Sanders should continue his campaign, even as he lightly modifies its aims and tonalities.
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DeCarava's work encompasses an extraordinary range of shadowy tonalities, from deep charcoal to pale haze.
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Closer to the tonalities of Wind Maps is the ongoing, multi-volume serial poem Terra Lucida.
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The photograph's dark tonalities resonate with much of DeCarava's work, as does its embrace of ambiguity.
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The drab tonalities and the deliberate slowness of "Sabrina" challenge a genre that leans toward the overheated.
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The results show, for the first time, the relationship between skin tonalities, [education], and type of work.
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Nor did he forget the critical dialogue of forms, tonalities and textures mastered in his early abstractions.
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No one has so consistently and so widely across tonalities and topics worked that "Barcelona" effect like Sondheim.
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You have to own these tonalities and be conscious of them and know where and when to apply them.
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Their canvases have notched corners and edges, which exert a geometric pressure on the palpating color and variable tonalities.
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He had created a comic whose drab tonalities and deliberate slowness challenged a genre that leans toward the overheated.
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The craft that let the songs pass through minor tonalities within major-key melodies without wallowing is absent here.
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In "Rainy Night" (2017), the artist carefully invokes surfaces, tonalities, and detritus, such as tin cans and coffee cubs.
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Nickson is rightly known for his saturated, glowing color, but he's also a master of black, white, and grey tonalities.
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The tonalities are Slavic, but either way, inside the novel-length dream the topographies don't have to be especially real.
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Omaha especially "is both rendered and reappropriated, registered and riffed on through a range of tonalities," our reviewer, Sven Birkerts, wrote.
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He achieves this by varying the thickness of the painting and the use of close tonalities and subtle shifts in hues.
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The P1s extend deep down to the lowest notes, and they are articulate enough to convey various tonalities within the bass region.
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The worn surface of each shingle is lovingly and matter-of-factly painted in varying tonalities of dark lavender and artichoke green.
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Whitney's choices, revealed in his many works on paper, are about working out the weights of various tonalities as realized in gestural marks.
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The Orchestral Joik Project, performed in the northern city of Tromsø, featured tonalities that sounded vaguely Middle Eastern, yet the music was completely Scandinavian.
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Little by little, I familiarized myself with certain tonalities, especially in my travels and through friends who cooked with the aromas of Cambodian cuisine.
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And finally the language of paint — color for its own sake, and for the sake of its infinitesimal patterns, tonalities, gradations – is Moreau's definitive subject.
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The palette, which can be divided into daytime and nighttime colors, both hot and cold, includes reds, blacks, blues, whites, and various tonalities of green.
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"I sat at my piano, singing these melodies over and over again, seeing where the melodies land and what tonalities complement the archived pieces," he says.
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Some of the pieces include abstract forms in varying palettes and tonalities, such as Brenda Mallory's "Focus Break" (2017), a beautiful collagraph with a paradoxical aesthetic.
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The show consists of three large paintings (grouped against a long wall, flanked by tall windows) and 2291 smaller works, all abstracts in carefully controlled tonalities.
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The yellowed fiberglass shares something with the yellow base, while the sanded Plexiglas and silvery shine of the steel pipes bring other tonalities and intensities of light into play.
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Similarly contemplative, "Insularsaunteringsnowsatbay" (1979) is a tall, rectangular painting in which pale tonalities of green, blue, and violet modulate so subtly that it seems impossible to register them all.
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I started using the term "pigmentocracy" during my dissertation to analyze the relationship between class and skin tonalities as constitutive of [subjectivity] as much as gender and sex identification.
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The short pieces consist of a single recorded voice and a piano that (mostly) imitates the tonalities and vocal patterns of the speaker, forming a rhythmically idiosyncratic, unpredictable soundscape.
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Under Ms. Lee's direction at the Public, the play was shaggier and, paradoxically, more coherent; something about this knotty material, with its complex point of view and shifting tonalities, benefits from a crude attack.
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In X-rays of these instruments, Hawley reveals their intricate inner workings: internal reverb systems made from screen door springs; pot lids and valve springs attached to metal truss rods, making for wild, oscillating tonalities.
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And one of the great challenges in balancing the movie was to be able to move from these different shades and tonalities and to keep them balanced in a way that made the movie feel of a piece, rather than it fighting itself.
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" Albert Boghossian, chief executive of the Geneva-based jewelry company that bears his family name, said he was similarly struck by the spinel's surprising range of colors, writing in an email that it is "a magical stone with its numerous hues and tonalities.
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Devoid of imagery and pictorial space, the various tonalities of white in "Materials Never Leave This World" (cast paper and plaster, 26 by 30 inches, 2017) resolve into a low relief of flaps, seams, and wrinkles that mostly align with the outside edges.
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Her paintings, watercolors and drawings of floors and rulers seem deeply motivated by her devotion to get the plainest facts right – this includes a patch of sunlight on a wall or floor, the different tonalities of each stained and varnished floor board, and linoleum's matte surfaces.
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You decipher that the black triangle in the top right corner is the inside of the car's roof, and so the silvery band (in the shape of a straight razor) hanging below it must be a pull-down sun visor, its melting tonalities doing subtly splendid things against the clouds.
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In fact, if you listened a bit more closely to those tonalities, you might understand why, no, it would not be a very good idea to wipe away all of the debts of "the great countries of Europe," even if it's true that they won't ever repay what they owe.
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In his artist's statement, he explains, I am exploring monochromatic painting … exclusively black; using a myriad of tonalities and textures to present black's intrinsically enigmatic beauty and infinite depth; to refute all negative cultural mythologies about the color, and ultimately to create work that innately expresses the all-encompassing spirituality of life.
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Difficult tonalities: B minor, G minor, A major and A minor. Very difficult tonalities: E major, D minor, F# minor, C# minor, F major, Mib major, C minor and Bb major. All other tonalities are considered most difficult ones.
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The painting, realised in cool tonalities, is inspired by marine imagery.
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The colours and tonalities in her paintings are similar to those of her father's.
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These tonalities contrast sharply with the equally wavering A minor and C major tonalities of the movement as a whole, which remain undecided until an A minor cadence at the end of the coda, followed immediately by a surprising Picardy third A-major triad .
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The tonalities turn towards yellow, red and blue hues and depict a combination of feminine, organic and notoriously sexual connotations.
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They used these tunes in their compositions, which are characterized by the asymmetrical rhythms and modal harmonies of that music. Their chamber music compositions, and those of the Czech composer Leoš Janáček, combined the nationalist trend with the 20th century search for new tonalities. Janáček's string quartets not only incorporate the tonalities of Czech folk music, they also reflect the rhythms of speech in the Czech language.
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The Barrons were credited with "Electronic Tonalities". Because of their non-membership in the union, the film was not considered for an Oscar in the soundtrack category.
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The granitic magma mixed both I- and S-type of granitoids; these two different magmatic compositions imply that there are different sources of magma, including new magma from mantle plume and partial melting of pre- existing crust. In TTG, there are tonalities and tondhjemite. However, tonalities and trondhjemites are different; they are mainly composed of mafic and felsic minerals respectively. They were formed by partial melting of pre- existing crust.
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91; Rosen, "Schubert and the Example of Mozart", p. 19. The recapitulation is traditional – staying in the tonic, and emphasizing the tonic minor and the flat submediant (F major) as subdominant tonalities. The coda restates the first theme, this time in a much more 'hesitant' manner, pianissimo and with further allusions to subdominant tonalities. The movement ends with serene arpeggios; however, for the penultimate chord, Schubert chose a striking Italian sixth on II, instead of the more usual dominant or diminished seventh chords.
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Octave Maus, "Exposition rétrospective de l'Art belge" review in L'Art moderne 25 (1905), p. 238 online. His portraits have been described as having an "austere simplicity," using dark and chilly tonalities that emphasize the model's immobility.
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This movement also contains mediant tonalities, such as the ending of the first section of the Scherzo proper, which is in C major, the flattened mediant, or the relative major of the parallel minor (A minor).
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Short critique: Rhythmic complexities, considerable dissonances, straying tonalities with much chromaticism. Some spoken dialogue, mostly with underscoring. Vocal lines melodic, though chromatic. The stage opera is a revision of the oratorio The Trials of Galileo (1967, New York CBS).
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Otto Dix is a darkwave group with EBM and Industrial tunes. Draw calls their style "electronic avant- garde." The songs' themes centre around post-apocalyptic scenes, psychology, morals, and BDSM. The group uses strident, hysterical melodies in their music, sounding in minor tonalities.
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The Hindu described the EP as "a brilliant blend of opposing Indo-progressive tonalities that throb together in eclectic energy, exuding the band's vibrant take on music that is rooted and yet atmospheric." Classic Rock ranked it as the 4th best progressive rock album of 2015.
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The face image on the Shroud instead has grey tonalities that vary in the same values field (between 60 and 256), but the white saturation is much less marked and the histogram is practically flat in correspondence of the intermediate grey levels (levels included between 160 and 200).
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He stated that music and painting are very much alike — both have tonalities, rhythms, high-intensity areas and resting areas. He has been called the Jackson Pollock of Latin American art. His work has been classified as “magical expressionism.” He paints abstract forms with movement and rhythm using bright colors.
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The metre of a rondò is almost always duple, and usually both sections are cast in the rhythms of a gavotte. The keys of A major and F major (the tonalities of Mozart’s rondòs for Sesto and Vitellia in La clemenza di Tito), appear to have been favoured for this form .
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Both models were compact, reasonably priced, and dependent on custom digital integrated circuits to produce FM tonalities. The DX7 was the first mass market all- digital synthesizer. It became indispensable to many music artists of the 1980s, and demand soon exceeded supply. The DX7 sold over 200,000 units within three years.
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The fluctuations of light and shade are reminiscent of Schubertian scoring, or of Weber (e.g. Der Freischütz overture): but without modulation into remote tonalities, they never really portend a tragic conclusion. Though the powerful overture hints at a darker outcome, the opera ends happily. The heroine's levity and Lyonel's sincerity are its themes.
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101) and "Harvest Song" (no. 33 of the Forty-Four Duos for two violins) as bitonal since in both "the larger octatonic collection embraces and supports both supposed tonalities" . Here, the octatonic collection is partitioned into two four-note segments (4-10 or 0235) of the natural minor scales a tritone apart.
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Music Together is noted for a repertoire which emphasizes the use of a wide variety of musical modes (tonalities) and metres. With much of the music of our culture—especially “children’s music”—using predominantly major scales and duple metre, it is difficult for children to gain a breadth of music experience. The Music Together repertoire includes songs in such tonalities as Phrygian mode, aeolian mode, Mixolydian mode, and Dorian mode. Children are also introduced to songs using triple metre and “unusual” metres such as 5/4 or 7/8. In this way, the Music Together repertoire helps strengthen children’s audiation, a termed coined by learning theorist Edwin Gordon to describe the process by which we mentally hear and comprehend music.
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Pinajian grew up in an Armenian community in West Hoboken, New Jersey (now Union City, New Jersey), and was a self-trained cartoonist. His parents survived the 1915 Armenian Genocide and then made their way to the United States. Pinajian's poetic color combinations are linked to the tonalities of his fellow Armenian, Arshile Gorky.
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Terra Terra – The Aquarius Era is a music drama by Nicholas Lens. It is the second part of the operatic trilogy The Accacha Chronicles, following the successful first part Flamma Flamma. In 12 sections, the score combines orchestra, chorus and six operatic voices that contrast with the eerie tonalities of two female nasal-natural singers.
