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41 напев
каждый глас включает в себя несколько напевов, по которым поются определённые молитвы за богослужением — each tone contains several melodies for certain prayers sung during church services
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42 melodika
f mus melodies, melodic elements; (glazbalo) mouth-piano, melodica -
43 уходить корнями
( во что)take rise from (in) smth.; be traced back to smth.Они пели исландские мелодии, уходившие своими корнями в историю борьбы за независимость. (А. Первенцев, В Исландии) — They sang Icelandic melodies which could be traced back to the struggle for independence.
Русско-английский фразеологический словарь > уходить корнями
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44 carmen
1.carmen, ĭnis, n. (old form cas-men, Varr. L. L. p. 86 Bip.) [Sanscr. çasto [p. 293] declaim, praise; cf.: camilla, censeo], a tune, song; poem, verse; an oracular response, a prophecy; a form of incantation (cf.: cano, cantus, and canto).I.In gen., a tune, song, air, lay, strain, note, sound, both vocal and instrumental (mostly poet.; in prose, instead of it, cantus; cf.II.also versus, numeri, modi): carmen tuba ista peregit ( = sonus),
Enn. Ann. 508 Vahl.:carmine vocali clarus citharāque Philammon,
Ov. M. 11, 317; cf.vocum,
id. ib. 12, 157:per me (sc. Apollinem) concordant carmina nervis,
id. ib. 1, 518; cf. id. ib. 11, 5;5, 340: solaque culminibus ferali carmine bubo Saepe queri,
Verg. A. 4, 462; so id. G. 4, 514; Ov. M. 10, 453:cygnorum,
id. ib. 5, 387; cf. id. ib. 14, 430; Mart. 13, 77:citharae liquidum carmen,
Lucr. 4, 981; cf. id. 2, 506; Hor. C. 1, 15, 15:lyrae carmen,
Prop. 2, 1, 9 Hertzb.:canere miserabile carmen,
Ov. M. 5, 118:harundineum,
id. Tr. 4, 1, 12:socialia carmina,
id. H. 12, 139:barbaricum,
id. M. 11, 163.—With allusion to playing on the cithara:hoc carmen hic tribunus plebis non vobis sed sibi intus canit,
Cic. Agr. 2, 26, 68; cf. Aspendius.—Also the sound of waves, Claud. Cons. Mall. Th. 319; cf. Auct. Aetn. 295.—Esp., a composition in verse, a poem; poetry, verse, song, whether in a broader sense, of every kind of poetic production, epic, dramatic, lyric (opp. to prose and to cantus, the melody), or, in a more restricted sense, for lyric poetry.A.Cum hanc felicitatem non prosa modo multi sint consecuti sed etiam carmine, Quint. 10, 7, 19; cf. id. 1, 8, 2; 8, 6, 27; 10, 1, 95:B.perspicuum est, et cantus (melodies) tum fuisse rescriptos vocum sonis et carmina (words),
Cic. Tusc. 4, 2, 3; id. de Or. 2, 8, 34; 3, 51, 197:carminibus cum res gestas coepere poetae Tradere,
Lucr. 5, 1444:Maeonii carminis alite,
Hor. C. 1, 6, 2:epicum carmen,
Quint. 10, 1, 62:heroici sublimitas,
id. 1, 8, 5; cf. Prop. 3 (4), 3, 16:Iliacum,
Hor. A. P. 129:historia quodammodo carmen solutum,
Quint. 10, 1, 31:Pierium,
Lucr. 1, 946; 4, 21:tragicum,
