Were there other confluences and consonances between the two careers?
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It was proposed as an alternative (even if there were more consonances than were openly discussed at the time), and was bolstered by being the opposition to something too grand.
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That's the kind of speculation that Moogfest encouraged amid performances by musicians from all eras of electronic music: D.J.s, pop bands, rappers, electronic-music graybeards, makers of celestial consonances and makers of implacable noise.
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In "HpShk5050 P127," Mr. Lanois sets out edgeless, weightless, swaying consonances; Venetian Snares zaps them with bursts of superhumanly frenetic percussion, teases at a near-reggae bass line and sends echoes skidding all around.
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Monotony settles in; we read at a remove, which feels cruel given that Tokarczuk's aim is so clearly to train the eye to see more deeply, more attentively, and to root out hidden consonances and meanings.
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Now, inevitably but crucially, there is far more conversation about the consonances between hip-hop and country than ever before, even at Sam Hunt's peak, when it seemed as if country singers adroitly incorporating rapping would become fully normalized.
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This remarkable show, which intersperses Renoir père drawings and paintings with pottery and clips from the films of Renoir fils, lays out the considerable differences between father and son — for obviously paintings are capable only of implying movement, while movies move — as well as the confluences, consonances and bridges connecting them.
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It would be a stretch to call Armitage's efforts a reconciliation of sorts between cultures whose conflicts and consonances remain in endless flux, but his street-level Modernism, with its mesmerizing interplay of form and idea, is compelling and memorable, drawing upon its roots in a specific place and time to compose metaphors anyone can touch.
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"On Some Points in the Harmony of Perfect Consonances", p. 153\. R. H. M. Bosanquet. Proceedings of the Musical Association, 3rd Sess.
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In Renaissance music, the perfect fourth above the bass was considered a dissonance needing immediate resolution. The regola delle terze e seste ("rule of thirds and sixths") required that imperfect consonances should resolve to a perfect one by a half-step progression in one voice and a whole-step progression in another . The viewpoint concerning successions of imperfect consonances—perhaps more concerned by a desire to avoid monotony than by their dissonant or consonant character—has been variable. Anonymous XIII (13th century) allowed two or three, Johannes de Garlandia's Optima introductio (13th–14th century) three, four or more, and Anonymous XI (15th century) four or five successive imperfect consonances.
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Perfect intervals on C. , , , . Perfect intervals are so-called because they were traditionally considered perfectly consonant, Definition of Perfect consonance in Godfrey Weber's General music teacher, by Godfrey Weber, 1841. although in Western classical music the perfect fourth was sometimes regarded as a less than perfect consonance, when its function was contrapuntal. Conversely, minor, major, augmented or diminished intervals are typically considered less consonant, and were traditionally classified as mediocre consonances, imperfect consonances, or dissonances.
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Rule #2 Follow together with ténor up and down in imperfect and perfect consonances of the same kind. (Parallels at the third and sixth are recommended, fifth and octave parallels are forbidden.) Rule #3 If ténor remains on the same note, you can add both perfect and imperfect consonances. Rule #4 The counterpointed part should have a melodic closed form even if ténor makes big leaps. Rule #5 Do not put cadence on a note if it ruins the development of the melody.
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Blake Neely, Piano For Dummies, second edition (Hoboken, NJ: Wiley Publishers, 2009), p. 201. . The major sixth is one of the consonances of common practice music, along with the unison, octave, perfect fifth, major and minor thirds, minor sixth, and (sometimes) the perfect fourth. In the common practice period, sixths were considered interesting and dynamic consonances along with their inverses the thirds. In medieval times theorists always described them as Pythagorean major sixths of 27/16 and therefore considered them dissonances unusable in a stable final sonority.
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At the same time, a single wave of level of dissonance first increases from a unison at the beginning to a minor ninth in the middle, and then decreases back to perfect consonances (octave and perfect fifth) at the end .
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The minor sixth is one of consonances of common practice music, along with the unison, octave, perfect fifth, major and minor thirds, major sixth and (sometimes) the perfect fourth. In the common practice period, sixths were considered interesting and dynamic consonances along with their inverses the thirds, but in medieval times they were considered dissonances unusable in a stable final sonority. One should note that in that period they were tuned to the flatter Pythagorean minor sixth of 128:81. In 5-limit just intonation, the minor sixth of 8:5 is classed as a consonance.
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Pamięć Miejsca. For this visionary poet, verse seemed to be a question of imagination; he would play with word consonances, dreamlike associations, musicality, and create picturesque visions.Kowalczykowa, Alina (2004). "The Interwar Years 1918-1939" in: Ten Centuries of Polish Literature, p. 222-23.
