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	<title>Theory of Music</title>
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		<title>Theory of Music</title>
		<link>http://theoryofmusic.wordpress.com</link>
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			<item>
		<title>German text of Brahms&#8217;s Begräbnisgesang  Op. 13</title>
		<link>http://theoryofmusic.wordpress.com/2009/11/14/german-text-of-brahmss-begrabnisgesang-op-13/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/11/14/german-text-of-brahmss-begrabnisgesang-op-13/#comments</comments>
		<pubDate>Sat, 14 Nov 2009 22:27:37 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[history of Romantic music]]></category>
		<category><![CDATA[sources for the study of Brahms]]></category>
		<category><![CDATA[early music by Brahms]]></category>
		<category><![CDATA[poems set to music by Brahms]]></category>
		<category><![CDATA[romantic German poetry]]></category>
		<category><![CDATA[the poems of Michael Weisse]]></category>
		<category><![CDATA[the vocal works of Brahms]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=1280</guid>
		<description><![CDATA[The German text of  Johannes Brahms&#8217;s Begräbnisgesang  Op. 13, a poem by Michael Weisse.  English translation to follow.
&#160;
Nun lasst uns den Leib begraben,
Bei dem wir kein&#8217;n Zweifel haben,
Er Werd am letzten Tag aufstehn
Und unverrücklich herfürgehn.
&#160;
Erd ist er und von der Erden,
Wird auch wieder zu erd werden
Und von Erden wieder aufstehn
wenn Gottes Posaun angehn.
&#160;
Seine Seel lebt [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=1280&subd=theoryofmusic&ref=&feed=1" />]]></description>
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			<media:title type="html">Barry</media:title>
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		<item>
		<title>German text of Brahms&#8217;s Alto Rhapsody Op. 53</title>
		<link>http://theoryofmusic.wordpress.com/2009/11/13/german-text-of-brahmss-alto-rhapsody-op-53/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/11/13/german-text-of-brahmss-alto-rhapsody-op-53/#comments</comments>
		<pubDate>Fri, 13 Nov 2009 16:00:18 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[history of Romantic music]]></category>
		<category><![CDATA[sources for the study of Brahms]]></category>
		<category><![CDATA[Brahms Rhapsodie fur Alt op 53 text]]></category>
		<category><![CDATA[Goethe's Harzreise im Winter]]></category>
		<category><![CDATA[poems set to music by Brahms]]></category>
		<category><![CDATA[romantic German poetry]]></category>
		<category><![CDATA[the poems of Goethe]]></category>
		<category><![CDATA[the vocal works of Brahms]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=1230</guid>
		<description><![CDATA[The text of Brahms’s Alto Rhapsody, Op. 53.  The text is in German and is from Harzreise im Winter by Johann Wolfgang von Goethe.  English translation to follow.
J. Brahms
Rhapsodie für Alt, Männerchor und Orchester, op. 53
&#160;
Aber abseits we ist’s?
Im Gebüsch verliert sich der Pfad.
Hinter ihm schlagen
Die Sträuche zusammen,
Das Gras steht wieder auf,
Die Öde verschlingt ihn.
Ach, [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=1230&subd=theoryofmusic&ref=&feed=1" />]]></description>
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		<slash:comments>2</slash:comments>
	
