottle of perfume, etc.. In the Philippines, Charivari is punishable for being a public disorder under Article 155 of the Revised Penal Code. Charivari would later be taken up by composers of the French Baroque tradition as a 'rustic' or 'pastoral' character piece. Notable examples are those of

1674-454: A specific person or a prototypical figure. The term is mostly used for the makeshift dummies used for symbolic punishment in political protests and for the figures burned in certain traditions around New Year, Carnival and Easter. In European cultures, effigies were used in the past for punishment in formal justice when the perpetrator could not be apprehended, and in popular justice practices of social shaming and exclusion. Additionally, "effigy"

1767-409: A stick and reciting a rhyme (called a "nominy") such as the following: With a ran, tan, tan, On my old tin can, Mrs. _______ and her good man. She bang'd him, she bang'd him, For spending a penny when he stood in need. She up with a three-footed stool; She struck him so hard, and she cut so deep, Till the blood run down like a new stuck sheep! Rough music processions are well attested in

1860-436: A union between an older widower and much younger woman, or the premature remarriage of a widow or widower. Villages also used charivari in cases of adulterous relationships, against wife-beaters or unmarried mothers. It was also used as a form of shaming upon husbands who were beaten by their wives and had not stood up for themselves. In some cases, the community disapproved of any remarriage by older widows or widowers. Charivari

1953-441: A variety of instruments, mostly plucked fretted strings including the chitarrone , often with a pipe organ to provide sustained tone. Later, in the operas of Vivaldi and Händel , the accompaniment was standardised as a harpsichord and a bass viol or violoncello . When the harpsichord was gradually phased out over the late 18th century, and mostly disappeared in the early 19th century, many opera-houses did not replace it with

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2046-432: A widow or widower, the noises symbolized the scream of the late husband or wife in the night. Perhaps the most common usage of the word today is in relation to circus performances, where a 'charivari' is a type of show opening that sees a raucous tumble of clowns and other performers into the playing space. This is the most common form of entrance used in today's classical circus , whereas the two and three-ring circuses of

2139-414: A wife-beater, someone wrote an original chant which the crowd was happy to adopt: Has beat his wife! Has beat his wife! It is a very great shame and disgrace To all who live in this place It is indeed, upon my life! In Europe the noise, songs, and chants had special meanings for the crowd. When directed against adulterers, the songs represented the community’s disgust. For a too-early remarriage of

2232-470: Is a man in our town Who often beats his wife, So if he does it any more, We'll put his nose right out before. Holler boys, holler boys, Make the bells ring, Holler boys, holler boys. God save the King. The participants were generally young men temporarily bestowed with the power of rule over the everyday affairs of the community. As above, issues of sexuality and domestic hierarchy most often formed

2325-542: Is a style of delivery (much used in operas , oratorios , and cantatas ) in which a singer is allowed to adopt the rhythms and delivery of ordinary speech. Recitative does not repeat lines as formally composed songs do. It resembles sung ordinary speech more than a formal musical composition. Recitative can be distinguished on a continuum from more speech-like to more musically sung, with more sustained melodic lines. The mostly syllabic recitativo secco ("dry", accompanied only by continuo , typically cello and harpsichord)

2418-565: Is a very old and very widespread practice. It is reported that in 1328, the troops of Holy Roman Emperor Louis IV , on their campaign in Italy to unseat Pope John XXII , burned a straw puppet of the pope. Burning effigies in political protests is especially widespread in India and Pakistan. In the Philippines, the practice came up during the successful People Power Revolution against the regime of President Marcos . Since then effigy protests against

2511-428: Is also burned in the Philippines. In Mexico, a hard papier-mache figure depicting the devil was used—representing Judas after he betrayed Jesus; and the figure wasn't just burned, but was blown to bits in the course of a fireworks display. The tradition of burning Guy Fawkes has been brought to New England, Canada, Australia, New Zealand and other British colonies. The Indian and Pakistani tradition of burning Ravana