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Without establishing any one style or school, neotonality became the dominant international idea in the 1930s and 1940s (; "new tonalities"). Many of these composers (e.g., Bartók, Hindemith, Prokofiev, and Stravinsky) combine features characteristic of common-practice tonality with features of atonality . The most common means of establishing a tonal centre in neotonality is by "assertion".
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Too Much Sugar for a Dime is an album by Henry Threadgill, released in 1993 on the Axiom label. It has been described as: "a mad, glorious romp which explores some very dark timbres and tonalities and yet remains witty, fresh and consistently exciting." (Richard Cook & Brian Morton, The Penguin Guide to Jazz on CD).
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Kneisel String Quartet, led by Franz Kneisel. This American ensemble debuted Dvořák's American Quartet, Op. 96. Parallel with the trend to seek new modes of tonality and texture was another new development in chamber music: the rise of nationalism. Composers turned more and more to the rhythms and tonalities of their native lands for inspiration and material.
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Amor Aeternus – Hymns of Love is a music drama by Nicholas Lens. It is the third part of the operatic trilogy The Accacha Chronicles. The work follows on the parts Flamma Flamma and Terra Terra. In 19 sections, the score combines orchestra, chorus and six operatic voices that contrast with the eerie tonalities of two female nasal-natural singers .
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Fareeda began with the folk colour schemes often carried by migrant labour moving to the city. The designing of costumes were derived from Mughal style-but carried to kitsch. This gave scope for layering and a play with contrast and tonalities. As with other elements in the film it was to impart a sense of being slightly 'off time.
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Unfortunately, few pieces are preserved from this category, but the existing ones tend to faithfully imitate nature. However, color steps away from reality to show dull colour-schemes and gray tonalities, endowing his works a dreamy touch. The use of green colours, a cloudy backgrounds and illuminated human figures make his work and that of Michele Pagano somewhat similar.
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57 This helps to bolster the ideals of fluid musical styles instead of the harsh cutoffs implied by musical periods. While his music reflects the styles of early Renaissance, his dates put him in the Baroque period, and his tonalities show that, while he composed in earlier styles, he was still moving towards more modern compositional ideals.
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March 11, 2007. Djalma Ferreira com Orgao e Orquestra – Baile de Formatura Lincoln soon discovered that the Hammond organ allowed him to use his skill at the piano keyboard while bringing the supporting knowledge of his bass line experience to the organ's foot pedals. The electronic organ also provided a new array of synthetic tonalities he could experiment with.
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They stand on a marble tabletop with a carelessly crumpled oriental rug. Amid all that luxury is a lesson: a ticking watch on the silver platter reminds the viewer that such earthly riches are fleeting, and worth far less than eternal salvation. The carefully balanced composition, rich colors, and warm tonalities make this painting an object of beauty as well as moral edification.
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These still lifes are often quite elaborate displays and show the influence of Jan Davidsz. de Heem. He generally used a fairly broad technique and brown tonalities with some precision of detail. Van Beijeren was likely familiar with the other Dutch painters of pronkstillevens such as Pieter Claesz and Willem Claeszoon Heda who were specialists in monochrome banquet still lives.
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Statuette of a Quimbaya cacique sitting on a stool, in Museum of the Americas (Madrid, Spain) The Quimbaya civilization (/kɪmbaɪa/) was a Pre-Columbian culture of Colombia, noted for their gold work characterized by technical accuracy and detailed designs. The majority of the gold work is made in tumbaga alloy, with 30% copper, which imparts meaningful color tonalities to the pieces.
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Bava supervised the Italian- language version at Technicolor Roma under his own supervision, while American International Pictures shipped their version to Pathé Color for processing. Mario Bava biographer Tim Lucas described the English-language print as looking "warmer, but less nuanced, with flatter tonalities" and that it "doesn't look bad" but that the Italian version "looks more vibrant, more flamboyantly nightmarish".
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Oreobates quixensis are large among the Oreobates with adults measuring in snout–vent length. The head is large and wider than long; the snout is short. The dorsum is pale brown to dark brown with purple tonalities and cream flecks; the skin is granular, with round keratinized granules and small, sparse, prominent, and enlarged warts. Breeding is by direct development.
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Some people choose to remove the parts of the emulsion that have started to disintegrate while washing; these areas will be the darkest portions of the print. After cleaning, the print is redeveloped. A variety of fresh or exhausted developers can be used at various dilutions, as well as some toners. Different developers and dilutions will result in different tonalities in the paper.
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Bent Sørensen (born July 18, 1958) is a Danish composer. He won the prestigious Grawemeyer Award for Music Composition in 2018 for L'isola della Città (2016). He studied composition with Ib Nørholm at the Royal Danish Academy of Music and with Per Nørgård at the Royal Academy of Music in Aarhus. Sørensen treats major/minor tonalities with microtonal inflections and blurs the harmonies with glissandi.
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The cornemuse du Centre France (or musette du Centre) (bagpipes of Central France) is a type of bagpipes native to Central France. They have two drones, one an octave below the tonic of the chanter, and the other two octaves below the tonic of the chanter. They can be found in the Bourbonnais, Berry, Nivernais, and Morvan regions of France and in different tonalities.
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In traditional Japanese gagaku, the imperial court music, a tone cluster performed on shō (a type of mouth organ) is generally employed as a harmonic matrix.Malm (2000), pp. 116–17. Yoritsune Matsudaira, active from the late 1920s to the early 2000s, merged gagakus harmonies and tonalities with avant-garde Western techniques. Much of his work is built on the shōs ten traditional cluster formations.
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Variations XV to XIX descend in pitch by tones – F, E flat, D flat, B, A – regaining the original G for variations XX to XXII. From XXIII onwards the keys rise by tones from the semitone above G – A flat, B flat, C, D, E, F sharp - until G is regaining at XXIX and for the fugue. By this means all twelve tonalities are traversed.
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Rothe spent approximately 500 hours working on each plate. Rothe expanded the technique's possibilities to achieve transparencies and an extensive variety of tonalities. By discovering a way to mix all colors in the same plate, from the darkest to the lightest, and hand-wiping them into one another, she was able to create highlights, hues, and tones impossible to get when inking each color separately.
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Quartet No.1 was also performed by the Mosaic Quartet in 1995 for Auckland City's Arts Alive programme. Devonport, his third string quartet, was commissioned for the Devonport Arts Festival on Auckland's North Shore, and premiered in 1994 – it was described by Dart as having "a cluster of minor tonalities" at its core. In the mid-1990s he withdrew from public life for a period of recuperation.
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In fact, apart from Nos. 7 and 8, the first series (Op. 10) is made of couples of études in a major key and its parallel minor (the major key either preceding the minor key or following it) with none of the tonalities occurring twice (except for C major, which appears in No. 1 and then in the only couple which is not major-minor, i.e. Nos.
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The collection of three rondos takes around 8–9 minutes to perform, with each rondo taking around 2 or 3 minutes. The list of rondos is as follows: All rondos follow a rondo-like form, in which a first theme is presented, then a second theme, then a somewhat developed version of the first theme. The different themes in each rondo are also in different tonalities.
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The easiest and most used tonalities are G major and D major, since F# and C# can be played naturally. E Minor is also usual, since first octave D# is relatively easy to play. C major is the most difficult, since natural F cannot be produced naturally and it is considered an accidental in the dolçaina's natural scale. In addition, its lower tonic (lower C) does not exist for dolçaina.
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Sesshu Toyo pays great attention to rendering their emotions and mischievous glances, as they laugh together while Kanzan holds a blank scroll. Through this, he captures the essence of the two figures. Sesshu Toyo employs variation in ink tonalities and in the thickness of his lines. There is three dimensional modeling to the faces and hands of the figures, demonstrating a more elevated and advanced style of painting.
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Russolo includes a list of conclusions: #Futurist composers should use their creativity and innovation to "enlarge and enrich the field of sound" by approaching the "noise-sound." #Futurist musicians should strive to replicate the infinite timbres in noises. #Futurist musicians should free themselves from the traditional and seek to explore the diverse rhythms of noise. #The complex tonalities of noise can be achieved by creating instruments that replicate that complexity.
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Back in Rome he was employed by the exiled Jacobite court of the Stuarts at the Palazzo Muti. In 1750 he returned to Turin and with his brother Giuseppe Duprà (1703-1784) worked for the royal House of Savoy. He died at Turin in 1770. The Prado Museum preserves three of his works depicting females members of royalty quickly recognizable for its delicate and blushing tonalities recalling pastels.
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A one-row DBA has the advantages of being light and compact, but is by its nature limited to the notes of a single diatonic scale. Since the mid-to-late 19th century, instruments have been produced with more than one row in order to give players a greater choice of scales and tonalities. Multi-row systems can be divided into two broad classes: "fourth-apart" systems and "semitone-apart" systems.
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Emilio Pettoruti was born in La Plata, on October 1, 1892, to a prosperous middle-class Italian family. Pettoruti's art would be influenced by the modern, geometric layout of the city, with the "silver color of changing tonalities."Daniel Ernest Nelson, Five Central Figures in Argentine Avant-Garde Art and Literature: Emilio Pettoruti, Xul Solar, Oliverio Girondo, Jorge Luis Borges, Norah Borges Diss. (The University of Texas at Austin, 1989), 6.
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The tonalities of the six Partitas (B major, C minor, A minor, D major, G major, E minor) may seem to be random, but in fact they form a sequence of intervals going up and then down by increasing amounts: a second up (B to C), a third down (C to A), a fourth up (A to D), a fifth down (D to G), and finally a sixth up (G to E). This key sequence continues into Clavier-Übung II (1735) with the two larger works: the Italian Concerto, a seventh down (E to F), and the Overture in the French style, an augmented fourth up (F to B). Thus this sequence of tonalities customary for 18th-century keyboard compositions is complete, beginning with the first letter of his name (B in German is Bach's "home" key of B) and ending with the last letter (H in German is B) while including both A and C along the way.
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The hall number 29 has been completely refurbished with current aesthetics. On the other hand, the hall of number 27 conserves the original structure and decoration, showing the walls adorned with a floral sgraffito of green and white tonalities, broken by the four columns that support the false ceiling of plaster, with a border and decorative modules with vegetable motifs. At the bottom, a wooden door with glass encloses the access to the stairs.
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The Philadelphia version is better preserved; it has superior tonalities and more prominent colours. In 1906, Roger Fry gave it a well- documented restoration with overpaint removed. Fry was at the time Curator of Paintings at the Metropolitan Museum and performed restorations despite a formal lack of training; the St Francis was the second restoration he undertook. He attributed the work to Hubert van Eyck, and thought the Turin version a copy.
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The Nuvvuagituq Belt is bounded by eoarchean tonalites, trondhjemites and granodiorite aged around 3660 Ma, and further surrounded by younger approximately 2750 Ma tonalities. Surrounding tonalites, trondhjemites and granodiorites (TTGs) are the product of partial melting of Hadean Mafic lithologies, which was similar to the Ujaraaluk unit. The remelt products of "Hadean Ujaraaluk" and the exposed, eoarhcean Ujarraluk unit share similar geochemical composition i.e. isotopic ratio between 142-Neodymiun to 144-Neodymium.
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In the nightscapes the palette turns dark almost black, but there is always an internal light that shines. Her brighter works give us the different tonalities that the sun create as it warms the landscape. The flora is an integral part of Salazar’s work. The banana leaves, the palm trees, the bamboo trunks are part of the environment that surround the characters; in some cases they are the only element of the piece.
