Exhalation / Expiration, a composition for a wind ensemble of thirty-four players, continues a series of musical homages by the composer honouring her father, Alexander Fol. The composition unites different musical devices to accomplish a metaphorical mapping of the infection of a healthy body with a mortal sickness, followed by the organism's gradual demise. The work's duration is twenty-one-and-a-half minutes.The design of these materials, which incorporates the form, harmony, rhythm and orchestration, applies an approach to musical semiotics informed by the philosophical doctrine of Thracian Oral Orphism, as well as by medical research on terminally ill cancer patients. The author defines two types of musical signs, the event-type and the process-type, and decides upon a musical realization thereof at the formal and structural levels. In the composition, the signs are organized as musical symbols that portray the gradual transition between the types of music symbolizing health – 'A' – and sickness – 'B' – represented by types of harmonic, rhythmic and orchestrational treatment.
Table of contents:
VOLUME 2: Analysis of Exhalation / Expiration
Acknowledgements
Abstract
Résumé
List of examples
Chapter 1: Introduction
1.1. Originality
1.2. Document overview
1.2.1. Document structure
1.2.2. Chapter organization
Chapter 2: Wind Ensemble Repertoire
2.1. Issues of terminology
2.2. Repertoire relevant to my composition of Exhalation / Expiration
2.3.1. Apoteóza planety země (1970) by Karel Husa
2.3.2. Samstag (1981-84) by Karlheinz Stockhausen
2.3.3. Urquitaqtuq (2006-2007) by Trevor Grahl
Chapter 3: Musical Homages by the author
3.1. Homages in works preceding Exhalation / Expiration
3.1.1. Cinderella - the fairy tale (2002-2003)
3.1.2. Requiem No. 2, op. 40 (2006)
3.2. The homage underlying the compositional process in Exhalation / Expiration
3.2.1. Alexander Fol and Georgi Kitov
3.2.2. The five stages of terminal cancer
3.2.3. Death vs. Passing in Oral Orphism
3.2.4. Multiple references in Exhalation / Expiration
Chapter 4: A Personal Framework of Musical Symbolism
4.1. Theory vs. method
4.2. Constructing a framework of analysis
4.4.1. Sign
4.2.2. Meaning
4.2.3. Attributing meaning
4.2.4. Formulation
4.3. Exhalation / Expiration: premises of symbolism
4.3.1. Correlation and integration
4.3.2. Health and sickness
4.3.3. Symbolization of death
Chapter 5: Analysis - Form
5.1. The six sections
5.2. The shape
5.3. Section U (measures 1-158)
5.3.1. The seven sub-sections
5.3.2. Symbolization of the opening
5.3.3. Other symbolization in Section U
5.4. Section V (measures 159-261)
5.5. Section W (measures 262-325)
5.6. Sections X, Y and Z (measures 326-408)
5.6.1. The shared processes
5.6.2. Stopping and Ending
Chapter 6: Analysis - Harmony
6.1. Creating simultaneities
6.2. Chain of harmonies and their realization
6.3. Treatment of octave doublings
6.4. Harmonic progressions
6.4.1. Pitch-class content
6.4.2. The fluctuating harmonic progression
6.4.3. The bell-curve and semi-parabolic harmonic progressions
6.5. Types of harmonic movement
6.6. Sharing of pitch-classes
Chapter 7: Analysis - Rhythm
7.1. Pacing of the six sections
7.2. ‘Inhales’ and ‘exhales’ in Section U
7.3. From pulsation to pulselessness
7.3.1. Omnipresence of the process
7.3.2. The background - harmonic rhythm
7.3.3. The middleground - rhythmic cycles
7.3.4. The foreground - patterns of oscillation
7.4. The metronomic markings
Chapter 8: Analysis - Orchestration
8.1. Significance of the instrumentation
8.2. Processes lasting the entire composition
8.2.1. Dissociation of material from timbre
8.2.2. Expanding followed by fixed register
8.3. Timbral reinforcement
8.4. Reinterpreting pitches as pitch-classes
8.5. Role of dynamics
8.6. Usage of the harp
Chapter 9: Conclusion
9.1. Pacing and form
9.2. Signs and symbols
9.3. Non-harmonic tones
9.4. Tempo
9.5. Ontology and aesthetics
Bibliography (texts)
Bibliography (scores)
VOLUME 1: MUSICAL SCORE
Acknowledgements:
I am extremely grateful to the following individuals:
Prof. John Rea, PhD
Prof. Valeria Fol, PhD, Dr. Hist., Dr. Sc., Dr. habil.