Hor. A. P. 220:carmina Livi,
id. Ep. 2, 1, 69; cf. Tac. A. 11, 13:Saliorum carmina,
Varr. L. L. 3, 26; 9, 61; Quint. 1, 6, 40; Hor. Ep. 2, 1, 86 Schmid.; cf. Liv. 1, 20, 4 al.:lyricorum carmina,
Quint. 9, 4, 53; Prop. 4 (5), 6, 32:Aeolium,
Hor. C. 3, 30, 13:Lydis remixto carmine tibiis,
id. ib. 4, 15, 30; cf. id. Epod. 9, 5:carmen funebre proprie Naenia,
Quint. 8, 2, 8:carmina quae in Phaeacum epulis canuntur,
Cic. Brut. 18, 71; cf. id. ib. 19, 75:lascivum,
Quint. 9, 4, 108:obscena,
satirical, abusive poems, libels, Prop. 1, 16, 10;the same: famosum,
Hor. Ep. 1, 19, 31 Schmid.:malum,
id. ib. 2, 1, 153; id. S. 2, 1. 82 Heind.:obliquum,
Stat. S. 1, 2, 27:probrosum,
Tac. A. 4, 31; cf.:si quis carmen condidisset quod infamiam faceret flagitiumve alteri,
Cic. Rep. 4, 10, 12; and Fragm. XII. Tab. 8, 1, ap. Wordsw. Fragm. and Spec. p. 259 sq.; Fischer ad Cic. Tusc. 4, 2, 4.—Phrases:canere,
Cic. Brut. 18, 71; Liv. 1, 20, 4 al.:cantare cui,
Hor. C. 3, 1, 4:cantitare,
Cic. Brut. 19, 75: CONDERE, XII. Tab. ap. Cic. Rep. 4, 10, 12; Lucr. 5, 1; Hor. S. 2, 1, 82; id. A. P. 436:contexere,
Cic. Cael. 8, 18:disponere,
Lucr. 3, 420:pangere,
id. 1, 934; 4, 9:fingere,
Hor. C. 4, 2, 32; id. Ep. 2, 1, 227; id. A. P. 331:dicere,
id. C. 4, 12, 10; id. C. S. 8:dictare,
id. S. 1, 10, 75; id. Ep. 2, 1, 110:docere,
id. C. 2, 19, 1:ad umbilicum adducere,
id. Epod. 14, 7:deducere ad sua tempora,
Ov. M. 1, 4:fundere,
Cic. Tusc. 1, 26, 64:componere ad lyram,
Quint. 1, 10, 29; cf. id. 11, 2, 11.—Esp.1.In a restricted sense for lyric or epic poetry:2. 3.carmine tu gaudes, hic delectatur iambis,
Hor. Ep. 2, 2, 59 Schmid.; cf.:carmina compono, hic elegos,
id. ib. 2, 2, 91: amabile carmen, i. e. a love poem or song, id. ib. 1, 3, 24.—And opp. to the drama for an epic or lyric poem:fabula, quae versatur in tragoediis atque carminibus,
Quint. 2, 4, 2.—A poetic inscription:4.et tumulum facite et tumulo superaddite carmen: Daphnis ego, etc.,
Verg. E. 5, 42; id. A. 3, 287; Ov. M. 14, 442; id. F. 3, 547 al.—A response of an oracle, a prophecy, prediction:5.ultima Cumaei venit jam carminis aetas,
Verg. E. 4, 4; so Ov. M. 6, 582; Liv. 1, 45, 5; 23, 11, 4; 25, 12, 4; 29, 10, 6; 38, 45, 3; Tac. A. 3, 63; 4, 43; 6, 12 al.—A magic formula, an incantation: MALVM, Fragm. XII. Tab. ap. Plin. 28, 2, 4, § 17; cf.6.Fragm. XII. Tab. 8, 1, a. ap. Wordsw. Fragm. and Spec. p. 260: polleantne aliquid verba et incantamenta carminum,
Plin. 28, 2, 3, § 10: carmina vel caelo possunt deducere lunam;Carminibus Circe socios mutavit Ulixi,
Verg. E. 8, 69 sq.; so id. A. 4, 487; Hor. Epod. 5, 72; 17, 4; id. S. 1, 8, 19; Prop. 2 (3), 28, 35; Ov. M. 7, 137; 14, 58; Quint. 7, 3, 7; Tac. A. 2, 69; 4, 22 al.—On account of the very ancient practice of composing forms of religion and law in Saturnian verse, also a formula in religion or law, a form:7.diro quodam carmine jurare,