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			<media:title type="html">Barry</media:title>
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		<item>
		<title>Heinrich Schütz by Manfred Bukofzer (1947)</title>
		<link>http://theoryofmusic.wordpress.com/2009/10/24/heinrich-schutz-by-manfred-bukofzer-1947/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/10/24/heinrich-schutz-by-manfred-bukofzer-1947/#comments</comments>
		<pubDate>Sat, 24 Oct 2009 13:08:42 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[baroque music theory]]></category>
		<category><![CDATA[history and theory of music]]></category>
		<category><![CDATA[German religious music before Bach]]></category>
		<category><![CDATA[history of the oratorio]]></category>
		<category><![CDATA[Music in the Baroque Era Heinrich Schutz]]></category>
		<category><![CDATA[religious music in the baroque era]]></category>
		<category><![CDATA[the career of baroque composer H. Schutz]]></category>
		<category><![CDATA[the history of German religious music]]></category>
		<category><![CDATA[the history of settings of the Passion]]></category>
		<category><![CDATA[the influence of Italian music on Germany]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=1220</guid>
		<description><![CDATA[Extracts from Manfred F Bukofzer’s account of the career of Heinrich Schütz, from Music in the Baroque Era,1947.  Omissions are indicated by dots and my comments by square brackets.
German music soared to unprecedented heights in the works of the undisputed master of the dramatic concertato:  Heinrich Schütz (1585-1672), the greatest of the quarter of S’s.  [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=1220&subd=theoryofmusic&ref=&feed=1" />]]></description>
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		<slash:comments>2</slash:comments>
	
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			<media:title type="html">Barry</media:title>
		</media:content>
	</item>
		<item>
		<title>Sources for the early history of the oratorio</title>
		<link>http://theoryofmusic.wordpress.com/2009/10/19/sources-for-the-early-history-of-the-oratorio/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/10/19/sources-for-the-early-history-of-the-oratorio/#comments</comments>
		<pubDate>Mon, 19 Oct 2009 19:44:31 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[baroque music theory]]></category>
		<category><![CDATA[a revival of the practices of the first Christians]]></category>
		<category><![CDATA[lay preaching in 17th century Rome]]></category>
		<category><![CDATA[music and religion in baroque Rome]]></category>
		<category><![CDATA[music used in the roman catholic mass]]></category>
		<category><![CDATA[music used in the service of religion]]></category>
		<category><![CDATA[the catholic reform movement of the 17th century]]></category>
		<category><![CDATA[the life and works of Philip Neri]]></category>
		<category><![CDATA[the origins of the oratorio]]></category>
		<category><![CDATA[the policy of the popes regarding music]]></category>
		<category><![CDATA[the practices of the first oratorians]]></category>
		<category><![CDATA[what an oratory was used for]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=1209</guid>
		<description><![CDATA[Extracts from translations of four primary sources relating to the early history of the oratorio.  The extracts are all quoted in Howard E. Smither’s A History of the Oratorio, 1977, and mostly translated by Smither.  I have omitted Smither’s explanatory notes.
 
1. The dedication of Giovanni Francesco Anerio’s Teatro armonico spirituale di madrigali (Rome, 1619).  This [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=1209&subd=theoryofmusic&ref=&feed=1" />]]></description>
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		<slash:comments>0</slash:comments>
	
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			<media:title type="html">Barry</media:title>
		</media:content>
	</item>
		<item>
		<title>Eduard Hanslick reviews Beethoven&#8217;s Missa Solemnis (1861)</title>
		<link>http://theoryofmusic.wordpress.com/2009/10/17/eduard-hanslick-reviews-beethovens-missa-solemnis-1861/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/10/17/eduard-hanslick-reviews-beethovens-missa-solemnis-1861/#comments</comments>
		<pubDate>Sat, 17 Oct 2009 19:19:43 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[music in the classical period]]></category>
		<category><![CDATA[sources for the study of Beethoven]]></category>
		<category><![CDATA[a description of Beethoven's Missa Solemnis]]></category>
		<category><![CDATA[a discussion of what religious music is]]></category>
		<category><![CDATA[choral music by Beethoven]]></category>
		<category><![CDATA[is religious music always suitable for church]]></category>
		<category><![CDATA[music journalism in the 19th century]]></category>
		<category><![CDATA[music reviews by Eduard Hanslick]]></category>
		<category><![CDATA[the ideas of Eduard Hanslick]]></category>
		<category><![CDATA[the influence of Goethe on Beethoven]]></category>
		<category><![CDATA[the reception of late Beethoven]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=1187</guid>
		<description><![CDATA[ 
 
A review by Eduard Hanslick of a performance of Beethoven’s Missa Solemnis.  Extracts from the translations by Henry Pleasants.  I have omitted Pleasants’ footnotes.  My own additions are in square brackets.
 
