The musical language combines atonal and tonal aspects into lush, mystical sonorities.
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Ms. Saariaho's music is rich with sustained sonorities, shimmering harmonies and slides.
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Ms. Wolfe's "Stronghold" is for eight double basses, with amazingly dramatic sonorities.
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The orchestra, as if wary of the soloist, responds with tremulous, swelling sonorities.
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Though there is plenty of content, the manipulation of sonorities drives the music.
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Mr. Larcher's ear for captivating sonorities and his sheer imagination kept pulling me in.
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All the modernist sonorities and layered strands in this dense, complex music come through.
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" I wanted a little more nuance and milky sonorities in "Cloches à Travers les Feuilles.
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And in the Mozart, the winds produced deep, penetrating sonorities, while playing with elegance and grace.
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Below his aching lines, calm strings play strands of counterpoint that overlap into pungently mellow sonorities.
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The string writing somehow remains shimmering and transparent even when sonorities turn thick and textures gnarly.
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Surely Mr. van Zweden could have come up with other scores that similarly explore unusual sonorities.
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It unfolds in thick, undulating waves and piercing sustained sonorities, interrupted with fragments that appear and evaporate.
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There are stretches of misty orchestral sonorities in which fidgety figurations get batted around over dense harmonies.
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Leslie Bassett, a Pulitzer Prize-winning composer known for his lush sonorities and ecumenical instrumentation, died on Feb.
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It starts just with guitar (Robert Belinic) and then adds percussion (Stefan Schatz) in shifting sonorities and meters.
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Julietta's fraught vocal lines here almost take off into stretches of radiant lyricism buffeted by plush orchestral sonorities.
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The orchestra cushions her in ethereal sonorities for high strings hovering over tremulous undertows flecked with soft chimes and percussion.
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The second, "Simple Sugars," is full of frenetic blips, with the instruments often playing in-sync riffs and screeching sonorities.
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Dense chords murmur restlessly, as wavering melodic lines escape from sustained, quivering sonorities and spin off, sometimes disappearing into an ether.
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Composers are ever more interested in exploiting sonorities in all their forms, whether emerging from a piano or an oil drum.
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A simple falling and rising figure, based on a whole-tone scale, is soon enshrouded with fluid arabesques and radiant sonorities.
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But his voice is backed by questioning, almost needling, high sustained instrumental sonorities that suggest this innocent is, at best, naïve.
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The mercurial, mysterious slow movement was the strongest music, with intriguing cluster chords in the piano and shimmering, eerie orchestra sonorities.
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The music was curiously dominated by its surface qualities, which, to me, evoked the plush sonorities and soaring lines of Ravel.
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Both were imaginative modernists with marvelous veins of melodic lyricism and strong appetites for folk material, thrilling sonorities and drivingly percussive rhythms.
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As the music shifted into passages of velvety richness and tremulous sonorities, Mr. Nézet-Séguin drew out Impressionist colorings and harmonic pungencies.
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Throughout, three sopranos (Eliza Bagg, Martha Cluver and Estelí Gomez) sing wordless lyrical fragments and soft sonorities, lending an eerily angelic touch.
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But Mr. Adès enshrouds them in the opera's most rapturous music, an extended duet with sighing vocal lines and quizzical orchestral sonorities.
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The first movement begins with an Adagio introduction, flickering with piercing chords and sustained sonorities; this leads to a bustling, densely contrapuntal Allegro.
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While Mr. Huang draws on Chinese sonorities, he folds them into his own feisty modernist voice, with whole passages of pulsing dance music.
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By acutely voicing the sonorities in the subdued yet tragic "Ase's Death," Mr. Blomstedt made a case for Grieg as an inspired harmonist.
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The opening is startlingly asymmetrical, with dancers all on one side of the stage, but in patterns that mysteriously answer the music's sonorities.
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For the Irritable Hedgehog label, R. Andrew Lee has revived Johnson's vast 1959 work "November," in which crystalline sonorities gyrate for five hours.
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Without a staging, the performance focused squarely on Wagner's innovative instrumental sonorities; it was a revelation made possible by the pared-down format.
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Mr. Trifonov brought striking clarity to the wandering lyrical lines that thread through the music and savored the pungent sonorities of dense, chromatic chords.
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The five short movements are full of striking ideas and clever sonorities, all projected with freedom but with a sure handling of the dissonant textures.
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Each one seems to evoke these elements in sound: Sonorities shimmer in the "light" chord, so brightly that as you listen you want to squint.
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Mr. Lang's music is a five-part essay in what can be called classical post-minimalism, beautiful in changing sonorities and suggestions of fragmented melody.
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Where other conductors emphasize voluptuous, post-Wagnerian sonorities, Rattle prefers a leaner, tighter sound; where others indulge in flamboyant ritardandos, he keeps to a steadier tempo.
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Vocal lines flow from lyrical wistfulness to snappy declamations; dense big-band sonorities in the orchestra segue into lighter passages backed by a jazz rhythm section.
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The conductor, Sebastian Weigle, led a distinguished performance that captured the restlessness of the music's heated episodes, while drawing out its sublime flights and pungent sonorities.
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The beguiling soprano Julia Bullock drew out the wrenching ambiguity of this moment in her plaintive singing, backed by hazy instrumental sonorities that resist harmonic mooring.
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But if Schoenberg's music tries to push against the bonds of tonality, Schreker's, while just as harmonically restless, seems more willing to bask in sumptuous diatonic sonorities.
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But the chords and sonorities he comes up with at once buttress and shake up vocal lines, so the effect, in his hands, lends intriguing dramatic complexity.
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Mr. Dohnanyi, looking hale at 85, almost seemed at times to be playing an organ, pulling this or that stop to shift colorations seamlessly and blend sonorities smoothly.
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Both scores went through an impressive range of dynamics, sonorities and rhythms; but neither choreographer has the kind of revealing musicality that draws you deeper into the music.
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During passages of this mercurial, mostly subdued piece, the music shifted from sustained, focused and elemental sonorities, to passages of swaying rhythmic figures and collective bursts of fidgety lines.
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More recently, the two-part orchestral work "Palimpsests" (2002) glittered with the dazzling sonorities that have become Mr. Benjamin's hallmark, but also felt consumed by a wild, hungering energy.
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But at that performance, I spent more time listening for those vocal icons' familiar performance traits and quirks than I did for the sonorities made possible by Cage's instructions.
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During whole stretches, the orchestra enshrouds the vocal lines with sonorities that give lift and clarity to the sung words, while tapping into the psychological undertow of the emotions.
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Mr. Nézet-Séguin's account of the Bruckner stood out for the lighter textures and transparency he drew from the orchestra, the judiciously balanced sonorities and the quicksilver shifts of mood.
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Mostly, though, the instrument engages the vocal lines, shifting from moments of folkloric melody to passages of disorienting sonorities, or to stretches that become obsessed with a strange repeated riff.
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Her short tone poem "Aerality" leans on sustained notes, yet its sonorities are so alive with ever-changing instrumental filigree that it simultaneously achieves a state of stasis and of transformation.
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On Thursday, the Philharmonic, with boosted ranks to accommodate a work scored for huge orchestral forces, held back nothing during din-like outbursts, yet also summoned shimmering sonorities during tender passages.
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They struck Feldman as a metaphor for his music, which tends to unfold in subdued bits and chunks — wheezing sonorities, pungent cluster chords, repetitive figures — that only suggest a larger structure.
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But although there was a certain release in the unclogging of things, in the brighter and sharper sonorities coming through at the end, they were ultimately channeled into a giant wail.
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On Wednesday, he performed her "Earring," in which the right hand plays spiky dance rhythms in the piano's high register while the left hand hovers below in shifting chords and sonorities.
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In certain beguiling passages, as when wistful clarinet lines hover over wide-spaced plaintive orchestral sonorities in the opening movement, "A Cold Clear Dawn," Mr. Rogerson risks evoking such models too closely.
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The equal-tempered tuning of the modern piano is markedly different from tuning systems of the early eighteenth century, and the instrument's opulent sonorities cast a Romantic blur over Bach's harmony and counterpoint.
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Beethoven's Seventh, slyly quoted at one point, was a model for Shapero's piece, which opens with an elusive Adagio, all flickering chords and sustained sonorities, that shifts into a bustling, densely contrapuntal Allegro.
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Mr. Holt essentially selected notes from Bach's harmonies and dramatically prolonged them to make a work — less an arrangement than a radical transformation — that unfolds as a series of extremely slow, sustained sonorities.
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The instruments set the mood: The piano plays thick, grating chords that split into glancing strands of delicate notes, as the violin and cello sustain tonally murky sonorities and break into soft, oscillating squiggles.
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"She gets your attention with the thickness, intensity and edge of her sonorities," Leon Botstein, one of the few conductors in the United States to program her music this centenary season, said in an interview.
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For all the pungent sonorities and eerie atmosphere, stretches of the piece had playful charm, with rippling marimba figures and, best of all, the angelic sounds of a musical saw, played here by Dale Stuckenbruck.
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The Sound Massage, for example, involves using sonic manipulation with different textures and sonorities, as well as vibrations through a table, to expand an audience member's capabilities in sound perception in a one-on-one session.
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The concert opened with the New York premiere of Julia Wolfe's "Fountain of Youth," all rumbling percussion, spiraling riffs and eerily cresting sustained sonorities, swirling in a musical mélange with hints of indie rock and Minimalism.
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For what she calls a "shaped stream of memories," she sets up a shimmering foreground of constantly shifting sonorities that give way at times to banal half-formed tunes evoking Ivesian brass bands or Balkan dance melodies.
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Though her "Angels" score resembles Arvo Pärt too much for comfort, her "Entr'acte" music has a marvelous range of sonorities: One whole section is played pizzicato; another keeps the violin in the highest section of its register.
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But the pianists Hitomi Honda and Karl Larson, who organized the program, selected works that explored subtleties of piano color and subdued sonorities, starting with John Cage's undulant, exotic "Mysterious Adventure" for prepared piano, played captivatingly by Adam Tendler.
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Here, the soundtrack is equally quizzical and ominous, with strings sonorities that tremble, then splinter into strands and linger on harmonically "off" clusters — all effects conveyed vividly by the Philharmonic under Mr. Brunt, a frequent collaborator with Mr. Greenwood.
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This piece, an outlier, adopts a deliberately neo-Classical, almost neo-Baroque idiom and abounds in contrasts: Lacy, lyrical passages for piano often lead to stretches of tangled, industrious counterpoint; warm, rich string sonorities segue into flinty, brassy harmonies.
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" Three years before that, when her Violin Concerto won the prestigious Grawemeyer Award for Music Composition, the jury commended her not just for her orchestration and sonorities, but also for her "volatility of expression, musical puzzles and unexpected turns.
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All the while the orchestra teems with fragments of skittish lines, piercing sonorities with notes that mingle into needling dissonances, chords that unfold in halting bursts atop pulsing rhythmic figures, and ominous, heaving bass lines that sometimes seem eerily disconnected.
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And not just because of a shared sense of improvisation: The repeated patterns, the piling up of sonorities and the way Debussy would crack open a chord, finding creativity in the very color of its vibrations, found its way into their very DNA.
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Still, listening to the New York Philharmonic's performance of "Tao" on Wednesday at David Geffen Hall, with David Robertson conducting, it was hard not to hear the piercing, high-pitched chords and tart melodic fragments of this 18-minute work as evocative of Asian styles and sonorities.
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Ms. Malkki, making her return to the Philharmonic after a belated debut in 2015, certainly drew out the atmospheric sonorities in the subdued music the opens the piece, with the softly rumbling timpani, flecks of harp, heaving low strings and woodwind lines that seem to peek through the mist.
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The 20-minute work is layered with shape-shifting elements: droning low sonorities; restlessly oscillating figures; sonic masses that come in and out of focus; blocks of chords that heave and sway; and, in one surprising turn, a beguiling melodic episode that yearns to settle in but never quite does.
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The piece begins with seemingly distinct statements, with pauses in between: a mini-episode of pastoral-like sonorities with an ominous cello line lurking below; sustained, bustling high harmonies with squiggly flights from the piano; an episode of staggered drum bursts; a haze of dense, piercingly dissonant chords; and more.
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As the performers (members of the excellent American Contemporary Music Ensemble) played languid, dreamy strands of oscillating figures and sustained sonorities, the speakers emitted a constant background rush of crackling static, like the feedback from amplifiers, or crackling from an old radio when a station is not tuned in properly.
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Unfortunately, little attention is falling this year on Harrison's major orchestral scores: the Symphony on G and the "Elegiac Symphony," which show his command of jagged sonorities after the fashion of Ives and Ruggles; and the Piano Concerto, whose gloriously unhinged Stampede movement rouses audiences into a frenzy on the rare occasions that the work is played.
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Politics of sonorities All the organs collapse I am a dithyramb again Lie down with the cobra Tell me ye olde cobra migration narratives ("entanglement") But it is these qualities that are especially hard to preserve in the face of what seems an unrelenting capitalist drive for money, productivity, race-based economic inequality and soulless extraction of resources sugar-coated with fundamentalist religion.
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Cambridge University Press, 1993. the gamut technique and the nested rhythmic proportions. First, a fixed number of sonorities (single tones, intervals and aggregates) is prepared, each created independently of the other. These sonorities are called gamuts.
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Experiments in tonal ambiguity and 'impressionistic' sonorities mark this as a forward-looking work.
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It also featured Latin sonorities and songs sang in Spanish and Portuguese, except for two songs in French.
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In Spain, the band El Pony Pisador uses yodel mixed with irish music and bluegrass to create new sonorities.
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The suite Pour le piano (1894–1901) is, in Halford's view, one of the first examples of the mature Debussy as a composer for the piano: "a major landmark ... and an enlargement of the use of piano sonorities". In the String Quartet (1893), the gamelan sonorities Debussy had heard four years earlier are recalled in the pizzicatos and cross-rhythms of the scherzo.
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The harmonies deliberately contrast triadic sonorities with chords built from fourths and sevenths, and there are recollections of motivic material from the first movement .
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In practice, totalist music can either be consonant, dissonant, or both, but generally restricts itself to a small number of sonorities within any given piece.
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Cachin, 2006 (2), pp. 24–25. The song has a "nagging rhythm" and "Anglo- Saxon sonorities".Chuberre, 2007, p. 68. Lyrics play with "anglicisms, sounds and onomatopoeia".
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In his review for Allmusic, Blair Sanderson states "Angular lines, piercing sonorities, and abrupt changes of mood characterize Coleman's sharply defined music, and its edginess makes this album best suited for adventurous listeners".
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To date, it remains her biggest success and is her signature song. This song has groove sonorities and is influenced by the negro spiritual. As the title suggests it, the lyrics deals with spirituality.Elia Habib, Muz hit.
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The compositional technique involves using gamuts of sounds, i.e. predefined sonorities (single notes, chords, aggregates); Cage started developing this approach in The Seasons, and later perfected it in String Quartet in Four Parts and Concerto for Prepared Piano.
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He uses his themes > skillfully and his sonorities are quite successful. The first movement, > Allegro, begins with a short but powerful introduction which gives the > impression of storms ahead. Instead, the main melody is quite genial and > broad.
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256 Messager enjoyed orchestrating. He said that musical ideas came to him "already clothed in the appropriate instrumental shades",Hughes, p. 128 and after the concentrated effort of composing his scores he found it relaxing to work on "the handling of instruments, the balancing of different sonorities, the grouping of colours and the structuring of effects".Hughes, p. 129 He remarked that composers who had their music orchestrated by assistants presumably did not care if their helpers lacked "that indefinable sixth sense which would indicate the right combination of sonorities to carry out the original intentions of the composer".