Liv. 10, 38, 10; 10, 41, 3; 31, 17, 9; 1, 24, 6 and 9; Plin. 28, 2, 3, § 12:cruciatus carmina,
Cic. Rab. Perd. 4, 13; cf. id. Mur. 12, 26:lex horrendi carminis erat: duumviri perduellionem judicent, etc.,
of a dreadful form, Liv. 1, 26, 6:rogationis carmen,
id. 3, 64, 10.—Moral sentences composed in verses:2.Appii Caeci carmen,
Cic. Tusc. 4, 2, 4; cf.:liber Catonis qui inscriptus est Carmen de moribus,
Gell. 11, 2, 2:ut totum illud, VTI. LINGVA. NVNCVPASSIT., non in XII. tabulis, sed in magistri carmine scriptum videretur,
Cic. de Or. 1, 57, 245:necessarium,
id. Leg. 2, 23, 59. -
45 casmen
1.carmen, ĭnis, n. (old form cas-men, Varr. L. L. p. 86 Bip.) [Sanscr. çasto [p. 293] declaim, praise; cf.: camilla, censeo], a tune, song; poem, verse; an oracular response, a prophecy; a form of incantation (cf.: cano, cantus, and canto).I.In gen., a tune, song, air, lay, strain, note, sound, both vocal and instrumental (mostly poet.; in prose, instead of it, cantus; cf.II.also versus, numeri, modi): carmen tuba ista peregit ( = sonus),
Enn. Ann. 508 Vahl.:carmine vocali clarus citharāque Philammon,
Ov. M. 11, 317; cf.vocum,
id. ib. 12, 157:per me (sc. Apollinem) concordant carmina nervis,
id. ib. 1, 518; cf. id. ib. 11, 5;5, 340: solaque culminibus ferali carmine bubo Saepe queri,
Verg. A. 4, 462; so id. G. 4, 514; Ov. M. 10, 453:cygnorum,
id. ib. 5, 387; cf. id. ib. 14, 430; Mart. 13, 77:citharae liquidum carmen,
Lucr. 4, 981; cf. id. 2, 506; Hor. C. 1, 15, 15:lyrae carmen,
Prop. 2, 1, 9 Hertzb.:canere miserabile carmen,
Ov. M. 5, 118:harundineum,
id. Tr. 4, 1, 12:socialia carmina,
id. H. 12, 139:barbaricum,
id. M. 11, 163.—With allusion to playing on the cithara:hoc carmen hic tribunus plebis non vobis sed sibi intus canit,
Cic. Agr. 2, 26, 68; cf. Aspendius.—Also the sound of waves, Claud. Cons. Mall. Th. 319; cf. Auct. Aetn. 295.—Esp., a composition in verse, a poem; poetry, verse, song, whether in a broader sense, of every kind of poetic production, epic, dramatic, lyric (opp. to prose and to cantus, the melody), or, in a more restricted sense, for lyric poetry.A.Cum hanc felicitatem non prosa modo multi sint consecuti sed etiam carmine, Quint. 10, 7, 19; cf. id. 1, 8, 2; 8, 6, 27; 10, 1, 95:B.perspicuum est, et cantus (melodies) tum fuisse rescriptos vocum sonis et carmina (words),
Cic. Tusc. 4, 2, 3; id. de Or. 2, 8, 34; 3, 51, 197:carminibus cum res gestas coepere poetae Tradere,
Lucr. 5, 1444:Maeonii carminis alite,
Hor. C. 1, 6, 2:epicum carmen,
Quint. 10, 1, 62:heroici sublimitas,
id. 1, 8, 5; cf. Prop. 3 (4), 3, 16:Iliacum,
Hor. A. P. 129:historia quodammodo carmen solutum,
Quint. 10, 1, 31:Pierium,
Lucr. 1, 946; 4, 21:tragicum,
Hor. A. P. 220:carmina Livi,
id. Ep. 2, 1, 69; cf. Tac. A. 11, 13:Saliorum carmina,
Varr. L. L. 3, 26; 9, 61; Quint. 1, 6, 40; Hor. Ep. 2, 1, 86 Schmid.; cf. Liv. 1, 20, 4 al.:lyricorum carmina,
Quint. 9, 4, 53; Prop. 4 (5), 6, 32:Aeolium,