 
“Many of my works were immediately effective; others, not equally fathomable and compelling, required many years to achieve recognition.  In the meantime, these years, too, [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=1187&subd=theoryofmusic&ref=&feed=1" />]]></description>
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		<slash:comments>0</slash:comments>
	
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			<media:title type="html">Barry</media:title>
		</media:content>
	</item>
		<item>
		<title>A description of a great flamenco singer from the 1920s</title>
		<link>http://theoryofmusic.wordpress.com/2009/10/17/a-description-of-a-great-flamenco-singer-from-the-1920s/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/10/17/a-description-of-a-great-flamenco-singer-from-the-1920s/#comments</comments>
		<pubDate>Sat, 17 Oct 2009 18:48:47 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[topics in ethnomusicology]]></category>
		<category><![CDATA[a description of a cante grande performance]]></category>
		<category><![CDATA[an account of a great flamenco singer]]></category>
		<category><![CDATA[an eyewitness account of flamenco singing]]></category>
		<category><![CDATA[flamenco as performed in the 1920s]]></category>
		<category><![CDATA[how flamenco singers performed]]></category>
		<category><![CDATA[Manuel Torre the great flamenco singer]]></category>
		<category><![CDATA[the history of flamenco]]></category>
		<category><![CDATA[the importance of singing in flamenco]]></category>
		<category><![CDATA[the meaning of flamenco songs]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=1179</guid>
		<description><![CDATA[This description of the great flamenco singer Manuel Torre is by the Irish writer Walter Starkie.  He describes a performance that took place in the 1920s.
 
Many a time in Madrid or Seville the cantaor would be Manuel Torres, the greatest singer of Siguiriyas Gitanas, and one of the noblest Romanichals I have ever known. He [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=1179&subd=theoryofmusic&ref=&feed=1" />]]></description>
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		<slash:comments>0</slash:comments>
	
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			<media:title type="html">Barry</media:title>
		</media:content>
	</item>
		<item>
		<title>Reviews of all the Brahms Symphonies by Eduard Hanslick</title>
		<link>http://theoryofmusic.wordpress.com/2009/10/13/reviews-of-all-the-brahms-symphonies-by-eduard-hanslick/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/10/13/reviews-of-all-the-brahms-symphonies-by-eduard-hanslick/#comments</comments>
		<pubDate>Tue, 13 Oct 2009 18:11:26 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[history of Romantic music]]></category>
		<category><![CDATA[sources for the study of Brahms]]></category>
		<category><![CDATA[how Beethoven influenced Brahms's symphonies]]></category>
		<category><![CDATA[late romantic music in Vienna]]></category>
		<category><![CDATA[music in nineteenth-century Vienna]]></category>
		<category><![CDATA[music journalism in the 19th century]]></category>
		<category><![CDATA[music reviews by Eduard Hanslick]]></category>
		<category><![CDATA[reception of Brahms's symphonies]]></category>
		<category><![CDATA[reviews of Brahms's symphonies]]></category>
		<category><![CDATA[the  Brahms versus Bruckner controversy]]></category>
		<category><![CDATA[the ideas of Eduard Hanslick]]></category>
		<category><![CDATA[the influence of Schumann on Brahms]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=1174</guid>
		<description><![CDATA[Reviews of all four Brahms symphonies by Eduard Hanslick.  Extracts from the translations by Henry Pleasants.  I have omitted Pleasants’ footnotes.  My own additions are in square brackets.
&#160;
Symphony No 1
&#160;
Seldom, if ever, has the entire musical world awaited a composer’s first symphony with such tense anticipation &#8211; testimony that the unusual was expected of Brahms [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=1174&subd=theoryofmusic&ref=&feed=1" />]]></description>
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		<slash:comments>0</slash:comments>
	