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In his early compositions (String Quartets Nos. 1–4, Symphonies Nos. 1–3), Meyer experimented with unconventional sonorities, typical of the Polish avant-garde music in the 1960s. He used twelve-tone technique, albeit freely, as well as aleatoric technique and collage.
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Liquid Sound is a method of attaining underwater sound reproduction of music or meditative sonorities in swimming pools, combined with lighting effects. It is also an official trademark belonging to its inventor Micky Remann, a writer and musician living in Frankfurt am Main.
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Formed in 2000 by Nysrok Infernalien (ex-Aborym) who wanted to explore different sonorities by blending psy trance, industrial, EBM and metal, Alien Vampires was joined by Nightstalker in 2004 who also shared the same passion for Jam Montoya, BDSM and Drugs.
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Duke Ellington's 1958 piano piece "Reflections in D". The E dominant 9th chord has 11th and 13th appoggiaturas added, which resolve conventionally. With the increasing use of more dissonant sonorities, some composers of the 20th and 21st centuries have used this chord in various ways.
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Reger writes "long-held but shifting sonorities", using the orchestra like an organ. Max Beckschäfer arranged Reger's movement for organ in 1984. He played it first at the Marktkirche Wiesbaden in 1985, along with the organ part of his arrangement of Reger's Hebbel Requiem.
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"The whole evening felt celebratory", Opera News wrote of The Wake World. The New York Times called the music engrossing. "Just five instrumentalists produce wondrous colors and sonorities. The score, spiked with modernist elements, makes Mr. Hertzberg seem a 21st-century Ravel", wrote Anthony Tommasini.
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Several of the reviewers remarked on the composer's surprisingly conservative style and rich sonorities. The Musical America reviewer, known only by the initial "C.," states that "The music heard on this occasion follows both traditional structural models and the traditional melodic feeling of the later Romantic school...the composer approached her group of instruments from the standpoint of orchestral coloring and the opulent sonorities achieved added a general lushness of effect to the melodic element". Her works were viewed very positively by most, including J.B of the New York Post, who said "Madame Servine, judging by yesterday afternoon's offerings, just misses being a great composer".
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In France, this song created a new style of music, combining French rap and Breton melodies. Verses have hip hop sonorities, while the refrain, very catchy, uses the Breton traditional melody line from Alan Stivell's famous 1970s folk hit "Tri Martolod".Elia Habib, Muz hit. tubes, p.
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1642360 His research has also yielded testable predictions about the consonance and dissonance of musical sonorities.Parncutt, R., Reisinger, D., Fuchs, A., & Kaiser, F. (2018). Consonance and prevalence of sonorities in Western polyphony: Roughness, harmonicity, familiarity, evenness, diatonicity. Journal of New Music Research, 48(1), 1–20.
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Banks is active on the festival circuit and has performed at Musicora Festival (Paris), the Sonorities Contemporary Music Festival (Northern Ireland), The Darwin International Guitar Festival (Australia), and The Derry Guitar Festival (Ireland). Banks currently resides in Perth, Western Australia with his wife and two young sons.
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Scriabin's Preludes, Op. 48, No. 4; "though most vertical sonorities include the seventh, ninth, eleventh, and thirteenth, the basic harmonic progressions are strongly anchored to the concept of root movement by fifths."Cooper, Paul (1975). Perspectives in Music Theory, p.229. New York: Dodd, Mead, and Company. .
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Allmusic reviewer Thom Jurek states "the current forms are transmuted, offering glimpses of the newer tonal frontiers he has encountered, but the sonorities aside, the feeling of the music remains, with a similar emphasis placed on timbres that highlight rather than consume either a melodic line or an improvisation".
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The second movement, a slow threnody in arch form, opens with clangorous sonorities, before revealing a main theme full of noble character. After the thunderous climax in the central section, reflective horns call out a nostalgic melody, later to be accompanied by the music-box sounds of the celesta and harp. The noble melody returns and the movement ends with the same clangorous sonorities as it had begun with. The finale, although having switched to the key of E-flat major (a supposedly "happy" key), is actually ambiguous in character: the lively main theme, initially carried by the violins, is answered by pounding timpani and brass, as if to threaten it back.
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Henry Prunières La Revue musicale, Numéros 258 à 259. Éditions Richard-Masse, 1964. page 140. For the final and sixth sonata, Debussy envisioned a concerto where the sonorities of the "various instruments" combine, with the gracious assistance of the double bass,Christian Goubault Claude Debussy : la musique à vif. éd.
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As the music recedes down from this climax, one of the most interesting sonorities of the piece is presented in m. 63 in the form of dominant 7th chords with chordal planing. The roots of these planing chords follow the key signature but the quality of each chord remains dominant.
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Lienas' compositions are very skilled, and several compositional trends can be found throughout his music. His vocal lines were quite demanding, the ranges for each part quite high, and the sonorities often in 5 parts.Stevenson, Robert. “El Codice del Convento del Carmen by Jesús Bal y Gay.” Notes 14, no.
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The application of consonance and dissonance "is sometimes regarded as a property of isolated sonorities that is independent of what precedes or follows them. In most Western music, however, dissonances are held to resolve onto following consonances, and the principle of resolution is tacitly considered integral to consonance and dissonance" .
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Her first solo single "La Taille de ton amour", cover of Deborah Cox's "Who do you love" was a success in France, where it peaked at #9, followed by 4 albums with sonorities R&B; including in 2006 an album with the Zouk hit single 'Pas de Glace' in duet with Medhy Custos.
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In his review in the August 16, 1962 of Down Beat magazine Harvey Pekar says this of Russell: "His work abounds with such devices as polyphony, polytonality, and changing tempos and time signatures. He is also a brilliant orchestrator... producing constantly varying sonorities and textures."Down Beat: August 16, 1962 vol. 29, no.
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Her early string quartet Pannonia Boundless, evoking eastern European sonorities, has been recorded by the Kronos Quartet on their album Kronos Caravan (1999) and published by Boosey & Hawkes (2007). The Kronos Quartet, with clarinetist David Krakauer, premiered her 40-minute "Babylon, Our Own," commissioned for the 10th anniversary season of the Clarice Smith Performing Arts Center at the University of Maryland in College Park, Maryland, in September 2011. In her more developed orchestral work Orbits (2002), Vrebalov uses overlapping densities of sonorities and rhythmic proportions such as the Fibonacci series to portray her idiosyncratic post- modern conception of musica universalis. Her music for the ballet The Widow's Broom (2004) based on Chris Van Allsburg's book has been performed on Halloween by the Festival Ballet Providence.
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The work was variously described as new, strange, dissonant, stark, bare, and disconcerting. Critic Paul Rosenfeld contemplated its "flinty, metallic sonorities." American composer Marc Blitzstein called it "Lithic." The cold, hard tone of Copland's playing at the premiere, far from that of a concert pianist, lent a sharper edge to an already austere work.
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The song is characterized by minimal lyrics with phrases taken from the film, and house and rap sonorities inspired by the tecktonik. The song was generally well received by the media, although the commercial aspect of the single was deemed obvious. It was also stated by Ozap that the song was "a little opportunist".
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Hipi (keyboard), Joaquim Canals (drums), Àlex Pujols (bass guitar), Pau Puig (percussion), Ivan López (saxophone) and Jordi Barnola (trumpet). They propose a musical fusion, taking Reggae as the mainstay, influenced by Dubstep, Latin music or Pop, and mixing Jamaican music, Rock and Latin sonorities. The band introduces itself in an imaginary connected to the circus clowns.
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Prepared piano Use of noise was central to the development of experimental music and avant-garde music in the mid 20th century. Noise was used in important, new ways. Edgard Varèse challenged traditional conceptions of musical and non-musical sound and instead incorporated noise based sonorities into his compositional work, what he referred to as "organised sound."Goldman 1961.
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Composed in 1950–51. The work is scored for a prepared piano and a chamber orchestra and was written using the gamut technique Cage developed in String Quartet in Four Parts (1950). Independently created sonorities (single notes, chords, aggregates) are arranged into rectangular charts; the music is composed by tracing geometric patterns on them. There are three movements.
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Crystalline sonorities mark the third Gargoyle which floats a songful theme over luminous liquid swirls, and ultimately develops into a duet. Mordancy and menace return in the finale, which is dominated by demonic galloping rhythms, as textures grow steadily more dense and virtuoso gestures steadily more flamboyant.Kravis Center for the Performing Arts Program Booklet, March 30, 2007.
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He quickly adds sonorities and layers of sound in a manner akin to Abstract Expressionism instead of focusing on contrapuntal clarity. While much of the symphony consequently consists of sound effects rather than music, the work possesses an unquestionable vitality and incorporates the basic elements of the musical language he used in the rest of his career.
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80 In some works, Sorabji writes for the extra keys available on the Imperial Bösendorfer. While its extended keyboard includes only additional low notes, at times he called for extra notes at its upper end.Roberge (2020), pp. 16–17 Sorabji's piano writing has been praised by some for its variety and understanding of the piano's sonorities.
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Jonathan E. L. Wall, director); "Tuvayhun - Beatitudes for a Wounded World" (Premiere in NYC, April 2018, Manhattan Girls' Chorus, dir. Michelle Oesterle). The two latter works, in which the composer has explored new instrumental sonorities, have texts by American lyricist Charles Anthony 'Tony' Silvestri. January 2018 also saw the release of a Naxos recording of his shorter choral works.
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258 Ross has described The Rite as a prophetic work, presaging the "second avant-garde" era in classical composition—music of the body rather than of the mind, in which "[m]elodies would follow the patterns of speech; rhythms would match the energy of dance ... sonorities would have the hardness of life as it is really lived".
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Beethoven dedicated the work to his friend Prince Karl von Lichnowsky.Beethoven Pathetique Sonata Op. 13 All About Beethoven. Retrieved May 1, 2008. Although commonly thought to be one of the few works to be named by the composer himself, it was actually named ' (to Beethoven's liking) by the publisher, who was impressed by the sonata's tragic sonorities.
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In Jean-Philippe Rameau's theory, chords in different inversions are considered functionally equivalent. However, theorists before Rameau spoke of different intervals in different ways, such as the regola delle terze e seste ("rule of sixths and thirds"), which requires the resolution of imperfect consonances to perfect ones and would not propose a similarity between and sonorities, for instance.
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Maria began studying at the Vienna Academy of Music in 1919 studying composition under the tutelage of Joseph Marx with whom she analyzed the music of Chopin, Debussy, and Stravinsky. While studying under Marx, Bach specialized in writing four-part fugues and brief piano scores. Marx would later help Bach develop her own style of composing by utilizing variations in rhythms and sonorities.
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According to Dominique-Rene de Lerma of Lawrence University, in notes to "The Spirituals of William L. Dawson" produced by The St Olaf Choir in 1997, "What is even more striking than the richness of Dawson's textures is the lushness of his sonorities, exhibiting his remarkable insight into vocal potentials." Dawson married pianist Cornelia Lampton in 1927; she died in 1928.
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Today's semantic dictionary can put us in contact with other cultures, embolden us to recuperate magmatic sonorities. The Tarantola del Salento, the songs of Sardinia, African polyphonies. Ethnic music can open deep landscapes of the soul, obscure regions, forgotten loci of consciousness. It's necessary to be courageous, and, like Tarkovsky's Stalker, venture to where ferocious energies lie, in their primitive state.
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Charles Rosen (1971, p. 240) admires Mozart’s skill in orchestrating his piano concertos, particularly the Concerto in E flat major, K482, a work that introduced clarinets into the mix. “This concerto places the greatest musical reliance on tone colour, which is, indeed, almost always ravishing. One lovely example of its sonorities comes near the beginning.”Rosen, C. (1971, p240) The Classical Style.
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The song, which had dance sonorities, was written by Johnny Williams and the music composed by Pierre Billon. As for the music video, it was shot at Studio français, directed by Vincent Egret and produced by Plein Sud Films. It shows Lorie in a futurist scenery. The song was included on Lorie's 2005 best of, on which it features as tenth track.
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There are also distinct melodic modes (pathet) associated with each tuning system. A complete gamelan consists of two of sets of instrument, one in each tuning system. Different gamelan sets have different sonorities, and are used for different pieces of music; many are very old, and used for only one specific piece. Musical forms are defined by the rhythmic cycles.
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"Inch'Allah" was composed by MC Solaar, Eric K-Roz and Alain J. This R&B; song, which has "oriental sonorities" and a "lively rhythm", confirmed the popularity of the singer, which so obtained his second number one in France about one year after "Hasta la vista". Curiously, the titles of these two numbers are not in French.Elia Habib, Muz hit. tubes, p.
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Viewed as an innovator in the drum and bass style, Bukem is known for developing an accessible alternative to that hardcore genre's speedy, assaultive energies. His style pays homage to the Detroit-based sound of early techno, but Bukem also incorporates still earlier influences, particularly the mellow, melodic sonorities of 1970s era jazz fusion as exemplified by Lonnie Liston Smith and Roy Ayers.Harrington, Richard. LTJ Bukem.
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Schroeder Amplifiers have been praised for their high quality components and attention to detail. Premier Guitar awarded the DB7, DB9, SA9 a perfect 5-star review and praised the amplifier, calling it "an instant classic" and that the amp makes "the plainest of sonorities a thing of wonder". Guitarist Nels Cline uses the Schroeder DB7, DB9, SA9. Andrew Bird also uses 2 red custom-built Schroeder amplifiers.
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Farmer explained that she decided to write this song after seeing a documentary about "an insane asylum in Greece where the internees were abandoned, left to themselves and reduced to an animal status", and added: "Madness affectes me, simply".Rigal, 2010, p. 51. This song is mainly instrumental. The music is "disturbing" and has dance sonorities, and some gimmicks and sound effects are added.
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Polytonality requires the presentation of simultaneous key- centers. The term "polychord" describes chords that can be constructed by superimposing multiple familiar tonal sonorities. For example, familiar ninth, eleventh, and thirteenth chords can be built from or decomposed into separate chords: Separate chords within an extended chord . Thus polychords do not necessarily suggest polytonality, but they may not be explained as a single tertian chord.
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The last movement starts with an imposing Choral in that suggests a four-voice polyphony. It is characterized by carillon-like sonorities that are created by the overlapping of low and high sustained notes. It is followed by 4 variations (Vivace - Un poco più vivo - Calmo - Prestissimo). Variation II features an early example of "fan-shaped phrases", a device Dutilleux would use frequently in his later works.
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Outside Europe, it peaked at number 8 in Israel. The song is very similar in sound to "Push the Feeling On" (structure, house music sonorities, vocals). In this song singer Reid is returning to a more traditional verse-chorus construction. The chorus is made out of editing syllables from the actual verses, and goes like "(Sa)-ying We Have Got/Feeling/..ying We Have/Wanna Stay".
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Outside Europe, in Australia, "Sing Hallelujah" peaked at number 5 and in Zimbabwe, it reached number 11. After "It's My Life", this was the second Dr Alban's hit which had an international scope. The song has been described as an "discothèques anthem with dance and disco sonorities". In 2005, "Sing Hallelujah" charted again when it was re-recorded by the artist in new versions.