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The rocks were deformed and metamorphosed before emplacement of syntectonic diatexites (ca 2.66-2.68 Ga). The diatexites could be the product of fusion of the paragneisses of the Opinaca Subprovince and some of the tonalities and mafic gneisses of the La Grande Subprovince. Later intrusions of felsic granitoids (ca 2.63-2.64 Ga) cut the diatexites and their surrounding gneisses. The region has promise as a source of minerals, and several gold mineralizations have been found.
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Playing around with that and the > tonalities of how something is supposed to sound, and then placing it a > certain way, I guess that is why certain things do sound dark. But even if > I’m feeling sad or whatever, I’ll make stuff from my own head and for me it > feels warm because I’ll add in certain, softer chords, obviously forgetting > that the person listening is shook, like 'OK, this is too much'.
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Perhaps this accounts for the bitter struggle which occurs throughout this concerto—a war between the tonalities of F major and E major. Every time hostilities seem to be at an end, a snare drum incites the combatants to renewed conflict. Another explanation for this is that the clarinetist for whom he was writing the concerto had a bi-polar disorder. Therefore, the concerto was poking fun at his constant mood swings.
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He also preferred dramatic light effects in artificial settings which contrasts with de Heem's use of harmonious colour patterns and subtle tonalities to create an illusion of naturalness.Alexander Coosemans, Fruit Piece at The National Inventory of Continental European Paintings His residence in Italy clearly influenced his style.Alexander Coosemans (Antwerp 1627–1689), Peaches, grapes, corn on the cob, pomegranates and a melon on a stone floor at Christie's His style was followed by Hendrik Schoock.
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The largest such structure ever built, the precast concrete tower supports polished aluminum chimes varying in length from to and varying tonalities, or voices. Construction of the main tower was completed in 2018.US National Park Service, Tower of Voices, Accessed November 4, 2017 As of August 2020, 8 of the 40 wind chimes are installed. The rest do not have a delivery date as field testing of these prototype chimes is ongoing.
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24, 2013. p. 156 The chords used in funk songs typically imply a Dorian or Mixolydian mode, as opposed to the major or natural minor tonalities of most popular music. Melodic content was derived by mixing these modes with the blues scale. In the 1970s, jazz music drew upon funk to create a new subgenre of jazz-funk, which can be heard in recordings by Miles Davis (Live-Evil, On the Corner), and Herbie Hancock (Head Hunters).
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The Piano Sonata No. 14 in C minor is only one of two sonatas Mozart wrote in a minor key, the other being the Piano Sonata No. 8 in A minor, K. 310, which was written six years earlier, around the time of the death of Mozart's mother. Mozart was extremely deliberate in choosing tonalities for his compositions; therefore, his choice of C minor for this sonata implies that this piece was perhaps a very personal work.
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Despite the great differences between the two men in musical style and an underlying tension based on musical politics—Brahms championing a more conservative approach to music while Wagner, along with Franz Liszt, called for "the music of the future" with new forms and new tonalities—Wagner complimented the work graciously, if not wholeheartedly, saying, "One sees what still may be done in the old forms when someone comes along who knows how to use them".Swafford, p. 267.
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This is the complete arpeggiation of the triad. Once elaborated, it may consist in a succession of three tonalities, especially in pieces in minor. In these cases, III stands for a tonicisation of the major relative. This often occurs in Sonata forms in minor, where the first thematic group elaborates degree I, the second thematic group is in the major relative, degree III, and the development leads to V before the recapitulation in the tonic key.
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It is the > intervention of light that modifies the architecture of the countryside and > determines the colors. None of the colors 'theoretically' observed in nature > are present in his paintings; rather, all of the tonalities result from the > influence of reflected light. The predominance of this intangible element in > his scenes communicates an intense impression of life. In his landscapes of > Rouen and its environs, streets, squares, rivers, fields, riverbanks, or > cliffs, nothing is immobile or absolute.
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Over the years, Rutman developed an interest in Tibetan meditation and music. He spent five years teaching himself to throat sing in the style of Tibet's Buddhist monks and began to match his instruments low tonalities with his own voice. He also re-incorporated traditional non- western instruments into Steel Cello Ensemble performances and recordings, including the tabla, Tibetan horn, and didgeridoo. Because of the steel cello's mass, Rutman developed lighter weight instruments for impromptu shows.
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The purpose of this scheme is to provide greater resistance to the gross overexposure of highlights which is more common among digital cameras than film cameras. When used in 6 megapixel mode, the secondary, highlight sensor is disabled and only the larger sensor captures an image. The S3 can produce images in JPEG format with the option of three rendering tonalities. Two of these ('F1' and 'F2') are generally regarded to emulate the look of Fujifilm colour films.
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In scoring Forbidden Planet - as in all of our > work - we created individual cybernetics circuits for particular themes and > leit motifs, rather than using standard sound generators. Actually, each > circuit has a characteristic activity pattern as well as a "voice". [. . .]. > We were delighted to hear people tell us that the tonalities in Forbidden > Planet remind them of what their dreams sound like. The producers of the film had originally wanted to hire Harry Partch to do the music score.
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The joropo is sung and danced all over Venezuela. It is not only a danceable expression, but also a party where corridos, galerones, golpes, passages and other folkloric tonalities are sung and danced. It takes place at any time of the year and the motive can be a baptism, birthday or the celebration of a patron saint's day. The music of the joropo is played with typical instruments such as cuatro, maracas and harp, which accompany songs and choruses.
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David Warren Brubeck (; December 6, 1920 – December 5, 2012) was an American jazz pianist and composer, considered one of the foremost exponents of cool jazz. Many of his compositions have become jazz standards including "In Your Own Sweet Way" and "The Duke". Brubeck's style ranged from refined to bombastic, reflecting both his mother's classical training and his own improvisational skills. His music is known for employing unusual time signatures as well as superimposing contrasting rhythms, meters, and tonalities.
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In 1935 and 1943, Cavalli exhibited a group of paintings at the Quadriennale di Roma, developing the theme of painting-music relationships: he displayed a series of feminine figures of different tonalities, and explained this work within the terms of "contrapuntal sensitivity", comparing it to a "collection of preludes and fugues in major and minor tones".See for example Bath in the river (1937), and The Bride (1935) or Women (1935). Cf. Biographical article on "Cavalli".
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The overall rhapsodic quality of the Decet disguises its classical structures, worked out with thematic economy and contrapuntal workmanship of considerable finesse. This relaxed style results in part from the unpredictable spontaneity with which the themes are presented, as well as from the considerable liberty with which Enescu treats the familiar forms . In addition, contrast of tonalities is minimized (similar to the design of Enescu’s Second Violin Sonata, composed seven years earlier), here in the interests of maintaining a unified atmosphere.
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Hashimoto Gaho employs variations in ink tonalities and texture, as seen through the fuzzy hair, the different tones of the ground they stand on, and the fur on Kanzan's skirt. Jittoku is seen laughing and pointing to the blank scroll, while Kanzan looks on in amusement. The faces of the two figures are three dimensionally modeled, making them appear more realistic and modern than past renderings. The tree branches point downward to the characters to direct the attention of viewers.
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Carriera was the first female painter to initiate a new style in the art community. The Rococo style emphasized the use of pastel colors; spontaneous brush strokes, dancing lights, subtle surface tonalities and a soft, elegant and charming approach to subject matter. She was known for dragging the sides of white chalk across an under-drawing of darker tones to capture the shimmering texture of lace and satin. She was also able to highlight facial features and the soft cascades of powdered hair.
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In February 2015, the album was included in DownBeat's "Editors' Picks". In describing the album, JAZZIZ Magazine's James Rozzi writes, "With his forward-leaning trio... pianist Nick Sanders has culled a set of music as mysterious as the CD's title." Rozzi praises the band's nontraditional style which includes "odd meters, rapidly changing tonalities and stretched-out song forms". He points out that Sanders' through-composed music, which is often "jagged or ethereal", works to further distinguish the band as unique.
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Its upper register sounded somewhat like a trumpet or modern cornet, the lower register resembling the sackbutts that often accompanied it. Cornett intonation is flexible, which enabled it to be played perfectly in tune in a range of tonalities and temperaments. As a result of its design, the cornett requires a specialized embouchure that is, initially, tiring to play for any length of time. Violins often replaced cornetts in consort music, and cornetts similarly substituted for violins in consort music and sacred music.
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The Symphony No. 1 by Robert Simpson was completed in 1951 and submitted as his doctorate thesis for the University of Durham. It is scored with a fairly standard orchestra with the exception that high D trumpets are used instead of the standard B-flat or C trumpets. The work is in three connected movements, all in one basic pulse so that tempo changes are all proportionally related. The work pits the tonalities of A and E flat against each other.
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It was reformed by Parviz Mahmoud in 1946, and is currently the oldest and largest symphony orchestra in Iran. Later, Ruhollah Khaleqi, a student of Vaziri, established the Society for National Music () in 1949. He wrote his musical compositions within the parameters of classical Iranian modes, some of which involved Western triadic harmony. Many of Iran's folk songs have the potential of being adapted into major or minor tonalities, and therefore, a number of Iranian folk songs were arranged for orchestral accompaniment.
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Sanlúcar was influenced by Taurus in thinking of the concept for the Tauromagia album, which means "magic of bulls", paying homage to classical Spanish bullfighting. It also features artists such as Isidro Muñoz, a young Vicente Amigo, and José Mercé. Many of the tracks, especially Oracion, have made their way into the modern flamenco guitarist's repertoire. Oracion is a Rondeña, with E lydian tonalities, played with a capo on the second fret and the bottom string tuned down a step.
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In 1979 his collection of ethnic music of Western Africa was published by the cultural association and music group Futuro Antico, which he co-founded with Walter Maioli and Riccardo Sinigaglia. The group used synthesized electronic tonalities matching the traditional musics from around the world. Their work was realised in the self-titled recording Futuro Antico in 1980.Soundcenter page dedicated to Futuro Antico Also he formed the group ‘Yelbuna’ with some musician friends and performed in several Italian cities.
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The last movement is not a finale, but rather is titled "Development". Its dominant characteristic is that of the traditional development section of a classical symphony: systematic modulation through a succession of tonalities while, at the same time, ideas from earlier in the symphony are fragmented, reassembled, and reworked . After a dramatic accelerando, a quotation from the slow movement arrives, followed by an inconclusive ending that links to the opening of the First Symphony , "so that the whole cycle could start over again" .
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This second theme, a hymn-like E major melody in four-part harmony, greatly contrasts with the first, though its melodic contour is prefigured in the sudden A major departure. Both themes progress somewhat in the style of variations and are structured with irregular phrase lengths. The development section is highly chromatic and is texturally and melodically distinct from the exposition. The recapitulation is once again traditional, staying in the tonic and stressing subdominant tonalities (D, the lowered second degree – in the first theme).
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The Ganguan Greenstone Belt is 3.2 billion years old and contains sericite quartzites, quartz phyllite, talc schist poor in quartz and chlorite schist. The Kibalian Greenstone Belt appears at surface level to be separate belts, divided up by the Upper Congo Granitoid Massif, but geologists believe it is actually a continuous greenstone belt with mafic and intermediate volcanic rocks in the west and banded iron formations in the east. Granitoid rocks are the most common in northeastern DRC, probably formed from monzonite granites and tonalities.
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From this, one can see that Bartók has partitioned the octatonic collection into two (symmetrical) four-note segments of the natural minor scales a tritone apart. Paul Wilson argues against viewing this as bitonality since "the larger octatonic collection embraces and supports both supposed tonalities" . Bartók also utilizes the two other octatonic collections so that all three possible octatonic collections are found throughout this piece (D, D, and E). In mm. 12–18, all eight pitch classes from the D octatonic collection are present.