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			<media:title type="html">Barry</media:title>
		</media:content>
	</item>
		<item>
		<title>Bruckner&#8217;s Symphony No 8 reviewed by Eduard Hanslick, 1892</title>
		<link>http://theoryofmusic.wordpress.com/2009/10/11/bruckners-symphony-no-8-reviewed-by-eduard-hanslick-1892/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/10/11/bruckners-symphony-no-8-reviewed-by-eduard-hanslick-1892/#comments</comments>
		<pubDate>Sun, 11 Oct 2009 16:40:52 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[history of Romantic music]]></category>
		<category><![CDATA[Bruckner and the history of the symphony]]></category>
		<category><![CDATA[how audiences reacted to Bruckner's music]]></category>
		<category><![CDATA[late romantic music in Vienna]]></category>
		<category><![CDATA[music journalism in the 19th century]]></category>
		<category><![CDATA[music reviews by Eduard Hanslick]]></category>
		<category><![CDATA[reviews of Bruckner's symphonies]]></category>
		<category><![CDATA[the  Brahms versus Bruckner controversy]]></category>
		<category><![CDATA[the first performance of Bruckner 8]]></category>
		<category><![CDATA[the ideas of Eduard Hanslick]]></category>
		<category><![CDATA[the influence of Wagner on Bruckner]]></category>
		<category><![CDATA[the reception of Bruckner's symphonies]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=1166</guid>
		<description><![CDATA[A review by Eduard Hanslick of the first performance of Bruckner’s Symphony No. 8 (1892).  Extracts from the translation by Henry Pleasants.  I have omitted Pleasants’ footnotes.
 
 
The Philharmonic Orchestra devoted its entire concert to a new symphony by Bruckner.  It is the eighth in the series and similar to its predecessors in form and mood.  [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=1166&subd=theoryofmusic&ref=&feed=1" />]]></description>
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		<slash:comments>0</slash:comments>
	
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			<media:title type="html">Barry</media:title>
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		<item>
		<title>Eduard Hanslick reviews a recital by Brahms, Vienna 1862.</title>
		<link>http://theoryofmusic.wordpress.com/2009/10/11/eduard-hanslick-reviews-a-recital-by-brahms-vienna-1862/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/10/11/eduard-hanslick-reviews-a-recital-by-brahms-vienna-1862/#comments</comments>
		<pubDate>Sun, 11 Oct 2009 16:05:41 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[history of Romantic music]]></category>
		<category><![CDATA[sources for the study of Brahms]]></category>
		<category><![CDATA[a description of Brahms the performer]]></category>
		<category><![CDATA[a pen portrait of Brahms by Eduard Hanslick]]></category>
		<category><![CDATA[a review of a Brahms piano recital]]></category>
		<category><![CDATA[an assessment of Brahms in mid career]]></category>
		<category><![CDATA[cult of the 19th century piano virtuoso]]></category>
		<category><![CDATA[music in nineteenth-century Vienna]]></category>
		<category><![CDATA[music journalism in the 19th century]]></category>
		<category><![CDATA[music reviews by Eduard Hanslick]]></category>
		<category><![CDATA[romantic piano virtuosi]]></category>
		<category><![CDATA[the ideas of Eduard Hanslick]]></category>
		<category><![CDATA[the influence of Schumann on Brahms]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=1161</guid>
		<description><![CDATA[Eduard Hanslick reviews a piano recital given by Brahms (Vienna 1862). Extracts from the translation by Henry Pleasants. I have omitted Pleasants’ footnotes.
&#160;
Johannes Brahms has now presented himself as composer and virtuoso in a concert of his own. His compositions are hardly to be counted among those immediately enlightening and gripping works which carry the [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=1161&subd=theoryofmusic&ref=&feed=1" />]]></description>
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		<slash:comments>0</slash:comments>
	