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In August "When We Were Young" was released as the second single from the album. Colm O'Hare of Hot Press averred that O'Riordan could have chosen to exploit the underlying sonorities of the Cranberries on Are you Listening? to keep her devotees waiting until the reunion, but instead, "she's done something far more ambitious by releasing this multi-layered collection of songs that traverses styles and genres".
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Written and composed by François Feldman and Thierry Durbet, "Joue pas" has funky sonorities and starts with a brief guitar riff. It was "very well received by the public".Elia Habib, Muz hit. tubes, p. 165 () It was the singer's first duet in his career, and he recorded other two ones with Joniece Jamison : "J'ai peur" in 1991 (#7 in France) and "Love platonique" in 1996.
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Animuccia's first book contains simple settings of Italian laudi which are homophonic throughout, and were probably sung by amateur singers as part of Phillip Neri's early devotional meetings.Lockwood, The Counter Reformation, p. 197. The music in Animuccia's second book of laudi is much more madrigal-like;Smither, A History of the Oratorio, p. 70 he uses a greater variety of textures, sonorities, and languages (Latin and Italian).
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In May 2008, she released her follow-up album Elle & moi with relative success. In 2013 she releases her third album "Île et moi" on Kaysha's label Sushiraw. An album with the sonorities of her Island, Martinique. Craig David invited her to do the French version of "Walking Away", whereas Nek did the Italian version, Álex Ubago the Spanish version and Monrose the German one.
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More recent works include Prism and Cascade for the trumpeter Stephen Altoft, Constellations (for piano, percussion and computer) commissioned for the Verblendungen festival in Belgium, ThreeFour for the Goldberg Ensemble and Enmeshed written for L a u t and premiered at the 2005 Sonorities Festival in Belfast. A CD of four of his works (Refractions, Mälarsång, Epicycle and Uppvaknande) is available under the collective title Refractions (MPSCD003).
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When playing in Bb, such a guitarist will inevitably play with a very different set of voicings from what would be used in F or Eb, simply because the "normal" guitar chords in these keys have very different sonorities. Wayne tried to describe the "complete" scope of harmonic possibilities available on the fretboard, in all voicings, given conventional guitar tuning and a human left hand.
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The French-American composer Edgard Varèse was among Shapey's most important influences. Both composers shared a fascination with unusual sonorities, counterpoint masses, and the outer extremes of pitch space. The coordination of static "sound blocks" in Shapey's music also reminds one of another French composer, Olivier Messiaen, though Shapey reportedly found Messiaen's music saccharine and maudlin. Although comparisons are useful, Shapey's compositional voice is undoubtedly personal and distinctive.
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Musique concrète (French; literally, "concrete music"), is a form of electroacoustic music that utilises acousmatic sound as a compositional resource. The compositional material is not restricted to the inclusion of sonorities derived from musical instruments or voices, nor to elements traditionally thought of as "musical" (melody, harmony, rhythm, metre and so on). The theoretical underpinnings of the aesthetic were developed by Pierre Schaeffer, beginning in the late 1940s.
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"Je vais vite" is the name of the 2007 song recorded by French singer Lorie. It was released as the first single from her fifth studio album, 2lor en moi ?. It was first made available for download on 23 September 2007 and was later released as a physical single on 3 December 2007. The song, which has dance and electro sonorities, achieved success in France, and Belgium (Wallonia).
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Antikhthon is also remarkable for the clarinets' split sounds used along the whole piece. Clarinetists have to play up to four different techniques, entitled "Zones" by Xenakis, which alter and enrich their sonorities. The clarinet part annotations were set out by the Conservatoire de Paris clarinet professor and Xenakis's contemporary Guy Deplus. In the piece, some musicians are also asked to play quarter tones and also third tones.
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After performing similar analysis on another passage, one may determine the transformation that relates texture in the two passages. Although these harmonic complexes may contain all twelve chromatic pitch classes, they tend to feature only a few interval classes between adjacent pitches.Rae (1994), p. 50 Lutosławski has said that the use of more intervals in these harmonies results in sonorities that are "faceless" or that "have no character".
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The "cuckoo" effects are transformed into repeated notes, sometimes supplemented by extra phrases, exploiting the different sonorities of solo and tutti players. The "nightingale" effects are replaced by reprises of the ritornello and the modified cuckoo. The final organ solo, partly ad libitum, is replaced by virtuoso semiquaver passages and an extra section of repeated notes precedes the final tutti. The larghetto, a gentle siciliana, is similarly transformed.
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One potential pitfall in discussing these works is labeling them as atonal on the basis of hearing strange sonorities at the surface of the music. The Czárdás macabre, for instance, is solidly based on compositional procedures consistent with Liszt's earlier style. The music focuses on variant forms of the mediant with concomitant contrast of sharp and flat key areas—in this case F major, F-sharp minor and G-flat major.
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The cadence theme, especially on its return where it is accompanied by simple chords rather than flowing accompaniment figures, has a touch of a mazurka about it. The development section, with its broken tenths in the left hand and the polyphony in the treble, is very original in its sonorities. The end introduces a reminiscence of an ensuing idea in the introduction. Its chromaticism is highly characteristic of Scriabin's later works.
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In 1994 his second CD entitled Afriki Djamana was released by the label Amiata Records. The multi-faceted career of this composer and musician has caused him constantly to research new timbres and sonorities. He has kept his African origins despite using instruments of other continents and working with western musicians. The group ‘Gabin Dabiré and Musicians’ is inspired by Dabiré’s compositions, using harmonies that maintain the character of African music.
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The Klezmer Concerto is piece for solo clarinet, harp, strings and percussion by Israeli-American composer Ofer Ben-Amots. The piece was both written for and dedicated to renowned klezmer clarinetist David Krakauer. The three- movement composition is marked by traditional klezmer sonorities and the use of extended techniques in the clarinet part. The Klezmer Concerto premiered in Michelstadt, Germany on July 15, 2006 as part of the Michelstadt Musiknacht 2006.
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Her music catalog included more than 130 compositions, among which many are choral music. It is in choral music that she used sonorities and driving rhythms, humorous and light swings the most. In this her work is similar to that of Alfredo Casella, Paul Hindemith, and Giulio Viozzi. Her style, very conservative, is linked to neo-classicism, and has had no trace of the innovations introduced by avant-garde music since the 1930s.
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According to Star Music, "Allan" is a "sad" but "beautiful" song with "dance" sonorities. On the French SNEP Top 50 Singles Chart, the song was listed for eight weeks, from 13 January to 3 March 1990, peaking at number 32 in its fourth week. Its remixes were bigger successes in discothèques. In April 2018, as the song was re-edited under new formats, the studio version entered the chart at a peak of number ten.
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Alternative ("alternate") tuning refers to any open-string note-arrangement other than standard tuning. Such alternative tuning arrangements offer different chord voicing and sonorities. Alternative tunings necessarily change the chord shapes associated with standard tuning, which eases the playing of some, often "non-standard", chords at the cost of increasing the difficulty of some traditionally-voiced chords. As with other scordatura tuning, regular tunings may require re-stringing the guitar with different string gauges.
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A number of young musicians traveled to South America in the late 1960s, and brought back Latin rhythms and sonorities which became a force in popular music through the 1970s. An example is the song "Noah" by Matti Caspi. The American folk movement of the 1960s and 1970s influenced the Israeli national style, and Israeli folksingers, among them Chava AlbersteinSong "Ayliluli" taken from website www.songs.co.il – patterned themselves after Judy Collins and Joni Mitchell.
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The Piano Sonata No. 4 in F-sharp major, Op. 30, was written by Alexander Scriabin around 1903 and first published in 1904. It consists of two movements, Andante and Prestissimo volando, and is the shortest of Scriabin's piano sonatas (a typical performance takes about 8 minutes). The sonata is generally considered to be the beginning of Scriabin's middle period due to the newly mystical sonorities and tonal ambiguity of the first movement.
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"Mourir demain" is a 2003 song recorded by the Canadian artist Natasha St- Pier. She performed the song as a duet with the French singer Pascal Obispo. It was released on 18 June 2004, as the second single from St-Pier's fourth studio album, L'Instant d'après, on which it features as third track. This song, which has rock sonorities, achieved a great success in France and Belgium (Wallonia), reaching the top ten.
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Renaissance composers conceived of harmony in terms of intervals rather than chords, "however, certain dissonant sonorities suggest that the dominant seventh chord occurred with some frequency." Monteverdi (usually credited as the first to use the V7 chord without preparationGoldman (1965), p. 39.) and other early Baroque composers begin to treat the V7 as a chord as part of the introduction of functional harmony. An excerpt from Monteverdi's "Lasciatemi Morire", Lamento d'Arianna (1608) is shown below.
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Howard, 3. One potential pitfall in discussing these works is labeling them as atonal on the basis of hearing strange sonorities at the surface of the music. The Csárdás macabre, for instance, is solidly based on compositional procedures consistent with Liszt's earlier style. The music focuses on variant forms of the mediant with concomitant contrast of sharp and flat key areas—in this case F major, F-sharp minor and G-flat major.
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The symphony is scored for flute, two oboes, bassoon, two horns and strings. #Adagio, – Allegro con brio, #Adagio F major, #Menuetto & Trio, #Finale: Vivace, After dark string sonorities reminiscent of Sturm und Drang in the slow introduction, the Allegro begins with a very light galante theme which is interrupted periodically by more darkly colored strings. The transitional material is notable for its use of counterpoint.Brown, A. Peter, The Symphonic Repertoire (Volume 2).
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In the early part of the 20th century, Charles Ives integrated American and European traditions as well as vernacular and church styles, while using innovative techniques in his rhythm, harmony, and form . His technique included the use of polytonality, polyrhythm, tone clusters, aleatoric elements, and quarter tones. Edgard Varèse wrote highly dissonant pieces that utilized unusual sonorities and futuristic, scientific-sounding names. He pioneered the use of new instruments and electronic resources (see below).
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Bright, lean sonorities – high strings, widely spaced chords, big-shoulder brass, and so on – prevail. Yet, also like Copland, Fuchs has more to offer than orchestration – namely, real matter and argument. Fuchs builds almost all the scores here out of limited sets of intervals or even specific pitches.... It's all tonal, even mainly diatonic, although not really minimalist, if you care. However, the means allow Fuchs to take an individual approach to tonality.
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Berlioz was ten years older than Alkan, but did not attend the Conservatoire until 1826. The two were acquainted, and were perhaps both influenced by the unusual ideas and style of Anton Reicha who taught at the Conservatoire from 1818 to 1836, and by the sonorities of the composers of the period of the French Revolution.Conway (2012), 205. They both created individual, indeed, idiosyncratic sound-worlds in their music; there are, however, major differences between them.
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Arnold Rosner (November 8, 1945 in New York City – November 8, 2013) was an American composer of classical music. Rosner got his training at State University of New York at Buffalo, New York; according to his own account he learned nothing there. Rosner developed an individual style that fused elements of Renaissance music with the heightened drama and rich sonorities of late romanticism. He composed three operas, eight symphonies, six string quartets, chamber music and songs.
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Neo-Riemannian theory is a loose collection of ideas present in the writings of music theorists such as David Lewin, Brian Hyer, Richard Cohn, and Henry Klumpenhouwer. What binds these ideas is a central commitment to relating harmonies directly to each other, without necessary reference to a tonic. Initially, those harmonies were major and minor triads; subsequently, neo- Riemannian theory was extended to standard dissonant sonorities as well. Harmonic proximity is characteristically gauged by efficiency of voice leading.
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1989-91 he was Chairman of the Association of Irish Composers. He completed his education with the English composer Robert Hanson. Johnston's output includes works for both orchestra and smaller ensembles, some works of which include electronics, and two operas. His music has been performed at many venues and festivals including the 1985 Asolo Musica Festival in Italy, the 1996 International Society for Contemporary Music Festival, the 2001 Sonorities Festival of Contemporary Music in Belfast,Computer Music Journal, Vol.
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Jim SamsonSamson, Jim (1977). Music in Transition: A Study of Tonal Expansion and Atonality, 1900-1920, p.156-7. New York: W.W. Norton & Company. points out that it fits in well with Scriabin's predominantly dominant quality sonorities and harmony as it may take on a dominant quality on C or F. This tritone relationship between possible resolutions is important to Scriabin's harmonic language, and it is a property shared by the French sixth (also prominent in his work).
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"XXL" is a 1995 song recorded by French singer-songwriter Mylène Farmer. The song was the lead single from her fourth studio album Anamorphosée and was released on 19 September 1995. It marked an important change in the singer's career, with more pronounced variété sonorities, more accessible lyrics, and a music video directed by a new producer. Although it entered directly at number one on the French singles chart, it dropped quickly and achieved mixed success.
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The two chords that open and close Igor Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes. The first chord is sometimes called the Psalms chord. William W. Austin remarks: Some chord voicings devised by composers are so striking that they are instantly recognizable when heard. For example, The Unanswered Question by Charles Ives opens with strings playing a widely spaced G-major chord very softly, at the limits of audibility.
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Coordinate harmony is the older Medieval and Renaissance tonalité ancienne, "The term is meant to signify that sonorities are linked one after the other without giving rise to the impression of a goal-directed development. A first chord forms a 'progression' with a second chord, and a second with a third. But the former chord progression is independent of the later one and vice versa." Coordinate harmony follows direct (adjacent) relationships rather than indirect as in subordinate.
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This tendency toward solo-with-accompaniment texture in secular vocal music (non-religious music) culminated in the genre of monody, just as in sacred vocal music it resulted in the sacred concerto for various forces including few voices and even solo voices. The use of numerals to indicate accompanying sonorities in accompaniment parts began with the earliest operas, composed by Cavalieri and Giulio Caccini. These new genres, just as the polychoral one probably was, were indeed made possible by the existence of a semi- or fully independent bass line. In turn, the separate bass line, with figures added above to indicate other chordal notes, shortly became "functional", as the sonorities became "harmonies", (see harmony and tonality), and music came to be seen in terms of a melody supported by chord progressions (homophony), rather than interlocking, equally important lines that are used in polyphony. The figured bass, therefore, was integral to the development of the Baroque, by extension the ”classical” style, which built on the innovations of the Baroque era, and by further extension most subsequent musical styles.
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The group, now composed by eight members, recorded their fourth album Epica Etica Etnica Pathos in an abandoned 700' villa. This album signes another musical evolution for the band. CCCP reached their zenith with this album, a Frank Zappa-esque stylistic puzzle which also stands as a personal musical encyclopedia, with complex suites such as "MACISTE contro TUTTI", their "swan song", and a transition to the new sonorities of the Consorzio Suonatori Indipendenti (C.S.I.), the new band born from the ashes of CCCP.
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Furthermore, the chamber ensembles portrayed in these comic scenes often feature rather disjointed timber combinations, thus resulting in an overall comical effect. In the contrast, the music depicting the dramatic scenes is scored for larger forces, featuring thicker textures and darker tone colors. To achieve these dramatic massive textures, Penderecki relies on the use of stationary tones, glissandos, and various sound clusters. The chaotic sonorities, resulting from Penderecki's sound-mass techniques, are used in particular to convey the demonical possession of Sister Jeanne.
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He began incorporating elements of serialism and musique concrete in the 1950s, and wrote for increasingly larger orchestral forces. Shibata accepted a professorship at Tokyo University of the Arts in 1959, where he remained until 1969, and while there his compositions incorporated aspects of aleatory music. He wrote pieces which used graphic or artistic scoring notations and made use of microtonal sonorities. From 1973 he composed theater works which combined elements of Japanese folk music with European-derived song structures.
