Symphony Z20 Price in Bangladesh

Symphony Z20 Price in Bangladesh

Symphony Z20 Price in Bangladesh

Review The price of the Symphony Z20 is BDT 8,990. … Symphony Z20 running Quad-Core 1.4 GHz, Android Pie 9.0. It has 3 GB of RAM and 32 GB internal storage and expended up to 128 GB external microSD card. This stylish device has a 13 MP, 2 MP camera in the back and an 8 MP camera on the front side.

8,990 Taka in Bangladesh

Symphony Z20 Full Review & Specifications

Network Type
Network 2G
GSM 850 / 900 / 1800 / 1900
Network 3G
HSDPA 850 / 900 / 2100
Network 4G
Launch Announcement
2019, November
Launch Date
Available. Released 2019, November
Body Dimensions
161.4 x 76.7 x 8.55 mm
Body Weight
176 g
Network Sim
Hybrid (Dual Nano/Nano + Micro SD Card)
Display Type
IPS Water Drop Notch Display
Display Size
6.26 inches
Display Resolution
720 x 1520 pixels HD+
Display Multitouch
Operating System
OS Version
9.0 (Pie)
1.6 GHz Octa Core Processor
IMG 8322 – 550MHz
Memory Internal
32 GB
Memory External
microSD, up to 64 GB
3 GB
Primary Camera
Dual: 13 MP
2 MP
Secondary Camera
8 MP
Camera Features
Zoom 4X
Auto Focus
AI, Google Lens, Panorama,
Audio Note, Filter, QR Code, Night Shot,
HDR, Face Beauty, Portrait, Slow Motion, Time Laps
3.5mm Jack
microUSB 2.0
Fm Radio
Yes, with A-GPS
Fingerprint, G-Sensor
SMS(threaded view), MMS, Email
Battery Type
Li-Polymer Battery
Battery Capacity
3000 mAh
Battery Stand by
160h (Depends on Netwrok & Phone Settings)
Body Color
Light Blue, Dark Blue

Symphony Z20 Price and Full Specifications in Bangladesh

Symphony Z20 Price in Bangladesh and Full Specifications. Symphony Z20 is a Smartphone of Symphony. This Symphony Z20 have 3 GB RAM. 32 GB Internal Memory (ROM). microSD, up to 64 GB External Memory Card. Symphony Z20 Comes with 6.26 inches, IPS Water Drop Notch Display. Display with a Resolution of 720 x 1520 pixels HD+. Symphony Z20 measures 161.4 x 76.7 x 8.55 mm (height x width x thickness) and weighs 176 g (grams). It’s performing 1.6 GHz Octa Core Processor. Operating System Android, Version 9.0 (Pie). Connectivity options on the Symphony Z20 include Wifi: Yes, Bluetooth: Yes, GPS: Yes, with A-GPS. It’s Official Price is 8,990.00 Taka (Bangladeshi). Click Here to find Symphony Phones Showrooms in Bangladesh.

The word symphony is derived from the Greek word συμφωνία (symphonia), meaning “agreement or concord of sound”, “concert of vocal or instrumental music”, from σύμφωνος (symphōnos), “harmonious”.[1] The word referred to a variety of different concepts before ultimately settling on its current meaning designating a musical form.

In late Greek and medieval theory, the word was used for consonance, as opposed to διαφωνία (diaphōnia), which was the word for “dissonance”.[2] In the Middle Ages and later, the Latin form symphonia was used to describe various instruments, especially those capable of producing more than one sound simultaneously.[2] Isidore of Seville was the first to use the word symphonia as the name of a two-headed drum, and from c. 1155 to 1377 the French form symphonie was the name of the organistrum or hurdy-gurdy. In late medieval England, symphony was used in both of these senses, whereas by the 16th century it was equated with the dulcimer. In German, Symphonie was a generic term for spinets and virginals from the late 16th century to the 18th century.[3]

