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    • [DOC File]Homepage - Impact Soundworks

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      Rhapsody: Orchestral Percussion was instead recorded & designed to function in any musical context, from small, emotional pieces, to tense underscores, and even bombastic, loud, and – yes – epic tracks. As always, we hope this instrument will inspire and enhance your music. Enjoy! Installation. Rhapsody: Orchestral Percussion

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    • [DOC File]Naweedna 2003 CD Notes - SUNY Geneseo

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      Largely forgotten now, Gary McFarland was one of the more significant contributors to orchestral jazz during the early ‘60s. An “adult prodigy,” as Gene Lees accurately noted, McFarland was an ingenious composer whose music could reveal shades of complex emotional subtlety and clever childlike simplicity.

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    • [DOCX File]alg.manifoldapp.org

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      What is Music? In order to gain an appreciation for music we must first define what “music” is. Picture a concert hall with a grand piano sitting in the center of the stage. T

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    • [DOC File]MakeMusic

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      Garritan Instant Orchestra carefully mixes orchestral instruments from various instrument families playing in unison, in octaves, and tutti. These orchestral combinations range from light, delicate sounds to big, epic patches, all of which can fill out any orchestral gaps in your music. Immediacy drives the entire product.

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    • [DOC File]Naweedna 2002-B CD Notes - SUNY Geneseo

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      There are missing ingredients — the orchestral recordings, the excursions into electric music in the early 1970s. ... one of the most distinctive (and indirectly influential) pianists in jazz. Ahmad Jamal recorded through the years for Epic, Argo/Cadet, Impulse, Catalyst, 20th Century, Atlantic, and Telarc. ... nearly-free runs as he was able ...

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    • Among the early modern dancers, Ted Shawn was perhaps …

      These included his “music visualizations,” in which dancing bodies mimicked the intricacies of an orchestral score, as well as his “crowning achievement,” the 1935 Kinetic Molpai, in which his men aimed “to express that emotion for which words and harps and singing were not enough.”

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    • [DOCX File]dfzljdn9uc3pi.cloudfront.net

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      I ofteb listen to music. And I also have very active imagination. And so it lead for me to visualize music. Most of the time I imagibe it as 3D waves of some liquid or a 2D line. Sometimes even as expanding sound waves. And so when im listening to loud music, increasing tempo this image of a wave starts to raise and becomes more wild like the sea.

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    • [DOC File]ThisWorlde'sJoie - WJEC

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      Bars 1-8 – Orchestral/Choral Introduction. The final octatonic chord on A moves (via a harp glissando) to Eb, a tritone away. As will be seen below, the opening music of the last movement is octatonic, and the punctuating chords in the third movement’s coda could be considered a means of “grounding” the music, giving it a sense of tonality that is lacking in the “serial” …

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    • [DOC File]C:\ Bonny's Work\ JOBSFOLD.ER\ 960980 Undergraduate ...

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      A Mus 433Z Music of the Classical and Romantic Periods (3) Intensive study of the music and the composers of these periods, emphasizing the various forms of genres. The music from J. S. Bach’s sons and Gluck to the symphonic works of Brahms, Mahler, and Richard Strauss. May not be taken for credit by students with credit for A Mus 434Z.

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    • [DOCX File]HUNTERS & COLLECTORS

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      – Ryan, Gavin, Australia’s Music Charts 1988-2010, 2011 – ARIA Australian music chart data – Strong, Martin C., The Great Indie Discography 2nd Edition, Canongate, 2003

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