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In a letter to Risler dated 12 May 1891, Chabrier wrote, "I have made you a little piano piece which I think is quite amusing and in which I have counted about 113 different sonorities. Let us see how you will make this one shine! It should be bright and crazy!" The precision of the notation in each bar, dynamics from ppp to tutta forza, accents, pedal indications, bear witness to his wish to obtain an exceptional tonal variety and richness.
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Nielsen's final large-scale orchestral works were his Flute Concerto (1926) and the Clarinet Concerto (1928), of which Robert Layton writes: "If ever there was music from another planet, this is surely it. Its sonorities are sparse and monochrome, its air rarefied and bracing." Nielsen's last musical composition, the organ work Commotio, was premiered posthumously in 1931. During his final years, Nielsen produced a short book of essays entitled Living Music (1925), followed in 1927 by his memoir Min Fynske Barndom.
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The band's previous album, Motel, earned the attention from the internet and was very well received by critics. Mateus Carrilho said in an interview that the band's new album would have more less brega music and more pop, reaching larger audiences with radio-friendly songs. He further stated that the new album would be different from the band's previous releases. In search of new sonorities, the band got to collaborate with different producers, including Boss in Drama, Rodrigo Gorky, Pedrowl and Bernardo Martins.
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Examples are numerous: Bartók's Sonata for two pianos and percussion (1937), Schoenberg's Pierrot lunaire, Charles Ives's Quartertone Pieces for two pianos tuned a quartertone apart. Other composers used electronics and extended techniques to create new sonorities. An example is George Crumb's Black Angels, for electric string quartet (1970). The players not only bow their amplified instruments, they also beat on them with thimbles, pluck them with paper clips and play on the wrong side of the bridge or between the fingers and the nut.
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The All About Jazz review by Michael McCaw states "The Beautiful is a deeply affecting album of piano-driven interplay that seamlessly spans a range of jazz genres without a hint of trepidation or a false step."McCaw, Michael. The Beautiful review at All About Jazz In his review for JazzTimes Mike Shanley notes that "Free jazz might often consist of blistering, harsh sonorities, but these three prove that the quest for beauty is as much a part of this music as catharsis."Shanley, Mike.
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A year later, a version including seven new unreleased titles was released. Participating in many projects with other hip-hop groups, they released the Cadavre Exquis ("Exquisite Corpse") album in 2002, with the collective L'Armée des Douze (French for "Army of Twelve", a collective made up of La Caution and TTC, started in 1999). They also released the Crash Test EP with the electronic group Château Flight. La Caution's musical style is seen to be a combination of energetic electronic sonorities and original and percussive words.
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Given that (a) many of the dates listed for Cowell's piano pieces in the Folkways liner notes are incorrect (see Hicks [2002], p. 80, for more on that topic) and (b) Thomson refers to "experiments begun three decades ago," a date earlier than 1953 is plausible. > Henry Cowell's music covers a wider range in both expression and technique > than that of any other living composer. His experiments begun three decades > ago in rhythm, in harmony, and in instrumental sonorities were considered > then by many to be wild.
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Darragh Morgan (Belfast, 1974) is an Irish violinist. Darragh has established himself as a soloist of new music giving numerous recitals at Sonorities Festival, as well as in Prague, Malta, Nicosia, Hong Kong, South Korea, Italy, Switzerland, the Netherlands, U.S. and throughout the UK & Ireland. Darragh has recently joined The Smith Quartet, is currently a member of the new music collective Noszferatu and Artistic Director of Music @ Drumcliffe, a chamber music festival in the west of Ireland. He also plays with the piano trio The Fidelio Trio.
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The Trio is in four movements: A performance of the piece lasts about 21 minutes. The composition explores the use of major and minor harmonies as free sonorities without following established patterns of common practice tonality. In addition, it explores the natural just intonation of the upper partials available on the horn, asymmetric Bulgarian rhythms in the second movement,Stephen Satory, "Colloquy: An Interview with György Ligeti in Hamburg", Canadian University Music Review//Revue de Musique des Universités Canadiennes 10 (1990): 101–17. Citation on 109.
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The installation entitled "COMP_OSE" exhibited in a national tour in 2008 and 2009, included two interactive interfaces - one creating language as sound, the other as text. These "instruments" engaged gallery goers in collaboration. These artistic concerns extend to include the slippage that occurs in translation, as in the work "she i her" exhibited at The Dunlop Gallery in 2015. In 2017 she was commissioned to create Small Sonorities: Material Signals, a four- minute, multi-screen video as part of the Remai Modern Art Gallery web commission project.
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22 May 2007. Retrieved 2 June 2011. and subsequently issued on a Naxos CD. Other major works include American Visions, a vocal-instrumental song-cycle on poems of Yevgeny Yevtushenko (New World Records), and a masque, Orpheus, based on a poem by Stanley Kunitz (Albany Records). Of the latter, critic Jules Langert wrote of its San Francisco premiere that “[t]he music seemed in constant flux, creating strong, richly textured sonorities… and brilliant splashes of color; this Orpheus floated on an incandescent fabric of sound.”Langert, Jules.
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As his son Thom Bresh puts it, on first hearing his father as a child "I thought it was just the coolest sound, because it sounded like a whole bunch of instruments coming from one guitar. In it, I heard rhythm parts, I heard melodies, I heard chords and all this wrapped up in one."Gold 2006. Equally at home on acoustic and electric guitar, Travis was one of the first to exploit the full range of techniques and sonorities available on the electric guitar.
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The song was written by Swedish hit makers Linus Nordén, Patrick Ebson and Ian-Paolo Lira. The French adaptation was written by Christian Bouclier and produced by Benjamin Raffaëlli. The song has rock sonorities, particularly the refrain which is played on guitar. In France, the single debuted at a peak of number four, on 7 December 2002 and reached this position other two times. It totaled seven weeks in the top ten, 17 weeks in the top 50 and 23 weeks in the top 100.
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Jean Cook replaced Rachel Burke as singer. Ryan Nelson left to form the band Soccer Team and was replaced by Devin Ocampo (also a veteran of Smart Went Crazy). With Cook singing, Beauty Pill published the demo for a new song called “Ann The Word” via the band's Myspace page. At nearly 7 minutes, the song differed from the more "rock" sound of the quintet period. With electronic sounds and quasi-Japanese sonorities, “Ann The Word” was the most complex/technological thing Beauty Pill had ever released.
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Unlike his previous singles, "Joy" was fully created by Feldman : he wrote the lyrics, composed and music and produced the song. The singer's friends Carole Fredericks, Joniece Jamison (who recorded with him the hit singles "Joue pas" in 1989 and "J'ai peur" in 1991), as well as the Chorus of the Little Children of Asnières performed the background vocals. The song is a tribute to the singer's daughter, named Joy, who was born a few time earlier. This pop song has dance sonorities and joyful percussion.
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In 1923, he left for the United States where he briefly led the viola section in the Philadelphia Symphony Orchestra under the direction of Leopold Stokowski. Returning to Liège, Rogister became a founding member of the Quatuor de Liège in 1925 along with violinists Henri Koch (1903–1969) and Joseph Beck, and cellist Lydia Rogister-Schor. The ensemble toured throughout in Europe and the United States to great acclaim. Rogister, like his composition teacher Radoux, composed largely in the neo-romantic style of César Franck, occasionally introducing his own modernistic Impressionistic sonorities.
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In Weitzmann's own lifetime, composer Franz Liszt showed considerable interest in new theories regarding dissonant sonorities, referencing Weitzmann's "Der übermässige Dreiklang" in an analysis of his own Faust Symphony (a composition famously saturated with augmented triads).Todd, R. Larry, "Franz Liszt, Carl Friedrich Weitzmann, and the Augmented Triad" in "The Second Practice of Nineteenth-Century Tonality" ed. William Kindermann and Harald Krebs (Lincoln: 1996), pp. 153–77. This has led to a strong conceptual association between Weitzmann's work and the Zukunftsmusik ("Music of the Future") for which he attempted to account.
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She also received the Gold Mask Prize for Popular Music Singer from the Bologna Conservatory. In 2008, she toured all around Italy with Funambola and sang in a musical theatre piece by Massimo Carlotto. She also performed with the pianist Alfonso Santimone, looking for electronic sonorities as well as rediscovering old Japanese songs, in this way showing all the eclecticism of her art. She also sang in the show Creuza de luna, a poetical and musical journey starting in Italy and traveling to South America, Spain and Portugal.
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Moshchuk has received positive reviews by the media. In 2010, Tim Smith of the Baltimore Sun declared that it was "impossible not to be impressed" by Moshchuk's "absorbing, dynamic music-making". The same year the Grand Rapids Press and Lansing City Pulse described Moshchuk's performances as "powerful" and breathtaking. Following his appearance with the South Carolina Philharmonic in 2007, the Columbia Free Times praised Moshchuk for playing the Rachmaninoff Second Concerto with "immense verve and rewarding sonorities," and gave him "only the highest marks for accuracy, musicality, command, technique and sensitivity".
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Rachmaninoff biographer Max Harrison calls the Études-Tableaux "studies in [musical] composition"; while they explore a variety of themes, they "investigate the transformation of rather specific climates of feeling via piano textures and sonorities. They are thus less predictable than the preludes and compositionally mark an advance" in technique. Rachmaninoff initially wrote nine pieces for Op. 33 but published only six in 1914. One étude, in A minor, was subsequently revised and used in the Op. 39 set; the other two appeared posthumously and are now usually played with the other six.
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Electronic instruments create various colours of noise. Traditional uses of noise are unrestricted, using all the frequencies associated with pitch and timbre, such as the white noise component of a drum roll on a snare drum, or the transients present in the prefix of the sounds of some organ pipes. The influence of modernism in the early 20th century lead composers such as Edgard Varèse to explore the use of noise-based sonorities in an orchestral setting. In the same period the Italian Futurist Luigi Russolo created a "noise orchestra" using instruments he called intonarumori.
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Andalusian cadences are common in Flamenco music. The Andalusian cadence (diatonic phrygian tetrachord) is a term adopted from flamenco music for a chord progression comprising four chords descending stepwise—a vi–V–IV–III progression with respect to the major mode or i–VII–VI–V progression with respect to the minor mode.Mojácar Flamenco , a website about basics in Flamenco music It is otherwise known as the minor descending tetrachord. Traceable back to the Renaissance, its effective sonorities made it one of the most popular progressions in classical music .
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He was particularly attracted to Stravinsky, whose novel, angular, propulsive rhythms and sonorities reflected the industrial revolution, sports events and motorised transportation.Martinu, Bohuslav, 1924 Texts on Stravinsky, Lucie Berna, editor, Martinu Revue, May–August 2013, vol XIII, No 2. Ballets were his favorite medium for experimentation, including The Revolt (1925), The Butterfly That Stamped (1926), Le raid merveilleux (1927), La revue de cuisine (1927), and Les larmes du couteau (1928). Martinů found friends in the Czechoslovak artistic community in Paris and would always retain close ties to his homeland, frequently returning during the summer.
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Atonal music poses a stark challenge to prolongational hearing and analysis, as its harmonic makeup by definition eschews the long-range controlling force of monotonality, and in most cases purposely abstains from consonant triads, or indeed referential or centric sonorities at all. Music theorist Joseph Straus has attempted to define more rigorously what it is about atonality that precludes prolongational hearing. His own definition of prolongation is "the sense of continuation of a musical object, particularly when not literally present ... prolongation is a cognitive act of the listener".Schachter, Carl and Hedi Siegel, eds. (2006).
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"Double je" was composed by the French artist Zazie. The song, with its "very funky melody and background vocals", was considered as being "much more effective" than the previous single, "Élu produit de l'année", released some weeks earlier digitally in France and as a single in Belgium (Wallonia). Willem chose the "self-mockery" to illustrate the song, which has also electronic sonorities. Produced by the director Sylvain Fusée who also wrote the screenplay with Willem, the music video shows the singer participating in a group therapy, to express his dual personality.
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The Orthodox Jewish community of Israel, and its parallel community in the United States, have developed a unique form of Hassidic rock, which has become popular throughout the young orthodox community. This musical form combines the sonorities, instrumentation and rhythms of rock music with melodies which are in a klezmer style, and words taken mostly from religious texts. This rather anomalous combination is produced, performed and broadcast in nearly complete segregation from secular Israeli music. It is never heard on secular radio stations, or in secular public performances.
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It should also seem often to come from far away, > transmitted as if through a gauze, with the caressing touch Mr. Copeland has > completely mastered. We do not hear "Les terrasse des audiences" or > "Feuilles Mortes" presented these days with such exquisite balancing of > sonorities. I do not share the conviction of his many ardent devotees, well > represented yesterday, that he is the only one that plays Debussy well, or > that everything he does with it is perfection itself. Without being letter > perfect he can, of course, convey the shape of a piece astonishingly.
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He also grew up seeing his older brothers experimenting with jazz and blues sonorities. He can virtually play any style, from the rootsiest Mbalax (Senegal's predominant musical style) to the grooviest Funk, not to mention Afrobeat and jazz. Harmattan, the first band he founded, was one of the headlining acts at the 1998 edition of Saint-Louis International Jazz Festival, Senegal, one of the most prominent jazz festivals in Africa. In recent years, Habib had focusing on the new Afro-jazz band he occasionally put together, Habib Faye Quartet, often changing the line-up.
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Works since the late 1980s display "a textural subtlety in marked contrast to the more robust sonorities explored in Buckley's earlier keyboard works", a "French refinement of sound, and an elevation of timbre as central characteristics"Dwyer (2011) about the piano work Winter Music (1988), p. 101. and "a concern with achieving a greater degree of formal unity" and "an exploration of analogies between sound and light".Dwyer (2011), p. 105. O'Leary (2013) described his style as "characterised by a broad harmonic idiom, contrasting consonance and dissonance in a non-tonal but strongly coloured soundworld".
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Even since the rise of the historically informed performance movement, it remains one of the most popular keyboard works by Bach. There are romantic interpretations by Edwin Fischer, Wilhelm Kempff and Samuil Feinberg, and even Alfred Brendel on the grand piano and Wanda Landowska on the harpsichord. A non-romantic interpretation with surprising accents and lacking pedal was presented by Glenn Gould, which influenced more recent pianists such as András Schiff and Alexis Weissenberg. The pianist Agi Jambor combined romantic sonorities and colors with clear voice guidance and emphasized the work's structural relations.
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German harpsichord makers roughly followed the French model, but with a special interest in achieving a variety of sonorities, perhaps because some of the most eminent German builders were also builders of pipe organs. Some German harpsichords included a choir of 2-foot strings (that is, strings pitched two octaves above the primary set). A few even included a 16-foot stop, pitched an octave below the main 8-foot choirs. One still-preserved German harpsichord even has three manuals to control the many combinations of strings that were available.
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In addition, he often selects longer poems than would be considered usual for a song and writes few miniatures. The success of setting a lengthy piece of verse seems to depend upon Faith's ability to delay the listener's climactic expectations by moving through harmonic ambiguity until reaching an emotionally charged section that merits a cadence—usually on open sonorities without the thirds. This event may repeat itself many times with a greater or lesser dynamic level, thereby expanding his music resources. Faith's songs adhere strictly to the rhythm dictated by the text of the poem.
