![]() ![]() ![]() woman’s voice begins with “oohs” but eventually sings text.26: Lua descolorida (Aria de las lagrimas de Pedro ) [Colorless Moon (Aria of Peter’s Tears)} begins with brass and “oohs” from chorus until end, very little text and very chordalĬ) No.double chorus, then men and women alternateī) No.upbeat fast paced samba with lots of percussion.Osvaldo Golijov: La Pasion segun San Marcos: Nos. emphasis on timbre over pitch as a large-scale structure feature.spectralist: shimmering sonorities and billowing masses of sound.begins with male, then chorus, then female, then male to close.Kaija Saariaho: L’amour de loin: Act IV, Scene 3, Tempete (Storm) Otherwise, there were a few wording issues and stuff she pointed out which was helpful, but it was mostly just encouragement that my paper is sounding good so far. She also mentioned some things about the Ellington section feeling out-of-place in the grand scheme of my Gershwin paper, but since I am focusing on the Ellington-Gershwin comparison, I don’t feel this will be an issue either. Since I am taking that section out of my paper, the only way something like this might be relevant is when I am comparing excerpts/chords from Gershwin’s piece to Ellington’s however, I don’t have sheet music for Ellington and since it was an interlibrary loan, I already had to turn in the score I had been using of Rhapsody in Blue, so unfortunately I think the time in the recordings of these comparisons will have to suffice. Her concerns about my paper were suggestions about including visual musical examples in discussing Geshwin’s themes, as David Schiff does in his book. I finally got around to uploading the stuff from mine and Rhiannon’s peer editing session today! It was pretty productive I got some good feedback but unfortunately she revised my second draft and my paper has definitely gone in a different direction since. ![]()
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