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The 1948 book Cybernetics: Or, Control and Communication in the Animal and the Machine, by mathematician Norbert Wiener from MIT played an important role in the development of the Barrons' composition. The science of cybernetics proposes that certain natural laws of behavior apply to both animals and more complex electronic machines. By following the equations presented in the book, Louis was able to build electronic circuits which he manipulated to generate sounds. Most of the tonalities were generated with a circuit called a ring modulator.
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Though the blues scale has "an inherent minor tonality, it is commonly 'forced' over major-key chord changes, resulting in a distinctively dissonant conflict of tonalities". A similar conflict occurs between the notes of the minor scale and the minor blues scale, as heard in songs such as "Why Don't You Do Right?", "Happy" and "Sweet About Me". In the case of the lowered third over the root (or the lowered seventh over the dominant), the resulting chord is a neutral mixed third chord.
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Kirkland derived many of his color combinations for his paintings through his synesthetic ability to sense color in music, especially classical compositions. In a 1978 interview with the Denver Art Museum he stated, “I have always interpreted sound as color. Mahler, Schoenberg, Bartok, Berg, Shostakovich, Prokofiev and Ives all explored new tonalities that aided me in transposing sounds into colors.” Lewis Story and Dianne Perry Vanderlip, “An Interview with Vance Kirkland,” in Vance Kirkland FIFTY YEARS (Denver, CO: The Denver Art Museum, 1978), 33.
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The acclaimed New York Times art critic Roberta Smith, called Lewis' paintings "skillfully spray-painted whose shifting tonalities and densities have a glowing, slightly psychedelic look suggesting an admiration for Jules Olitski, the California Light and Space movement and Las Vegas. Spray-painted with diaphanous textures, delicate and unexpectedly beautiful." Lewis' works contain a phenomenological aura pushing the notion of direct experience upon the viewer. This essence becomes part of Lewis' tool kit as he forces those to engage his paintings sculpturally, a "Turrellian approach" to painting.
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Avant-garde jazz originated in the mid- to late 1950s among a group of improvisors who rejected the conventions of bebop and post bop in an effort to blur the division between the written and the spontaneous. It came to be applied to music differing from free jazz, emphasizing structure and organization by the use of composed melodies, shifting but nevertheless predetermined meters and tonalities, and distinctions between soloists and accompaniment.Mark C. Gridley and Barry Long, "Avant-garde Jazz", The Grove Dictionary of American Music, second edition, supplement on Grove Music Online 4 October 2012.
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Tonalities were formed in Neoproterozoic, by partial melting of Yangtze Craton during subduction beneath the North China Craton. As the oceanic Yangtze Craton subducted under the continental North China Craton, magmatic activities result in the formation of hydrated mafic basaltic magma. On the other hand, trondhjemites were formed in Archean, with the source from partial melting of Archean amphibolites and granulites under the continental Yangtze Craton in a high-pressure condition. They are composed of felsic minerals such as plagioclase, quartz, and Na-K-rich feldspar and minor mafic minerals biotite and hornblende.
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A widespread view of the fugue is that it is not a musical form but rather a technique of composition. The Austrian musicologist Erwin Ratz argues that the formal organization of a fugue involves not only the arrangement of its theme and episodes, but also its harmonic structure. In particular, the exposition and coda tend to emphasize the tonic key, whereas the episodes usually explore more distant tonalities. Ratz stressed, however, that this is the core, underlying form ("Urform") of the fugue, from which individual fugues may deviate.
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Pieter Codde, De Magere Compagnie - The company of Captain Reinier Reael and Lieutenant Cornelis Michielsz. Blaeuw, 1637 His earliest known work is a piece from 1626, Portrait of a Young Man, now in the Ashmolean. Most of his best-remembered works were executed in Amsterdam and are small-scale paintings. They are distinctive in their silvery-gray tonalities, and many are musically themed, such as his first known genre work, Dancing Lesson (Louvre) from 1627, Musical Company of 1639, The Lute Player (Philadelphia Museum of Art) and, Concert, a piece now in the Uffizi Gallery.
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The uncut original 35mm picture negative taken from the storage of the producer, ReynaFilms, was used as the source for restoration. The picture was scanned in 4K and converted to 2K for digital restoration. It took the restoration artists a total of 660 actual manual hours to address the unsteady shots, warps, missing frames, and bumps due to the splice marks of the film. The colorist spent 100 actual manual hours to bring back its color tonalities and saturation with the supervision of the director (Carlos Siguion-Reyna) and cinematographer (Romeo Vitug).
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In 1990, Steve Vai released Passion and Warfare. A fusion of rock, jazz, classical and Eastern tonalities, Passion and Warfare was a technical break-through in regards to what could be achieved in the field of guitar composition and technical performance. This was followed up by the 1995 trio album Alien Love Secrets, and what some regard as Vai's most epic and complex album to date, Fire Garden, released a year after. In 1995, Michael Angelo Batio of Nitro fame released his CD No Boundaries which began his solo career.
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4, the B section in bars 84–224, and the A′ section from bar 224 until the end. In the first movement the central section is in the keys of D minor and E minor; in the last movement the keys are D minor and A minor. As in the opening sections, the shifts between the two minor tonalities are sudden and pronounced. In the first movement Bach creates another equally dramatic effect by interrupting the relentless minor-key passages with statements of the ritornello theme in major keys.
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His next song cycle, Tales Not Told, was based on Alexander's historically based poems exploring the lives of six American women: Helen Harvey Tiffany Paddock, Patience Brewster, Keziah Keyes Ransom, Sarah Town Bridges Cloyce, Bessie Barton Paddock, and Mary Dyer.McDaniel. The resulting 16-minute song cycle was premiered by mezzo-soprano Catherine McDaniel in 2007 at University of Oklahoma.McDaniel. Scholar Judith Carmen called Tales Not Told an “intriguing, heartfelt and beautifully crafted cycle” suited to “Knight’s compositional style with its rhythmic vitality, melodiousness, jazz elements, and slightly askew tonalities.” Carmen, Judith.
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Unlike most other chant traditions, they occasionally repeat words within a text, and the two traditions repeat such words in the same places. Corresponding chants in the two traditions are usually assigned to the same mode, although that appears to be the result of later Gregorian influence on the Old Roman repertory, as these analogous chants often have very distinct tonalities. Related chants in the Gregorian and Old Roman repertories differ mostly in ornamentation and surface detail. Old Roman chants are much more stepwise and gently undulating than Gregorian chants.
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The Barrons did not know what to call their creations; it was John Cage, working with the Barrons in their studio for his earliest electronic work, who convinced them that it was "music". The Musicians' Union forced MGM to title the Forbidden Planet score "electronic tonalities", not "music". And seeing the handwriting on the wall, used that excuse to deny them membership in the 1950s; the union's primary concern was losing jobs for performers rather than the medium itself. As a result, the Barrons never scored another film for Hollywood.
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After students are more able to audiate and perform basic rhythm and tonal patterns and become comfortable with imitating songs and chants in introduced tonalities and meters, Gordon explains the next step is verbal association, where contextual meaning is given to what the students are audiating and imitating through tonal or rhythm syllables (such as solfege or the names of concepts students may be audiating through tonal patterns such as tonic and dominant).Edwin Gordon, Learning Sequences in Music: A Contemporary Learning Theory (Chicago: GIA Publications, Inc, 2007): 106–107.
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There has also been the fact that the composer did not follow sonata form strictly, relying instead on juxtaposing blocks of tonalities and thematic groups. Maes states this point has been seen at times as a weakness rather than a sign of originality. Even with what Schonberg termed "a professional reevaluation" of Tchaikovsky's work,Schonberg, 367. the practice of faulting Tchaikovsky for not following in the steps of the Viennese masters has not gone away entirely, while his intent of writing music that would please his audiences is also sometimes taken to task.
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Cristle Collins Judd (the author of many articles and a thesis dedicated to the early pitch systems) found "tonalities" in this sense in motets of Josquin Desprez . Judd also wrote of "chant-based tonality" , meaning "tonal" polyphonic compositions based on plainchant. Peter Lefferts found "tonal types" in the French polyphonic chanson of the 14th century , Italian musicologists Marco Mangani and Daniele Sabaino in the late Renaissance music , and so on. The wide usage of "tonality" and "tonal" has been supported by several other musicologists (of diverse provenance); it can be traced, e.g.
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Christo is the most famous Bulgarian artist of the 21st century, known for his outdoor installations. Folk music is by far the most extensive traditional art and has slowly developed throughout the ages as a fusion of Far Eastern, Oriental, medieval Eastern Orthodox and standard Western European tonalities and modes. Bulgarian folk music has a distinctive sound and uses a wide range of traditional instruments, such as gadulka, gaida, kaval and tupan. A distinguishing feature is extended rhythmical time, which has no equivalent in the rest of European music.
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Walker was born in Utah and grew up in Los Angeles. His father died when he was 14, and he struggled to find a place to belong in life. As a teenager he earned money painting backdrops on movie sets, and he learned to study tonalities when called upon to paint the faux finish on the fireplace in the movie Citizen Kane so it would render properly in black-and-white. He also used this time to learn about color mixing by combining leftover paints at the end of the day to create new hues.
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The artist's works from this period are strongly influenced by the somber tonalities of the Dutch sky and sea. Also, it was in Brittany, that Ramos Martínez began painting and drawing on newspapers, a material/medium he used to superb effect during his years in California. When the artist discovered he had run out of drawing paper, he asked the concierge at the inn where he was staying during a holiday weekend if he had any paper suitable for drawing. The gentleman offered him discarded newspapers in abundance.
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Mrs. Frieseke at the Kitchen Window, 1912 Starting in 1899, just over a year since his arrival in Paris, Frieseke exhibited at the Salon of the Société Nationale des Beaux-Arts. Whistler's influence is evident in Frieseke's early mature paintings, with close tonalities. By his post-1900 work, his palette had evolved toward that of the Impressionists, becoming light and colorful; however, he still retained the strong linear customs of art back in the United States. In the summer of 1905, he spent at least a month in the Giverny art colony.
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Johnson and Drake initially played in a few cover bands but in 1980 they began experimenting with prepared guitars and tape machines, and recording material Johnson had written. "Our goal was to combine the harder edge of progressive rock, as in Crimson and Yes, with the more modern tonalities and experimental approach as reflected in the work of the Art Bears, our major heroes at the time." By 1982 they had enough material to perform live and enlisted three other musicians for a brief tour of Denver. This band became the first incarnation of Thinking Plague.
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Vrancx became a very influential figure in the development of this subject matter.Sebastiaen Vrancx, Soldiers on horseback plundering a village at Christie's From the period 1611–25, his style had developed so that his landscapes and the figures in them showed the clear-cut and determined handling of form characteristic of his mature style. He achieved greater control of the representation of space and of large and more complex groups of figures. In his mature later period from the 1630s onwards his compositions were characterized by more attenuated and pearly tonalities and a less compact but more dynamic execution of the trees.
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In these works he displayed his style which stood out through its meticulous draftsmanship, fine brushwork and bright tonalities. Examples of the religious compositions in his oeuvre are the series of twelve paintings on copper depicting the Twelve Apostles, in the collection of the Musée du Mont-de-Piété in Bergues, which is attributed to Robert van den Hoecke.Musée du Mont-de-Piété de Bergues in: Dossier de presse nuit europeenne des musees dans le Nord-Pas-de-Calais, 19 May 2012, p. 8 These works were formerly housed in the Saint-Victor church in Bergues.