2604-601: Is also practiced in Trinidad and in Edinburgh and Manchester, UK. In the 1970s German students established the burning of Winter in the form of a snowman at Lake Superior State University in Michigan, US. The Marzanna ritual represents the end of the dark days of winter, the victory over death, and the welcoming of the spring rebirth. Marzanna is a Slavic goddess of death, associated with winter. The rite involves burning

2697-399: Is an emphasis on the social and political aspects of the depicted person. Tomb effigies and funeral effigies exhibit attire and office insignia that indicate social status; coin effigies are signs of sovereignty ; formal punishment of an effigy was synonymous to social death; popular punishment was meant to humiliate and ostracise the depicted; effigies in political protests ridicule and attack

2790-407: Is at one end of the spectrum, through recitativo accompagnato (using orchestra), the more melismatic arioso , and finally the full-blown aria or ensemble, where the pulse is entirely governed by the music. Secco recitatives can be more improvisatory and free for the singer, since the accompaniment is so sparse; in contrast, when recitative is accompanied by orchestra, the singer must perform in

2883-588: Is the original French word, and in Canada it is used by both Anglophones and Francophones. Chivaree became the common variant in Ontario, Canada . In the United States, the term shivaree is more common. As species of popular justice rites, Charivaric events were carefully planned and they were often staged at times of traditional festivity thereby blending delivering justice and celebration. The origin of

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2976-646: Is used for certain traditional forms of sculpture, namely tomb effigies , funeral effigies and coin effigies. There is a large overlap and exchange between the ephemeral forms of effigies. Traditional holiday effigies are often politically charged, for instance, when the generalised figures Año Viejo (the Old Year) or Judas in Latin America are substituted by the effigy of a despised politician. Traditional forms are also borrowed for political protests. In India, for instance, effigies in protests regularly take

3069-519: The Middle Ages but it is likely that it was traditional before that. It was first recorded in France, as a regular wedding activity to celebrate the nuptials at some point after the vows had been taken. But charivari achieved its greatest importance as it became transformed into a form of community censure against socially unacceptable marriages; for example, the marriage of widows before the end of

3162-568: The Old Style calendar . The Tin Can Band at Broughton, Northamptonshire , a seasonal custom, takes place at midnight on the third Sunday in December. The participants march around the village for about an hour, rattling pans, dustbin lids, kettles and anything else that will make a noise. The council once attempted to stop the tin-canning; participants were summoned and fined, but a dance

3255-468: The Renaissance and early modern period , and are still sometimes used. They typically represent the deceased in a state of "eternal repose", with hands folded in prayer, lying on a pillow, awaiting resurrection with a dog or lion at their feet. A husband and wife may be depicted lying side by side. A related type of tomb effigy, the cadaver monument , shows the corpse in a state of decomposition as

3348-578: The United Kingdom have preferred to be shown uncrowned, while others have favoured highly-formal representations. It can also be the case that the monarch's reign becomes long enough to merit issuing a succession of effigies so that their appearance continues to be current. Such has been the case for Queen Victoria (three effigies over 63 years) and Elizabeth II , who was depicted by five different effigies on British coins and three different effigies on British postage stamps between her ascension to

3441-631: The enclosure of royal forest lands, the name "Lady Skimmington" was adopted by the leader of the protest movement. According to some sources the name was used by a number of men involved with the Western Rising, who dressed in women's clothes not only as a method of disguise, but also in order to symbolise their protest against a breach of the established order. Many folk customs around the world have involved making loud noises to scare away evil spirits. Tuneless, cacophonous "rough music", played on horns, bugles, whistles, tin trays and frying pans,

3534-442: The fortepiano , a hammered-string keyboard invented in 1700. Instead the violoncello was left to carry on alone, or with reinforcement from a double bass . A 1919 recording of Rossini 's Barber of Seville , issued by Italian HMV , gives a unique glimpse of this technique in action, as do cello methods of the period and some scores of Meyerbeer . There are examples of the revival of the harpsichord for this purpose as early as