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The Allmusic review by Stephen Eddins awarded the album 4½ stars stating "it's notable for the variety of its sonorities, for its disciplined economy, and for the integrity of the evocative sound world he creates".Eddins, S. Allmusic Review accessed October 23, 2013 Writing for All About Jazz, Troy Collins commented "A remarkably restrained effort in contrast with his usual output, Zorn again proves his creative viability as a post-modern renaissance man with a sublime collection of chamber music".Collins, T. All Abour Jazz Review, July 6, 2007.
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Recorded in New York City, Distancia includes songs written by Herrera and by composers like Antonio Carlos Jobim and César Portillo de la Luz. The record includes original themes "Reencuentro"; "Tus ojos"; "Staying Closer" and "Alegría", with scintillating vocal percussion interlacing with rhythmic Pan-Afro/American structures, with touches of sonorities that evoke Joni Mitchell, and pat-flavored flamenco, as well as reinterpretations of classic themes from Antonio Carlos Jobim, Milton Nascimento and César Portillo de la Luz "Retrato em Branco e preto", "Inutil Paisaje", "Dindi", "Veracruz" and "Tu, Mi Delirio".
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The name comes from a small truck stop on US 395 which meets Alternate US 40, (now State Route 70) near the California–Nevada border. Adams said of the piece, "Here we have a case of a great title looking for a piece. So now the piece finally exists: the 'junction' being the interlocking style of two-piano writing which features short, highly rhythmicized motives bouncing back and forth between the two pianos in tightly phased sequences". The work centers around delayed repetition between the two pianos, creating an effect of echoing sonorities.
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Cage quoted in Kostelanetz, 67 Cage composed canons from his earliest works, such as the Three Easy Pieces of 1933 and Solo with obbligato accompaniment of two voices in canon of 1934. To compose the quartet Cage used a new technique, which consisted of dealing with fixed sonorities, or chords. He called those 'gamuts', and each gamut was created independently of all others. After producing a fixed amount of gamuts, scored for each player in an unchanging way,Pritchett, Grove a succession of them could be used to create a melody with harmonic background.
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The author Benoît Cachin said the song's lyrics are optimistic, which is very rare in Farmer's career. In the refrain, the singer explains to her lover that he should prevent her from speaking "if her dark universe exceeded her love". The song is punctuated with several "Shut up" sung by Farmer and has dance and electro sonorities. The psychologist Hugues Royer believes that in this song, "there is some caution in the declaration [of love], a decency to say the passion that could be extinguished", which is expressed by the "Shut Up" in the chorus.
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However, one of them, , only mentioned the songs without detailed analysis in his biography of the composer. Mercier and Nold noted that the collection is "consistently on a high level with beautiful sonic textures and rich harmonies throughout", and that "the 'love' theme in these poems inspires some of Reger's most magical sonorities". In the Reger-Year 2016, students of the Musikhochschule München performed the songs in a concert in Berlin on 18 May. The Musikhochschule Saarbrücken focused on chamber music by Mozart and Reger, presenting the six songs on 12 June.
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His biggest project was the self-titled album Gigi D'Agostino, consisting of 19 tracks, which sold over 60,000 copies. After his rise to success, D'Agostino's musical style changed, with his sound becoming more melodic, at midway between house and progressive, with more energetic and melodious sonorities and less obsessive rhythms, also known as Italo dance. In 1997, he released the single "Gin Lemon", followed by "Your Love (Elisir)" (1998), "Cuba Libre" (1999), and "Bla Bla Bla" (1999). He later released the album Eurodance Compilation, which contained five unpublished tracks.
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The music video was directed by Laurent Boutonnat, and the screenplay of this Requiem Publishing and Stuffed Monkey production was written both by Mylène Farmer and Boutonnat. Some fans worried that the video would be the continuation of "C'est une belle journée", which was considered irrelevant given the quite different themes of both songs. As the song had several Oriental sonorities, several rumors about the video were divulged in the media,Bee, 2006, p. 51. saying it would be filmed in Morocco during the singer's vacations in September 2002\.
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The album was initially released in two parts, 1 and 2, but soon followed by the entire release featuring 14 tracks and later, Acoustic versions of R&B; tracks 'Nothing Wrong', 'Risk it all' and 'Thug Juice'. 'Thug Juice' Has sonorities that remind drawn on the 90's R&B; era with sounds reminiscing of popular artist of the time such as R.Kelly, H-Town or BlackStreet. WOMAN's first music video for the title 'Nothing wrong' makes references to R.Kelly tracks 'Honey Love' (1991) and 'Bump N' Grind' (1993).
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By 1998, Land had gone through a number of personnel changes and had developed a much harder-edged sound. Andrew Bartlett, writing in a 1999 article in Seattle Weekly, described the music at that time, in part: "LAND's sound is a swirl—a clicking, cascading, jolting mix of sonorities and styles." Dennis Rea is quoted in the article: ""The current lineup is more of a 'rock' band than earlier editions, and is much more explosive and in-your-face. Our connection with ambient music is pretty tenuous at this point.
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Much of Sychra's guitar music, especially the teaching pieces and studies, reproduces harp sonorities on the guitar, perhaps as a result of his early career as a harpist. His magnum opus, the Praktičeskie pravila igrat' na gitare [Practical rules for playing the guitar] (St. Petersburg, 1817), which has long been esteemed by Russian guitarists, is only now beginning to attract international attention. Interest in Sychra's composition and guitar technique has received renewed attention following the revival of his work by Dr. Oleg Timofeyev, whose doctoral dissertation and subsequent recordings (e.g.
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In 1987, Lainhart released his first solo recording of electronic music, These Last Days for the Periodic Music CD label.Tokafi The music's characteristic blend of impressionist sonorities, minimalist structures and real-time performance techniques established an early reputation that spanned the worlds of ambient music, jazz, new age and the avant garde.BBC A follow-up recording, Polychromatic Integers, was prepared but remained unreleased until 2011 on the Periphery label. Numerous recordings for CD, vinyl and the Internet followed since then, establishing Lainhart's reputation as one of the seminal American composers working in the electronic medium.
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The score is by Richard Rodney Bennett. To create a relentless, harsh mood, he left out sweet-sounding instruments like violins and flutes and relied mainly on brass and percussionInterview on Film Score Monthly, quoted in including three pianos, which are featured prominently in the main theme, and later, together with the percussion, create sonorities similar to Stravinsky's Les Noces. The score is basically monothematic, constantly varying the main theme. For more romantic moods, it features the ondes Martenot, an early electronic instrument, played by its most prominent soloist, Jeanne Loriod.
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The strings present the dense sonorities of the melodic material of "A Spring in the Park," which is followed by the "Three Blind Sisters," in which another cor anglais solo is answered by monolithic orchestral harmonies. The sixth movement, "Pastorale," is scored for woodwind and string instruments and exhibits the subtlety of chamber music. The seventh, "Mélisande at the Spinning Wheel," presents the largest and most dramatic image heard so far, which is followed by an Entr'acte. This immense movement could serve as a symphonic finale in its own right but the pace of the drama demands an epilogue.
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Apart from the first and last sonatas, each is written with a different scordatura. Scordatura is a technique which provides the instrument with unusual sonorities, colors, altered ranges and new harmonies made available by tuning the strings of the instrument down or up, creating different intervals between the strings than the norm. It was first used in the early 16th century and was most popular until approximately 1750. In literature for violin and viola scordatura is usually written in a way that the performer reads and plays the notated fingering as if the instrument were tuned conventionally.
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Correa makes use of many devices unique to Spanish organ music of this period: unusual sonorities such as the augmented triad, unusual rhythmic groupings, and a notable dissonance which he vigorously defends, referred to as punto intenso contra remisso: the simultaneous sounding of a note and its chromatic alteration (e.g., C and C#). The theoretical aspect of this work also discusses ornamentation, notes inegales, registration, and use of the different modes and key signatures. Correa's organ music was inspired by the unique tonal qualities of Spanish organs, unequal temperament, and such devices as the divided keyboard.
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It is in order to reveal this apparent contradiction that he subsequently gave his ensemble of early music the name of Jacques Moderne, the music publisher of 16th-century Lyon. In this search for authenticity, he hoped that the works performed would have the same sonorities as at the time of their first performances. Five centuries later, these "old stones" were again animated by the breath of the sackbuts, the vibration of the viols and the voices of the singers, which he directed there. Despite the significant share of the "Ensemble Jacques Moderne"L'Ensemble Jacques Moderne on France musique.
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Structural Hearing: Tonal Coherence in Music, p. 267. . Music theorist Robert Morgan has argued that a central tenet of Schenkerian thought—that only consonant triads are capable of prolongation—needlessly excludes a class of dissonant sonorities, such as diminished sevenths or a more arbitrarily defined set of pitches; Morgan claims that, starting in the 19th century, composers such as Liszt, Wagner, and Scriabin, began "composing out" these dissonant configurations as rigorous a manner as is usually ascribed to the triadic prolongation of tonal composers.Morgan, Robert (1976). "Dissonant Prolongation: Theoretical and Compositional Precedents" in Journal of Music Theory 20/1, 49–91.
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That studio performance, with the Choir of St Anne's Cathedral, was broadcast throughout the UK and subsequently performed live at the Ulster Museum by a different grouping of performers. The work is dedicated to the composer and academic Adrian Thomas. Hammond received a commission from Radio Three, and Narcissus, a setting of poems by George Barker, was performed by Lontano and mezzo- soprano Linda Hirst in April 1981 as part of the Sonorities Festival of Twentieth Century Music. It was later broadcast by BBC Radio Three and received a London premiere by the same performers in 1982.
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Extensive festival and club solo work followed, including the Bracknell Jazz Festival and the Brussels Festival of Percussion. In 1982 the trio The Recedents was formed with Lol Coxhill and Mike Cooper exploring the possibilities of electro-acoustic music, in which Turner initially played drumset and EMS Synthi A as a means of bending the sounds of various metal percussion instruments. This group, still existing, mixes song, jazz, punk/thrash, with acoustic detail in always shifting sonorities, and has worked throughout Europe, Canada and the UK, also recording for the French Nato label.Guinness Encyclopedia of Popular Music, Colin Larkin, Grove's 1995, vol.
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After he fled from Nazi Germany to the United States, they did not discuss the matter further. Late in 1937, Boulanger returned to Britain to broadcast for the BBC and hold her popular lecture-recitals. In November, she became the first woman to conduct a complete concert of the Royal Philharmonic Society in London, which included Fauré's Requiem and Monteverdi's Amor (Lamento della ninfa). Describing her concerts, Mangeot wrote, > She never uses a dynamic level louder than mezzo-forte and she takes > pleasure in veiled, murmuring sonorities, from which she nevertheless > obtains great power of expression.
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Conversations on Science, Culture, and Time: Michel Serres Interviewed by Bruno Latour, University of Michigan Press, 1995, p. 2. These formative experiences led him consistently to eschew scholarship based upon models of war, suspicion, and criticism. Over the next twenty years, Serres earned a reputation as a spell-binding lecturer and as the author of remarkably beautiful and enigmatic prose so reliant on the sonorities of French that it is considered practically untranslatable. He took as his subjects such diverse topics as the mythical Northwest Passage, the concept of the parasite, and the explosion of the Space Shuttle Challenger.
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The subsequent expansion of the language became a group effort, and as Magma's personnel changed, so new ideas were incorporated into the language (and the music). British music critic Ian MacDonald said that Kobaïan is "phonetic, not semantic", and that it is based on "sonorities, not on applied meanings". One of Magma's singers, Klaus Blasquiz, described Kobaïan as "a language of the heart" whose words are "inseparable from the music". Magma expert Michael Draine said "the abstraction provided by the Kobaïan verse seems to inspire Magma's singers to heights of emotional abandon rarely permitted by conventional lyrics".
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The Police started as a punk rock band, but soon expanded their music vocabulary to incorporate reggae, pop and new wave sonorities to their sound. In his retrospective assessment Stephen Thomas Erlewine of AllMusic argues that the notion of the Police as a punk rock band was true only "in the loosest sense of the term". He states the band's "nervous, reggae-injected pop/rock was punky" and had a "punk spirit" but it "wasn't necessarily punk". A "power trio," the Police are known as a new wave and post-punk band, with many songs falling in the reggae-fusion genre.
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As for two other tracks from the album, the text was written by Alana Filippi, while the music was composed by Calogero and his brother, Gioacchino. The song has pop sonorities and is popular in France thanks to its catchy refrain in which the singer repeats only 'en apesanteur' and performs the background vocals. The music video was shot in a lift in which the singer and a woman are falling in love. The song was included on many French compilations, such as Hits de diamant (released in 2007), Le Top: 20 ans de tubes, vol. 3 (2004), Les Plus Belles Voix, vol.
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According to David Schulenberg, Renaissance composers did not, as a general rule, specify which instruments were to play which part; in any given piece, "each part [was] playable on any instrument whose range encompassed that of the part." Nor were they necessarily concerned with individual instrumental sonorities or even aware of idiomatic instrumental capabilities. The concept of writing a quartet specifically for sackbuts or a sextet for racketts, for instance, was apparently a foreign one to Renaissance composers. Thus, one might deduce that little instrumental music per se was written in the Renaissance, with the chief repertoire of instruments consisting of borrowed vocal music.
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The second version, only part of which survives, was first performed by the Orchestra of Turun Soitannollinen Seura in Turku exactly one year later. The final version, which is the one most commonly performed today, was premiered again by the Helsinki Philharmonic, conducted by Sibelius, on 24 November 1919. The first version of the new symphony kept much of his familiar orchestral style (consonant sonorities, woodwind lines in parallel thirds, rich melodic development, etc.) but also shows some similarities with the more modernist Fourth Symphony, featuring a few bitonal passages. The 1919 version seems more straightforward, monumental and classical, and also cleared away some digressions and ornaments.
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"It is a piece that is rich in texture and sonorities and was actually a challenge to choreograph to when I first heard it. It contains some beautifully evocative sections where the combinations of electronic and classical instruments provide a powerful backdrop for the dancers as they create many different landscapes and scenarios.""October 3, 2011" , David Hochoy, Dance Kaleidoscope, 2011 "Of Rivals and Lovers: Ten Lines from a Poet's Past" was written for Dance Kaleidoscope's Remembrance of Things Past performance in 2012.YouTube video of Dance Kaleidoscope Another commission was by the Butler University Department of Dance for a ballet entitled The Willow Maiden, which premiered in 2003.
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Dvořák wrote: "I see I am unable to write a Concerto for a virtuoso; I must think of other things." What Dvořák composed instead was a symphonic concerto in which the piano plays a leading part in the orchestra, rather than opposed to it. In an effort to mitigate awkward passages and expand the pianist's range of sonorities, the Czech pianist and pedagogue Vilém Kurz undertook an extensive rewriting of the solo part; the Kurz revision is frequently performed today. The concerto was championed for many years by the noted Czech pianist Rudolf Firkušný, who played it with many different conductors and orchestras around the world before his death in 1994.
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His work became noted in international electronic music circles and in time his compositions have been included in several prestigious electronic music festivals such as the San Francisco Tape Music Festival, Sonorities Festival of Contemporary Music, Seoul International Computer Music Festival, Musica Viva Festival, Primavera en La Habana and Third Practice Electroacoustic Music Festival. Erdem also won awards for his compositions from the Luigi Russolo, Insulae Electronicae and MUSICA NOVA Electroacoustic Music Competitions. As an electronic music artist, Erdem released his first album in 2003. The album, entitled A Walk Through The Bazaar was released by Locust Music as part of the MetLife series.
