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By David Daniels

Time-honored to conductors, orchestra managers, and tune librarians, this compact sourcebook offers info essential to plan orchestral courses and manage rehearsals. The 3rd version good points 4500 compositions that disguise the traditional repertoire for American orchestras (a 30% raise over the second one edition), clearer entries, and a extra worthwhile method of appendixes.

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In the octatonic set, this “whole-tone” cell appears in four transpositions (B b –D–E, C # –F–G, E–G # –B b, and G –B –C #) as well as its four inversions (B – C # – F, D – E– G #, F– G – B, and G # –B b –D). ) The joining of the latter cell (B b – D– E) with its overlapping inversion (D– E– G #) produces the larger, symmetrical French sixth chord (B b – D–E–G #), which is one of two equivalent tetrachordal partitions (B b – D – E – G # and C # –F– G – B) of the octatonic collection (B b – B – C # –D – E – F – G– G #).

The harmonic analyses deal largely with the different ways in which these pitch-set interactions can occur, how they are identified with specific dramatic events, and how they shape certain leitmotivic transformations throughout the work. These processes are similar in both operas to the extent that, in spite of their stylistic differences, there seems to be no doubt of the influence of the Debussy opera on that of Bartók in terms of musical intention, technique, and even basic pitch-set relations.

Maeterlinck suggests that women “are more largely swayed by destiny than us. ” The privileged position of the man is shown by his ability to invoke a social dictum that transforms his act of rage and jealousy into an act of duty. Melisande, instead, must be punished because she has failed to behave as a possession. There is no social sanction for a woman’s desire. The abuse of power of the strong versus the weak takes place at different levels in the play. In his first encounter with Mélisande, Golaud commands her to leave the forest with him in spite of her protests.

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