3627-528: The orchestra as an accompanying body. The composer writes an arrangement for the orchestra musicians. As a result, it is less improvisational and declamatory than recitativo secco , and more song -like. This form is often employed where the orchestra can underscore a particularly dramatic text, as in " Thus saith the Lord " from Händel's Messiah ; Joseph Haydn and Wolfgang Amadeus Mozart were also fond of it. A more inward intensification calls for an arioso ;

3720-522: The 1730s. The term is particularly associated with the West Country region of England and, although the etymology is not certain, it has been suggested that it derived from the ladle used in that region for cheesemaking, which was perceived as a weapon used by a woman to beat a weak or henpecked husband. The rationale for a skimmington varied, but one major theme was disapproval of a man for weakness in his relationship with his wife. A description of

3813-548: The 1890s (e.g. by Hans Richter for a production of Mozart 's Don Giovanni at the London Royal Opera House , the instrument being supplied by Arnold Dolmetsch ), but it was not until the 1950s that the 18th-century method was consistently observed once more. In the 2010s, the early music revival movement has led to the re-introduction of harpsichord in some Baroque performances. Accompanied recitative, known as accompagnato or stromentato , employs

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3906-542: The 1930s, the 1950s and perhaps even the 1970s. The antiquary and lexicographer Francis Grose described a skimmington as: "Saucepans, frying-pans, poker and tongs, marrow-bones and cleavers, bulls horns, etc. beaten upon and sounded in ludicrous processions" ( A Classical Dictionary of the Vulgar Tongue , 1796). During the Western Rising of 1628–1631, which was a rebellion in south-west England against

3999-753: The American South, but it was independently common in English society, so was likely to be part of Anglo-American customs. Charivari is well documented in the Hudson Valley from the earliest days of English settlers through the early 1900s. The earliest documented examples of Canadian charivari were in Quebec in the mid-17th century. One of the most notable was on June 28, 1683. After the widow of François Vézier dit Laverdure remarried only three weeks after her husband’s death, people of Quebec City conducted

4092-664: The British colonies in New England, effigy performances gained prominence as an effective tool in the protests against the 1765 Stamp Act , leading to the American Revolution and the founding of the United States of America. Afterwards, it became an established form of political expression in US politics, and almost every US President has been burned in effigy at some point in his career. The best known British example of

4185-534: The First World War, when demonstrators burned an effigy of British High Commissioner for Egypt Lord Allenby during a protest against the presence of British troops in the city. In the second half of the 20th century it became custom to portray contemporary enemies of Egypt as the al-Limby. During the Arab Spring , effigies of President Mubarak and other Egyptian politicians were exhibited and burned as

4278-581: The Paris Opera), Georges Bizet 's Carmen (1875, recitatives by Ernest Guiraud for the posthumous run in Vienna the same year), Charles Gounod 's Mireille and La colombe (staged by Sergei Diaghilev with recitatives respectively by Eric Satie and Francis Poulenc ). Secco recitatives, popularized in Florence though the proto-opera music dramas of Jacopo Peri and Giulio Caccini during

4371-562: The Second World War in Sussex, at West Hoathly in 1947 and Copthorne around 1951, and an attempt at traditional rough music practice was last documented by the folklorist Theo Brown in a Devonshire village around 1973. In Warwickshire, the custom was known as "loo-belling" or "lewbelling", and in northern England as "riding the stang". Other names given to this or similar customs were "rough-musicking" and "hussitting" (said to be

4464-432: The al-Limby. Burning effigies is part of many rituals to mark the change of the seasons, performed all over Europe in locally distinct traditions. The figures usually personify adverse forces of life (winter, the old year, the witch, Judas Iscariot ) and their burning marks and celebrates the annual cycle of life—death and rebirth, the defeat of winter and the return of spring. Most traditions are staged around New Year, at

4557-616: The bride about in a wheelbarrow or tying cowbells under a wedding bed. This ritual may be the base of the fastening of tin cans to the newlyweds car. In Tampa, Florida, in September 1885, a large chivaree was held on the occasion of local official James T. Magbee's wedding. According to historian Kyle S. Vanlandingham, the party was "the wildest and noisiest of all the chivaree parties in Tampa's history," attended by "several hundred" men and lasting "until near daylight". The music produced during