Hor. C. 3, 30, 13:Lydis remixto carmine tibiis,
id. ib. 4, 15, 30; cf. id. Epod. 9, 5:carmen funebre proprie Naenia,
Quint. 8, 2, 8:carmina quae in Phaeacum epulis canuntur,
Cic. Brut. 18, 71; cf. id. ib. 19, 75:lascivum,
Quint. 9, 4, 108:obscena,
satirical, abusive poems, libels, Prop. 1, 16, 10;the same: famosum,
Hor. Ep. 1, 19, 31 Schmid.:malum,
id. ib. 2, 1, 153; id. S. 2, 1. 82 Heind.:obliquum,
Stat. S. 1, 2, 27:probrosum,
Tac. A. 4, 31; cf.:si quis carmen condidisset quod infamiam faceret flagitiumve alteri,
Cic. Rep. 4, 10, 12; and Fragm. XII. Tab. 8, 1, ap. Wordsw. Fragm. and Spec. p. 259 sq.; Fischer ad Cic. Tusc. 4, 2, 4.—Phrases:canere,
Cic. Brut. 18, 71; Liv. 1, 20, 4 al.:cantare cui,
Hor. C. 3, 1, 4:cantitare,
Cic. Brut. 19, 75: CONDERE, XII. Tab. ap. Cic. Rep. 4, 10, 12; Lucr. 5, 1; Hor. S. 2, 1, 82; id. A. P. 436:contexere,
Cic. Cael. 8, 18:disponere,
Lucr. 3, 420:pangere,
id. 1, 934; 4, 9:fingere,
Hor. C. 4, 2, 32; id. Ep. 2, 1, 227; id. A. P. 331:dicere,
id. C. 4, 12, 10; id. C. S. 8:dictare,
id. S. 1, 10, 75; id. Ep. 2, 1, 110:docere,
id. C. 2, 19, 1:ad umbilicum adducere,
id. Epod. 14, 7:deducere ad sua tempora,
Ov. M. 1, 4:fundere,
Cic. Tusc. 1, 26, 64:componere ad lyram,
Quint. 1, 10, 29; cf. id. 11, 2, 11.—Esp.1.In a restricted sense for lyric or epic poetry:2. 3.carmine tu gaudes, hic delectatur iambis,
Hor. Ep. 2, 2, 59 Schmid.; cf.:carmina compono, hic elegos,
id. ib. 2, 2, 91: amabile carmen, i. e. a love poem or song, id. ib. 1, 3, 24.—And opp. to the drama for an epic or lyric poem:fabula, quae versatur in tragoediis atque carminibus,
Quint. 2, 4, 2.—A poetic inscription:4.et tumulum facite et tumulo superaddite carmen: Daphnis ego, etc.,
Verg. E. 5, 42; id. A. 3, 287; Ov. M. 14, 442; id. F. 3, 547 al.—A response of an oracle, a prophecy, prediction:5.ultima Cumaei venit jam carminis aetas,
Verg. E. 4, 4; so Ov. M. 6, 582; Liv. 1, 45, 5; 23, 11, 4; 25, 12, 4; 29, 10, 6; 38, 45, 3; Tac. A. 3, 63; 4, 43; 6, 12 al.—A magic formula, an incantation: MALVM, Fragm. XII. Tab. ap. Plin. 28, 2, 4, § 17; cf.6.Fragm. XII. Tab. 8, 1, a. ap. Wordsw. Fragm. and Spec. p. 260: polleantne aliquid verba et incantamenta carminum,
Plin. 28, 2, 3, § 10: carmina vel caelo possunt deducere lunam;Carminibus Circe socios mutavit Ulixi,
Verg. E. 8, 69 sq.; so id. A. 4, 487; Hor. Epod. 5, 72; 17, 4; id. S. 1, 8, 19; Prop. 2 (3), 28, 35; Ov. M. 7, 137; 14, 58; Quint. 7, 3, 7; Tac. A. 2, 69; 4, 22 al.—On account of the very ancient practice of composing forms of religion and law in Saturnian verse, also a formula in religion or law, a form:7.diro quodam carmine jurare,
Liv. 10, 38, 10; 10, 41, 3; 31, 17, 9; 1, 24, 6 and 9; Plin. 28, 2, 3, § 12:cruciatus carmina,
Cic. Rab. Perd. 4, 13; cf. id. Mur. 12, 26:lex horrendi carminis erat: duumviri perduellionem judicent, etc.,
of a dreadful form, Liv. 1, 26, 6:rogationis carmen,