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			<media:title type="html">Barry</media:title>
		</media:content>
	</item>
		<item>
		<title>Chords test, Alto Clef</title>
		<link>http://theoryofmusic.wordpress.com/2009/10/04/chords-test-alto-clef/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/10/04/chords-test-alto-clef/#comments</comments>
		<pubDate>Sun, 04 Oct 2009 17:14:49 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[history and theory of music]]></category>
		<category><![CDATA[technical exercises]]></category>
		<category><![CDATA[a revision exercise for chords]]></category>
		<category><![CDATA[a revision exercise for music intervals]]></category>
		<category><![CDATA[an exercise in reading the alto clef]]></category>
		<category><![CDATA[questions about chords with answers]]></category>
		<category><![CDATA[reading chords in the alto clef]]></category>
		<category><![CDATA[reading intervals in the alto clef]]></category>
		<category><![CDATA[test your knowledge of music intervals]]></category>
		<category><![CDATA[test your knowledge of the alto clef]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=808</guid>
		<description><![CDATA[Test your knowledge of the alto clef and your knowledge of chords with this exercise.  Scroll down for the answers.  There are 52 chords with a chord number at the start of each line.  In the alto clef middle C is on the middle line.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Answers
 
line 1
1.  a minor, root position  2.  a minor, first inversion  3.  d [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=808&subd=theoryofmusic&ref=&feed=1" />]]></description>
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			<media:title type="html">Barry</media:title>
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			<media:title type="html">test chords alto clef</media:title>
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	</item>
		<item>
		<title>Chords Test, Treble Clef</title>
		<link>http://theoryofmusic.wordpress.com/2009/10/03/chords-test-treble-clef/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/10/03/chords-test-treble-clef/#comments</comments>
		<pubDate>Sat, 03 Oct 2009 12:48:19 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[history and theory of music]]></category>
		<category><![CDATA[technical exercises]]></category>
		<category><![CDATA[a revision exercise for music intervals]]></category>
		<category><![CDATA[identifying music intervals]]></category>
		<category><![CDATA[questions about chords with answers]]></category>
		<category><![CDATA[questions about music intervals with answers]]></category>
		<category><![CDATA[reading chords in the treble clef]]></category>
		<category><![CDATA[test your knowledge of chords]]></category>
		<category><![CDATA[test your knowledge of music intervals]]></category>
		<category><![CDATA[test your knowledge of music theory]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=802</guid>
		<description><![CDATA[Test your knowledge of chords by identifying these chords then scrolling down for the answers.  The chords are numbered 1-52 with a chord number given at the start of each line.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Answers
line 1
1. C major, root position  2.  G major, first inversion  3.  F major, root position  4.  C major, first inversion
line 2
5.  d minor, first [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=802&subd=theoryofmusic&ref=&feed=1" />]]></description>
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			<media:title type="html">Barry</media:title>
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		<media:content url="http://theoryofmusic.files.wordpress.com/2009/06/scan0009.jpg" medium="image">
			<media:title type="html">chords test treble clef</media:title>
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		<item>
		<title>Bass Clef Chords Test</title>
		<link>http://theoryofmusic.wordpress.com/2009/10/01/bass-clef-chords-test/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/10/01/bass-clef-chords-test/#comments</comments>
		<pubDate>Thu, 01 Oct 2009 12:36:40 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[history and theory of music]]></category>
		<category><![CDATA[technical exercises]]></category>
		<category><![CDATA[a revision exercise for music intervals]]></category>
		<category><![CDATA[identifying music intervals]]></category>
		<category><![CDATA[questions about music intervals with answers]]></category>
		<category><![CDATA[reading chords in the bass clef]]></category>
		<category><![CDATA[reading intervals in the bass clef]]></category>
		<category><![CDATA[test your knowledge of music intervals]]></category>
		<category><![CDATA[test your knowledge of music theory]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=810</guid>
		<description><![CDATA[Test your knowledge of chords in the bass clef.  Scroll down for the answers.  There are 13 lines with 4 chords in each line.  The chords are numbered 1-52, with a chord number given at the beginning of each line.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Answers
 
