[77619] in Daily_Rumour
Want a Free MagMate?
daemon@ATHENA.MIT.EDU (VNSH Tactical Team)
Thu Mar 27 07:46:42 2025
Date: Thu, 27 Mar 2025 12:45:29 +0100
From: "VNSH Tactical Team" <DiscreetCarryGear@visionpremium.ru.com>
Reply-To: "Discreet Carry Gear" <VNSHMagSolutions@visionpremium.ru.com>
To: <rumour-mtg@bloom-picayune.mit.edu>
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Want a Free MagMate?
http://visionpremium.ru.com/7pDnJkCp4EugWTJR2PQZQcCoovvQweG1QXFlhZieFrbJsoWCzw
http://visionpremium.ru.com/uZBSQu9sfwcq-zo6yRAeqBS2sU1uOwPd1uPCSFsWCNKEU6jsng
mber of musicians employed in a given performance may vary from seventy to over one hundred, depending on the work being played and the venue size. A chamber orchestra (sometimes a concert orchestra) is a smaller ensemble of not more than about fifty musicians. Orchestras that specialize in the Baroque music of, for example, Johann Sebastian Bach and George Frideric Handel, or Classical repertoire, such as that of Haydn and Mozart, tend to be smaller than orchestras performing a Romantic music repertoire such as the symphonies of Ludwig van Beethoven and Johannes Brahms. The typical orchestra grew in size throughout the 18th and 19th centuries, reaching a peak with the large orchestras of as many as 120 players called for in the works of Richard Wagner and later Gustav Mahler.
Orchestras are usually led by a conductor who directs the performance with movements of the hands and arms, often made easier for the musicians to see by using a short wooden rod known as a conductor's baton. The conductor unifies the orchestra, sets the tempo, and shapes the sound of the ensemble. The conductor also prepares the orchestra by leading rehearsals before the public concert, in which the conductor provides instructions to the musicians on their interpretation of the music being performed.
The leader of the first violin section – commonly called the concertmaster – also plays an important role in leading the musicians. In the Baroque music era (1600–1750), orchestras were oft
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<p>As much as it may p*ss you off... if you walk into Walmart carrying your gun, plus a spare mag or two...<strong><em>and they aren't really well concealed...</em></strong><br />
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<div style="color:#FFFFFF;font-size:10px;"><strong>mposition or a style. Neither is pitch serialism necessarily incompatible with tonality, though it is most often used as a means of composing atonal music. "Serial music" is a problematic term because it is used differently in different languages and especially because, shortly after its coinage in French, it underwent essential alterations during its transmission to German. The term's use in connection with music was first introduced in French by René Leibowitz in 1947, and immediately afterward by Humphrey Searle in English, as an alternative translation of the German Zwölftontechnik (twelve-tone technique) or Reihenmusik (row music); it was independently introduced by Stockhausen and Herbert Eimert into German in 1955 as serielle Musik, with a different meaning, but also translated as "serial music". Twelve-tone serialism Serialism of the first type is most specifically defined as a structural principle according to which a recurring series of ordered elements (normally a set—or row—of pitches or pitch classes) is used in order or manipulated in particular ways to give a piece unity. "Serial" is often broadly used to describe all music written in what Schoenberg called "The Method of Composing with Twelve Notes related only to one another", or dodecaphony, and methods that evolved from his methods. It is sometimes used more specifically to apply only to music in which at least one element other than pitch is treated as a row or series. Such methods are often called post-Webernian serialism. Other terms used to make the distinction are twelve-note serialism for the former and integral serialism for the latter. A row may be assembled pre-compositionally (perhaps to embody particular intervallic or symmetrical properties), or derived from a spontaneously invented thematic or motivic idea. The row's structure does not in itself define the structure of a composition, which requires development of a comprehen</strong></div>
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