4650-515: The case of skimmingtons prompted by marital discord. The noisy parade passed through the neighbourhood, and served as a punishment to the offender and a warning to others to abide by community norms; Roberts suggests that the homes of other potential victims were visited in a pointed manner during a skimmington. According to one citation, a skimmington was broken up by the police in a village in Dorset as late as 1917; and incidents have been reported from

4743-515: The chivaree was reportedly "hideous and unearthly beyond description". Charivari is believed to have inspired the development of the Acadian tradition of Tintamarre . The use of excessive noise was a universal practice in association with variations in the custom. Loud singing and chanting were common in Europe, including England, and throughout North America. For an 1860 English charivari against

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4836-584: The commonly agreed labour customs. Rough music practices would often be repeated for three or up to seven nights in a row. Many victims fled their communities and cases of suicide are not unknown. As forms of vigilantism that were likely to lead to public disorder , ran-tanning and similar activities were banned under the Highways Act of 1882. Skimmingtons are recorded in England in early medieval times and they are recorded in colonial America from around

4929-587: The culprits into horse tanks or force them to buy candy bars for the crowd. All in fun – it was just a shiveree, you know, and nobody got mad about it. At least not very mad. This account from an American charivari in Kansas exemplifies the North American attitude. In contrast to punitive charivari in small villages in Europe, meant to ostracize and isolate the evildoers, North American charivaris were used as "unifying rituals", in which those in

5022-450: The custom in 1856 cites three main targets: a man who is worsted by his wife in a quarrel; a cuckolded man who accepts his wife's adultery ; and any married person who engages in licentious conduct. To "ride such a person skimmington" involved exposing them or their effigy to ridicule on a cart, or on the back of a horse or donkey. Some accounts describe the participants as carrying ladles and spoons with which to beat each other, at least in

5115-524: The customary social period of formal mourning . In the early 17th century at the Council of Tours , the Catholic Church forbade the ritual of charivari and threatened its practitioners with excommunication . It did not want the community taking on the judgment and punishment of parishioners. But the custom continued in rural areas. The charivari as celebration was a custom initially practised by

5208-536: The early 14th-century French manuscript, Roman de Fauvel , shows a charivari underway. So-called "Rough Music" practices in England were known by many regional or local designations. In the North the most commonly employed term was " stang riding ", a stang being a long pole carried on the shoulders of two men between which an object or a person could be mounted. In the South, the term skimmington , or skimmington ride ,

5301-467: The early 20th century, but was thought to have mostly died out by mid century. In Canada , charivaris have occurred in Ontario , Quebec , and the Atlantic provinces, but not always as an expression of disapproval. The early French colonists took the custom of charivari to their settlements in Quebec. Some historians believe the custom spread to English-speaking areas of Lower Canada and eventually into

5394-518: The end of Carnival or in the week before Easter. Many of these traditions have been exported as people migrated to other countries. European settlers brought their traditions to the colonies, where they might have merged with local traditions. In countries of Latin America, the Spanish tradition of burning Año Viejo (the Old Year) on New Year Eve and Judas on Good Friday is widely practiced. Judas

5487-428: The form of the ten-headed demon king Ravana , as they figure in the traditional Ramlila . In Mexico and the United States piñatas depicting a politician are sometimes taken to protests and beaten to a pulp. Procedures of formal and popular justice are appropriated when the effigy of a politician in a protest figures in a mock trial, mock execution and mock funeral. In all cases, except the traditional effigies, there

5580-500: The guy", and communities build their own bonfires. Currently, Lewes , on the south coast of England has the most elaborate celebrations of Guy Fawkes Night . Competing bonfire societies make effigies of important and unpopular figures in current affairs and burn them alongside effigies of Guy Fawkes and the Pope . In Port Said , Egypt, the al-Limby (formerly known as Allenby) is burned during Spring Festival. The tradition started after