id. 3, 64, 10.—Moral sentences composed in verses:2.Appii Caeci carmen,
Cic. Tusc. 4, 2, 4; cf.:liber Catonis qui inscriptus est Carmen de moribus,
Gell. 11, 2, 2:ut totum illud, VTI. LINGVA. NVNCVPASSIT., non in XII. tabulis, sed in magistri carmine scriptum videretur,
Cic. de Or. 1, 57, 245:necessarium,
id. Leg. 2, 23, 59. -
46 παμμελής
-ής,-ές A 0-0-0-0-1=1 3 Mc 7,16in all kinds of melodies; neol. -
47 Keil, Alfredo
(1854-1907)Portuguese composer, musician, and painter of German descent who wrote the music for [I]A[/I] Portuguesa, the official national anthem of Portugal since 1911. Kiel began his studies in Germany, where he won bronze and silver medals for his work. He also showed his work in Rio de Janeiro, Brazil. In 1890, he opened an atelier on the Avenida da Liberdade, Lisbon, where he presented his seascapes, landscapes, and portraits. These works sold well, and some were even acquired by King Luís I for the royal art collection: A Saída da Igreja, A Primavera, Marinha, and Pôr-do-Sol.Having learned to play the piano, Keil began to study music with Hungarian pianist Oscar de le Cinne. Professor Ernesto Vieira taught him instrumentation and harmonization. Keil's first musical works were Aurora, Teus Olhos Negros, and Roses, Pompons e Romança. These were followed by Morenita, Souvenir de Vienne, and Carnaval. Well received, these works encouraged Keil to try his hand at opera. In 1882, he presented Suzana, a comic opera in one act. This was followed by other musical works, such as Recueil, melodies for the piano; Pátria, a work for piano and singer; Orientais, a symphony with chorus and solos; and D. Branca, an opera in four acts with a libretto taken from the poem by Almeida Garrett of the same title.D. Branca, presented in 1888, was wildly popular, which inspired Keil to write more operas: Irene (1893), and Serrana (1902). In 1902, he wrote the Hino do Infante D. Henriques for a festival marking the birthday of Prince Henry of Aviz (Prince Henry the Navigator), which was played by four military bands and sung by massed choruses. Additional patriotic music included, in 1895, a march titled Marcha de Gualdim Pais and A Portuguesa, with words by Lopes de Mendonça, which became the Portuguese national anthem in 1911. -
48 Vianna da Motta, José
(1868-1948)One of Portugal's greatest musicians, pianists, and music scholars. Vianna da Motta (or Viana da Mota) was born in São Tomé Island, a Portuguese West African colony, and came to Portugal at a young age. Soon honored and patronized by Portuguese royalty for his musical genius, he first performed on the piano in public at age 10. This child prodigy was trained in Lisbon as well as in Germany. In 1918, he directed Lisbon's Symphonic Orchestra, and the next year he was appointed director of Portugal's National Conservatory, Lisbon, a post he held until retirement in 1938. As one of the premier interpreters in his