athematic


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athematic

(ˌæθɪˈmætɪk)
adj
1. (Music, other) music not based on themes
2. (Linguistics) linguistics (of verbs) having a suffix attached immediately to the stem, without an intervening vowel
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To Examine the Questions, Descriptive Statistics were used to develop statistical frequency distribution tables (tables and diagrams for showing frequency distribution in the population) and to estimate central indexes, athematic mean, dispersion indices, standard deviation, ETC .
Campbell Weak declension Nouns of Dental relationship stems Hogg Consonantal stems (r-stems) (p-stems) fin-stems: on-stems, Fn- stems all the equivalents of Campbell's minor declensions) Campbell Stems in Indo-European nd-stems Athematic nouns -es-, -os- Hogg s-stems nd-stems Root-stems Table 4.
As an anonymous reviewer has pointed out, there is an alternative analysis of [degrees]jaymista-and jaynista- as superlatives of athematic stems derived from reduplicated verbal formations, presupposing a segmentation [degrees]jaym-ista- and jayn-ista-.
9) What is peculiar to the finite forms of Old Greek is the marking of person and mood, as is especially transparent in the paradigm of the athematic verbs, cf.
2]s/>/ss/before vowels, and deduces that the preservation of pahs-V (instead of the expected *pass-V) was due to generalization from the original athematic forms.
Therefore, Haimo reassigns the break with the past to the so-called athematic works composed in 1909, such as the third of the Three Piano Pieces, op.
Interestingly, an example of reanalysis concerning a 2nd person form is that of Greek [epsilon] [sigma] [theta] [iota] [omega]) 'eat', whose stem [epsilon] [sigma] [theta] [iota] -, according to the explanation provided by Karl Brugmann (1913), may be identified with the athematic 2nd sg.
Haba himself was not a purely microtonal nor a purely athematic composer.
Rieken (1994: 51; 1999: 56-58), who traced the stem-final -i- to an old athematic dual ending *-i[h.
Haba is known primarily as a tireless propagator of microtonal and athematic music, for which his own term was "liberated music.
Serious music during the Modernist decline - by its atonality, dissonance, athematic melos, astructural or aleatoric principles of organization, and importation of non-musical effects - became largely self-referential and unconcerned with the listener" (p.