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Early Day Motion

A UK term of art for a formal motion for a Parliamentary debate on a particular subject to be held on an "early day" (i.e. soon). Topics for EDMs range widely—from support of homeopathic hospitals to the introduction of a bill on climate change. There is no guarantee that an EDM will be debated, even when multiple MPs sign the Motion.
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References in periodicals archive ?
It alludes to hu-manity and also to hu-bris; in Greek mythology to the cry of the owl, emblem of the goddess Athena and wisdom, but to German speakers also a covert expression of disgust, the equivalent of "Ugh!" The syllable reappears in Inori cunningly disguised as a sacred object and the subject of a solemn preconcert talk titled "Vortrag iiber HU" (Lecture on HU, 1974), ostensibly a musicological endorsement of a harmonic idiom the composer privately regarded as depraved and corrupt, delivered tongue in cheek after the manner of critic and philosopher Theodor Adorno as parodied by Mauricio Kagel in the music-theater piece Sur Scene (1960).
Among the formula compositions Conen distinguishes two types: (1) formula-compositions proper: Mantra, Inori, Jubilaum, and In Freundschaft; and (2) process-compositions that employ formulas: "Laub und Regen" from Herbstmusik, Musik im Bauch, Harlekin, Der kleine Harlekin, and Sirius.
The VR films 'O,' 'Only the Mountain Remains,' and VR animation 'Gloomy Eyes' will compete for 'Best VR Immersive Work' and 'Best VR Immersive Story for linear content,' while the VR interactive artwork 'Inori' was nominated for 'Best VR Immersive Experience for interactive content.' 'The Making of' was nominated for 'VR Best of - Out of Competition,' since it has already been nominated for awards at the South by Southwest Film Festival.
"Shikii o mae ni tachisukumu: `Inori no yo ni' o megutte" [Petrified Before the Threshold: A Look at "Inori no yo ni"].
The magic cry of the bass, reacting to the witch-like "Muonen" of the sopranos, brings to mind the exclamation of the tone HU in Stockhausen's work Inori. HU is, according to the mystical Sufi Message of Hazrat Inayat Khan, "the only name of the nameless .
Katherine Schilling, trans.; Inori Fukuda Trant, touch-up art 8t lettering; Izumi Evers, design; Nancy Thistlethwaite, ed.
After a relatively brief period in which he included chance in some works where he developed the principles of "polyvalent form," [2] (Klavierstuck XI(1956), Zyklus for a percussionist (1959), and Refrain for three players (1959)), Stockhausen went on in the direction of intuitive and meditative music (Aus den sieben Tagen (1968) and Fur kommende Zeiten, for variable scorings (1968--70)), and then to works with a vastly calmer spiritual dimension, which for the postserial epoch of the postwar period were completely unimaginable (Trans for orchestra (1971), Am Himmel wandre ich for two voices (1972), Inori for one or two soloists and orchestra (1973--74/1977), Tierkreis for variable scoring (1975--81)).
Works discussed range from the fifties (Kontra-Punkte, Studie I, Gruppen, ZeitmaBe, Gesang der Junglinge, Kontakte, Carre, Zyklus) through the sixties (Plus-Minus, Momente, Hymnen, Sternklang, Aus den sieben Tagen, Fur kommende Zeiten) up to the "formula" compositions of the early and mid-seventies (Mantra, Amour, Tierkreis, Inori, Sirius ).
The young Brazilian musicologist Gerson Leonardi finds parallels between Stockhausen's formula technique, as exemplified in Inori (1974), and Beckett's most obvious predecessor, James Joyce.
Then with Intuitive Music (1965-1970), where the activities of the interpreter remain connected to some pitch polarities systematically organized starting from series (Stop 1965), even though writing will reassume its priority function again--in 1970, with Mantra--for different reasons (chiefly dissatisfaction, given the too-aleatoric quality of the results of experiments in unnotated music), and will carry on the experiment of the early years again (as early as 1974, in Inori, the principle of articulation of tempos goes back to that of Gruppen from 1957).
If we put forward our analysis of Inori (1973-74), a work for one or two soloists (mime-dancers) and orchestra, it is because we think to have avoided this double pitfall by highlighting the great readability of this work, the place which it occupies in Stockhausen's creative work, and also its relationship with the history of ideas.