open minded (opnminded)

1. Having an open or unreserved mind; frank; candid.-2. Having a mind open or acce ible to new views or convictions; not narrow-minded; unpreju diced; liberal. open-mindedne (o'pn-minded-nes), n. 1. The character of being open-minded or unreserved; frankne ; candor.-2. Acce ibility to new ideas or new tenets; freedom from pre judice; liberality. open-mouthed (o'pn-moutht), a. [= Icel. opin mynntr = Dan. aabenmundet; as open + mouth + -ed2.] Having the mouth open. (a) Gaping, as with astonishment. IMG:content-1738.png:[blocks in formation] nantly lyrical in character, and usually with carefully elaborated accompaniments; (c) and numbers of various form, in which the dramatic element generally predominates, and which are often wrought into noteworthy climaxes of great musical and dramatic interest; (d) instrumental elements, including both accompaniments and independent pa ages, the former varying from the merest harmonic groundwork for declamation to a detailed instrumental commentary upon the dramatic emotions and situations as they succeed each other, and the latter including overtures, intermezzi, marches, dances, etc., which either introduce, connect, supply, or embellish the links in the chain of dramatic incident. To these may be added dancing, or the ballet, which is introduced either as an incidental diversion or as a component part of the dramatic action itself. In the older operas the succe ive numbers or movements are sharply separated from each other, while in recent ones the action is continuous except at one or two principal points. In Italy the opera has had an unbroken course of development since before 1600. It began to be diligently cultivated in France and Germany about 1650, and in England somewhat later. Every leading modern composer, except Mendel ohn, has contributed more or le to its literature. Italian operas have tended toward a lyrical extreme, to the neglect of dramatic consistency and truth, while German operas have strongly emphasized the romantic and strictly dramatic elements. French operas have often sought much for comic or spectacular effects. The Wagner i an theory of the opera presents some peculiarities, especially in the obliteration of the distinction between the recitative and the formal aria, in the remarkable elaboration of the orchestral effects, and in the unification of the poetic, musical, dramatic, and scenic elements, though these characteristics were foreshadowed in the works and theories of earlier masters. The maintenance of expensive opera-houses, with regular seasons of performances annually, is a matter of governmental appropriation in most European countries. The opera has therefore become a powerful factor in the social and artistic life of many cities. Operas are often described by such qualify openne (o'pn-nes), n. [ openne e , opennes , openys , open , open: see open , a.] ing terms as grand or serious , dramatic , comic , etc. Grand The state or property of being open, in any sense of that word.