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His most recent works have been premiered at Kings Place, London; Mediarte Festival, Monterrey; Sonorities festival, Belfast; Southbank Centre and Southbank Centre's Purcell Room, London; Centro Nacional de las Artes, Mexico City; Gare du Nord, Basel; Visiones Sonoras Festival, Morelia; Venice Biennale. Since 1995, he has taught composition, theory and analysis, electro acoustic composition and new technologies; between 1999 and 2002, he joined the Centro Tempo Reale, Florence, Italy, to work and accomplish Luciano Berio’s project for Basic Musical Literacy for children via the use of New Technologies. He has been invited to lecture in special courses, advanced seminars, and master classes in several conservatoires and universities worldwide.
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Although Goehr's personal relationship to his father was not unproblematic, Walter Goehr had a determining influence on his son via his work as a conductor: the composers whose work Walter championed—Arnold Schoenberg, Claudio Monteverdi, Modest Mussorgsky, Olivier Messiaen—feature as a red-thread throughout Alexander's output. For instance, Goehr's Arianna uses the libretto of a lost opera by Monteverdi, Arianna abbandonata, and conjures up sonorities reminiscent of the Italian Renaissance. The quintet Five Objects Darkly (whose title is borrowed from a work by the painter Giorgio Morandi is a set of variations based on a musical fragment by Mussorgsky,Williams, Nicholas. 2001. "Goehr (2): (Peter) Alexander Goehr".
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With Furtwängler > on the other hand, I understood that there I was confronted by something > completely different: metaphysics, transcendence, the relationship between > sounds and sonorities [...] Furtwängler was not only a musician, he was a > creator [...] Furtwängler had the ear for it: not the physical ear, but the > spiritual ear that captures these parallel movements.Sergiu Celibidache, CD > Wilhelm Furtwängler in Memoriam FURT 1090–1093, Tahra, 2004, p. 57. Furtwängler commemorated on a stamp for West Berlin, 1955 Furtwängler's art of conducting is considered as the synthesis and the peak of the so-called "Germanic school of conducting".Harold Schönberg, The great conductors, Simon and Schuster, 1967.
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Until the end, the voice is supported by the piano, written on three staves, and discreet outfits of the strings. Placet futile offers rhythm games and "dialogues" of more whimsical sonorities: the measure often changes, when Soupir remained immutably four-stroke. The piano, absent during the whole first quatrain of the poem, makes an entrance almost as "spectacular" as in the future Tzigane of 1924: a rush of arpeggios accompanying the evocation of frivolous pleasures and the "lukewarm games" of the poem. The flute offers a counter-singing to the last verses of the sonnet, which prefigures the "princess's air" of l'Enfant et les Sortilèges.
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While the early albums have pronounced industrial, esoteric darkwave and a touch of medieval influences, with time their musical style matured, embracing multi- faceted sonorities between neofolk, experimentalism and ballad songs. The albums, that include also instrumental tracks, are characterized by a significant switch and mix of genres, making Ordo Equitum Solis' music unusual, various, intimistic and hard to describe. Distinguishing features are Leithana's voice, Deraclamo's folk guitar, lyrics in various languages (English, French, Latin, Italian), highly-emotional melodies, experimental effects, romantic and decadent atmosphere, and remarkable, sometimes provocative arrangements. Ordo Equitum Solis' releases had often been concept- albums, inspired by symbolic themes or personal experiences.
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John Cage wrote this composition while he was living in Seattle, earning money by making music for dancers, such as Music for an Aquatic Ballet. Having studied for some time with Arnold Schoenberg in the past drew him closer to serial organization into his studies regarding temporal structure. In Seattle, he had the chance to experiment with the different possibilities of the prepared piano, which allowed him to create new percussive sonorities without having to use several instruments and performers. At this time, Henry Cowell, a pioneer in advanced avant-garde techniques for the piano (such as plucking the strings from the inside, using clusters, etc.), was his mentor.
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According to Yoel, they make a fusion using pop music and trova, besides playing with other styles to keep the texts flowing. Also according to Yoel, some say that Buena Fe makes trova if playing with the guitar alone; and makes Cuban pop rock if playing with the band; and this might be true, except for the fact that they also experiment a lot. They try to avoid categories; trying to make prevail the poetry and the venturous verse; trying to wrap it with pop rock sonorities, but with a direct link to what used to be the intelligent songs that was made from the 60s to the 80s in Cuba.
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She sang in three concerts, the most important being at the Cabaret Maxime. She then flew to Morocco, in Casablanca, with the show Popular Music of the Mediterranean. After coming back to Italy, she received the Giovanni Paisiello prize, a part of the Magna Grecia Awards, with the following motivation: "The musical event, the balance between the high pitches and the shades in the pronunciation of words, make her voice a unique melody, Patrizia Laquidara emphasizes old sonorities and enters the scene, barefoot, to leave her untold impressions in the intimate sactum of every heart, that opens with her to new rhythms". Her song "Assenza" was then included in the album Capo Verde terra d'amore vol.
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It is clear that the "soprano" clarinets in B, A, and C are perfectly capable of taking on the higher lines in a score, but they achieve this by playing largely in their "clarion" and "altissimo" registers. The lower instruments are, for obvious reasons, exploited much more in their "chalumeau" registers and this, by comparison, is quite low. Also, since the time of Mozart and the clarinettist Anton Stadler, composers began to favour the rich sonorities of the lower tessitura of the clarinet and this may partly have contributed to the clarinet family being pitched further down against its counterparts in the wind section of the orchestra where it will often take on the lower parts.
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" Adams calls its style "very simplistic ... strident" and "generally unpleasant sounding" and adds that "the rigor [of twelve-tone composition] seemed more to cramp [Copland's] natural spontaneity than to aid it." Composer Kyle Gann calls Connotations "big, unwieldy ... and [not] that good ... Copland's imagination seemed constrained by the technique. On a more positive note, Davis wrote after a performance of the work under Ehrling by The Juilliard Orchestra that while Connotations remains a "spiky" composition, Copland "adopts Schoenberg's serial procedures to produce a sequence of typically pungent and exhilarating Coplandesque sonorities." Desmond Shawe-Taylor called the work "beautifully put together: full of energy, variety, thought" after he had heard Boulez conduct the piece.
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Some of the roots of the Colossal Baroque style were in the opulent Florentine Intermedii of the 16th century, commissioned and attended by the powerful Medici family. La Pellegrina, performed for the wedding of Ferdinand de' Medici to the French princess, Christine of Lorraine, in 1589, featured music for up to seven choirs, by Cristofano Malvezzi in Intermedio VI. Yet another city that cultivated large sonorities was Rome. Composers there were not as adventurous with harmony and rhythm as the Venetians, but they had spacious churches with elaborate interiors which demanded music to match. Composers such as Orazio Benevoli, who began his career in Rome, helped spread the style elsewhere, especially across the Brenner Pass into the Austrian lands.
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Subsequently, he married Nanino's daughter. He held a series of positions as organist and maestro di cappella (choirmaster) between 1607 and 1626, when he succeeded Vincenzo Ugolini as maestro of the Cappella Giulia's choir in St. Peter's Basilica. All of his surviving works are sacred music, and most are written in the prima pratica, the conservative polyphonic style of the late 16th century, although some of his motets use some of the new concertato style. He was a highly sophisticated contrapuntist, often using strict canonic techniques; in addition, he used colorful sonorities, changes of meter between sections, and colorful chromaticism, showing an acquaintanceship with contemporary secular practice as well as the work of the Venetian School.
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In a review of Still Urban at All About Jazz, Marc Medwin stated that while he sometimes found Frith's chamber music "not always ... satisfying", the inclusion of improvised segments on the album "keep[s] textures interesting and paces changing". Medwin said the ARTE Quartett's playing is "virtuosic", and called Frith's compositional techniques "fascinating", especially when he mixes "multi-colored sonority with extended instrumental techniques". Michael Rosenstein wrote in a review of the album in Cadence that Frith's composition demonstrates the "accomplished flexibility" of the ARTE Quartett. He said the use of field recordings and the "jagged textures" of Frith's guitar never dominates the mix, but provides a platform for the quartet's "warm reed sonorities".
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The fast-slow-fast plan is framed by a carefully varied refrain of resonant chords in the brass (accompanied by bass drums). Although the work takes its title from a Japanese Noh Play, it is in effect a celebration of the beauties of nature generally - 'an idealised everywhere', as the critic Paul Griffiths admiringly put it. Whether in the long melodic arches of the slow central section, or the joyous dancing of the last part, the orchestral sonorities are acutely judged, and instantly recognisable as Lumsdaine. Again the harmonic style is clearly focussed with contrasting sections focussing on various modal sub-groups, yet the overall impression is of effortless richness and luminosity.
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Crumb attends a performance at Alice Tully Hall in honor of his 90th birthday George Henry CrumbRichard Steinits, "Crumb, George (Henry)", The New Grove Dictionary of Music and Musicians, secnd edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001). or George Henry Jr. CrumbNicolas Slonimsky, Laura Kuhn, and Dennis McIntire, "Crumb, George (Henry Jr.)", Baker's Biographical Dictionary of Musicians, edited by Nicolas Slonimsky and Laura Kuhn (New York, NY: Schirmer, 2001): 2:765–66. (born October 24, 1929) is an American composer of modern classical and avant-garde music. He is known as an explorer of unusual timbres, alternative forms of notation, and extended instrumental and vocal techniques, which obtain vivid sonorities.
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Harley Gaber (June 5, 1943 – June 16, 2011) was a visual artist and composer known for his minimalist and spectral approaches to time and sound. With his emphasis on quiet sustained sonorities and textures, Gaber is counted among the early American minimalist composers, and considered to be a forerunner of drone and spectralism. His best known recorded composition, The Winds Rise in the North, has been called by musician Keith Fullerton Whitman "one of the holy grails of minimalism in music in the 20th century." In 1978, he stopped composing, moved from New York City to San Diego, California, and began creating photo-collages, mixed media collages, paintings, and pen-and-ink works he called graphic music.
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Myaskovsky never married and was shy, sensitive and retiring; Pierre Souvtchinsky believed that a "brutal youth (in military school and service in the war)" left him "a fragile, secretive, introverted man, hiding some mystery within. It was as if his numerous symphonies provide a convenient if not necessary refuge in which he could hide and transpose his soul into sonorities". Stung by the many accusations in the Soviet press of "individualism, decadence, pessimism, formalism and complexity", Myaskovsky wrote to Asafiev in 1940, "Can it be that the psychological world is so foreign to these people?" When somebody described Zhdanov's decree against "formalism" to him as "historic", he is reported to have retorted "Not historic – hysterical".
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He employs his large orchestra to create a kaleidoscope of delicate sonorities as well as grand orchestral gestures. The rhythms shift subtly with a certain relentless ticking and chiming that drives the tale forward. The music serves the libretto, often to a fault, and Puckett is unafraid of a swelling melody, the meat and potatoes of the standard repertoire." Broadway World found it to be "a poetic requiem for the American Dream" and wrote, "Mn Opera's exceptional world premiere "The Fix" deserves expanding to other cities." Star Tribune classical music critic, Terry Blain noted the music's lyricism writing, "Puckett’s music cast something of a halo around Shoeless Joe as he wrestled with the moral complexities of his situation.
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In them, Bartók builds new musical structures, explores sonorities never previously produced in classical music (for example, the snap pizzicato, where the player lifts the string and lets it snap back on the fingerboard with an audible buzz), and creates modes of expression that set these works apart from all others. "Bartók's last two quartets proclaim the sanctity of life, progress and the victory of humanity despite the anti-humanistic dangers of the time", writes analyst John Herschel Baron. The last quartet, written when Bartók was preparing to flee the Nazi invasion of Hungary for a new and uncertain life in the U.S., is often seen as an autobiographical statement of the tragedy of his times. Bartók was not alone in his explorations of folk music.
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Though the similarities between Desmarets' and Lully's music were written off by bitter critics as the sign of a composer failing to come into his own, the use of one of Desmarets' musical structures in later music suggests quietly admitted approval within the musical community. At the time one trend was to highlight low voices and sonorities, which the composer furthered through choruses that featured a single exposed melody to be sung by bass voices. This can be seen in the songes affreux in Circe. The prologue is a good example of the homophony characteristic of French music at the time the opera was written, and includes points of imitation, or repeated material in succession between different instrument and voice parts which may mimic a fugue.
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" He goes on to note the implications of these differences for the performance of Brahms's music: :"to hear Brahms's music on an instrument like the Streicher is to realize that the thick textures we associate with his work, the sometimes muddy chords in the bass and the occasionally woolly sonorities, come cleaner and clearer on a lighter, straight-strung piano. Those textures, then, are not a fault of Brahms's piano composition. To be sure, any sensitive pianist can avoid making Brahms sound murky on a modern piano. The point is that the modern pianist must strive to avoid that effect, must work at lightening the dark colors, where Brahms himself, playing his Streicher, did not have to work at it.
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Macero's first projects for Columbia included one side of What's New?, an album of original music in the emerging Third Stream genre that was shared with Bob Prince as well as arrangements for the first Johnny Mathis album. Macero continued to compose and arrange for a variety of artists during his time as a producer at Columbia, contributing tracks to (and still producing) several albums including Monk's Monk's Blues, and Something New, Something Blue, a collection of blues compositions and arrangements by Macero, Teddy Charles, Manny Albam, and Bill Russo. He contributed a track to (and produced) John Lewis and Gunther Schuller's Orchestra U.S.A. album, Sonorities, an album of third stream compositions, and he arranged music for easy listening pioneer, André Kostelanetz.
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Central to both these elements is the note C, which is scored in the middle range between these two extreme registers of the orchestra, giving the note a magnetic quality. Throughout the work, the cluster moves to a variety of pitches, always with its central note having a magnetic quality. The opening fifth leap of the work is productive in many ways. One of these ways is to cause doublings at the fifth of various harmonies and even melodic lines. After the initial dramatic opening, marked ‘Sostenuto, marcato’, swells of unusual sonorities derived from the characteristic harmony outlined above are presented, the music fades out to reveal the note G, sustained in the strings and clarinets in the same octave over a gradual diminuendo.
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Such interests brought him close to the music of Kodály and Bartók, and his academic studies deepened the mastery of counterpoint, which remained a vital ingredient of his style. He continued to experiment with new ideas throughout the 1920s: the Sonata for violin and organ contains sonorities which foreshadow electronic music, and the Piano Sonata uses aleatory technique. Slavenski's interest in folk music broadened in the late 1920s to encompass that of the whole of the Balkans, and the culminating result of this was his Balkanophonia. He was equally attracted by the mystical and ritual aspects of music, as may be seen from Chaos, a movement from the unfinished Heliophonia, and Religiophonia, the latter generally considered to be his masterpiece.
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"When the projection [of the perfect fifth] is carried beyond seven tones, no new intervals can be added." "On the other hand, as sonorities are projected beyond the six-tone series they tend to lose their individuality. All seven- tone series, for example, contain all of the six basic intervals, and difference in their proportion decreases as additional tones are added....Such patterns tend to lose their identity, producing a monochromatic effect with its accompanying lack of the essential element of contrast." A decatonic scale that has been used or considered by Kyle Gann and La Monte Young in 13-limit just intonation is 1/1, 12/11, 32/27, 9/7, 4/3, 132/91, 3/2, 18/11, 16/9, 176/91, and 2/1.