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When they sought Descartes' opinion on Benedetti's theory, Descartes declined to judge the goodness of consonances by such a rational method. Descartes argued that the ear prefers one or another according to the musical context rather than because of any concordance of vibrations.
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Stretto entries of a highly chromatic subject in works like Missa in fletu solatium result in strong dissonances (the mass in question, commemorating the events of a Turkish siege that cost Kerll's friend, Alessandro Poglietti, his life, contains a continuo part that includes an "avoid consonances" warning from the composer).
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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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7-limit 8:7 septimal whole tone . In music, a secor is the interval of 116.7 cents () named after George Secor. Secor devised it to allow a close approximation, generated from a single interval, to Harry Partch's 43 tone just intonation scale. All 11-limit consonances are approximated to within 3.32 cents.
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However, 3/28 is described as "almost exactly a just major third." Sethares (2005), p.60. From about 1510 onward, as thirds came to be treated as consonances, meantone temperament, and particularly quarter-comma meantone, which tunes thirds to the relatively simple ratio of 5:4, became the most popular system for tuning keyboards.
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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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Adnet described her artistic process as "a long exercise of observation, patience, composition, implementation and harmonization." The work reminded her of her efforts to perfect her skills at piano, and she often incorporated the same techniques, stating her artwork had "harmony, rigor, consonances and dissonances." Most of her works were oil paintings, with a minority of them being drawings. She is also known for completing nudes and still lifes.
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The bleak expanses of Russia are evoked in the soulful slow movement, the piano providing a dark backdrop for the cello’s rhapsodic, vocal theme. It is one of the earliest examples of a mood that was to feature in many of Shostakovich’s most powerful works, reflective introspection through icy dissonances that touch yet do not settle on warmer consonances, until the music eventually fades into the impressionistic twilight.
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He illustrates this idea in his writings and through experiments. He discusses the Pythagoreans method of looking at harmonies and consonances through half-filling vases and explains these experiments on a deeper level focusing on the fact that the octaves, fifths, and fourths correspond respectively with the fractions 2/1, 3/2, and 4/3. His contributions greatly contributed to the fields of music and physics (Papadopoulos, 2002).
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Oxford University Press. However, parallel fifths were still common in 14th-century music. The early 15th- century composer Leonel Power likewise forbade the motion of "2 acordis perfite of one kynde, as 2 unisouns, 2 5ths, 2 8ths, 2 12ths, 2 15ths," and it is with the transition to Renaissance-style counterpoint that the use of parallel perfect consonances was consistently avoided in practice. The convention dates approximately from 1450.
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The term perfect identifies the perfect fifth as belonging to the group of perfect intervals (including the unison, perfect fourth and octave), so called because of their simple pitch relationships and their high degree of consonance.Walter Piston and Mark DeVoto (1987), Harmony, 5th ed. (New York: W. W. Norton), p. 15. . Octaves, perfect intervals, thirds, and sixths are classified as being "consonant intervals", but thirds and sixths are qualified as "imperfect consonances".
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For example, in a Debussy prelude, a major second may sound stable and consonant, while the same interval may sound dissonant in a Bach fugue. In the Common practice era, the perfect fourth is considered dissonant when not supported by a lower third or fifth. Since the early 20th century, Arnold Schoenberg's concept of "emancipated" dissonance, in which traditionally dissonant intervals can be treated as "higher," more remote consonances, has become more widely accepted.
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These three intervals and their octave equivalents, such as the perfect eleventh and twelfth, are the only absolute consonances of the Pythagorean system. All other intervals have varying degrees of dissonance, ranging from smooth to rough. The difference between the perfect fourth and the perfect fifth is the tone or major second. This has the ratio 9/8, also known as epogdoon and it is the only other superparticular ratio of Pythagorean tuning, as shown by Størmer's theorem.
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Dissonant counterpoint was originally theorized by Charles Seeger as "at first purely a school-room discipline," consisting of species counterpoint but with all the traditional rules reversed. First species counterpoint must be all dissonances, establishing "dissonance, rather than consonance, as the rule," and consonances are "resolved" through a skip, not step. He wrote that "the effect of this discipline" was "one of purification". Other aspects of composition, such as rhythm, could be "dissonated" by applying the same principle.
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The Samaveda and Yajurveda (c. 1200 – 1000 BCE) are among the earliest testimonies of Indian music, but they contain no theory properly speaking. The Natya Shastra, written between 200 BCE to 200 CE, discusses intervals (Śrutis), scales (Grāmas), consonances and dissonances, classes of melodic structure (Mūrchanās, modes?), melodic types (Jātis), instruments, etc.The Nāțyaśāstra, A Treatise on Hindu Dramaturgy and Histrionics, attributed to Bharata Muni, translated from the Sanskrit with introduction and notes by Manomohan Ghosh, vol.