Abstract:
Exhalation / Expiration, a composition for a wind ensemble of thirty-four players, continues a series of musical homages by the composer honouring her father, Alexander Fol. The composition unites different musical devices to accomplish a metaphorical mapping of the infection of a healthy body with a mortal sickness, followed by the organism’s gradual demise. The work’s duration is twenty-one-and-a- half minutes.
The design of these materials, which incorporates the form, harmony, rhythm and orchestration, applies an approach to musical semiotics informed by the philosophical doctrine of Thracian Oral Orphism, as well as by medical research on terminally ill cancer patients. The author defines two types of musical signs, the event-type and the process-type, and decides upon a musical realization thereof at the formal and structural levels. In the composition, the signs are organized as musical symbols that portray the gradual transition between the types of music symbolizing health - ‘A’ - and sickness - ‘B’ - represented by types of harmonic, rhythmic and orchestrational treatment.
Résumé:
Exhalation / Expiration (Expiration / Trépas), œuvre composée pour un ensemble à vent de trente-quatre instrumentistes, poursuit une série d’hommages musicaux par la compositrice à la mémoire de son père, Alexander Fol. La composition réunit différentes techniques musicales afin d’accomplir métaphoriquement un « mappage » où l’infection d’un corps en bonne santé subit une grave maladie, suivie progressivement par la mort de l’organisme. La durée de l’œuvre est 21 minutes et demie.
La conception du matériau, notamment la forme, l’harmonie, le rythme et l’orchestration, inclut l’application d’une approche à la sémiotique musicale informée par l’Orphisme, doctrine philosophique et orale de la Thrace, ainsi que la recherche médicale sur des patients ayant le cancer en phase terminale. L’auteur définit deux types de signes musicaux, le type-événement et le type-processus, et décide sur une réalisation musicale de ces deux types aux niveaux formel et structurel. Dans la composition, les signes sont organisés comme symboles musicaux afin de décrire la transition graduelle entre le type de musique qui symbolise la santé - ‘A’ - et la musique qui symbolise la maladie - ‘B’, - le tout représenté par une collection d’occurrences et de traitement dominants de l’harmonie, du rythme et de l’orchestration.
List of examples:
Example 3.1: Cinderella - the fairy tale (2002-2003), the ending (mm. 614-619)
Example 3.2: Requiem No. 2, op. 40 (2006), mm. 132-135
Example 4.1: Relative amount of ‘A’ and ‘B’
Example 5.1: The six sections
Example 5.2: The shape of Exhalation / Expiration
Example 5.3: The seven sub-sections of Section U
Example 5.4: Exhalation / Expiration, Introduction, complete (mm. 1-23)
Example 5.5: Exhalation / Expiration, the midpoint (mm. 206-207)
Example 5.6: Onset of Section W - “Death rattle” (mm. 262-267)
Example 5.7: Exhalation / Expiration, the ending (mm. 398-408)
Example 6.1: The onset of the first complete harmony arrives at m. 37
Example 6.2: The harmonies of Exhalation / Expiration
Example 6.3: An excerpt of the realization of the second harmony (mm. 76-79)
Example 6.4: The unfolding of pitch-class density in Exhalation / Expiration
Example 6.5: Representing metaphorically inhaling and exhaling
Example 6.6: Shared pitch-classes between adjacent harmonies
Example 7.1: The pacing of the six sections
Example 7.2: Pacing of the ‘inhales’ and ‘exhales’
Example 7.3: Exhalation / Expiration, part of the “Second Inhale” (mm. 105-108)
Example 7.4: Harmonic rhythm of Exhalation / Expiration
Example 7.5: Superimposed regular rhythmic cycles in three of the percussion parts (mm. 32-35)
Example 7.6: A rhythmic cycle elongated by one quarter-note beat in the Tenor and Baritone Saxophone parts (mm. 36-39)
Example 7.7: Realization of varying rhythmic cycles in the clarinets (mm. 44-63)
Example 7.8: Changing speed of a tremolo in Horn 2 (mm. 206-224)
Example 7.9: The metronomic markings
Example 8.1: Material separation in Section U (mm. 28-31)
Example 8.2: Partial dissociation of material from timbre (mm. 189-191)
Example 8.3: Independence of material from timbre (mm. 356-359)
Example 8.4: Increasing register usage in all instruments in approaching the midpoint