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Icebreaker have made concert appearances in the UK, US and Europe, including the Huddersfield Contemporary Music Festival, the Warsaw, Aarhus, Ghent, Grenoble and Budapest festivals, Sonorities in Belfast, the Baltic Gaida Festival and the NYYD Festival in Estonia, as well as a dedicated Icebreaker festival with the Wiener Musik Galerie in Vienna. In London they have appeared at Meltdown, the ICA, the Place Theatre, the South Bank, the Barbican, the Warehouse, Ocean and the Almeida, among other venues. They have appeared on two Arts Council Contemporary Music Network tours of England. United States appearances include New York City's Bang on a Can Festival, the Lincoln Center Festival, and a performance at Carnegie Hall with the American Composers' Orchestra in Stewart Wallace's The Book of Five.
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Solo includes fifteen tracks, some previously released. Recording sessions took place from November 8 to 10, 2005, at The Hit Factory and Criteria Studios in Miami, Florida. There are four improvised tracks inspired by John Coltrane's Giant Steps: "Paseo Iluminado", "Paseo en Media Luz", "Paseo Azul", and "Paseo Morado". "Iluminado (Improv #1)", according to Roberto R. Calder of PopMatters, has "stock phrasing, but a pause in concentration before the sublime quality of a one-minute lullaby worth waiting for"; "Media Luz (Improv #2)" "hints at jazz with concert-room sonorities and a striking ending"; "Azul (Improv #3)" "proceeds with more consistent direction than its two predecessors" and becomes a hymn"; and "Morado (Improv #4)" "develops into long linear passages for each hand.
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At one point, "Xenakis creates an enormous accelerando, building up as many as six layers of spiraling patterns swirling around the listeners. The tempo of that passage winds up to 360 beats per minute, with one complete rotation of rolled accents around the six players every second... these mesmerizing patterns are enhanced by isolated dynamic accents and by interruptions of silence or stochastic clouds of percussive sonorities." The percussionists use a wide range of instruments and sound effects during the piece, including sirens, maracas, and pebbles, along with an arsenal of drums, wood blocks (simantras), cymbals, and gongs. In 2010, the Make Music New York festival presented a performance of Persephassa on and around Central Park Lake in New York City, with audience members listening from rowboats.
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Richard Stilwell's Pelléas was eager despite his fear, José van Dam's Golaud genuine and traumatized, Ruggero Raimondi's Arkel embracing and aptly Debussyan, Christine Barbaux's Yniold excellent, Nadine Denize's Geneviève euphonious and Pascal Thomas's shepherd and physician entirely satisfactory. The Berlin Philharmonic supplied a "voluptuous sonic cushion" with none of the nasal string sound that a French orchestra would have produced. The salient features of Herbert von Karajan's interpretation were its "meticulous attention to changing sonorities" and its muscularity as a piece of music drama. An opera usually represented almost as though it were a dream was instead made into a story of "real characters with real emotions", "a bigger, stronger, more varied music" than anyone had discovered in the score before.
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They move with solemn grace, like ghostly visions floating through a fog. And when you have resonant chords like these--complex and new, yet somehow familiar-sounding, cloaked in beautiful sonorities, awash in mystery--you have a pretty good sense that something special is about to follow in their wake." He added, "It is a weighty slow movement, with lots of fast things happening on the surface and distant hints of Sibelius." Anne Midgette of The Washington Post called it "an attractive braid of music created by winding two disparate ideas - a fast scherzo and the slow shimmer of strings - into a single whole, now full, now slender, set off with gleaming beads of percussion, tapering at the end to something gentle and warm.
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The song was written by Guesch Patti and Vincent Bruley. According to the French Charts expert Elia Habib, the success of this song results from an alchemy between several of its components : "the voice of Guesch Patti in first, which makes a success of an interpretation very provocative of the song, alternating sensual moanings and passionate shouts ; the text of course, is full of suggestive sonorities ; the music, which play a large part in the success of the song in the production of the text, since the feline rhythmic of the intro until the nervous chord of the electrical guitar, and the videoclip, which is of an erotic esthetism carried by an arousing choreography".Elia Habib, Muz hit. tubes, p.
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The greeting and answering is repeated two more times in two stanzas of the poem, reflecting the strengthening of the weary in spirit and body (""), and finally overcoming death (""). The following fourth appearance of "Peace be with you" is accompanied by both woodwinds and strings, and peace is finally achieved. Klaus Hofmann describes the movement as an "operatic scene" and continues "Bach resorts to unconventional means; he shows himself as a musical dramatist and, in the process, stresses the element of contrast: he comments upon the words of the faithful with agitated, tumultuous string figures, whilst Jesus' peace greeting sounds calmly and majestically, embedded in pastoral wind sonorities." Bach adapted this movement as the Gloria of his Missa in A major, BWV 234.
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The middle section is of an improvisatory, fantasia-like character, with extremely harsh modulations and sonorities, culminating in C minor with fortissimo chords. The chromaticism, triplet emphasis, and modulatory patterns of this section are all reminiscent of the developments nested within the Allegro's exposition. After the C minor climax (according to Fisk, a key of great importance in the cycle due to its relation to "Der Wanderer"), a recitative section with startling sforzando outbursts emphasizing an ascending minor second leads to a serene phrase in the major mode (C major), which in turn leads (as the dominant of F minor) back to the A section, here somewhat transformed, with new accompanimental figuration. The final bars of the movement feature rolled chords that prefigure the opening of the following Scherzo.
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"The 'Great Mass' > in B minor" in the booklet to the recording by Philippe Herreweghe and > Collegium Vocale Gent, released from Harmonia Mundi, HML5901614.15, 1999. Scholars have suggested that the Mass in B minor belongs in the same category as The Art of Fugue, as a summation of Bach's deep lifelong involvement with musical tradition—in this case, with choral settings and theology. Bach scholar Christoph Wolff describes the work as representing "a summary of his writing for voice, not only in its variety of styles, compositional devices, and range of sonorities, but also in its high level of technical polish ... Bach's mighty setting preserved the musical and artistic creed of its creator for posterity."Christoph Wolff, Johann Sebastian Bach: The Learned Musician, W. W. Norton & Company, 2000, , pp. 441–42.
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He participated on international juries for acousmatic composition competitions in France and abroad. Two distinct esthetic periods characterized his work. During the first, from 1977 to 1987, he placed an emphasis on the ties unifying acousmatic music and painting, ties arising from the use of a common permanent working surface which permitted the painter to directly place his colors on the canvas in the way the composer immediately captures sonorities on 'magnetic tape'. He expressed this analogy and attempted to explore its ramifications in virtually all the works of this period (Métamorphose d’un jaune citron, 1978, Bleus et formes, 1981...). In the second period, from 1987 to the present, following upon this initial preoccupation, he presented the idea of a ‘spatial polyphony’ (a ‘polyphony’ of spaces and not uniquely of sounds).
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Stylistically, his music can be considered a midpoint between the simplicity and homophonic textures of Dufay and Binchois, and the soon-to-be pervasive imitative counterpoint of Josquin and Gombert. He used imitation only occasionally but skillfully, created smooth and singable melodic lines and had a strong feeling for triadic sonorities, anticipating 16th-century practice. According to Pietro Aron, Busnois may have been the composer of the famous tune L'homme armé, one of the most widely distributed melodies of the Renaissance and the one more often used than any other as a cantus firmus in Mass composition. Whether or not he wrote the first Mass based on L'homme armé, his was by far the most influential; Obrecht's setting, for example, closely parallels that of Busnois, and even Dufay's quotes from it directly.
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Tinctoris hailed Dunstaple as the fons et origo of the style, its "wellspring and origin." The contenance angloise, while not defined by Martin le Franc, was probably a reference to Dunstaple's stylistic trait of using full triadic harmony, along with a liking for the interval of the third. Assuming that he had been on the continent with the Duke of Bedford, Dunstaple would have been introduced to French fauxbourdon; borrowing some of the sonorities, he created elegant harmonies in his own music using thirds and sixths. Taken together, these are seen as defining characteristics of early Renaissance music, and both Le Franc's and Tinctoris's comments suggest that many of these traits may have originated in England, taking root in the Burgundian School around the middle of the century.
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Stravinsky in 1921 The Octet for wind instruments is a chamber music composition by Igor Stravinsky, completed in 1923. Stravinsky’s Octet is scored for an unusual combination of woodwind and brass instruments: flute, clarinet in B and A, two bassoons, trumpet in C, trumpet in A, tenor trombone, and bass trombone. Because of its dry wind sonorities, divertimento character, and open and self-conscious adoption of "classical" forms of the German tradition (sonata, variation, fugue), as well as the fact that the composer published an article asserting his formalist ideas about it shortly after the Octet's first performance, it has been generally regarded as the beginning of neoclassicism in Stravinsky's music, even though his opera Mavra (1921–22) already displayed most of the traits associated with this phase of his career .
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Like that of Pauline Oliveros, Harry Partch and Moondog, Dlugoszewski's music was animated by the invention and construction of new musical instruments, many of which she utilized in performance. In her interview with Gagne, the composer estimated that she had constructed or designed at least a hundred instruments during her career (a frequent partner was the sculptor Ralph Dorazio, who built instruments to Dlugoszewski's specifications). She was inspired, she told Gagne, by her teacher Varèse, who used electronic tools to create disorienting and exciting new sonorities. "It's not that I was out to invent instruments", said Dlugoszewski, "but that I wanted to create an ego-less sound possibility, a suchness possibility, so that you would help the ear just to hear the sound for its own sake."Ibid.
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He therefore began at zero, so to speak, asking himself: what single devices and what kind of combinations between the processes amongst several devices can there be (simultaneously or, by means of tape storage, successively), and what options are available to control these processes? Practically, the pieces that he realized up to 1964 in the studio represent systematic experiments in the exploration of electronic sonorities. In the process, however, it was clear to him theoretically in 1957—therefore at the time when, in the USA, Max Mathews was making the very first experiments with sound production by a computer—that the technical capabilities of the studio were very limited. If the sine wave was not, so to speak, an indivisible element of sound, it could still be construed, with its characteristics of frequency and strength, as "instrumental".
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FM and Radio Círculo (UNDAE – Spain). His music has been published by Important Records and Ablaze Records. Other spaces supporting the diffusion of his work include the University of Oxford (Ashmolean LiveFriday 2017), Aalborg University (NIME 2017), Queensland Conservatorium (NIME 2016), HKU University of the Arts Utrecht (ICMC 2016), University of North Texas (ICMC 2015), New York University (SID 2015), University of Kent (Symposium of Acoustic Ecology), Wesleyan University (Society of Electro-Acoustic Music in the United States 2014 National Conference), The New York Public Library (Kinokophonography), Leeds College of Music (International Festival for Artistic Innovation), Queen’s University Belfast (Sonorities 2014, 2016 and 2018), Salone Internazionale del Mobile 2012, Helsinki Music Center / Sibelius Academy, Florida International University (New Music Miami Festival), New York City Electroacoustic Music Festival, Deep Listening Institute and the Electronic Language International Festival (FILE – Brazil).
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In 1947, Smith composed Schizophrenic Scherzo for the Brubeck Octet, one of the earliest works that successfully integrated jazz and classical techniques, a style that later was given the name "third stream" by Gunther Schuller . Smith investigated and cataloged a wide range of extended techniques on the clarinet, including the use of two clarinets simultaneously by a single performer, inspired by images of the ancient aulos encountered during a trip to Greece , numerous multiphonics, playing the instrument with a cork in the bell, and the "clar-flute," a technique that involves removing the instrument's mouthpiece and playing it as an end-blown flute. As William O. Smith, he wrote several pioneering pieces that feature many of these techniques, including Duo for Flute and Clarinet (1961) and Variants for Solo Clarinet (1963) . In an article titled "Contemporary Clarinet Sonorities" (Selmer Bandwagon no.
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Conversely, the pieces sound as if they are longer. writing on water (1999-), commissioned by Matthew Herbert and released on the Accidental label, is an expanding collection of short (sometimes only 20 seconds long) works using recorded acoustic instruments; and shadow grounds (1999), commissioned by the Huddersfield Contemporary Music Festival for the ensemble recherche as part of their In Nomine Broken Consort Book, a three-minute non-miniature of suspended sound. His three black moons (1999), commissioned by the London Sinfonietta, was described by The Guardian, '...the most striking piece takes its title from an Alexander Calder mobile - its magical floating sonorities had a Feldmanesque beauty.' Ian Vine is described as 'one of the most striking new voices to have come to light' (The Guardian), his music is performed across Europe and has been broadcast worldwide.
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In composing the Trio, Ravel was aware of the compositional difficulties posed by the genre: how to reconcile the contrasting sonorities of the piano and the string instruments, and how to achieve balance between the three instrumental voices – in particular, how to make that of the cello stand out from the others, which are more easily heard. In tackling the former problem, Ravel adopted an orchestral approach to his writing: by making extensive use of the extreme ranges of each instrument, he created a texture of sound unusually rich for a chamber work. He employed coloristic effects such as trills, tremolos, harmonics, glissandos, and arpeggios, thus demanding a high level of technical proficiency from all three musicians. Meanwhile, to achieve clarity in texture and to secure instrumental balance, Ravel frequently spaced the violin and cello lines two octaves apart, with the right hand of the piano playing between them.
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Jonathan Kramer posits the idea (following Umberto Eco and Jean-François Lyotard) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude. Kramer enumerates 16 (arguably subjective) "characteristics of postmodern music, by which I mean music that is understood in a postmodern manner, or that calls forth postmodern listening strategies, or that provides postmodern listening experiences, or that exhibits postmodern compositional practices." According to , postmodern music: # is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension # is, on some level and in some way, ironic # does not respect boundaries between sonorities and procedures of the past and of the present # challenges barriers between 'high' and 'low' styles # shows disdain for the often unquestioned value of structural unity # questions the mutual exclusivity of elitist and populist values # avoids totalizing forms (e.g.
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Pedro Carneiro is a Portuguese solo classical percussionist, marimba player, composer, and conductor. Pedro Carneiro is one of the very few percussion players to have made an international career as a soloist, and has established himself as one of the world's foremost solo percussionists, performing regularly throughout Europe, the Asia and the United States. Carneiro has won several international competitions and awards, while performing regularly in festivals and venues such as the BBC Proms, Rhythm Sticks Festival, Queen Elisabeth Hall and Purcell Room in London, Sonorities Festival in Belfast, Macau International Music Festival, Grant Park Music Festival in Chicago, New Zealand International Festival of the Arts, Capital Theatre in Beijing, La Biennale di Venezia, Folles Journées (Lisbon), Schumannfest in Düsseldorf, Festival Classique au Vert in Paris, amongst others. Mr. Carneiro has also performed recitals in cities such as London, Paris, Los Angeles, Hanover, Seville, Lisbon, Seoul and Hong Kong.
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The include religious pieces of music in the Sardinian language and all its dialects, following a rhyme scheme based on the octave, sestina and quintain. According to the scholar , the roots of the Sardinian actually lie in the Byzantine models: they are in fact identical to the Greek kontakion in terms of the metre structure and the strophes with the chorus at the end. It is also known from the De cerimoniis aulae Byzantinae that the protospatharios Torchitorio I, in honor of the Emperor Constantine VII Porphyrogenitus, sent a delegation of Sardinians who sang a peculiar Greek hymn in Constantinople. Some other authors think that the derive from the Italian lauda, which made its way to Sardinia and the other regions of Europe thanks to Saint Francis' spiritual influence; it has also been theorised that the style of singing might actually be of autochthonous origin, with sonorities typical of the ancient Mediterranean region.