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Composer Johann Kaspar Kerll was a personal friend of Poglietti's, and he may have known Johann Pachelbel, who visited Vienna in the mid-1670s. Poglietti died in Vienna in July 1683, during the Turkish siege that eventually led into the Battle of Vienna. His death was lamented by Kerll in Missa in fletu solatium, published in Munich in 1689 as part of a collection of masses, Missae sex. Kerll's work includes continuo parts that specifically order the performer to "avoid consonances".
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Music of the Trecento retained some characteristics of the preceding age and began to foreshadow the Renaissance in others. Consonances were unison, fifth and octave, just as in the ars antiqua, and the interval of a third was usually treated as a dissonance, especially earlier in the period. Parallel motion in unison, fifths, octaves, thirds, and occasionally fourths was used in moderation. Composers used passing tones to avoid parallel intervals, creating brief harsher dissonances, foreshadowing the style of counterpoint developed in the Renaissance.
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He also creates unique rhythmical and chromatic consonances throughout these motifs. Pontet's early series share outstanding traits characterized by accomplished drawing, well thought-out compositions, mathematically precise structures, distortions and deliberate elongations, as well as the use of a rich polychrome palette of tones and hues. Today, immersed in a new plastic period called “Metamorphosis,” Pontet is re-creating part of an enigmatic world of symbols. From realism to abstraction, Pontet's current work – teeming with feelings, thoughts, meditations, and not lacking in lyricism - is eminently plastic.
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Though used in, and evocative of, various kinds of popular, folk, and medieval music, parallel motion in perfect consonances (P1, P5, P8) is strictly forbidden in species counterpoint instruction (1725–present) and during the common practice period, consecutive fifths were strongly discouraged. This was primarily due to the notion of voice leading in tonal music, in which, "one of the basic goals...is to maintain the relative independence of the individual parts."Kostka & Payne (1995), p.84. The perfect intervals (the 4th, 5th and octave) sound 'pure'.
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He was the founder of the chamber music festival, Consonances de Saint-Nazaire, and its artistic director throughout its twenty-five year history. He has also been artistic director of several events at London's Wigmore Hall. Following the success of his festival at Flagey in Brussels with Gerard Depardieu, recorded and documented by Belgian Television RTBF, Graffin curates 'Ysaÿe's Knokke' in September 2017, a festival in Knokke le Zout, where the great Belgian violinist Ysaÿe had his summer residence. Philippe Graffin plays a Domenico Busano violin, made in Venice, 1730.
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Unlike Fux, he defines a less-rigorous kind of counterpoint that was adequate for improvisation; for example it neither requires contrary motion nor prohibits successive perfect consonances. It describes contemporary keyboard practice well, as can be observed from the contemporary toccatas and canzonas of composers such as Merulo. Diruta included many of his own compositions in Il Transilvano, and they are mostly didactic in nature, showing different kinds of figuration, and presenting different kinds of performance problems. These four toccate are among the earliest examples of the etude.
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Triads with added notes such as the sixth, seventh, or second (added tone chords) are the most common (; ), while the, "most elementary form," is a nonharmonic bass . According to Slonimsky's definition, > Pan-diatonicism sanctions the simultaneous use of any or all seven tones of > the diatonic scale, with the bass determining the harmony. The chord- > building remains tertian, with the seventh, ninth, or thirteenth chords > being treated as consonances functionally equivalent to the fundamental > triad. (The eleventh chord is shunned in tonic harmony because of its > quartal connotations.) Pan-diatonicism, as consolidation of tonality, is the > favorite technique of NEO-CLASSICISM .
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This allows the reintroduction of "natural consonances" within a contemporary language, which contributes to bringing contemporary music closer to the "general public".sudoc.abes.fr She is the author of numerous books on musicology and teaching. As a composer, she is the author of more than 1000 works (published at the éditions Bergmann, Reift Marcophon,Ouvrages aux Editions Reift Marcophon Soldano,Ouvrages aux Editions Soldano, Delatour,Ouvrages aux Editions Delatour and Profs editions.Ouvrages aux Editions Profs EditionsColette Mourey sur la Bibliothèque Petrucci In 2012, she won the First Prize of the International Competition for Instrumentalists and Composers "Music and Earth" in Sofia (Bulgaria).