line 1
1.  D major, root position    2.  f minor, root position    3.  C major, second inversion    4.  D [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=810&subd=theoryofmusic&ref=&feed=1" />]]></description>
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			<media:title type="html">Barry</media:title>
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			<media:title type="html">test chords bass clef</media:title>
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		<item>
		<title>Intervals Test, Bass Clef 2</title>
		<link>http://theoryofmusic.wordpress.com/2009/09/27/intervals-test-bass-clef-2/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/09/27/intervals-test-bass-clef-2/#comments</comments>
		<pubDate>Sun, 27 Sep 2009 12:44:47 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[history and theory of music]]></category>
		<category><![CDATA[technical exercises]]></category>
		<category><![CDATA[a revision exercise for music intervals]]></category>
		<category><![CDATA[identifying music intervals]]></category>
		<category><![CDATA[questions about music intervals with answers]]></category>
		<category><![CDATA[reading intervals in the bass clef]]></category>
		<category><![CDATA[test your knowledge of music intervals]]></category>
		<category><![CDATA[test your knowledge of music theory]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=804</guid>
		<description><![CDATA[Test you knowledge of intervals written in the bass clef.  Scroll down for the answers.
 
 
 
 
 
 
 
 
 
 
 
answers
 
Posted in history and theory of music, technical exercises Tagged: a revision exercise for music intervals, identifying music intervals, questions about music intervals with answers, reading intervals in the bass clef, test your knowledge of music intervals, test your knowledge of [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=804&subd=theoryofmusic&ref=&feed=1" />]]></description>
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			<media:title type="html">Barry</media:title>
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			<media:title type="html">intervals test bass clef 2</media:title>
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		<item>
		<title>Beethoven Symphony No 5 form of movements 2-4</title>
		<link>http://theoryofmusic.wordpress.com/2009/09/04/beethoven-symphony-no-5-form-of-movements-2-4/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/09/04/beethoven-symphony-no-5-form-of-movements-2-4/#comments</comments>
		<pubDate>Fri, 04 Sep 2009 10:31:15 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[history of Romantic music]]></category>
		<category><![CDATA[music in the classical period]]></category>
		<category><![CDATA[sources for the study of Beethoven]]></category>
		<category><![CDATA[an example of the sonata principle in Beethoven]]></category>
		<category><![CDATA[an example of variation form in Beethoven]]></category>
		<category><![CDATA[analysing the form of music]]></category>
		<category><![CDATA[forms used in Beethoven's symphonies]]></category>
		<category><![CDATA[how Beethoven linked movements]]></category>
		<category><![CDATA[large scale tonal planning in Beethoven's music]]></category>
		<category><![CDATA[the form of Beethoven's fifth symphony]]></category>
		<category><![CDATA[the key structure of Beethoven's fifth symphony]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=1096</guid>
		<description><![CDATA[Tables outlining the main points in an analysis of the form of movements 2-4 of Beethoven&#8217;s Symphony No 5 in c minor.
 
Movements 3 and 4.
 
 
Analysis by Barry Mitchell.
Posted in history of Romantic music, music in the classical period, sources for the study of Beethoven Tagged: an example of the sonata principle in Beethoven, an example [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=1096&subd=theoryofmusic&ref=&feed=1" />]]></description>
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			<media:title type="html">Barry</media:title>
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			<media:title type="html">Beethoven Symphony No 5 slow movement</media:title>
		</media:content>