Example 8.5: A long phrase composed with fixed register in mind
Example 8.6: The register of Bassoon 2 appears fixed (mm. 357-391)
Example 9.1: Happy memories (mm. 1-15)
Example 9.2: Happy memories, beginning of A1 (mm. 64-79)
Example 9.3: In the name of a Cantata (mm. 18-30)
Example 9.4: SICS [Objective Intermezzi], opening
Example 9.5: Principle and Situation - a Clarinet Quintet (mm. 96-102)
Chapter 1: Introduction
1.1. Originality
Exhalation / Expiration for wind ensemble represents metaphorically the changes occurring in the physiology of a terminally ill cancer patient, from a healthy respiratory cycle through the gradual battle with mortal sickness, and then to death. The title was designed to reflect a play on words in my native language, Bulgarian: Издишване / Издъхване (transliterated into the Latin alphabet as Izdishane / Izdahvane). In Bulgarian the word “издишване” contains the root of the verb “to exhale” and “издъхване” means literally “to exhale one’s last breath”. The English translation, Exhalation / Expiration succeeds partially in reflecting the aforementioned intended wordplay, despite the fact that “exhalation” and “expiration” share but a prefix.
Exhalation / Expiration maps the process of dying metaphorically using a combination of compositional processes at formal and structural levels. To compose a compelling work, I refined certain aspects of my harmonic and rhythmic language and simultaneously drew inspiration from a long tradition of wind music writing and musical homages. In addition, Exhalation / Expiration employs multiple layers of historically informed musical symbolism designed to emphasize the extra-musical idea behind its creation.
The instrumentation of Exhalation / Expiration continues the deliberate metaphor already suggested in the title. Depending directly on controlled breathing to produce their sound, wind instruments, more than other instruments, naturally evoke the idea or act of exhalation. The instrumentation comprises thirty-four players: two flutes, piccolo, two oboes, English horn, three clarinets in B-flat, bass clarinet in B-flat, soprano, alto, tenor and baritone saxophones, two bassoons and contrabassoon, four French horns in F, three trumpets in C, three trombones, euphonium, tuba, timpani, three percussion parts, and harp.
The duration of the work is 21 minutes and 30 seconds.
1.2. Document overview
1.2.1. Document structure
The analysis that follows presents a topical rather than a time-line approach to the composition. It is influenced by the seven-step method suggested by David Cope in his book New Directions in Music, which he calls “vectoral analysis”.1 Cope’s procedure emphasizes the importance of placing a work within the appropriate historical and cultural context for acquiring an informed understanding of its importance. For this reason I include in my text an overview of relevant wind ensemble repertoire as well as a brief discussion of my own compositions that are musical homages. After thus establishing the context of Exhalation / Expiration, I proceed with instituting a personal framework of musical semiotics that affected my treatment of all material. The latter chapters of the document treat the form, harmony, rhythm and orchestration pertaining specifically to Exhalation / Expiration.
1.2.2. Chapter organization
In Chapter 2, I propose a terminology for the description of the widely diverse ensembles employing wind instruments; in addition, I present an overview of three 20th-21st century works, that a) have informed my treatment of harmony, pacing and binary structure among others, and that b) portray to various degrees the idea of decay and metaphorical death.
In Chapter 3, I discuss the primary extra-musical objective behind the creation of Exhalation / Expiration: the idea of homage. In this discussion I differentiate between two types of musical references occurring in homages: 1) internal type, where the composer alludes to her/his own music and even to other parts of the work itself, and 2) external type, where the composer alludes to non-musical concepts or to other composers’ works. After addressing the topic of death and homage in my own output, I examine the external and internal references that contribute to the homage of Exhalation / Expiration.
