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be my guide throughout my life (Thought and Action) and thirdly, I em­ barked on the composition of my first choral­symphonic work with the initial title Symphony No. 1, which I changed later to Apocalypse . … In the art sector, I initiated with an

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works) and the copyright date 1930. A set of manuscript orchestral and choral parts (and the manuscript full score of certain music numbers) are kept under the shelf mark Népsz. 1393, which belong, however, to the incidental music and were used on the

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of his Raumklang and the mobility of sound (suono mobile) . The music of Prometeo was relatively different to the vocal sound of the Renaissance, but its sonic development corresponds to some extent with Renaissance choral music

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.” 40 Additionally, concerning the choral performers of 6 July 1867, the article’s author was not at all convinced by their performance. To underline his point, he describes a short rehearsal scene: One day, Liszt assisted in a rehearsal of the choir of

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division of symphonies was no longer continued; however, the concerts (providing that they were not entirely choral or vocal) were conceived very broadly: a concert was introduced by an overture, and if the program did not include a symphony, an overture

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Contredanses, the 12 German Dances, the overture to Die Geschöpfe des Prometheus (The Creatures of Prometheus), Die Ruinen von Athen (The Ruins of Athens), the Rondo for Piano and Orchestra and the Choral Fantasy for Piano and Orchestra. Another concert in

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1930s, Beethoven’s works were in the repertoire of vocal, instrumental and chamber ensembles. In 1935 Skopje hosted a spiritual concert, organized by the Choral Society “Mokra njac” from Skopje, accompanied by the 50th Infantry Regiment Symphony

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1957, providing Weissmann with a curriculum vitae alongside a detailed list chronicling his compositions. 20 Weissmann appears to have replied promptly, requesting scores. Ligeti duly dispatched String Quartet No. 1, the choral pieces Éjszaka [Night

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of Stress Management , 12 ( 4 ), 331 – 342 . Ryan , C. , & Andrews , N. ( 2009 ). An investigation into the choral singer's experience of music performance anxiety . Journal

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and learning how to read and write music ( Comeau, 1995 ). Choir singing is one of the basic principles of the Kodaly Concept. The most expressive musical form of cohesion is choral singing, as it creates a bridge over the differences between the

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