5673-451: The honour of the targeted politician. The word efigy is first documented in English in 1539 and comes, perhaps via French , from the Latin singular form effigies , meaning "copy, image, likeness, portrait, and statue". This spelling was originally used in English for singular senses: even a single image was "the effigies of ...". (This spelling seems to have been later reanalyzed as

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5766-461: The immortal and divine kingship. The effigy was dressed in the royal regalia and waited upon as if alive, while the monarch's physical remains remained hidden in the coffin. After the coronation of the new king, these effigies were stored away. The museum of Westminster Abbey has a collection of English royal wax effigies reaching back to Edward III of England , who died in 1377. In the 18th century also other important personalities were honoured with

5859-511: The impostor was what captured the events for history. In the 20th century, the events formed the basis of a French film, Le Retour de Martin Guerre (1982) and the history, The Return of Martin Guerre , by the American history professor Natalie Zemon Davis . With the charivari widely practised among rural villagers across Europe, the term and practice were part of common culture. Over time,

5952-571: The influence of Richard Wagner , favored through-composition , where recitatives, arias, choruses and other elements were seamlessly interwoven into a whole. Many of Wagner's operas employ sections which are analogous to accompanied recitative. Recitative is also occasionally used in musicals , being put to ironic use in the finale of Kurt Weill 's The Threepenny Opera . It also appears in Carousel and Of Thee I Sing . George Gershwin used it in his opera Porgy and Bess , though sometimes

6045-407: The last century usually preferred a parade, or a 'spec'. Charivari was sometimes called "riding the 'stang", when the target was a man who had been subject to scolding, beating, or other abuse from his wife. The man was made to "ride the 'stang", which meant that he was placed backwards on a horse, mule or ladder and paraded through town to be mocked, while people banged pots and pans. The charivari

6138-529: The late 16th century, formed the substance of Claudio Monteverdi 's operas during the 17th century, and continued to be used into the 19th century Romantic era by such composers as Gaetano Donizetti , reappearing in Stravinsky 's The Rake's Progress . They also influenced areas of music outside opera. In the early operas and cantatas of the Florentine school, secco recitatives were accompanied by

6231-459: The medieval period as punishments for violations of the assumed gender norms. Men who had allowed themselves to be dominated by their shrewish wives were liable to be targeted and a frieze from Montecute House, an Elizabethan Manor in Somerset depicts just such an occurrence. However, in the nineteenth century the practice seems to have been somewhat refocused; whilst in the early period rough music

6324-420: The opening of " Comfort ye " from the same work is a famous example, while the ending of it ("The voice of him that crieth in the wilderness") is secco . Sometimes a distinction is made between the more dramatic, expressive, or interjecting 'orchestral recitative' ( recitativo obbligato or stromentato ) and a more passive and sustained 'accompanied recitative' ( recitativo accompagnato ). Later operas, under

6417-416: The pretexts for rough music, including acts of domestic violence or child abuse. However, rough music was also used as a sanction against those who committed certain species of economic crimes such as blocking footpaths, preventing traditional gleaning , or profiteering at times of poor harvests. Occupational groups, such as butchers, employed rough music against others in the same trade who refused to abide by

6510-409: The recitative in that work is changed to spoken dialogue. Porgy and Bess has also been staged as a musical rather than as an opera. Recitative has also sometimes been used to refer to parts of purely instrumental works which resemble vocal recitatives, in terms of their musical style. In an instrumental recitative, one instrument (or group of instruments) are given the melody line (akin to the role of

6603-611: The renowned viola da gamba virtuoso Marin Marais in his five collections of pieces for the basse de viole and continuo . Some are quite advanced and difficult and subsequently evoke the title's origins. The British period instrument / early music ensemble, Charivari Agréable (founded in 1993), states that their name translates as, " 'pleasant tumult' (from Saint-Lambert’s 1707 treatise on accompaniment)". "They are coming up Corn Street after all! They sit back to back!" "What—two of 'em—are there two figures?" "Yes. Two images on