day of the compositions of Bach, Beethoven, Schubert, Chopin, and Liszt, Vianna da Motta was also a famous composer and scholar of music. Widely published as an authority on the great central European Romantic pianist-composers, he also composed music that was influenced by popular Portuguese folk melodies. One of his more celebrated nationalistic compositions was his Canções Portuguesas (Portuguese Songs), Opus 10. He was honored and decorated by Portugal and other countries, and helped train future generations of musicians. -
49 παμμελής
παμ-μελής, ές,Greek-English dictionary (Αγγλικά Ελληνικά-λεξικό) > παμμελής
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50 σπονδεῖος
A used at a libation, αὔλημα, μέλος, D.H.Dem.22, Poll.4.79, etc.; ὁ ς. (sc. νόμος) a piece of music used at libations, Plu.2.11 35a.II σπονδεῖος (sc. πούς), ὁ, in metre, spondee, foot consisting of two long syllables used in melodies accompanying σπονδαί, D.H.Comp.17, Heph.3.1, etc.2 metaph. of the pulse διὰ ἴσου, Ruf.Syn.Puls.4.Greek-English dictionary (Αγγλικά Ελληνικά-λεξικό) > σπονδεῖος
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51 χέω
χέω, used in the simple form mostly by Poets, butA v. ἐγ-, κατα-, συγ-χέω; -εει is not [var] contr. by [dialect] Ep., v. Il.6.147, 9.15, Hes.Op. 421; but in Trag. and [dialect] Att. always so, ἐκ-χεῖ, συγ-χεῖς, κατα-χεῖν, S.El. 1291, E.IA37 (anap.), Ar.Eq. 1091 (hex.); for - εε no rule is observed, [tense] impf.χέε Il.23.220
; butσύγ-χει 9.612
, 13.808,χεῖσθαι Od.10.518
;κατ-έχεε Ar.Nu.74
, D.45.74; ἐν-έχει, ἐν-έχεις, ἐξ-έχει, Antipho 1.19, Ar.Pl. 1021, A.Ag. 1029 (lyr.):— -έῃ, -έο, -έου, -έω seem never to have been contracted, exc.ἐγχεῦντα Theoc.10.53
:— [tense] fut. χέω ( ἐκ-χεῶ acc. to Choerob. in Theod.2.168 H., but this is Hellenistic, LXX Je.6.11, al., ἐκ-χεεῖς ib.Ex.4.9, ἐκ-χεεῖib.Le.4.18,25, ἐκ-χεεῖτε ib.De.12.16,24, ἐκ-χεοῦσι ib.Le.4.12, προς-χεεῖς ib.Ex. 29.16, al., and the [voice] Med. χεόμενος (v. infr.) points to [dialect] Att. χέω), συγ- E.Fr. 384
, (anap.);παρα-χέων Pl.Com. 69.3
; [dialect] Ep. [tense] fut.χεύω Od.2.222
(χρειώ Aristarch.
, whence χείω Porson): [tense] aor.ἔχεα Il.18.347
, Pi.I.8(7).64, etc.; [dialect] Ep.ἔχευα Il.3.270
, 4.269,χεῦα 14.436
, Od.4.584, etc.; [dialect] Ep. [tense] aor. 1 subj.χεύομεν Il.7.336
(lateἔχευσα AP14.124
(Metrod.)): [tense] pf. κέχῠκα, ([etym.] ἐκ-) Men.915, APl.4.242 (Eryc.):—[voice] Med., [tense] fut. [dialect] Att.χεόμενος Is.6.51
: [tense] aor.ἐχεάμην Hdt.7.43
, A.Pers. 220 (troch.), S.OC 477, Ar.V. 1020 (anap.); [dialect] Ep. ἐχευάμην, χευάμην, Il.5.314, 18.24, etc.; [dialect] Ep. subj. χεύεται ([etym.] περι-) Od.6.232 (perh. indic.):—[voice] Pass., [tense] fut. χῠθήσομαι ([etym.] συγ-) D.23.62, cf. J.AJ8.8.5: later χεθήσομαι, ([etym.] ἐκ-) Arr.Epict.4.10.26:—[tense] aor. 1 ἐχύθην [ῠ] Od.19.590, etc.: later ἐχέθην, not in Inscrr. or Pap., f.l. in Ph.1.455, Euc.Catoptr.Prooem. (vii p.286 H., ἐγ-, ἐκ-), etc.: also [dialect] Ep. [tense] aor. χύτο [ῠ] Il.23.385, Od.7.143;ἐξ-έχῠτο 19.470