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This movement is written in and in tarantella style and is characterised by a relentless galloping rhythm calling on demanding pianistic effects with frequent hand-crossing and leaps across registers. It employs the three-key exposition, a recurrent element in Schubert's style. The first theme shifts from C minor to C major – another Schubertian feature, and contains many allusions to D major, which finally becomes established in a climactic reference to the Adagio's characteristic plagal cadence. The second theme, proceeding with the enharmonic parallel minor of this cadence (C minor), further develops the cadence in its alternation of tonic and subdominant tonalities.
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The second thematic group is written in the traditional dominant key; however, it is very long, modulating through many different subdominant tonalities. The development section, in contrast, culminates in a long passage in C minor with a climax characterized by a tension-building ambiguity between E major and C minor and a greatly prolonged evasion of a cadence. This leads to a false recapitulation in F major, which then modulates to begin again in the home key. In the coda, the main theme returns fragmented, with full bar pauses, which lead each time to unexpected changes of key.
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He also collected musical canons of extreme artificiality in his Musurgia universalis of 1650. Accordingly, the first movement ends with an extensive six-part canon on five subjects with entries in all twelve tonalities, demonstrating all the themes heard hitherto to be combinable in any vertical or horizontal order. A contrived seventh part for the soprano allows her Frescobaldi fragments to be heard at last with their original Italian text, which closely parallels the words of the unhappy Chinese ruler: > May the hour chime out when you will triumph victorious over the pride of > Thrace [i.e.
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Joby Talbot, composer, Path of Miracles (London: Chester Music Ltd, 2005) Talbot uses ostinatos throughout the composition extensively, emulating the long walk endured by the pilgrims. Talbot also employs clashing tonalities, encapsulating the pain endured physically as well as the intense mental contemplation that a pilgrimage necessitates. While the basses drone pedal tones, a slow rhythmic transformation develops into a driving engine that, with gradually shorter and more syncopated rhythms, propels the music forward. In all, Rocesvalles replays the life and martyrdom of St. James and conveys to how his body came to rest in Santiago.
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Hal Leonard. . The piece, which comprises all 12 major and/or minor keys, starts with a three-part Praeludium in C resembling Johann Sebastian Bach's toccatas, and ends with a Postludium which is an exact retrograde inversion of the Praeludium. In between, there are twelve three-part fugues separated by eleven interludes, beginning in the tonality of the previous fugue and ending in the tonality of the next fugue (or in a different tonality very close to that). The tonalities of the fugues follow the order of his Serie 1 and use the keynote C (see The Craft of Musical Composition).
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Using EG2 can create time-variant changes in volume. Quite > harsh tones can be created by turning DIST on, and adjusting the filter > cutoff and resonance, higher-pitched rings and tonalities are created with > various harmonics layered on. EG1/2 > The Envelope Generator applies a time-variant change to each timbre > parameter. On the MS2000/MS2000R, there are two standard ADSR EG’s for each > timbre. EG1 is assigned as the envelope source that produces time variant > changes in the FILTER cutoff frequency, while EG2 is assigned as the > envelope source that produces time variant changes in the AMP volume.
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Yiorgos Kaloudis studied cello at the Athenaeum Conservatory with Claire Demeulenere and, thanks to the Fulbright Program, in Los Angeles under the tutelage of Ted Greene. Before publishing as a solo artist he was member of Greek jazz-fusion group Occasional Dream (Περιστασιακό Όνειρο). His personal discography consists of three full records: Truth (2005), On the Wind (2009) and J.S.BACH: Cello Suites on the Cretan lyra (2016). In the last album, as the title suggests, he performed the Cello suites of Bach with the Cretan lyra,IScreta Interview (in Greek)/ maintaining the original tonalities of the original work.
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The first and last pieces in an ordre were of the same tonality, but the middle pieces could be in other closely related tonalities. These volumes were admired by Johann Sebastian Bach, who exchanged letters with Couperin, and later by Brahms and by Ravel, the latter of whom memorialized the composer in Le Tombeau de Couperin (Couperin's Memorial). Many of Couperin's keyboard pieces have evocative, picturesque titles (such as "The little windmills" and "The mysterious barricades") and express a mood through key choices, adventurous harmonies and (resolved) discords. They have been likened to miniature tone poems.
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Likewise, Strabo's Geographica reports that the Parthian youth were taught songs about "the deeds both of the gods and of the noblest men". The modal concepts in Iranian folk music are linked to those of the country's classical music. Many of Iran's folk songs have the potential of being adapted into major or minor tonalities, and Iranian singers of both classical and folk music may improvise the lyric and the melody within the appropriate musical mode. Experiments and influences from Iran's folk music have been incorporated into the musical appearance of tasnif, that is a type of vocal composition in Iranian classical music.
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In contrast to Liang Kai's Shussan Shaka, the Cleveland version includes only the ground and no other landscape elements. There is also much sparser detail on Śākyamuni's face and body. The artist has employed mostly light, washy ink tonalities with some dark details for an effect known as "apparition painting." The Cleveland Shussan Shaka bears an inscription attributed to the Zen priest Chijue Daochong, (1170-1251), which reads: In Brinker's view, Chijue Daocheng's poem exhibits an interpretation of this image as a portrait of the Buddha returning to society having already attained enlightenment, or "revelation," in the mountains.
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At the beginning and end of each chapter occur puzzle- canons, wherein the primary part or parts alone are given, and the reader has to discover the canon that fixes the period and the interval at which the response is to enter. Some of these are exceedingly difficult, but all were solved by Luigi Cherubini. The Esemplare is a learned and valuable work, containing an important collection of examples from the best masters of the old Italian and Spanish schools, with excellent explanatory notes. It treats chiefly of the tonalities of the plain chant, and of counterpoints constructed upon them.
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He was initially a follower of the leading Antwerp flower painters Daniel Seghers and Jan Brueghel the Elder.Hieronymous Galle I, Roses, peonies, poppies, carnations, guelder roses and other flowers in a sculpted terracotta vase on a stone ledge at Christie’s While Seghers generally bathed his flowers in full light, Galle more typically relied on an animated play of light and shade in his compositions. In his palette he showed a preference for salmon-pink tonalities. In comparison to Seghers, Galle’s work is more modern and his floral compositions are more dense and more picturesque in their conception.
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The 22 paintings in this series, presented monochromatic stages inspired by the different wavelengths of the electromagnetic spectrum, stressing the existing yet invisible rays of light known to science. On the shorter end of the spectrum is the ultraviolet waves of radiation, while on the longer end of the spectrum is the infrared wave of light. These both ends also mark the shifting tonalities and full range of hues between warm colors of reds and yellows, to cold colors of blues and purples, also sensualizing a change of moods and atmospheres, from somber to cheerful, from coolness to passion.
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Gerald Abraham calls it "one of the strangest passages Beethoven ever wrote".Abraham, Gerald, The Age of Beethoven, Oxford University Press, Oxford, , , 1982, p. 353. Kinderman describes the transition as "one of the most magical moments in the work": Tovey's description of this dramatic moment is: Technically, von Bülow admires in the closing four bars "the principle of modulation chiefly developed in the master's last creative period ... the successive step-wise progression of the several parts while employing enharmonic modulation as a bridge to connect even the remotest tonalities." Brendel's title for this variation is To Handel.
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As a composer, Viklický has attracted attention abroad primarily for having created a synthesis of the expressive elements of modern jazz with the melodicism and tonalities of Moravian folk song that is distinctly individual in contemporary jazz. Besides this, however, he also composes “straight-ahead” modern jazz as well as chamber and orchestral works that utilize certain elements of the New Music, and at times his music requires a combination of classical and jazz performers. He also composes incidental and film music and has produced scores for several full-length feature films (e.g. the German horror comedy Killer Condom) and television series.
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Comas Quesada memorial in his hometown. In the last stage of his artistic career he broke with the illustrative and tried non-traditional compositions, he became more sober in colour and blend tonalities looking for a wider range of colours. This synthetic and suggestive line though not new, it is at this stage of creative maturity when it get a creative peak. As he stressed at the time: In September 1991, which would be the last exhibition held during his lifetime, presented a trilogy called: "La Vieja Ciudad" (The Old Town), "Rincones Isleños" (Island Spots) and "Espacios Abiertos" (Open Spaces).
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The soundtrack was composed by John Carpenter and Alan Howarth, who had also worked on the score for Halloween II. The score of Halloween III differed greatly from the familiar main theme of the original and its first sequel. Carpenter replaced the familiar piano melody with a slower, electronic theme played on a synthesizer with beeping tonalities. Howarth explains how he and Carpenter composed the music for the third film: > The music style of John Carpenter and myself has further evolved in this > film soundtrack by working exclusively with synthesizers to produce our > music. This has led to a certain procedural routine.
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Due to financial constraints, Strom sold all her equipment, stopped making music, and focused on building a spiritual healing practice. After a silent period musically, Trans-Millenia Music, compiled from three albums and four cassette tapes recorded from 1982 through 1988 was released by RVNG Intl. in November 2017. RVNG Intl. describes the album as “a collection of transportive synthesizer music providing listeners a vessel to break beyond temporal limits into a world of pulsing, mercurial tonalities and charged, embryonic waveforms.” The re-circulation of Pauline's music in 2017 was well received by the music press and prominent online magazines.
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His work is mainly characterised by landscaping (both Mexican and international), urban environment, Art Marine, still life, human body, portraits, abstract and semi-abstract art. While his early work took him to a position of privilege amongst the most renowned landscapers, the aesthetic level he reached in the development and reproduction of human figure is no less remarkable. From 1965 to 1981, his work was primarily notable for the use of gray and ochre tones that helped him find harmonious tonalities. Those were the years of Barrios' Europeanisation, since a large proportion of his artistic evolution as a painter took place in Europe.
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Guitarists tend to use only two basic inversions or "chord shapes" for the tonic chord (music), the open 1st inversion E and the open 3rd inversion A, though they often transpose these by using a capo. Modern guitarists such as Ramón Montoya, have introduced other positions: Montoya himself started to use other chords for the tonic in the modern Dorian sections of several palos; F for tarantas, B for granaínas and A for the minera. Montoya also created a new palo as a solo for guitar, the rondeña in C with scordatura. Later guitarists have further extended the repertoire of tonalities, chord positions and scordatura.
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La garganta del diablo The Poema is in four movements: # Las selvas dialogan con las cataratas (The Forests Converse with the Falls) # Barcarola del Iguazú (Barcarole of the Iguazú) # La luna ilumina las cascadas: Nocturno (The Moon Illuminates the Falls: Nocturne) # La garganta del diablo (The Devil's Throat) (The Devil's Throat is the long and narrow chasm containing the highest and deepest of the falls.) The work belongs to Williams's late phase, in which he expanded his Franckian harmonic vocabulary with a whole range devices from French Impressionism: parallel harmonies and consecutive fifths, pedal points, successions of unresolved seconds, superimposed tonalities, and, especially, episodes featuring whole-tone scales .
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Nevertheless, one can find also a powerful pathos and deep emotional content in many of his slow movements, like it's the case in the Suites (for example in the Piano Suite 1927 or 1945), something remembering a bit similar features in Alban Berg's music. Polytonality in harmony is another side of his stylistic language. Winterberg largely composed in expanded chromatic tonalities while avoiding both 12 tone and microtonal techniques. He referred to his first symphony 'Sinfonia dramatica' as a premonition of the catastrophe of the Second World War when it was first broadcast by Bavarian Radio in a performance conducted Karl List and the Bavarian Philharmonic.