In Chapter 4, I introduce the reader to a semiotic approach to analysis and to the musical symbolism that I have installed at different compositional levels throughout the work. I subsequently address the specific instances of musical symbolism in the following chapters containing the detailed analysis.
Chapters 5 discusses several aspects of the form and specifically how the form constitutes a realization of the homage by means of symbolization of proportions and certain specific musical signs. I differentiate between the different sections and sub-sections and address specific treatments of register, which I interpret in the context of the work’s musical symbolism.
Chapter 6 centers on the treatment of harmony and on my handling thereof, in view of the symbolization of death. I explain the harmonic structure illustrating the metaphorical representation of health, sickness and death beginning with the creation of simultaneities and the three harmonic progressions, and ending with the calculated gradations of pitch-class density.
In Chapter 7, I analyze the important aspects of rhythm occurring at the background, middleground and foreground levels, and of my usage thereafter as internal references from the perspective of a continuous permutation, which connotes the constant drifting away from the state of health. I clarify the specific procedures used, their meaning and symbolization.
Chapter 8 examines how the orchestration of Exhalation / Expiration connects with the structure and formal divisions the work. In addition, I discuss my consistent processes pertaining to register and range, and how they highlight the foreground texture.
In the last chapter, I assess the artistic difficulty posed by the creation of Exhalation / Expiration, and propose some possible solutions as they appear in two works composed since - Principle and Situation - a Clarinet Quintet for clarinet and four string instruments, and SICS [Objective] Intermezzi for a combination of any six players and/or singers. In particular, I focus on the relationships between structural and formal layers, harmonic movement and tempo.
Chapter 2: Wind Ensemble Repertoire
2.1. Issues of terminology
In view of the non-standardized and occasionally contradictory terminology used by musicians and researchers to describe music composed for wind instruments, I propose a differentiation between ‘wind ensemble’ and ‘wind symphony’ based on size, instrumentation, and number of players per part.[2]
For ensembles larger than a decet I shall use the terms ‘wind ensemble’ and ‘wind symphony’ and will refer to the repertoire in general as band music.
To qualify as Wind Ensemble, a composition should adhere to the following criteria:
1. At least 70% of the parts should call for wind instruments
2. It should require one player per part
3. The number of brass parts should not exceed the number of woodwind parts by more than 25%
In a Wind Symphony, or Symphonic Band
1. At least 70% of the parts should call for wind instruments
2. It requires more than one player per part
3. The number of brass parts can exceed the number of woodwind parts as long as the total number of brass players does not exceed the total number of woodwind players
By conceiving Exhalation / Expiration for wind ensemble instead of a wind symphony, I chose to maximize the notion of individual parts in the orchestration of the piece. I shall address my treatment of the ensemble as groups of soloists in Chapter 8.
2.2. Repertoire relevant to my composition of Exhalation / Expiration
2.2.1. Apoteóza planety země (1970) by Karel Husa
Commissioned by the Michigan School Band and Orchestra Association, [3] Apoteóza planety země by Karel Husa unfolds in such a way that its instrumentation transforms from wind ensemble into a symphonic band of over seventy players. 4 Conceived as “advanced contemporary music of symphonic proportions,”5 the composition has enjoyed a long performance history.6 Similarly to my approach to symbolization in Exhalation / Expiration, (see 4.3. below), Husa portrays a metaphorical mapping of death in his composition, the violent possible demise of Earth itself. In the composer’s own words:
In the first movement, “Apotheosis”, the Earth first appears as a point of light in the universe. [ ] The second movement, “Tragedy of destruction”, deals with the actual brutalities of man against nature, leading to the destruction of our planet, perhaps by radioactive explosion. The Earth dies as a savagely, mortally wounded creature. The last movement is a “Postscript”, full of the realization that so little is left to be said: The Earth has been pulverized into the universe, the voices scattered into space. Toward the end, these voices - at first computer-like and mechanical - unite into the words this beautiful Earth, simply said, warm and filled with regret and one of so many questions comes to our minds: “Why have we let it happen?”7
While I do not employ aleatoricism and quarter-tones in my composition as Husa does, my accomplishing of what Hartzell describes as “things falling apart”8 recalls the complexity of Husa’s treatment of rhythm. Hartzell explains:
This [“things falling apart”] is accomplished by presenting a motive in rhythmic unison in eleven instruments [ ]. With each subsequent presentation of the motive some instrument, or group of instruments, enters at a later rhythmic position than the others. This process is continued until an elevenfold imitation of the motive is achieved [9]
Husa opts for a “Postscript”, following the two movements of Apoteóza planety země, in order to bring his music to a close. In Exhalation / Expiration this closing process appears within the work’s special binary structure (more about this below in Chapter 4.3.3).
