Return-path: <61818-93744-396881-14048-llg+2Dboard=lojban.org@mail.maasalongevity.email> Envelope-to: llg-board@lojban.org Delivery-date: Sat, 25 Feb 2023 02:27:42 -0800 Received: from kadarjee.com ([134.73.175.82]:56443 helo=george.maasalongevity.email) by 14b0d7ec86fb with esmtp (Exim 4.94.2) (envelope-from <61818-93744-396881-14048-llg+2Dboard=lojban.org@mail.maasalongevity.email>) id 1pVrmF-0000R4-QJ for llg-board@lojban.org; Sat, 25 Feb 2023 02:27:41 -0800 DKIM-Signature: v=1; a=rsa-sha1; c=relaxed/relaxed; s=k1; d=maasalongevity.email; h=Mime-Version:Content-Type:Date:From:Reply-To:Subject:To:Message-ID; i=LotterySecrets@maasalongevity.email; bh=mo/mg5z/NV4uqsjyhCExgx+NOOo=; b=gCeGS38aDwIyqQW2hWJpLMizs5YI5UzH8bj/29GBTnSqSmdZ1iyhm0wRDZMYDBXsG7CjHcqEwDtz 4zQhvwZHAMOw4/GMjNup9Se+0mYYOczKifWDvY/xXiaIBNWRPYffoyYJB79AGHcCLMttbAvH3bll EHyFVQL1uz3nC4WHrpg= DomainKey-Signature: a=rsa-sha1; c=nofws; q=dns; s=k1; d=maasalongevity.email; b=ctkfApcGk+FOxuj0VIYCRN0srtRFDSyUW1oPVA5oMQkowW1qSc8UFv1ustcQ+en6Q+6zzKDdBSTq n43/cRIdodDfhjxiYLolUiMi/wwNVc2bzj2/zBVh7twjRnVqtiYFO8/s0IibrZu5aRhvlqv1i0Tv sF61R74ic605qIWUD4U=; Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="a992fcebcdb4a85b8452ac8ff50c22c2_16e30_60e51" Date: Sat, 25 Feb 2023 11:12:03 +0100 From: "Lottery Secrets" Reply-To: "Lottery Secrets" Subject: 1B Mega Millions Announcement ...(Urgent) To: Message-ID: X-Spam-Score: 3.6 (+++) X-Spam_score: 3.6 X-Spam_score_int: 36 X-Spam_bar: +++ X-Spam-Report: Spam detection software, running on the system "b6192fcea007", has NOT identified this incoming email as spam. The original message has been attached to this so you can view it or label similar future email. If you have any questions, see @@CONTACT_ADDRESS@@ for details. Content preview: 1B Mega Millions Announcement ...(Urgent) http://maasalongevity.email/6k7RqPvYjniR05C8ViGMQRCHr1XgAxCKmW4ariI9NO9gm2NkxQ http://maasalongevity.email/wW5Ii7PU187QzCXLyPwjyoz4HeDjrJMoWaae7imvrz08fUPqQw Content analysis details: (3.6 points, 5.0 required) pts rule name description ---- ---------------------- -------------------------------------------------- 0.0 URIBL_BLOCKED ADMINISTRATOR NOTICE: The query to URIBL was blocked. See http://wiki.apache.org/spamassassin/DnsBlocklists#dnsbl-block for more information. 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The new polychoral culture became known as the partesnyy ("singing in parts") style. During the 19th century, Znamenny chants were gradually superseded by newer ones, such as the Kyiv chant, which in their turn, were replaced by music that was closer to recitative. Most Znamenny melodies gradually become lost or forgotten. In the early 19th century, music in West-European was making the transition from classical to predominantly Romantic, having earlier shifted away from the Baroque style. The tradition of Russian church music can be traced back to Dmitry Bortniansky, who revered the Russian liturgical musical tradition. The early part of the 19th century was a period which marked a low ebb in the fortunes of traditional Russian music. Bortniansky studied in Venice before eventually becoming the director of music at the court chapel in St Petersburg in 1801. Composing in an era when attempts were being made to suppress the Russian Empire's cultural heritage, Bortniansky's choral concertos, set to texts in Russian, were modelled on counterpoint, the concerto grosso and Italian instrumental music. Under him, the Imperial Court Chapel expanded its role so it influenced, and eventually controlled, church choral singing throughout the Russian Empire. Vedel followed Bortniansky in combining the Italian Baroque style to ancient Russian hymnody, at a time when classical influences were being introduced into Ukrainian choral music, such as four-voice polyphony, the solo --a992fcebcdb4a85b8452ac8ff50c22c2_16e30_60e51 Content-Type: text/html; Content-Transfer-Encoding: 8bit Newsletter
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nd monody was replaced by polyphony. The new polychoral culture became known as the partesnyy ("singing in parts") style. During the 19th century, Znamenny chants were gradually superseded by newer ones, such as the Kyiv chant, which in their turn, were replaced by music that was closer to recitative. Most Znamenny melodies gradually become lost or forgotten. In the early 19th century, music in West-European was making the transition from classical to predominantly Romantic, having earlier shifted away from the Baroque style. The tradition of Russian church music can be traced back to Dmitry Bortniansky, who revered the Russian liturgical musical tradition. The early part of the 19th century was a period which marked a low ebb in the fortunes of traditional Russian music. Bortniansky studied in Venice before eventually becoming the director of music at the court chapel in St Petersburg in 1801. Composing in an era when attempts were being made to suppress the Russian Empire's cultural heritage, Bortniansky's choral concertos, set to texts in Russian, were modelled on counterpoint, the concerto grosso and Italian instrumental music. Under him, the Imperial Court Chapel expanded its role so it influenced, and eventually controlled, church choral singing throughout the Russian Empire. Vedel followed Bortniansky in combining the Italian Baroque style to ancient Russian hymnody, at a time when classical influences were being introduced into Ukrainian choral music, such as four-voice polyphony, the solo

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