In the sense of “sounding together,” the word begins to appear in the titles of some works by 16th- and 17th-century composers including Giovanni Gabrieli‘s Sacrae symphoniae, and Symphoniae sacrae, liber secundus, published in 1597 and 1615, respectively; Adriano Banchieri‘s Eclesiastiche sinfonie, dette canzoni in aria francese, per sonare, et cantare, op. 16, published in 1607; Lodovico Grossi da Viadana‘s Sinfonie musicali, op. 18, published in 1610; and Heinrich Schütz‘s Symphoniae sacrae, op. 6, and Symphoniarum sacrarum secunda pars, op. 10, published in 1629 and 1647, respectively. Except for Viadana’s collection, which contained purely instrumental and secular music, these were all collections of sacred vocal works, some with instrumental accompaniment.[4][5]

In the 17th century, for most of the Baroque period, the terms symphony and sinfonia were used for a range of different compositions, including instrumental pieces used in operassonatas and concertos—usually part of a larger work. The opera sinfonia, or Italian overture had, by the 18th century, a standard structure of three contrasting movements: fast, slow, fast and dance-like. It is this form that is often considered as the direct forerunner of the orchestral symphony. The terms “overture”, “symphony” and “sinfonia” were widely regarded as interchangeable for much of the 18th century.[5]

In the 17th century, pieces scored for large instrumental ensemble did not precisely designate which instruments were to play which parts, as is the practice from the 19th century to the current period. When composers from the 17th century wrote pieces, they expected that these works would be performed by whatever group of musicians were available. To give one example, whereas the bassline in a 19th-century work is scored for cellosdouble basses and other specific instruments, in a 17th-century work, a basso continuo part for a sinfonia would not specify which instruments would play the part. A performance of the piece might be done with a basso continuo group as small as a single cello and harpsichord. However, if a bigger budget was available for a performance and a larger sound was required, a basso continuo group might include multiple chord-playing instruments (harpsichord, lute, etc.) and a range of bass instruments, including cello, double bass, bass viol or even a serpent, an early bass woodwind instrument.

18th century[edit]

LaRue, Bonds, Walsh, and Wilson write in the second edition of The New Grove Dictionary of Music and Musicians that “the symphony was cultivated with extraordinary intensity” in the 18th century.[6] It played a role in many areas of public life, including church services,[7] but a particularly strong area of support for symphonic performances was the aristocracy. In Vienna, perhaps the most important location in Europe for the composition of symphonies, “literally hundreds of noble families supported musical establishments, generally dividing their time between Vienna and their ancestral estate [elsewhere in the Empire]”. [8] Since the normal size of the orchestra at the time was quite small, many of these courtly establishments were capable of performing symphonies. The young Joseph Haydn, taking up his first job as a music director in 1757 for the Morzin family, found that when the Morzin household was in Vienna, his own orchestra was only part of a lively and competitive musical scene, with multiple aristocrats sponsoring concerts with their own ensembles.[9]

LaRue, Bonds, Walsh, and Wilson’s article traces the gradual expansion of the symphonic orchestra through the 18th century.[10] At first, symphonies were string symphonies, written in just four parts: first violin, second violin, viola, and bass (the bass line was taken by cello(s), double bass(es) playing the part an octave below, and perhaps also a bassoon). Occasionally the early symphonists even dispensed with the viola part, thus creating three-part symphonies. A basso continuo part including a bassoon together with a harpsichord or other chording instrument was also possible.[10]

The first additions to this simple ensemble were a pair of horns, occasionally a pair of oboes, and then both horns and oboes together. Over the century, other instruments were added to the classical orchestra: flutes (sometimes replacing the oboes), separate parts for bassoons, clarinets, and trumpets and timpani. Works varied in their scoring concerning which of these additional instruments were to appear. The full-scale classical orchestra, deployed at the end of the century for the largest-scale symphonies, has the standard string ensemble mentioned above, pairs of winds (flutes, oboes, clarinets, bassoons), a pair of horns, and timpani. A keyboard continuo instrument (harpsichord or piano) remained an option.

The “Italian” style of symphony, often used as overture and entr’acte in opera houses, became a standard three-movement form: a fast movement, a slow movement, and another fast movement. Over the course of the 18th century it became the custom to write four-movement symphonies,[11] along the lines described in the next paragraph. The three-movement symphony died out slowly; about half of Haydn‘s first thirty symphonies are in three movements;[12] and for the young Mozart, the three-movement symphony was the norm, perhaps under the influence of his friend Johann Christian Bach.[13] An outstanding late example of the three-movement Classical symphony is Mozart’s “Prague” Symphony, from 1786.

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