staccato, highlight, high point, Symphonic Dances“. A Knife in the Eye,” a reference to the worst of his injuries, he decided on a single-word title, as sharp and staccato as the object itself.

Though Rushdie considered calling his new book “A Knife in the Eye,” a reference to the worst of his injuries, he decided on a single-word title, as sharp and staccato as the object itself. “Knife” can mean many things, he writes. It’s a weapon, of course, and an artistic device in books, movies and paintings. In Rushdie’s book, it’s a metaphor for understanding.

Despite Divisions, Trump Sees Europe Trip as High Point

By GLENN THRUSH 2:58 PM ET

An overseas visit leaves the president and his aides feeling there might still be a market for his hard-edge brand of conservatism in a supposedly inhospitable Europe.

 High Points of This Chapter

staccato

の意味 - 小学館 プログレッシブ英和中辞典

staccato 

• 音節stac • ca • to
• 発音stəkάːtou

[形]

1. 1《音楽》スタッカートの（⇔legato）
2. 2急な断続音からなる

━━[副]《音楽》スタッカートで

━━[名]（複～s，-ti /-tiː/）

1. 1《音楽》スタッカート奏法；スタッカート楽節
2. 2急な断続音

語源

［イタリア］

high point  

Noun The most enjoyable or significant part of an experience or period of time.

Synonyms highlight

The Symphonic Dances, Op. 45, is an orchestral suite in three movements. Completed in 1940, it is Sergei Rachmaninoff's last composition. The work summarizes Rachmaninoff's compositional output.
The work is fully representative of the composer's late style with its curious, shifting harmonies, the almost Prokofiev-like grotesquerie of the outer movements and the focus on individual instrumental tone colors throughout (highlighted by his use of an alto saxophone in the opening dance).^[1] The opening three-note motif, introduced quietly but soon reinforced by heavily staccato chords and responsible for much of the movement's rhythmic vitality, is reminiscent of the Queen of Shemakha's theme in Rimsky-Korsakoff's opera The Golden Cockerel,^[2] the only music by another composer he had taken out of Russia with him in 1917. The Dances allowed him to indulge in a nostalgia for the Russia he had known, much as he had done in the Third Symphony,^[3] as well as to effectively sum up his lifelong fascination with ecclesiastical chants. He quotes in the first dance the opening theme of his First Symphony, itself derived from motifs characteristic of Russian church music. In the finale he quotes both the Dies irae and the chant "Blessed be the Lord" (Blagosloven yesi, Gospodi) from his Vespers.^[1]