6696-489: The second movement of Beethoven's Fourth Piano Concerto is also an instrumental recitative, although Owen Jander interprets it as a dialogue. Other Romantic music era composers to employ instrumental recitative include Nikolai Rimsky-Korsakov (who composed a lyrical, virtuosic recitative for solo violin with harp accompaniment to represent the title character in his orchestral Scheherazade ) and Hector Berlioz (whose choral symphony Roméo et Juliette contains

6789-548: The second movement of that work, the violinist is the soloist in an instrumental recitative. Ludwig van Beethoven used the instrumental recitative in at least three works, including Piano Sonata No. 17 ( The Tempest ), Piano Sonata No. 31 , and in the opening section of the Finale of his Ninth Symphony . Here, Beethoven inscribed on the score (in French) "In the manner of a recitative, but in tempo ." Leon Plantinga argues that

6882-721: The shape of an animal or human. In the past, criminals sentenced to death in absentia might be officially executed "in effigy" as a symbolic act. In southern India, effigies of the demon-king Ravana from the epic poem the Ramayana are traditionally burnt during the festival of Navrati . A wicker man was a large human-shaped wicker statue allegedly used in Celtic paganism for human sacrifice by burning it, when loaded with captives. Recitatives Recitative ( / ˌ r ɛ s ɪ t ə ˈ t iː v / , also known by its Italian name recitativo ( [retʃitaˈtiːvo] )

6975-641: The singer) and another instrument (or group of instruments) are given the accompaniment role. One of the earliest examples is found in the slow movement of Vivaldi 's violin concerto in D, RV 208 , which is marked "Recitative". C. P. E. Bach included instrumental recitative in his "Prussian" piano sonatas of 1742, composed at Frederick the Great 's court in Berlin. In 1761, Joseph Haydn took his post at Esterhazy Palace and soon after composed his Symphony No. 7 ("Le Midi") in concertante style (i.e. with soloists). In

7068-583: The stability of the whole. In Europe various types of charivari took place that differed from similar practices in other parts of the world. For example, the community might conduct a stag hunt against adulterers by creating a mock chase of human "stags" by human "hounds". The hounds would pursue the stags (that is, those who were committing the adulterous relationship) and dispense animal blood on their doorsteps. European charivaris were highly provocative, leading to overt public humiliation. The people used them to acknowledge and correct misbehaviour. In other parts of

7161-485: The successive presidents developed into elaborate spectacles. US President George W. Bush and President Barack Obama have been burned in effigy numerous times in protests against military operations and occupations of Afghanistan and Iraq in the countries in the region as well as elsewhere. During the Arab Spring of 2011 and onward, effigies of the countries' leaders have been hanged in Egypt, Libya, Yemen and Syria. In

7254-416: The throne in 1953 and her death in 2022. Effigy mound is a term used in the archaeology of (mainly) Pre-Columbian America for a large earthwork in the shape of a stylized animal, symbol, human, or other figure and generally containing one or more human burials. Effigy vessel is a term used in the archeology of (mainly) Pre-Columbian America for ceramic or stone containers, pots, vases, cups, etc., in

7347-420: The upper classes, but as time went on, the lower classes also participated and often looked forward to the next opportunity to join in. The two main purposes of the charivari in Europe were to facilitate change in the current social structure and to act as a form of censure within the community. The goal was to enforce social standards and to rid the community of socially unacceptable relationships that threatened

7440-472: The victim while being carried through the streets. The impersonator was obviously not him or herself punished and often cried out or sang ribald verses mocking the wrongdoer. In the common form, an effigy was employed instead, abused and often burnt at the end of the proceedings. Communities used "rough music" to express their disapproval of different types of violation of community norms. For example, they might target marriages of which they disapproved such as

7533-534: The word charivari is likely from the Vulgar Latin caribaria , plural of caribarium , already referring to the custom of rattling kitchenware with an iron rod, itself probably from the Greek καρηβαρία ( karēbaría ), literally "heaviness in the head" but also used to mean "headache", from κάρα "head" and βαρύς "heavy". In any case, the tradition has been practised for at least 700 years. An engraving in