2.3.2. Samstag (1981-84) by Karlheinz Stockhausen
Scored for thirteen musical performers, symphonic band, ballet or mimes / men’s chorus with organ, [10] and composed second among the seven instalments of the Licht opera cycle, Samstag relates to Exhalation / Expiration not simply because it addresses the topic of death and uses wind instruments, but even more importantly because of the symbolisation of multiple structural and formal elements. The opera characters themselves derive their mystical and spiritual nature from The Urantia Book among other sources.[11]
In his analysis of Samstag, Michel Rigoni describes how all aspects of the performance, even the exhalations of the trombone players in Scene Two constitute musical symbols, reflected not only in the music itself, but also in the instrumental set-up, depicting a giant human face in Scene Three:
Lucifer fait apparaître un orchestre en forme de visage humain géant. Les différentes parties du visage sont formées par des groupes instrumentaux qu’il fait entrer en jeu les uns après les autres pour dix danses, chaque danse possédant son mètre et sa période propre .[12]
The detailed pacing of Exhalation / Expiration to be discussed below resembles the exact calculations Stockhausen employs in Samstag. Rigoni explains how Stockhausen employs the three formulae of Licht’s super-formula with respect to the duration of the scenes themselves, and how the composer later employs a similar process in Salut de Samedi.
Dans le schéma de forme, les 3 formules de la super- formule de Licht sont données dans les 3 lignes supérieures; en-dessous la formule de Lucifer est réécrite à l’échelle de l’œuvre Samedi, jour de Lucifer oblige. On remarquera ici les calculs de durées des scènes. La première scène correspond à 2 noires de la super-formule; selon le principe de projection dans la grande forme, cela donne une durée de 2 x 16 minutes à 60 à la noire. Le tempo étant ici de 71, il en résulte de calcul suivant : 32 x 60 / 71 = 27,04.[13]
Just as Stockhausen permits himself to bend the exact calculations to suit his music - the scene Rêve de Lucifer actually spans thirty-six minutes rather than twenty-seven[14] - the calculations of Exhalation / Expiration as they pertain to the formal and harmonic pacing (see Chapters 6 and 7 below) fluctuate depending on the simultaneous unfolding of the various musical strata.
2.3.3. Urquitaqtuq (2006-07) by Trevor Grahl
Inspired by Inuit literature, Grahl’s Urquitaqtuq (Sheltered, but with Gusts of Wind) for Wind Ensemble (36 players) invites a comparison with Exhalation / Expiration, since its creation served as direct inspiration for my work. Both compositions explore the process of gradual distortion in various compositional elements, such as textural density and rhythmic foreground, by means of creating a continuum between two types of music.
Metaphorically representing the decline of the Inuit’s culture due to its recent disturbing level of acculturation through a process Grahl calls ‘musical corruption’, this work fulfills the composer’s intentions:
I wanted to create a music which reflected a naïve, yet special and unique beauty, and then break and replace this beauty with something more commonplace and trite, to take its place. I was interested in experimenting with the aleatoric technique, and wanted sound masses which were liquid: fields of densities that were similar throughout performances, but never quite [the same]. (I felt that the aleatoric music also provided a semi- programmatic function of reflecting the paradoxical nature of the shifting, yet stable topography of the tundra, and subsequently, the dynamic nature of Inuit identity within a larger global context.)[15]
In addition to contributing to the work’s programmatic aspect, “the alteration of aleatoric and measured scoring help[s] convey the recurring idea of emerging harmonic fields out of layered heterophony.” [16] In contrast to Urquitaqtuq, where the composer does not want the audience to comprehend the ‘corruption’, which does occur however,[17] in Exhalation / Expiration I aim to underline this process of gradual distortion.