; ἔχυντο, χύντο, 10.415, Il.4.526; part. χύμενος, η, ον, 19.284, Od.8.527, and Trag. in lyr., A.Ch. 401, Eu. 263, E.Heracl.76: [tense] pf.κέχῠμαι Il.5.141
, Sapph. Supp.25.12, Pi.I.1.4, etc.: [tense] plpf. [dialect] Ep.κέχῠτο Il.5.696
, etc.—[dialect] Ep. [tense] pres. [full] χείω, Hes.Th.83; later [dialect] Ep. [tense] pres. [full] χεύω both in the simple Verb and compds., Nic.Al. 381, Lyr.Alex.Adesp.35.19 (fort. Mesom.), Nonn. D.18.344, Opp.C.2.127:—[voice] Med.,χεύομαι A.R.2.926
: in later Prose [tense] pres. [full] χύνω (q.v.); χῦσαι is f.l. for λῦσαι in codd. dett. of Tryph. 205.—Rare in Prose, exc. in compds. and in [voice] Med. 0-0Radic. sense, pour:I prop. of liquids, pour out, let flow, ; , cf. Od.1.146, etc.;οἶνον χαμάδις χέε Il.23.220
;κατὰ στόματος νέκταρ Theoc.7.82
: χέει ὕδωρ, of Zeus, i.e. makes it rain, Il.16.385;ὅταν βορέας χιόνα.. χέῃ E.Cyc. 328
: abs., χέει it snows, Il.12.281 ( νειφέμεν is in l. 280): freq. of drink-offerings,χέουσα χοάς A.Ch.87
:—[voice] Med.,χοὴν χεῖσθαι νεκύεσσι Od.10.518
;χοὴν χεόμην νεκύεσσι 11.26
;χοὰς χέασθαι Hdt.7.43
, etc.: abs., Is.6.51,65:—[voice] Pass.,κέχυται Il.12.284
; κρῆναι χέονται they gush forth, E.Hipp. 748 (lyr.);ποτοῦ χυθέντος ἐς γῆν S.Tr. 704
; χέεσθαι βουτύρῳ, γάλακτι to flow with.., LXX Jb.29.6.2 χ. δάκρυα shed tears,δάκρυα θερμὰ χέοντες Il.7.426
, cf. 16.3, E.Tr.38;ἀπ' ὀφθαλμῶν Id.Cyc. 405
:—[voice] Med.,ὅσα σώματα χεῖται Pl.Ti. 83e
:—[voice] Pass., of tears, flow,δάκρυα θερμὰ χέοντο Od.4.523
;ἀπ' ὀφθαλμῶν χύτο δάκρυα Il.23.385
; of blood, to be shed, drip, (anap.), cf. Eu. 263 (lyr.).4 [voice] Pass., become liquid, melt, dissolve, τὰ κεχυμένα, opp. τὰ συνεστῶτα, Pl.Ti. 66c; of the ground in spring, X.Oec.16.12, Thphr.CP3.4.4; κεχυμένοι ὀφθαλμοί perh. moist, languishing eyes, Heph.Astr.1.1.II of solids, shed, scatter,φύλλα ἄνεμος χαμάδις χέει Il.6.147
; ;πτερὰ ἔραζε Od. 15.527
; ἐν.. ἄλφιτα χ. δοροῖσιν pour into.., 2.354; [κρέα] εἰν ἐλεοῖσιν Il.9.215
;κόνιν κὰκ κεφαλῆς 18.24
, Od.24.317; καλάμην χθονί, of a mower or reaper, Il.19.222:—[voice] Pass.,ἐν νάσῳ κέχυται σπέρμα Pi.P. 4.42
; πάγου χυθέντος when the frost was on the ground, S. Ph. 293; κέχυται νόσος has spread through his frame, Id.Tr. 853 (lyr.).2 throw up earth, so as to form a mound,σῆμ' ἔχεαν Il.24.799
; χεύαντες δὲ τὸ σῆμα ib. 801, cf. Od.1.291;τύμβον χ. Il.7.336
, etc.;θανόντι χυτὴν ἐπὶ γαῖαν ἔχευαν Od.3.258
, cf. Il.23.256.3 χ. δούρατα shower spears, 5.618:—[voice] Med., βέλεα χέοντο they showered their darts, 8.159.4 let fall, drop,κατὰ δ' ἡνία χεῦεν ἔραζε 17.619
;εἴδατα ἔραζε Od.22.20
; ἀπὸ κρατὸς χέε (v.l. for βάλε)δέσματα Il.22.468
; (lyr.) (but καρπὸν χ., of trees, not to shed their fruit, but to let it hang down in profusion, Od.11.588):—[voice] Pass., streaming down, falling,E.