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Every work of art has, since the Renaissance, tried to expand themes worthy of artistic expression and concepts of artistic value to include new subject matters, techniques and styles in painting and sculpture, new harmonies, consonances or dissonances in music, new attitudes, gestures, and different genres and requirements of quality. However the initiative of applying the concept of art literally to non artistic activities within a theoretical framework related to everyday aesthetics came from philosophers like David Best, Wolfgang Welsch and Lev Kreft proposing to consider sports as an art form.Best, David. 1988. “The Aesthetic in Sport,” in Philosophic Inquiry in Sport, ed.
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It is also one of the sources of our knowledge of the origins of the classical problem of Doubling the cube.L. Zhmud The origin of the history of science in classical antiquity, p.84. The second section, on music, is split into three parts: music of numbers (hē en arithmois mousikē), instrumental music (hē en organois mousikē), and "music of the spheres" (hē en kosmō harmonia kai hē en toutō harmonia). The "music of numbers" is a treatment of temperament and harmony using ratios, proportions, and means; the sections on instrumental music concerns itself not with melody but rather with intervals and consonances in the manner of Pythagoras' work.
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The study of sound and musical phenomenon prior to the 19th century was focused primarily on the mathematical modelling of pitch and tone. The earliest recorded experiments date from the 6th century BCE, most notably in the work of Pythagoras and his establishment of the simple string length ratios that formed the consonances of the octave. This view that sound and music could be understood from a purely physical standpoint was echoed by such theorists as Anaxagoras and Boethius. An important early dissenter was Aristoxenus, who foreshadowed modern music psychology in his view that music could only be understood through human perception and its relation to human memory.
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Three writings of his are known. De musica is a four-part manuscript written in Strasbourg, dated 4 November 1490. It deals in 7 chapters with an explication, invention and praise of music; in 21 chapters with the human hand, the chant, the voice, the clefs, the mutation and the keys; in 13 chapters with mensural music and in 8 chapters with proportions and consonances. He wrote "Ein ser andechtig Cristenlich Buchleī aus hailigē schrifften vnd Lerern von Adam von Fulda in teutsch reymenn gesetzt" (A very pious and Christian booklet from the Holy writings and studies), published in Wittenberg in 1512 (reprinted, Berlin, 1914).
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The difference between this just-tuned B and C, like that between G and A, is called the "enharmonic diesis", about 41 cents (the inversion of the 125/64 interval: 128/125 = 2^7/3^3 )). The major third is classed as an imperfect consonance and is considered one of the most consonant intervals after the unison, octave, perfect fifth, and perfect fourth. In the common practice period, thirds were considered interesting and dynamic consonances along with their inverses the sixths, but in medieval times they were considered dissonances unusable in a stable final sonority. A diminished fourth is enharmonically equivalent to a major third (that is, it spans the same number of semitones).
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Even though its first use appears to have been in Italy, fauxbourdon was to become a defining characteristic of the Burgundian style which flourished in the Low Countries through the middle of the 15th century. Composers such as Gilles Binchois, Antoine Busnois, and Johannes Brassart all frequently used the technique, always adapting it to their personal styles. A related, but separate, development took place in England in the 15th century, called faburden. While superficially similar, especially in that it involved chains of 6–3 chords with octave-fifth consonances at the ends of phrases, faburden was a schematic method of harmonization of an existing chant; in the case of faburden, the chant was in the middle voice.
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Greek Dorian octave species in the enharmonic genus, showing the two component tetrachords Greek Dorian octave species in the chromatic genus Greek Dorian octave species in the diatonic genus Greek theorists used two terms interchangeably to describe what we call species: eidos (εἶδος) and skhēma (σχῆμα), defined as "a change in the arrangement of incomposite [intervals] making up a compound magnitude while the number and size of the intervals remains the same" ( (da Rios), translated in ). Cleonides (the Aristoxenian tradition) described (in the diatonic genus) three species of diatessaron, four of diapente and seven of diapason. Ptolemy in his "Harmonics" called them all generally "species of primary consonances" (εἴδη τῶν πρώτων συμφωνιῶν). Boethius, who inherited Ptolemy's generalization under the term "species primarum consonantiarum" (Inst. mus.
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His compositions are diverse and original with their origins in Buenos Aires, Nisinman also takes inspiration from other forms and techniques creating a personal style that breaks the traditions and rules of the "Musica Porteña" (Music of Buenos Aires city). He developed a particular tango style, combining traditional elements with colorful distortions based on atonality and contemporary music. He has written music for a diverse range of groups, from symphony orchestra to string quartet and in 2004 he wrote his first chamber opera Señor Retorcimientos which premiered in Basel. He was composer in residence at the Oxford Chamber Music Festival in 2008, and has participated as composer/ performer in different festivals including; Kuhmo Chamber Music Festival (Finland), Sonoro Festival (Bucharest) Consonances (St Nazaire- France).
