Sentence examples for theme statements from inspiring English sources

Mr. Marsalis's designated musical turf was, with a few time warps, the vintage New Orleans sound of King Oliver's Creole Jazz Band, complete with tandem-trumpet theme statements (from Mr. Marsalis and Marcus Printup), briskly strummed banjo (from the New Orleans stalwart Don Vappie), growling trombone (from Chris Crenshaw) and scampering clarinet (from Victor Goines).

A second stage of analysis was conducted on the theme statements to identify key issues that were: 1) specific to the FASD Project; 2) required action on the completion of the FASD Project; and 3) related to alcohol and pregnancy and FASD but were not specific to the FASD Project.

When Michael says, of coming home again, "It's better to stay where you are in the first place," it sounds like a theme statement.

THERE is an essay from 1956 titled "The Bibulous Aunt," found in the jazz critic Whitney Balliett's new "Collected Works," and its theme statement is this: "Until the past five or so years, jazz has been widely regarded in this country as a kind of queer Victorian aunt who laces her tea, belches in public and uses improper amounts of rouge".

This theme statement segues into a hectic call-and-response between Rougier and Conte, a stylish roll from Bredel and a series of ray-gun synth blasts.

The judge said last week that she would not allow "irrelevant and inappropriate matters, themes, statements, emotions or other distractions" to be injected into the proceedings by either side.

Finally, theology also includes among its various themes statements concerning the process and goal of history (eschatology), especially concerning the relation of secular history and the history of salvation.

In her ruling, the judge wrote that Mr. Seabrook, a Democrat, faces charges of fraud, money laundering and other serious crimes, but not "for emulating revered leaders of civil and human rights," and that she would not allow "irrelevant and inappropriate matters, themes, statements, emotions or other distractions" to be injected by either side.

Swafford spends a couple of pages on the "Harp," noting how a catchy little pattern in the first movement — rising pizzicato figures traded between instruments at the end of the first-theme statement — becomes increasingly significant.

The first movement began with propulsive force, but van Zweden's habit of pushing for effect — an obtrusively flared sustained G in the violins during the first-theme statement, for example — became tiring, leaving no room for further intensification.

The determination to continue the mission was another central theme of statements made here today.