Grahl states: “a corruption (or corruptions, depending on how one hears the piece) takes place in the piece, a denaturing of one music which yields a completely different, yet related music.”[18] On the other hand, in a personal message to me, Grahl provided a different description stating that both musics are distinct and ‘intermix’ between rehearsal numbers 10 and 23 in particular.[19]
The difference between Grahl’s ‘intermixing’ and what I call ‘infiltration’ in my music (see Chapter 4.2.1, below) highlights the difference in methodology between Grahl and myself with respect to ‘musical corruption’. In Chapters 6, 7 and 8, I address the specific procedures I employ in order to create this process.
Chapter 3: Musical Homages by the author
3.1. Homages in works preceding Exhalation / Expiration
3.1.1. Cinderella - the fairy tale (2002-2003)
A thirty-minute monodrama for narrator and symphony orchestra, Cinderella - the fairy tale is dedicated “To the death of all illusions”. The objective of the composition endeavours to gradually dissociate the underlying musical implications with the connotation of the words it presumably supports to the point where the musical “accompaniment” influences the text only to change at the very end from the traditional “They lived happily ever after” to the more ominous “They lived happily for a long while”. With the text more (or less) codified in the traditional versions of the story, my artistic intention necessitates that I plant an essentially fundamental dichotomy between the progressions of the text and the musical development. The metaphorical death mentioned in the dedication and exemplified by the realization of this dichotomy assures the work’s appreciation as much as by children as adults.
The gradual dissociation of the music from the words leading to its eventual independence from them passes through differentiated or intermediate stages of doubting, mocking and negating the text. Example 3.1 below illustrates the continuously implied inevitable ending where the words give in to the pressure of the music and change to seal the doom of the beautiful illusions of love, forgiveness and happiness:
illustration not visible in this excerpt
Example 3.1: Cinderella - the fairy tale (2002-2003), the ending (mm. 614-619)
Cinderella - the fairy tale stands as my first and only work before Exhalation / Expiration where the concept of death permeates the form spanning the entire work’s duration. Both compositions contain transformations of motivic elements that continuously refer to their preceding versions, but these continuous internal references change in purpose. While I have used them to design the musical execution of Cinderella’s dichotomy in order to reflect a subjective change in perspective through music, Exhalation / Expiration metaphorically represents a process.
3.1.2. Requiem No. 2, op. 40 (2006)
In contrast to my Requiem No. 1, this Requiem employs a symphonic orchestra without choir or organ. Composed in memory of my father, it combines the Thracian Orphic ideas of cyclic time and passing on to the World of the Beyond, a topic which will be addressed in detail below, with my preference for cyclic form - the A-A1 type in particular - dating back to my 2001 Violin Concerto. Employed as one of the models in my Exhalation / Expiration, I initially planned Requiem No. 2 to feature more than one return and transformation of all musical material in order to illustrate its gradual intended disembodiment. I eventually condensed the planned A-A1-A2 form into the A-A1 type.
When compared to Requiem No. 2, Exhalation / Expiration exhibits the cyclical treatment of musical material on the foreground and middleground rather than only in the middleground. I shall discuss this musical material further in Chapter 7. The strategic placements and detractions of regular pulsations in Requiem No. 2 inspired the rhythmic structure of Exhalation / Expiration, also addressed in Chapter 7. Furthermore, in both works the regular pulsations in tempo of 60 beats of per minute make reference to the human heartbeat. Example 3.2 below reveals the alignment of the structural and formal compositional layers in Requiem No. 2, highlighted by the “heartbeat” pulsations in the Bass Drum.
illustration not visible in this excerpt
Example 3.2: Requiem No. 2, op. 40 (2006), mm. 132-135
As the first work written to commemorate my father, Requiem No. 2 served as one of the main models in my incorporation of musical symbolism.