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Above the three arches are medallions with prophets, of whom only the middle one (Isaiah) has been identified, thanks to the cartouche saying Ecce Virgo [concipiet]. Below, the scene is completed by a predella with four scenes: Visitation, Nativity, Adoration of the Magi and Flight into Egypt. These shows typical elements of the International Gothic style, such as the fine arabesques in the drapes and the delicate tonalities in contrast with the dark backgrounds. In the Adoration, the detail of the old king kneeling to kiss the Child is taken from a Ghiberti's tile, and was also used by Gentile da Fabriano in his Strozzi Altarpiece.
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He used rich tonalities, such as pink, blue, gold and bursts of red colour on soft gray background in his compositions. He relied on an original technique by executing his work in two successive stages: first he made a quick outline of the composition and then he painstakingly rendered the fabrics and jewelry, giving the material greater consistency and relief.Claude Vignon, Scène De Banquet at Sotheby’s It was by relying on this technique that Vignon was able to establish a great reputation for the speed at which he painted. It also allowed him to produce the great number of paintings for which he is known.
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There are also lament singers (), who recite verses that would commemorate the martyrdom of religious figures. Iranian singers of both classical and folk music may improvise the lyric and the melody within the proper musical mode. Many Iranian folk songs have the potential of being adapted into major or minor tonalities, and therefore, a number of Iranian folk songs were arranged for orchestral accompaniment. Many of Iran's old folkloric songs were revitalized through a project developed by the Institute for the Intellectual Development of Children and Young Adults, a cultural and educational institute that was founded under the patronage of Iran's former empress Farah Pahlavi in 1965.
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The building is surmounted by a balustrade, with rusticated obelisks standing at the corners. There is no sculptural decoration, only the discreetly contrasting tonalities of stone and stucco, and the light shadows cast by the slight relief of the pilasters against their piers, by the cornices, and by the cornice strips that cap each window. The building was begun in 1584 by Juan de Mijares, using Herrera's plans, and was ready for occupation in 1598, according to an inscription on the north façade. Work on completing the structure proceeded through the 17th century, directed until 1629 by the archbishop Juan de Zumárraga and finished by Pedro Sanchez Falconete.
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The birds are the most representative group in this ecosystem, contributing an important peculiarity to the landscape. The homogeneity of the color of the scrub is contrasted with the presence of water, an element which carries great attraction. In this reserve the panoramic landscape has a special importance ; its very flatness allows a scenery with very broad views, opening to one's view the lands of neighboring units, emphasizing the views of the city of Isla Cristina or of the pine forest. A highlight throughout the day are the distinct tonalities of the marsh due to the changes in light as the day goes by.
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Galilei provided examples in order to illustrate how he believed compositions should be structured and how intabulations should be made from existing compositions. The examples range from a few notes or measures in length up to complete compositions in either mensural notation or lute tablature. In the 1584 edition, for example, there are 48 pieces in tablature form sprinkled throughout the text (including a set of 24 ricercars in all the possible tonalities) and a collection of 60 more pieces placed all together at the end. The 1568 edition includes a total of 96 complete pieces, many of which are different from those chosen for the 1584 edition.
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In the early seventies Beckley escaped from the black, white, and gray tonalities of early conceptualism. With his color photographs and references to advertising images, he influenced artists of the so-called Picture Generation like Richard PrinceThe Pictures Generation 1974–1984 (exhibition catalogue), Metropolitan Museum of Art. and Jeff Koons, whom he met at the above-mentioned Projects Room exhibition of color photographs at the Museum of Modern Art. From glimpses of himself and his obsessions, he assembled enigmatic works in which modular form and its permutations sometimes read as the story of a sexual relationship or as a baffling involuted image of sexuality itself.
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100.5 x 58cm. Wallraf-Richartz Museum, Cologne Perhaps influenced by van Eyck's Madonna in the Church, Lochner closely detailed the fall and gradient of light. According to the art historian Brigitte Corley, the clothes of "protagonists change their hues in delicate reaction to the influx of light, reds being transformed through a symphony of pink tonalities to a dusty greyish white, greens to a warm pale yellow, and lemon shading through oranges to a saturated red". Lochner employed the notion of supernatural illumination not just from van Eyck, but also from von Soest's Crucifixion, where light emanating from Christ dissolves around John's red robe, as yellows rays eventually become white.
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The ' was written for bass voice in the key of B major, but the key moves repeatedly through various major to minor tonalities, ending in C major. (Analysis) In Goethe's dramatic declamation by Prometheus, which would be set again, with very different effect, by Hugo Wolf,Wolf considered Schubert's "Ganymed" and "Prometheus" unsatisfactory, in part because "a truly Goethean spirit" could only be fulfilled in the "post-Wagnerian era", according to a Wolf letter to Emil Kaufmann, noted in Scott Messing, Schubert in the European Imagination: Fin-de-siècle Vienna, 2007, p. 192, note 57. "with his alternations of ariosos and recitatives, Schubert created a miniature oratorio", observes Edward F. Kravitt.
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Of the four movements, the first begins with an Adagio introduction exploring an enigmatic harmony, prefacing a large-scale Vivacissimo; the second is an intermezzo-like Con moto; grazioso ed intensivo, the third a complex Canon marked Molto tranquillo with an Allegretto grazioso middle section, and the finale is marked Molto rapido – these correspond to the layout of Beethoven's op.59 no.3, which begins with a slow introduction exploring a particular harmony and includes an archaic form (a Minuet) as its third movement. Quartets Nos. 7 and 8 both explore the possibilities of the perfect fifth in shaping their themes, harmonies and tonalities.
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Various historians have attempted to explain the origins of his style. They have identified a range of influences on the work of van de Venne: his themes and style are reminiscent of his contemporary Adriaen Brouwer. His preference for brownish tonalities and themes are similar to those of Dutch such as Adriaen van Ostade, Benjamin Cuyp and Andries Both. His nervous style shows possibly the influence of David Teniers the Elder and some authors even conjecture he may have studied under Teniers. Lucas van Leyden's engravings as well Adam Elsheimer’s treatment of the effects of light and shade are also cited as possible influences.
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This facilitates free bending during solos, and slide playing. Mick Abrahams of the band Jethro Tull used this configuration (in open tuning) on the This Was album, though he achieved it by removing three of the top strings from an EKO 12-string acoustic- electric guitar, since stock nine-string guitars didn't exist at the time (1969). Some twenty years later, former Rollins Band guitarist Chris Haskett had a custom Paul Reed Smith nine-string guitar made in this configuration. The inspiration for the design was supposedly the desire to capture the prominent tonalities of a 6/12 doubleneck on a single-neck guitar.
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Throughout his life Nutiu's art always evolved and challenged himself to try new paths and develop new techniques. Although Nutiu used different dimensions of canvases, in his eyes, any surface could become a territory and was able to involve any kind of shades, plans, volumes of colour and different tonalities. This means that he did not need a certain type of canvas or a size as he used his colours and geometrical forms in a way that fit onto every surface. Nutiu had always expressed interest in objects and the objectual space as it could offer him a new field to reveal his spirit.
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The "electronic tonalities" soundtrack for the classic MGM science fiction film Forbidden Planet was first released in 1976 by Louis and Bebe Barron at MidAmeriCon. It was on a vinyl LP album, done for the film's 20th anniversary, on the Barron's own PLANET Records label (later changed to SMALL PLANET Records and distributed by GNP Crescendo Records). The LP was premiered at the convention by the Barrons as part of a 20th Anniversary celebration of the film being held at MidAmeriCon. They helped the convention's film programming staff arrange for the rental of fine grain print of the film from MGM's archival storage vaults.
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This was the first large-scale work done by Caravaggio, and is compositionally more ambitious and more successful than The Musicians, of about 1595. It is also one of the very rare landscapes from this artist who seems always to have been painting in a prison cell, a room at a tavern, or at night - one critic has joked that all the sky in all Caravaggio's 80-odd works would add up to a few square centimeters of paint. The painting was apparently sold to the Pamphilj by the early 17th century. Caravaggio's Lombard and Venetian heritage are evident in the treatment of the landscape and in the luminous tonalities.
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His practice encompasses the Utopian attitudes of the 1960s as well as the advanced materials of this century.” Thomas M. Messer, Director Emeritus of the Solomon R. Guggenheim Museum, says the following about Diaz’s work: “The work of Federico Diaz may be seen in terms parallel to music, which is made up of tonalities and of rhythms. In the visual arts, these elements correspond to colors and forms. Díaz’s static and kinetic elements thus combine to yield a high degree of expressiveness, which, again as in the case of music, remains without representational intent.” Díaz speaks about the power of man, opportunities for better education and understanding among societies and people.
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Use of traditional forms Most of the time, Orion's instrumental composition respects the conventions of a tragédie lyrique: Lacoste shows his understanding of several genres of dance to support the highly developed ballet of the opera: Sarabande, Bourrée, Menuet, Passepieds, Gigue, Chaconne, Passacaille, March. The tonalities are simple but varied: The ballet of the prologue is bathed in two colours, one in the tones of G, the other in C major. That of act I is in the luminous tone of C major, which contrasts with the C minor of the oracle following the ballet. The contrast between homonymous tones also appears in act III by the modulation from A major to a minor in the Chaconne.
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The means of elaboration are described below as "prolongational techniques", in conformity with the modern Schenkerian English usage, but should better be termed "elaborations". The broadening of the meaning of "prolongation" has been described by Anthony PopleAnthony Pople, "Using Complex Set Theory for Tonal Analysis: An Introduction to the 'Tonalities' Project", Music Analysis 23/2-3 (2004), pp. 162-164. Pople describes "prolongation" as "a Humpty-Dumpty Word". in seven steps: (1) Schenker proposes it as an operational concept in his teaching; (2) Salzer,Structural Hearing, 1952/1962 Forte1959: "Schenker's Conception of Musical Structure", Journal of Music Theory 3/1, 1959. and others, disseminate and clarify it; (3) it is used within attempted formalisations of Schenkerian analysis;e.g.
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The resulting stylistic choice is a warm, bright visual palette pronounced by soft pastel tonalities. Some of The Grand Budapest Hotel interior sets contrast this look in interior shots, primarily Schloss Lutz and the Checkpoint Nineteen prison: the imposing hardwoods, intense greens and golds of the Schloss Lutz evoke oppressive wealth, and the derelict Checkpoint Nineteen decays in a cool bluish-gray tint. The filmmakers relied on matte paintings and miniature effect techniques to play on perspective for elaborate scenes, creating the illusion of size and grandeur. Under the leadership of Simon Weisse, scale models of structures were constructed by a Berlin-based propmaking team at Studio Babelsberg in tandem with the Görlitz shoot.
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The Roland JP-8000 was released in early 1997 as part of the first wave of virtual analog modeling synthesizers (VA synths). Others from that period included the Clavia Nord Lead (1995), Korg Prophecy (1995), Access Virus (1997) and Yamaha AN1x (1997). VA synths had the goal of recreating the sound, functionality and user interface of classic analog synthesizers. The JP-8000 was viewed at the time as the modern digital incarnation of the classic Roland Jupiter-8, from 1981. The programming interface, synthesis options and general tone is very similar to Roland's Jupiter-6 as well. The JP-8000 sought to digitally reproduce the warm analog tonalities and sheer power of its analog predecessors.
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And though we now know "Wohltemperierte" to be not > synonymous with "equal-tempered", nevertheless it is from The Well-Tempered > Clavier that we have come to date the practical interchangeability of the > twelve tonalities. For this reason, Souvenir des Ming strives for its > apotheosis through the ‘Ming music’ par excellence of the Bach fugue. Twice > it parades its Baroque antecedents via the time-honoured circle of fifths > sans Pythagorean comma—first, all the way down all twelve steps midway > through Fugue II, and then all the way up towards the final aleatory > stretto, in a juggernaut of cumulative four-bar phrases.Programme brochure > for Shanghai Philharmonic Orchestra concert, Shanghai International Arts > Festival, 17 November 2006.