7626-411: The word was applied to other items. In Bavaria , charivari was adopted as the name for the silver ornaments worn with Lederhosen ; the items consist of small trophies from game, like teeth from wild boar, or deer, jaws and fangs from foxes and various marters, feathers and claws from jaybirds and birds of prey. A Bavarian Charivari resembles the so-called " chatelaine ", a women's ornament consisting of

7719-494: The world, similar public rituals around nuptials were practised mostly for celebration. Humiliation was the most common consequence of the European charivari. The acts which victims endured were forms of social ostracism often so embarrassing that they would leave the community for places where they were not known. Sometimes the charivari resulted in murder or suicide . Examples from the south of France include five cases of

7812-514: The writings of the ancient Greeks and with Erycius Puteanus on the writings of Hucbald and wishing to recreate the old manner of storytelling and drama, pioneered the use of a single melodic line to tell the story, accompanied by simple chords from a harpsichord or lute. In the Baroque era, recitatives were commonly rehearsed on their own by the stage director, the singers frequently supplying their own favourite baggage arias which might be by

7905-447: The wrong were brought back into the community after what might amount to a minor hazing . In some communities the ritual served as a gentle spoof of the newlyweds, intended to disrupt for a while any sexual activities that might be under way. In parts of the midwest US, such as Kansas, in the mid 1960–1970s, shivaree customs continued as good natured wedding humour along the lines of the musical Oklahoma! . Rituals included wheeling

7998-413: Was a feature of the custom known as Teddy Rowe's Band . This had taken place annually, possibly for several centuries, in the early hours of the morning, to herald the start of Pack Monday Fair at Sherborne, Dorset , until it was banned by the police in 1964 because of hooliganism the previous year. The fair is still held, on the first Monday after Old Michaelmas Day (10 October) – St Michael's Day in

8091-418: Was aimed at widows or widowers who remarried prematurely. It is possible that the blowing of car horns after weddings in France (and indeed in many European countries) today is a holdover from the charivari of the past. Charivari has been practiced in much of the United States, but it was most frequent on the frontier, where communities were small and more formal enforcement was lacking. It was documented into

8184-529: Was displayed over his tomb until the early 19th century, when all effigies were removed from the abbey. Nelson's effigy was a tourist attraction, commissioned the year after his death and his burial in St Paul's Cathedral in 1805. The government had decided that major public figures with State funerals should in future be buried at St Paul's. Concerned for their revenue from visitors, the Abbey decided it needed

8277-409: Was impossible to mistake the pair for other than the intended victims. "Come in, come in," implored Elizabeth; "and let me shut the window!" "She's me—she's me—even to the parasol—my green parasol!" cried Lucetta with a wild laugh as she stepped in. She stood motionless for one second—then fell heavily to the floor. Effigy An effigy is a sculptural representation, often life-size, of

8370-472: Was most commonly employed, a skimmington being a type of large wooden ladle with which an unruly wife might beat her husband. Other terms include " lewbelling ", " tin-panning ", " ran tanning ", a " nominey " or " wooset ". Where effigies of the "wrongdoers" were made they were frequently burned as the climax of the event (as the inscription on the Rampton photograph indicates) or "ritually drowned" (thrown into

8463-431: Was often used against men who had failed to assert their authority over their wives, by the end of the nineteenth century it was mostly targeted against men who had exceeded their authority by beating them. Thus, in contrast to the verses above referring to a shrewish wife there were also songs referring to the use of rough music as a protection for wives. Rough music song originating from South Stoke, Oxfordshire : There

8556-457: Was organised to raise money to pay the fines and the custom continues. The village is sufficiently proud of its custom for it to feature on the village sign. Equivalents include the German : haberfeldtreiben and German : katzenmusik , Italian : scampanate , Spanish cacerolada , (also cacerolazo or cacerolada) and French : charivari . The custom has been documented back to

8649-506: Was used to belittle those who could not or would not consummate their marriage. In the mid-16th century, historic records attest to a charivari against Martin Guerre in the small village of Artigat in the French Pyrenees for that reason. After he married at the age of 14, his wife did not get pregnant for eight years, so villagers ridiculed him. Later in his life, another man took over Guerre's identity and life. The trial against

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