3.2. The homage underlying the compositional process in Exhalation / Expiration
3.2.1. Alexander Fol and Georgi Kitov
Exhalation / Expiration constitutes a musical homage with respect to two individuals - my father, historian Alexander Fol, together with a family friend, who was a student of my father - archaeologist Georgi Kitov. Alexander Fol passed away after a long struggle with cancer in 2006. Georgi Kitov followed his teacher in 2008 following a sudden pacemaker failure.[20]
After having already composed two works in memory of my father - Requiem No. 2, op. 40 (2006) for orchestra and Happy Memories op. 49 (2008) for solo violin, I decided to integrate the compositional tools I have come to prefer since 2001 with a structure and form drawn from the teachings of my father that Georgi Kitov, among other scholars, made widely known.
3.2.2. The five stages of terminal cancer
According to the article “A prospective study of the dying process in terminally ill cancer patients” by Tatsuya Morita et. al., the five signs that demarcate impending death in cancer patients occur in the following order:
1) Cloudiness of consciousness
2) Death rattle
3) Respiration with mandibular movement (RMM)
4) Cyanotic extremities (bluish discoloration of the skin and mucous membranes due to lack of oxygen in the blood), and
5) Pulselessness of the radial artery.[21]
[...]
[1] For more on the method, see Cope, David. New Directions in Music. Prospect Heights, IL, USA: Waveland, Inc., 2001. Print.
[2] See bibliography for annotated guides and other literature for the inconsistent usage of terms such as “wind ensemble”, “wind symphony”, “concert band”, “symphonic band”, etc. Only Stoneham et al. discuss the issue of terminology and nomenclature and specify the terms they use.
[3] Husa, Karel. Apotheosis of This Earth. New York, USA: Associated Music, 1971. Print. Un-numbered page.
[4] Ibid. Husa calls for one player per part until specific measures when the doublings begin. With respect to the contrabasses, he leaves the number of total players open.
[5] Hartzell, Lawrence W. “Karel Husa: The Man and the Music.” The Musical Quarterly 62.1: 87-104. Print., p. 92
[6] Ibid., p. 91
[7] Husa, Karel. Apotheosis of This Earth. New York, USA: Associated Music, 1971. Print. Un-numbered page.
[8] Hartzell, Lawrence W. “Karel Husa: The Man and the Music.” The Musical Quarterly 62.1: 87-104., p. 101
[9] Ibid., p. 101
[10] This terminology originates from Stockhausen’s catalogue, found at http://www.stockhausen.org/2010_work_list_en.pdf by means of accessing the composer’s official website: Karlheinz Stockhausen Official Website - Stockhausen.org. Stockhausen Verlag. Web. 26 Jan. 2011. <http://www.stockhausen.org/>.
[11] For Kurtz’s justification and Stockhausen’s own thoughts on the subject, see p. 288 of Kurtz, Michael. Stockhausen: a Biography. Trans. Richard Toop. London: Faber and Faber, 1992. Print.
[12] Rigoni, Michel. Karlheinz Stockhausen Un Vaisseau Lancé Vers Le Ciel. Millénaire III Editions, 1998. Print., p. 294
[13] Ibid., p. 296
[14] Ibid.
[15] Grahl, Trevor. “[No title].” Message to the author. 18 Oct. 2009. E-mail.
[16] Fol, Alexandra. “A Brilliant Finish for a Brilliant Composer.” The Phonograph [Montreal] Apr. 2007: 8-8. Print.
[17] See Ibid.
[18] For the complete programme note, follow the link “Urquitaqtuq” at Grahl, Trevor. Trevor Grahl - Composer. Web. 14 Oct. 2009. <http://imusic1.ucsd.edu/~tgrahl/>.
[19] Grahl, Trevor. “[No title].” Message to the author. 18 Oct. 2009. E-mail.
[20] ТЕМП - Траколожка Експедиция за Могилни Проучвания (Thracology expedition for Sub-Mound Research). International Asset Bank, 2008. Web. 6 Oct. 2009. <http://www.bulgarian-tourism.com/temp/eng/ index.htm>.
[21] Morita, Tatsuya, Takihiro Ichiki, Junichi Tsunoda, Satoshi Inuoe, and Satochi Chihara. “A prospective study of the dying process in terminally ill cancer patients.” American Journal of Hospice and Palliative Medicine 15 (1998): 217-22. Weston, MA, USA.
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen. -
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Laden Sie Ihre eigenen Arbeiten hoch! Geld verdienen und iPhone X gewinnen.