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Dexter Gordon returned from an extended stay in Europe, where he had continued to play styles mostly ranging from bebop to hard bop, to New York in 1976. His "homecoming" generated a great deal of enthusiasm, reviving interest in musical forms that he and others had kept alive in Europe while they had fallen out of prominence in North America. Gordon would release a series of live and studio recordings through the late 1970s and the Savoy and Blue Note labels re-released recordings from their Gordon catalogs. Albert Murray, in his 1976 book Stomping the Blues, contended that true jazz was based on three elements, swing, blues tonalities, and acoustic sounds.
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Consequently, certain musical novelties of The Stone Guest stem from the above basic premise of composition. For instance, there is little recurrence of whole sections of music in the course of the work; like the verse itself, the resulting music is primarily through-composed. (Rimsky-Korsakov's orchestral introduction to the opera, however, draws on themes from the music that Dargomyzhsky composed.) As if to emphasize this feature, the composer wrote the entire opera without key signatures, even though it would be possible (and practical) to re-notate the work with key signatures to reflect the various tonalities through which it passes. In addition, the opera was novel for its time in its use of dissonance and whole-tone scales.
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Unlike Dirty, which features a loud and "dense blast of noise", Experimental Jet Set was considered warmer and more relaxed. Singer and bassist Kim Gordon described the sound of the album as "art-core" and Bradley Bambarger of Billboard noted that the album references the band's earlier work on the independent record label SST Records, stating that it features "a sparse, bracingly dichotomous work of 'quiet noise' that, with its wayward tonalities and laconic grooves, speaks to the future while thinking of the past." In fact, the song "Screaming Skull" is about the band's nostalgia for their days on SST Records, which is mentioned frequently throughout the song. It also references fellow bands Hüsker Dü and The Lemonheads.
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Portrait of Arnold Schoenberg by Richard Gerstl (ca. June 1905) (Vienna Museum) The Chamber Symphony No. 1 in E major, Op. 9 (also known by its title in German Kammersymphonie, für 15 soloinstrumente, or simply as Kammersymphonie) is a composition by Austrian composer Arnold Schoenberg. Schoenberg's first chamber symphony was finished in 1906 and premiered on February 8, 1907 in Vienna by the Rosé Quartet together with a wind ensemble from the Vienna Philharmonic, under the composer's baton. In 1913, Schoenberg again conducted the piece, as part of the famed Skandalkonzert, in which the heterodox tonalities of Schoenberg's Symphony and, more so, of his student Alban Berg's works incited the attendees to riot in protest and prematurely end the concert.
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Both outer movements are in an A–B–A′ form: the A section of the first movement is in bars 1–62, the B section starts with the bariolage passage and lasts from bar 62 to bar 171, the A′ section lasts from bar 172 until the end; the A section of the final movement is in bars 1–84, the B section in bars 84–224, and the A′ section from bar 224 until the end. In the first movement the central section is in the keys of D minor and E minor; in the last movement the keys are D minor and A minor. As in the opening sections, the shifts between the two minor tonalities are sudden and pronounced.
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The building was raised on a marble plinth and built of specially molded bricks in two slightly varied tonalities in a diaper pattern and white and colored architectural terracotta details. It featured a low saucer dome covered in yellow and green tiling, with a prominent gilded lantern. The pediment sculptures by the German-born Adolph Alexander Weinman were tinted by the painter Henry Siddons Mowbray, giving the building a polychromy unusual in American Beaux-Arts architecture. Extensive mosaics and Guastavino tile gave the interior a Byzantine aspect,It was called "a fine example of Byzantine architecture" in Collins, J. F. L. (1910) Both Sides of Fifth Avenue and "Byzantine" in Silver, Nathan (1967) Lost New York, New York: Weathervane Books. p.
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Sargent used various watercolor techniques but a favorite seems to have been the use of Gouache (or body color) with opaque and semi- opaques layered and stippled, using very little water.Shelley, 196 He affected light with subtractive techniques, evident in View of the Eiger from Mürren. There he created a mist-like effect at the mountain's peak by rubbing away paint; the dark timbers of chalets in the foreground received additional tonalities by cutting into the paint with a paint knife.Shelley, 198-9 "Frau von Allmen and an Unidentified Man in an Interior", shows the inside of chalet in Mürren The taking away, or subtractive, techniques were used by J. M. W. Turner used, and by the summer of 1870 well-documented in 19th-century artists books.
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The noun "tonality" and adjective "tonal" are widely applied also, in studies of early and modern Western music, and in non-Western traditional music (Arabic maqam, Indian raga, Indonesian slendro etc.), to the "systematic arrangements of pitch phenomena and relations between them" (; ). Felix Wörner, Ullrich Scheideler, and Philip Rupprecht in the introduction to a collection of essays dedicated to the concept and practice of tonality between 1900 and 1950 describe it generally as "the awareness of key in music" . Harold Powers, in a series of articles, used terms "sixteenth-century tonalities" (; ; ) and "Renaissance tonality" . He borrowed German "Tonartentyp" from Siegfried , who related it to Palestrina, translated it into English as "tonal type" , and systematically applied the concept of "tonal types" to Renaissance sacred and paraliturgical polyphony.
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Shaw was noted for his mastery and innovative use of "wide" intervals, often fourths and fifths, which are considered relatively unnatural to the trumpet and difficult to employ skillfully due to (a) the technical facility required to do so, (b) the architecture of the instrument, (c) the trumpet's inherent harmonic tendencies based on the overtone series, and (d) its traditional association with intervals based more commonly on thirds and diatonic relationships. In both his improvisations and his compositions, Shaw frequently used polytonality, the combination of two or more tonalities or keys (i.e. multiple chords or harmonic structures) at once. In his solos, he often superimposed highly complex permutations of the pentatonic scale and sequences of intervals that modulated unpredictably through numerous key centers.
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The album was reviewed by Stewart Mason for Allmusic who described it as "...not just a lifestyle curio, but a musically interesting lifestyle curio. Strip away the Age of Aquarius trappings (although the liner notes are good for an ironic giggle) and Music for Yoga Meditation and Other Joys is not dissimilar to what Alice Coltrane and Pharoah Sanders would get up to over the next decade: long, flowing melodies and one-chord drones colored by elements of Indian classical music and other world music influences". Mason praised the "...surprising variety of moods and tonalities given the self- limiting instrument lineup" concluding that "though this is too twee and hippie-ish to be called jazz, ambient and space rock fans will be fascinated by it".
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Gerhard worked hard to reinvent the application of the sonata form by mixing it with the stylistic resources that he uses in his compositions, and this movement is a clear example of this. However, outside tonality, it was necessary to define new musical processes that would allow structuring a sonata within thematic and harmonic parameters. Because the thematic element is preserved within the twelve-tone ideology, it is not necessary to change the technique in this regard beyond the use of the kind of melodic lines of its own. As for harmony and the lack of tonality, he divides the tone-row of heights into two Hexachords and uses this duality to achieve the harmonic contrast that previously was marked by ancient modes and tonalities.
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After Mercury plays ascending octaves of notes from the B mixolydian mode (composed of the notes from the E scale), the song then returns to the tempo and form of the introduction, initially in E major, before quickly modulating to C minor, only to soon go through an abrupt short series of modulations, bringing it back to C minor again in time for the final "nothing really matters" section. A guitar accompanies the chorus "ooh, ooh yeah, ooh yeah." A double-tracked twin guitar melody is played through an amplifier designed by John Deacon, affectionately nicknamed the "Deacy Amp". Mercury's line "Nothing really matters..." appears again, "cradled by light piano arpeggios suggesting both resignation (minor tonalities) and a new sense of freedom in the wide vocal span".
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The composition is written in the traditional concerto form of three movements but without orchestral ensemble. It was the composer's intention to illustrate the vast orchestral tonalities and harmonic flexibility of the free bass instrument by showcasing its potential as both a solo instrument as well as an orchestral entity. With this in mind, the composer assigned the voicing normally reserved for the orchestra to the accordion soloist along with the traditional virtuoso solo passages. The resulting composition is unorthodox in its structure but provides the virtuoso soloist with an opportunity to give full expression to the instrument's complete array of harmonic reed settings which reach from the high flutes through the oboe range into the clarinet settings and ultimately into the range of the violin and cello settings.
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At the time of its Paris premiere, this Chôros was called "Le fou huitième" (The Mad Eighth), for its extravagant scoring and unconventional performing techniques, as well as for its superimposition of multiple opposing rhythms and tonalities . It has been described as Villa- Lobos's most fauvist and "modern" composition from the 1920s, formally the most irregular, most violent, and "tropical" of all Villa-Lobos's works, whose leading feature is its almost complete atonality and dissonance . It has been claimed there is virtually nothing in this work that could be called a "theme", and the work "is not about thematic groups and their symphonic development". Instead, its material consists of motifs, phrases, and thematic fragments, mostly consisting of between three and five diatonic or chromatic notes and note repetitions .
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The solid body allows the guitar to deliver a clear and sustaining amplified version of the strings' sound; this was an improvement over previous electric guitar designs, whose resonant hollow bodies made them prone to unwanted acoustic feedback when volume was increased. These design elements intentionally allowed guitarists to emulate steel guitar sounds, as well as "cut-through" and be heard in roadhouse Honky-Tonk and big Western Swing bands, initially making this guitar particularly useful in country music. Since this, Fender has developed even more in the way of pickups and tones for the telecaster, with changes from Alnico III magnets to Alnico V magnets. Its wide range of tonalities allows the Telecaster to be used successfully for many styles of music including country, pop, rock, blues and jazz.
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More recent appearances in film scores include Monster House, Ed Wood and The Machinist (both featuring Lydia Kavina), as well as First Man (2018). A theremin was not used for the soundtrack of Forbidden Planet, for which Bebe and Louis Barron built disposable oscillator circuits and a ring modulator to create the electronic tonalities used in the film.Notes about film soundtrack and CD, MovieGrooves- FP Los Angeles-based thereminist Charles Richard Lester is featured on the soundtrack of Monster House and has performed the US premiere of Gavriil Popov's 1932 score for Komsomol – Patron of Electrification with the Los Angeles Philharmonic and Esa-Pekka Salonen in 2007. In Lenny Abrahamson's 2014 film, Frank, Clara, the character played by Maggie Gyllenhaal, plays the theremin in a band named Soronprfbs.
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At the same time, the simple fact of living, of being alive and of feeling oneself instead of being nothing and of not existing is already the highest joy and the greatest happiness. Suffering and joy belong to the essence of life, they are the two fundamental affective tonalities of its manifestation and of its "pathetic" self-revelation (from the French word pathétique which means capable of feeling something like suffering or joy).The Essence of Manifestation (§ 70) For Henry, life is not a universal, blind, impersonal and abstract substance, it is necessarily the personal and concrete life of a living individual, it carries in it a consubstantial Ipseity which refers to the fact of being itself, to the fact of being a Self.Incarnation. Une philosophie de la chair (Introduction, p.
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An example of an added tone chord may be found in Igor Stravinsky's Symphony of Psalms while an added tone (G) chord with mixed thirds, a major third and minor third, by William Schuman. An added tone, such as that added a perfect fifth below the root, may suggest polytonality and the practice of adding tones may have led to superimposing chords and tonalities though added tone chords have most often been used as more intense substitutes for traditional chords. For instance a minor chord that includes a major second interval while still retaining its minor third holds a great deal more dramatic tension due to the very close intervals of the major second and minor third. A major chord with an added major second sounds very distinct from its basic triad counterpart.