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According to Ernst the major and minor thirds contain "latent" tendencies towards the perfect fourth and whole tone, respectively, and thus establish tonality. However, Carl contests Kurth's position, holding that this drive is in fact created through or with harmonic function, a root progression in another voice by a whole-tone or fifth, or melodically (monophonically) by the context of the scale. For example, the leading tone of alternating C chord and F minor chords is either the note E leading to F (if F is tonic), or A leading to G (if C is tonic). In works from the 14th- and 15th-century Western tradition, the leading tone is created by the progression from imperfect to perfect consonances, such as a major third to a perfect fifth or minor third to a unison.
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In "florid organum" the original tune would be sung in long notes while an accompanying voice would sing many notes to each one of the original, often in a highly elaborate fashion, all the while emphasizing the perfect consonances (fourths, fifths and octaves), as in the earlier organa. Later developments of organum occurred in England, where the interval of the third was particularly favoured, and where organa were likely improvised against an existing chant melody, and at Notre Dame in Paris, which was to be the centre of musical creative activity throughout the thirteenth century. Much of the music from the early medieval period is anonymous. Some of the names may have been poets and lyric writers, and the tunes for which they wrote words may have been composed by others.
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His composerly poetics, which in his homeland was quite distinct from the prevailing trend, on his change of setting and on meeting the international repertoire, acquired certain new characteristics, which invoked restraint along with the widespread labelling of his musical expression as "Impressionist" or "post-Impressionist". Such considerations are encouraged in particular by Kunc's harmony, which during his creative lifetime developed according to an expanded tonality in line with the general development of harmonic thinking. It is at the base of the refined and ever- new structure of his works, in which a luxuriant colouring alternates with harsh dissonant consonances of a remarkably expressive impression. In his piano style, Kunc pushes back the previous borders of sonority with a specific registration, imaginative use of the pedal and a new, but typically Kuncian, ornamentation.
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Its more accessible root melodies leave room for a wider array of colors and textures to naturally find their way into its mix. It is his most ambitious and focused work, and combines not only instruments and musical traditions, but cultural sonances and histories as well".Jurek, T. Allmusic Review accessed January 22, 2015 Pitchfork reviewer Brian Howe noted "you don't have to strain too hard to hear Kang's intricate weaving of soft, romantic consonances and harsh, anxious dissonances as an expression of the quicksilver joys and miseries of formalized desire. Taking in lyric poetry, Western choral music, Middle Eastern and South Asian modes, and "ashugh" singing (a popular folk tradition heavily associated with the Caucasus), The Narrow Garden features some of the most sunny and flowering music that Kang has created, seamlessly joined with a couple of sinister threnodies.
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Other ensembles that have performed Paterson's works include The New York New Music Ensemble, Fireworks Ensemble, JACK Quartet, Del Sol Quartet, PubliQuartet, MAYA, Da Capo Chamber Players, California EAR Unit, Cygnus, Ensemble Aleph (Paris), Ensemble Nouvelles Consonances (Belgium), Kairos String Quartet, Cayuga Chamber Orchestra, Russian Chamber Orchestra, MANCA Festival presented by the Centre National de Creation Musicale (CIRM) and the June in Buffalo new music festival. As a conductor, Paterson has conducted the American Modern Ensemble since it was founded in 2005, and has also conducted the Society for New Music ensemble and Atlantic Music Festival Contemporary Ensemble. As a percussionist, Paterson spent many years developing a six-mallet technique based on the Burton grip. He developed this technique while studying with John Beck at the Eastman School of Music, where he presented the world's first all six-mallet marimba recital.
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Gardiner notes the aria's similarity to the soprano aria "" (How the thoughts of the sinner tremble and waver) in Bach's cantata , composed for then 9th Sunday after Trinity the previous year. Movement 5, a duet of tenor and bass "" (God, whose name is love), depicts God's love in "almost naive-sounding parallel sixths and thirds", consonances in "unanimity of movement" being an image of unity that would be understood by the audience at the time. In contrast, Bach sets the words "" (should enemies disturb my peace) in lively syncopated motion, "peace" in long notes. The closing chorale is a four-part setting of the melody, with a rich setting of the words "" (the father of all goodness ... who may constantly preserve us) and "" (in eternity), described by Gardiner as "an admirable melismatic interweaving of all four vocal lines at cadential points".
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