Ba. 456.5 in [voice] Pass., to be heaped up, massed together, [ἰχθύες] ἐπὶ ψαμάθοισι κέχυνται Od. 22.387
, cf. 389; of dead geese, 19.539; of dung, 17.298, Il.23.775; alsoσωρὸν σίτου κεχυμένον Hdt.1.22
.6 [voice] Pass., of living beings, stream in a dense throng, Il.16.267, etc.;δακρυόεντες ἔχυντο Od.10.415
, etc.: of sheep, Il.5.141.7 of persons, ἀμφ' αὐτῷ χυμένη throwing herself around him, 19.284, Od.8.527:—[voice] Med.,ἀμφὶ φίλον υἱὸν ἐχεύατο πήχεε Il.5.314
:—[voice] Pass., of things,ἀμφὶ δὲ δεσμοὶ τεχνήεντες ἔχυντο Od.8.297
.8 [tense] pf. [voice] Pass. κέχυμαι, to be wholly engaged or absorbed in,Δᾶλος, ἐν ᾇ κέχυμαι Pi.I.1.4
; κεχυμένος ἐς τἀφροδίσια, Lat. effusus in Venerem, Luc.Sacr.5;πρὸς ἡδονήν Alciphr.1.6
.III of impalpable things:1 of the voice, φωνήν, αὐδὴν χ., Od.19.521, Hes.Sc. 396, cf. Th.83;ἐπὶ θρῆνον ἔχεαν Pi.I. 8(7).64
;Ἑλλάδος φθόγγον χέουσα A.Th.73
, cf. Supp. 632 (lyr.), Fr.36 (lyr.); of wind instruments,πνεῦμα χέων ἐν αὐλοῖς Simon. 148.8
, cf. APl.4.226 (Alc.):—[voice] Med.,κωμῳδικὰ πολλὰ χέασθαι Ar.V. 1020
(anap.):—but in [voice] Pass., κεχυμένα ᾄσματα non-rhythmical melodies, Aristid.Quint.1.13.2 of things that obscure the sight, κατ' ὀφθαλμῶν χέεν ἀχλύν shed a dark cloud over the eyes, Il.20.321; πολλὴν ἠέρα χεῦε shed a mist abroad, Od.7.15, etc. (soεὔκρατος ἀὴρ χεῖται Pl.Ax. 371d
);τῷ δ' ὕπνον ἀπήμονά τε λιαρόν τε χεύῃ ἐπὶ βλεφάροισιν Il.14.165
, cf. Od.2.395, etc.:— [voice] Pass., ἀμφὶ δέ οἱ θάνατος χύτο was shed around him, Il.13.544; ; (but πάλιν χύτο ἀήρ the mist dissolved or vanished, Od.7.143); ; ἐχεύατο πόντον ἔπι φρίξ ([voice] Med. in pass. sense) Il.7.63.3 [tense] aor. [voice] Pass., ἐχύθη οἱ θυμός his mind overflowed with joy, A.R.3.1009.4 [voice] Pass., to be dissipated, diffused, Plot. 1.4.10;οὐδὲν τοῦ χεῖσθαι δεηθέν Id.6.5.3
; to be rarefied, opp. πιλεῖσθαι, Gal.15.28. (Cf. Skt. juhóti 'pour (sacrificial offerings)', part. hutás (= χυτός), Lat. fundo, Goth. giutan 'pour'.) -
52 მელოდიები
nmelodies, tunes -
53 ein bunter Reigen von Melodien
Deutsch-Englisches Wörterbuch > ein bunter Reigen von Melodien
-
54 Melodien
plmelodies -
55 memarhabankan
greet a newborn baby by singing religious melodies to it. -
56 besteci
1. person who sets words to music, writer of melodies, songwriter. 2. composer (of musical works): opera bestecisi opera composer. -
57 מזמוטין
מַזְמוּטִיןm. pl. (= מזמזט׳, transpos. of זמזם, v. זַמְזוּמֵי; cmp. גִעְגֵּע for עגעג; as to זט for זז cmp. גִּיסְטְרָא, גְּזוּזְטְרָא) music, sweet melodies. Targ. Job 36:11 (Ms. בסימיא; h. text נעימים).Hebr. constr. מַזְמוּטֵי. Ḥag.14b מ׳ חתן וכלה the musical entertainments at a wedding (Y. ib. II, 77a bot. בני חופה שמיחין לפני חתן). -
58 מַזְמוּטִין
מַזְמוּטִיןm. pl. (= מזמזט׳, transpos. of זמזם, v. זַמְזוּמֵי; cmp. גִעְגֵּע for עגעג; as to זט for זז cmp. גִּיסְטְרָא, גְּזוּזְטְרָא) music, sweet melodies. Targ. Job 36:11 (Ms. בסימיא; h. text נעימים).Hebr. constr. מַזְמוּטֵי. Ḥag.14b מ׳ חתן וכלה the musical entertainments at a wedding (Y. ib. II, 77a bot. בני חופה שמיחין לפני חתן).
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