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Such sets are often organized as preludes and fugues or designated as preludes or études. Some composers have restricted their sets to cover only the 12 major keys or the 12 minor keys; or only the flat keys (Franz Liszt's Transcendental Études) or the sharp keys (Sergei Lyapunov's Op. 11 set). In yet another type, a single piece may progressively modulate through a set of tonalities, as occurs in Ludwig van Beethoven's Two Preludes through all twelve major keys, Op. 39. The bulk of works of this type have been written for piano solo, but there also exist sets for piano 4-hands; two pianos; organ; guitar; two guitars; flute; recorder; oboe; violin solo; violin and piano; cello solo; cello and piano; voice and piano; and string quartet.
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Also in that year, Jayaram left and was replaced by Shishir Gupta and the quartet recorded two demo songs, "End of Sleep" and "Listen Through the Noise". In 2013, the band went through several successive line-up changes: Avik left and was replaced by keyboardist Ashwin Ethiraj, but he quickly left too and the band decided to hire a second guitarist instead: Abhishek Prakash (ex-Groove Chutney). He didn't last long either and quit the quartet as they were recording their debut EP, being replaced by Toshimoa Jamir. Following a 2014 local release, they globally released their debut EP Canvas of Silence, which was defined by The Hindu as "a brilliant blend of opposing Indo-progressive tonalities that throb together in eclectic energy, exuding the band's vibrant take on music that is rooted and yet atmospheric".
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Characteristically they became more pared-down in their articulation of form and colour: Shapes became more stylised and geometric and his colours were more pallid, or 'pastel' in tone, lacking the energy, vibrant contrasts and rich tonalities that was characteristic of his work until then. His treatment of figures also became more stylised and he often articulated their facial features with characteristically 'almond'-shaped eyes, giving his figures an otherworldy appearance. Typical examples of this period include his Seraphitus-Seraphita (1932), Les Idées (1934), Le Dieu de la Musique (1937) and Pégase (1938). Memorial bust of Jean Delville, Avenue Sept Bonniers, Brussels, Belgium Delville remained a committed and passionate Theosophist until his death in 1953 and he maintained in one of his biographies that this always formed the foundation to this moral and artistic perspective throughout his later life.
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With fixed-do, the musician learns to regard any syllable as the tonic, which does not force them to make an analysis as to which note is the tonic when ambiguity occurs. Instead, with fixed-do the musician will already be practiced in thinking in multiple/undetermined tonalities using the corresponding syllables. In comparison to the movable do system, which draws on short-term relative pitch skills involving comparison to a pitch identified as the tonic of the particular piece being performed, fixed do develops long- term relative pitch skills involving comparison to a pitch defined independently of its role in the piece, a practice closer to the definition of each note in absolute terms as found in absolute pitch. The question of which system to use is a controversial subject among music educators in schools in the United States.
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Its almost aggressive force is perhaps a reminder of the possibilities of Chabrier's own playing. The final bars juxtapose a Mendelssohnian passage with one ironically in the manner of Offenbach. ;Sous-bois (Under the trees) C major, 2/4; Andantino (dedicated to Marie de la Guèronnière) Economy of means, a sense of movement even in immobility and constantly changing harmonies (from C major to remote and unlikely tonalities) in the right-hand and the weaving bass over which a broken melody. Poulenc wrote that Ravel had often spoken to him of this piece with enthusiasm, considering it one of the great moments in Chabrier’s output. ;Mauresque (Moorish) A minor, 3/4; Moderato (dedicated to Madame Charles Phalen) Written before Chabrier's visit to Spain but colourful and with modal touches, muted effects and plucked notes – a precursor of Debussy's Soirée dans Grenade.
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Variation form was important to him, and in addition to variation-movements on his own themes he composed orchestral variations on themes of Nielsen and Johann Sebastian Bach, as well as a set of piano variations on a palindromic theme by Haydn to which he returned in his large-scale String Quartet No. 9, which is a series of 32 variations and a fugue on the same Haydn theme. String Quartets Nos. 4–6 can be regarded as variations upon the compositional processes, rather than the themes, of Beethoven's three Rasumovsky Quartets, Op. 59. Two significant features of Simpson's oeuvre are his ability to write long works entirely based on a single basic pulse, with faster or slower tempi being suggested by smaller or larger note-values, and the establishment of a dynamic tension between competing tonalities or intervals.
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He performs actively as a vocalist and santur player with his group, Safaafir, the only ensemble in the US performing Iraqi Maqam in its traditional format. In 2006, ElSaffar received commissions from the Painted Bride Art Center in Philadelphia and from the Festival of New Trumpet Music (FONT), to compose Two Rivers, a suite that invokes Iraqi musical traditions and frames them in a modern jazz setting. ElSaffar has since received commissions from the Jerome Foundation, the Jazz Institute of Chicago, and Chamber Music America and has continued developing a singular approach to integrating Middle Eastern tonalities and rhythms into an American jazz context, releasing three albums; Two Rivers (2006), Radif Suite (2010), and Inana (2011) to critical acclaim. He has also composed for theater projects and film soundtracks, and appeared in Jonathan Demme’s Oscar- nominated film, Rachel Getting Married.
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At this point the choirs and soloists strike in unaccompanied with the opening stanza of the Te Deum, followed immediately by a fanfare for the enlarged orchestra for Part Two (which is supposed to be about 150-strong, besides the extra 40 or so players comprising the four extra brass orchestras). The eclecticism of Brian's music here borrows references as diverse as mediaeval fauxbourdon, Renaissance multiple polyphony on the scale of Tallis's Spem in alium all the way through to twentieth century tone clusters, polytonality and the use of percussion and brass in a Varèse-like outburst of extreme dissonance. The text is treated episodically with sections for full orchestra and choir frequently alternating with unaccompanied passages for the choir alone. The fourth movement moves away from tonalities centered around D and establishes E as a new tonal centre, which is strenuously challenged in the following movements.
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Illustration from Organ-stops and their artistic registration - names, forms, construction, tonalities, and offices in scientific combination (1921) by George Ashdown Audsley Audsley's interest in the pipe organ was largely sparked by early experiences hearing W. T. Best at St. George's Hall, Liverpool. Audsley wrote numerous magazine articles on the organ, and as early as the 1880s was envisioning huge instruments with numerous divisions each under separate expression, in imitation of the symphony orchestra. The Los Angeles Art Organ Co. (successors to the Murray M. Harris Organ Company) had Audsley design the world's largest organ they were building for the St. Louis Exposition of 1904, and included him on the paid staff. This instrument was produced just as his book on The Art of Organ-Building was being published This great pipe organ eventually was purchased for the John Wanamaker Store in Philadelphia, PA, where it is today known as the Wanamaker Organ.
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The work was composed for a standard string quartet and is in three movements: # Moderato ma tranquillo # Andante sostenuto # Allegro vivace con grazia Typical performances take between 20 and 25 minutes. Ellis, aside from identifying the quartet as likely being a student work, similar in character to the string quartets composed by John Ireland, in their analysis of the quartet's first two movements states that the work is entirely based on standard tonalities and modal harmonies and while folksong is not directly quoted, the quartet evokes it by the musical devices used. This puts the work firmly within the English Pastoral School, a possible explanation for the composer's decision to withdraw the work following World War I, given that it and the other withdrawn works would have represented a musical direction he no longer wished to follow. Ellis identified the most likely influences on the work as being Elgar, Vaughn Williams and French composers such as Ravel.
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Reproduced on the catalogue cover of Exhibition of Cubist and Futurist Pictures, Boggs & Buhl Department Store, Pittsburgh, July 1913 The global composition is highly geometricized, with various planes, angles, layers and facets, as are specific elements depicted on the trompe-l'œil wooden table in the foreground (as if seen from above). The roundness and shading of the man's attire (particularly in the sleeves) stands in sharp contrast to the angular momentum engendered by the overall cubic construction of the piece; while the chairs in the lower half of the work and flowered wallpaper of the background are treated in comparatively naturalistic detail, similar to the backgrounds of late 19th century portraits. The colors used by Metzinger, accentuated by a contrasting range of blacks and whites, are bright and largely unmixed. The move away from more subtle tonalities of his earlier Cubist work; Portrait of an American Smoker, Portrait of Albert Gleizes (both from 1911–12) closely relates Le Fumeur with a series of portraits painted by Metzinger circa 1913; Woman with a Fan, Portrait of Max Jacob, and La Fumeuse.
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" In a reservation, Weissberg wrote that Sokurov's "established fans" will be "the only audience for this largely impenetrable though undeniably impressive indulgence". Regarding the visuals, he noted the unexpected collaboration between the cinematographer Bruno Delbonnel and Sokurov, and wrote: "[W]hile the stillness that marks the first films of his quartet (self-lensed) is little in evidence, visuals here are striking in their mottled gray tonalities. ... The influence of Flemish and Dutch painting on Sokurov's work has never been clearer than in Faust, with its deep debt to the witchcraft paintings of artists such as David Teniers and Herri met de Bles." Manohla Dargis of The New York Times wrote: "...and bliss out the next on the delirium that is “Faust,” the latest from Alexander Sokurov (“Russian Ark”). An eccentric interpretation of the Goethe play, “Faust” is mesmerizing, at times predictably if divertingly bewildering and beautiful, with images that burn into your memory, like that of an embracing couple falling into a lake in a vision of desire and the abyss that invokes “L’Atalante” but is definitely Sokurovian.
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Almost all of the historic problems with the meantone temperament are caused by the attempt to map meantone's infinite number of notes per octave to a finite number of piano keys. This is, for example, the source of the "wolf fifth" discussed above. When choosing which notes to map to the piano's black keys, it is convenient to choose those notes that are common to a small number of closely related keys, but this will only work up to the edge of the octave; when wrapping around to the next octave, one must use a "wolf fifth" that is not as wide as the others, as discussed above. The existence of the "wolf fifth" is one of the reasons why, before the introduction of well temperament, instrumental music generally stayed in a number of "safe" tonalities that did not involve the "wolf fifth" (which was generally put between G and E). Throughout the Renaissance and Enlightenment, theorists as varied as Nicola Vicentino, Francisco de Salinas, Fabio Colonna, Marin Mersenne, Christiaan Huygens, and Isaac Newton advocated the use of meantone tunings that were extended beyond the keyboard's twelve notes,Barbour, J.M., 2004, Tuning and Temperament: A Historical Survey.
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Following the commission from the officials of the Odessa's Opera and Ballet theatre, Lyatoshinsky made the trip to Tadzhikistan in order to study folk music and compose a ballet about the life of local people. As a result, Lyatoshinsky composed Three Musical Pieces for the violin and the piano based on the folk music of Tadzhikistan (the region very little known or even unheard of before Stalin's nationalism idea). ‹see L's letters, in Grecenko› Amongst Lyatoshinsky's compositions is an arrangement of a Jewish folk song ‘Genzelex’ (Little Geese). In it, he preserved an original melody and decorated it harmonically, using F major and d minor tonalities and added complex chords within the harmony. (This composition remained in the archives of the composer until it was re- discovered in 2000.) From 1935 to 1938 and from 1941 to 1944 Lyatoshinsky taught concurrently at the Moscow Conservatory. Lyatoshinsky wrote his Second Symphony in B flat (1936) in his favourite modernistic style, obviously knowing that this was not quite what was expected of him. He is ‘painting’ disturbing images of the dark reality of Soviet life, often using means of atonality. Written in the conventional three- movement form, the symphony is full of contrasting moods and severely dramatic conflicts.
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