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It's certainly as much jazz as it is as anything else and—like all Douglas' explorations—undeniably worth your attention".Reiter, B., All About Jazz Review, February 23, 2005 In JazzTimes, Thomas Conrad wrote "Mountain Passages (like the Ladino music of the Northern Mediterranean that partly inspired it) modulates between extremes of the contemplative and the raucous. The alchemy of instrumental sonorities is unique (trumpet both open and muted, cello both pizzicato and arco, three reed instruments in turn) and the genre is classifiable only as Douglas-music: too formally notated for jazz, too hard-driven for chamber music".Conrad, M., JazzTimes Review, May 2005 PopMatters Will Layman observed "Dave Douglas made great music for RCA, but on his own imprint he seems to be even freer and more exultant—a guy with a trumpet and all of jazz history to draw on, not to mention every other kind of music under the white clouds that shade our listening.
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They recorded this album in France and had it mixed by Mad Professor. A year later, with an increased popularity both locally and internationally, Daara J releases their second and politically themed album “Xalima” (“Quill”) notorious for its use of traditional African sonorities and its collaborations with internationally acclaimed artists such as Neg’Marrons, Secteur A or Patra. In 2000, Daara J releases in Dakar another album “Exodus” whose track entitled like the album deals with the phenomenon of African emigration motivated by the ideal of fortune and success beyond the seas. Although this album was never released in Europe, the track “Exodus” was however remixed in the third and last album internationally released by the group, “Boomerang”. With “Boomerang”, Daara J toured throughout the world winning awards both in their home country (Hip Hop Awards) as well as abroad, with in 2004 the BBC African Artist Awards. In 2008, Alajiman starts his solo career while N’Dongo D and Faada Freddy form the Daara J Family.
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Paul van Nevel, João Lourenço Rebelo and the Portuguese Polyphony of the first half of the seventeenth century, 1992, p.10 In his compositions, Rebelo strives for strong contrasts in sound and in the very texture of the musical architecture, mixing choirs of singers, solo singers, and voices and instruments. We can find Cantus firmus sung on long notes as the basis of splendid Concertato counterpoint for six vox instrumentalis, like in Educes me (Psalm 31, verse 5), the endless repetition of musical figuration in Super Aspidem (Psalm 19, verse 13 – with 13 parts) or the typical sonorities of Monteverdi's madrigals in the charming Qui habitat (Psalm 91, verse 1-6). At the same time Rebelo knows how to evoke the Roman School polyphony, like is in seven-part motet Panis angelicus, full of harmonic false relations or in his Lamentationes, in which the composer achieves effects through the use of piercing chromatic harmonies.
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The sonata is in four movements: #Moderato = 88 #Un poco mosso = 138 #Lentamente = 72 #Claro y conciso = 126 Angular melodies, a percussive approach to the instrument, employment of stark and concise one- or two- measure units, abrupt changes of register, rhythmic irregularity, and a harmonic profile that blends frequent vertical seconds, sevenths, and ninths with sudden, stark octaves are the leading features of the sonata. Chávez deliberately avoids overtly expressive elements, but uses a fundamentally diatonic polyphony which does not prevent him from achieving the harshest sonorities (; ). The sonata adheres to a neoclassical aesthetic, linked to notions of simplicity, balance, and purity, though not resembling very closely the European (Stravinskian) model of neoclassicism . The short first movement serves as a kind of slow introduction in two main sections, which may be viewed either as a simple double exposition , or as an adaptation of binary form, with a short transitional passage inserted between the two parts in b.
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Born in Funchal in 1792, Arsénio was the son of illiterate unlucky emigrants forced to return to Madeira after a failed attempt to make their fortune in the Portuguese colony of Brazil; he soon started to work as a mason, like his father, but in 1817 he was arrested in Lisbon for joining a plot aiming to overthrow the king João VI. Embarking for Rio de Janeiro in 1820, he changed his family name - Santos - to the pompous Pompílio Pompeu de Carpo, probably borrowing it from theatre, a juvenile passion. Deeply fascinated by Roman sonorities and connotations, Arsénio loved to boast of his presumed classic erudition by quoting Latin authors or evoking personalities such as Titus or Nero. However, the choice of similar names also denotes a touch of megalomania, the evidence of his need to stand out, and it can be considered as the first step towards a career based on self-promotion which culminated in the middle of the 19th century.
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The Festival de Radio France et Montpellier is a summer festival of opera and music held in Montpellier, France created in 1985. The music festival concentrates on classical music and jazz with about 100 events, including opera, concerts, films, and talks, most of which are free and located in the historic courtyards of the city or the modern concert halls of Le Corum. Since its beginning, the Festival has been entrusted to René Koering. Jean-Noël Jeanneney, président-directeur général of Radio France in 1985 declared the purpose the Festival was to "reconcile the classic and the unexpected, great interpreters and musicians making their debut, ancient accents and the sonorities of tomorrow... in the great tradition of public service""concilier classique et inattendu, grands interprètes et jeunes espoirs, accents anciens et sonorités de demain… dans la grande tradition du service public… qui, seul, peut offrir un si grand choix" The Festival is held in July (14 to 31 July in 2008, 11 to 28 July in 2011).
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Sound artist Abinadi Meza performing at Sinel de Cordes Palace, Lisbon Architecture Triennale, 2013 Sound performance, Austin, Texas (USA) 2012 Abinadi Meza (born 1977 in Austin, Texas) is a contemporary visual artist, sound artist, conceptual artist and filmmaker whose work references spatial and temporal perception, politics, and transformation. His paintings, sound art, videos, and installations have been presented at venues across North America and Europe, including the Institute of Contemporary Arts, Dunaújváros, Hungary; FILE Festival, São Paulo, Brazil; MAXXI, Rome, Italy; Helicotrema Festival, Venice, Italy; Walker Art Center, Minneapolis; Team Titanic, Berlin; Irish Museum of Modern Art, Dublin, Ireland; Sonorities Festival, Belfast, Northern Ireland; FACT, Liverpool; La Casa Encendida, Madrid, Spain; Minneapolis Institute of Arts; and Lisbon Architecture Triennale, Portugal. Meza uses ephemeral materials such as text and sound to create transformative spacesIrish Museum of Modern Art: Abinadi Meza (USA) and explore relationships regarding individuals and social context.Opsound, New York As a young artist Meza studied Butoh with master teachers from Japan, Europe and South America.
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For Massenet he first provided a libretto for the oratorio Marie-Magdeleine (1872) which proved to be Massenet's first major success and the first of his four dramatic oratorios. Georges Bizet's one-act opera Djamileh to Gallet's libretto premiered successfully, 22 May 1872 at the Opéra-Comique, Paris), but two other Bizet operas by Gallet and Edouard Blau remained incomplete at Bizet's untimely death in 1875: La coupe du roi de Thulé (1869) and a five-act Don Rodrigue (1873). In his libretto for Massenet's Thaïs he employed an unrhymed free verse that he termed, in Parnassien fashion, poésie melique which, like its classical Greek predecessors, was designed for a declamation with accompaniment (melodrama). In Gallet's hands declamation rose by degrees into a freely-structured aria that was raised above the level of prose by its sonorities and syntactical patterns, formulas that were finely suited to the musical techniques of both Saint-Saëns and Massenet.
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Writing soon after Debussy's death, Newman found them laboured – "a strange last chapter in a great artist's life"; Lesure, writing eighty years later, rates them among Debussy's greatest late works: "Behind a pedagogic exterior, these 12 pieces explore abstract intervals, or – in the last five – the sonorities and timbres peculiar to the piano." In 1914 Debussy started work on a planned set of six sonatas for various instruments. His fatal illness prevented him from completing the set, but those for cello and piano (1915), flute, viola and harp (1915), and violin and piano (1917 – his last completed work) are all concise, three-movement pieces, more diatonic in nature than some of his other late works. Le Martyre de saint Sébastien (1911), originally a five-act musical play to a text by Gabriele D'Annunzio that took nearly five hours in performance, was not a success, and the music is now more often heard in a concert (or studio) adaptation with narrator, or as an orchestral suite of "Fragments symphoniques".
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One critic has written that "Schulhoff's notion of what constitutes jazz are as surreal as some of the Dadaist texts he set...; some of the music is rather more indebted to de Falla and Russian Orientalism than ragtime or anything trans-Atlantic." He thought that innovations like an entire movement of the Suite for Chamber Orchestra (1921) for percussion alone and the use of the siren in another "would have seemed outlandish enough in 1921, even if it all sounds a bit tame now [1995]." A New York Times critic in 1932 called the Duo for violin and cello (1925) "long-winded and even insincere", while a performance in 2012 noted it was dedicated to Janáček, evokes Ravel's Sonata for Violin and Cello and "blends folk and contemporary elements" while employing "a range of sonorities and effects like dramatic pizzicatos" while "vivacious Hungarian fiddle playing enlivens the Zingaresca movement". His jazz oratorio H.M.S. Royal Oak tells the story of a naval mutiny against a superior who prohibits jazz on board ship.
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Bruce Brubaker and Dennis Russell Davies have each recorded the original set of six. Most of the Etudes are composed in the post- minimalist and increasingly lyrical style of the times: "Within the framework of a concise form, Glass explores possible sonorities ranging from typically Baroque passagework to Romantically tinged moods".Booklet notes by Oliver Binder to "American Piano music", Initativkreis Ruhr/Orange Mountain Music 2009 Some of the pieces also appeared in different versions such as in the theatre music to Robert Wilson's Persephone (1994, commissioned by the Relache Ensemble) or Echorus (a version of Etude No. 2 for two violins and string orchestra, written for Edna Mitchell and Yehudi Menuhin 1995). Glass's prolific output in the 1990s continued to include operas with an opera triptych (1991–1996), which the composer described as an "homage" to writer and film director Jean Cocteau, based on his prose and cinematic work: Orphée (1949), La Belle et la Bête (1946), and the novel Les Enfants Terribles (1929, later made into a film by Cocteau and Jean-Pierre Melville, 1950).
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Many composers, as they developed and gained experience, became more enterprising and imaginative in their handling of chord voicing. For example, the theme from the second movement of Ludwig van Beethoven’s early Piano Sonata No. 10 (1798), presents chords mostly in close position: Beethoven's Piano Sonata No. 10, Andante On the other hand, in the theme of the Arietta movement that concludes his last piano sonata, Piano Sonata No. 32, Op. 111 (1822), Beethoven presents the chord voicing in a much more daring way, with wide gaps between notes, creating compelling sonorities that enhance the meditative character of the music: Beethoven's Piano Sonata No. 32, Arietta: Listen Philip Barford describes the Arietta of Op. 111 as "simplicity itself… its widely-spaced harmonization creates a mood of almost mystical intensity. In this exquisite harmonization the notes do not make their own track – the way we play them depends upon the way we catch the inner vibration of the thought between the notes, and this will condition every nuance of shading."Barford P. (1971, p.
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Musically, Nono breaks new ground, not only by the "exemplary balance between voices and instruments" but in the motivic, point-like vocal writing in which words are fractured into syllables exchanged between voices to form floating, diversified sonorities—which may be likened to an imaginative extension of Schoenberg's "Klangfarbenmelodie technique" . Nono himself emphasized his lyrical intentions in an interview with Hansjörg Pauli (, quoted in ), and a connection to Schoenberg's Survivor from Warsaw is postulated by . However, Stockhausen, in his 15 July 1957 Darmstadt lecture, "Sprache und Musik" (published the next year in the Darmstädter Beiträge zur Neuen Musik and, subsequently, in Die Reihe), stated: > In certain pieces in the "Canto", Nono composed the text as if to withdraw > it from the public eye where it has no place... In sections II, VI, IX and > in parts of III, he turns speech into sounds, noises. The texts are not > delivered, but rather concealed in such a regardlessly strict and dense > musical form that they are hardly comprehensible when performed.
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Blunnie, 'Passion', op. cit., p. 226. In terms of style, Maconchy had "a predilection for intervallic composition", and, "profoundly influenced by the resonances produced by certain intervals, [she] tended to build works around one or a small number of intervals, which varied according to the work in question". A favoured "harmonic device" was the "simultaneous use of major and minor sonorities", which "came to denote episodes of heightened emotion".Blunnie, 'Passion', op. cit., p. 229. Blunnie is acknowledging here composer Grace Williams assessment of this device as a "fingerprint" of Maconchy. It has been argued that her work is often "driven by rhythm", which gives it its characteristic confluence of "energy, dynamism and imagination".Blunnie, 'Passion', op. cit., p. 230. Maconchy's cycle of thirteen string quartets, composed between 1932 and 1983, is regarded as the peak of her musical achievements.Hugo Cole and Jennifer Doctor, "Maconchy, Dame Elizabeth", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
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Over the past ten years she has explored musical forms arising from heightened states of awareness, borrowing from a wealth of artistic media and spiritual traditions. These preoccupations are evident in two works written for the London Sinfonietta – tigres azules, in which by her own account Milstein sought to investigate "the compositional potential of treating the 'present moment as an infinite dream'", and surrounded by distance …, an exploration of "the indefinable, yet seemingly precise manner in which musical shapes and configurations arise spontaneously as evocative appearances and illusory continuities, as described in the Lankavatara Sutra." An important strand in Milstein's music is the use of evocative gestures that draw on the vernacular music of Buenos Aires, a procedure which she evolved in musica ciudadana (1995) and a media luz (2000) as a means of furnishing a composition with a sense of modality. These pieces are like kaleidoscopic collages made out of evocative fragments of characteristic rhythms, turns of phrase and sonorities from Argentinian popular music (tango, milonga, bolero), embodied in textures inspired by the music of the Second Viennese School.
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The Move in 1967 In the late 1960s the extreme eclecticism of Birmingham's musical culture saw the emergence of several highly original bands who would each develop new and distinctive pop sonorities, between them establishing many of the archetypes of the psychedlia and progressive rock that would follow. The first of these was The Move, formed in December 1965 by musicians from several existing Birmingham bands including Mike Sheridan and The Nightriders, Carl Wayne and The Vikings and the Mayfair Set; initially performing covers of American West Coast acts such as The Byrds alongside Motown and early rock 'n' roll classics. Guitarist Roy Wood was soon persuaded to start writing original material, and his eccentric, melodically inventive songwriting and dark, ironic sense of humour saw their first five singles all reach the UK Top 5. With their sound "placing everything in pop to date in one ultra-eclectic sonic blender", The Move performed across an enormous range of styles, including blues, 1950s rock 'n' roll and country and western with a particularly strong influence from hard- edged rhythmic soul, and with some of their material approaching the sound that would later be identified as heavy metal.
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The actual content of the ballet, although unusual, somewhat reflects everyday life (including particular local Belgrade neighborhoods and spots like Dorćol and Mažestik) and certain composer's formal interventions created a hybrid form—e.g., the narrator who intervenes in the plot and among the ballet dancers, as well as jazz elements and a jazz band on the stage. The event when the Poet declares “Alone on the stage,” potentially leads toward the voidance of distinction between performers and audience as an exit from the work itself, its self-relativization, and as an anticipation of a significant element of contemporary theatre in general. A remarkable ballet scene takes place at the very end, when during a true ironic shift the Poet kills the Felo-de-se in a tavern (kafana), over glum sonorities of the authentic kafana music, lacking tragedy, in other words routinely, but also lacking the gravity that could possibly hinder the work's imposed vaudeville character. Radić explained the background of his ballet as follows: “As a young composer, the beginner, I was alarmed by the new revelations, new information, and still vivid memories of the war (WW II) horrors.
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