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			<media:title type="html">Beethoven Symphony No 5 movements 3 and 4</media:title>
		</media:content>
	</item>
		<item>
		<title>Analysing characterisation in operatic arias</title>
		<link>http://theoryofmusic.wordpress.com/2009/08/31/analysing-characterisation-in-operatic-arias/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/08/31/analysing-characterisation-in-operatic-arias/#comments</comments>
		<pubDate>Mon, 31 Aug 2009 13:05:33 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[articles by Barry Mitchell]]></category>
		<category><![CDATA[eighteenth-century music theory]]></category>
		<category><![CDATA[writing about music]]></category>
		<category><![CDATA[characterisation in classical period opera]]></category>
		<category><![CDATA[characters from The Magic Flute]]></category>
		<category><![CDATA[how music is used in opera]]></category>
		<category><![CDATA[how the elements of music can be used]]></category>
		<category><![CDATA[how to analyse opera arias]]></category>
		<category><![CDATA[how to write about The Magic Flute]]></category>
		<category><![CDATA[how to write an opera]]></category>
		<category><![CDATA[Papageno from The Magic Flute]]></category>
		<category><![CDATA[techniques of characterisation in opera]]></category>
		<category><![CDATA[techniques used by Mozart in his operas]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=1063</guid>
		<description><![CDATA[A guide to analysing operatic arias with the emphasis on techniques of musical characterisation. 1. a blank template 2. an example of the template filled in.
The blank template.
&#160;
&#160;
&#160;
An example of the template filled in.
&#160;
Posted in articles by Barry Mitchell, eighteenth-century music theory, writing about music Tagged: characterisation in classical period opera, characters from The Magic [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=1063&subd=theoryofmusic&ref=&feed=1" />]]></description>
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			<media:title type="html">Barry</media:title>
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		<title>Delphi Greece short music video</title>
		<link>http://theoryofmusic.wordpress.com/2009/08/29/delphi-greece-short-music-video/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/08/29/delphi-greece-short-music-video/#comments</comments>
		<pubDate>Sat, 29 Aug 2009 15:36:40 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[Barry Mitchell music videos]]></category>
		<category><![CDATA[music by Barry Mitchell]]></category>
		<category><![CDATA[ancient Greek festivals]]></category>
		<category><![CDATA[Delphi site of the oracle]]></category>
		<category><![CDATA[games in ancient Greece]]></category>
		<category><![CDATA[listen to music performed by the Locrian Ensemble]]></category>
		<category><![CDATA[masterpieces of Greek sculpture]]></category>
		<category><![CDATA[places you must visit in Greece]]></category>
		<category><![CDATA[sites of archaeological interest in Greece]]></category>
		<category><![CDATA[the most famous ancient oracle]]></category>
		<category><![CDATA[world heritage sites in Greece]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=838</guid>
		<description><![CDATA[Photos of ancient Delphi in Greece with music by Barry Mitchell performed by the Locrian Ensemble.  Photos by Alison and Barry Mitchell.

Posted in Barry Mitchell music videos, music by Barry Mitchell Tagged: ancient Greek festivals, Delphi site of the oracle, games in ancient Greece, listen to music performed by the Locrian Ensemble, masterpieces of [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=838&subd=theoryofmusic&ref=&feed=1" />]]></description>
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		<title>Delphi Greece 60s music video</title>
		<link>http://theoryofmusic.wordpress.com/2009/08/29/delphi-greece-60s-music-video/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/08/29/delphi-greece-60s-music-video/#comments</comments>
		<pubDate>Sat, 29 Aug 2009 15:31:56 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[Barry Mitchell music videos]]></category>
		<category><![CDATA[music by Barry Mitchell]]></category>
		<category><![CDATA[ancient Greek festivals]]></category>
		<category><![CDATA[Delphi site of the oracle]]></category>
		<category><![CDATA[games in ancient Greece]]></category>
		<category><![CDATA[listen to music performed by the Locrian Ensemble]]></category>
		<category><![CDATA[places you must visit in Greece]]></category>
		<category><![CDATA[sites of archaeological interest in Greece]]></category>
		<category><![CDATA[the most famous ancient oracle]]></category>
		<category><![CDATA[world heritage sites in Greece]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=842</guid>
		<description><![CDATA[Photos of the site of ancient Delphi in Greece.  Photos by Alison and Barry Mitchell.  Music by Barry Mitchell performed by the Locrian Ensemble.

Posted in Barry Mitchell music videos, music by Barry Mitchell Tagged: ancient Greek festivals, Delphi site of the oracle, games in ancient Greece, listen to music performed by the Locrian [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=842&subd=theoryofmusic&ref=&feed=1" />]]></description>
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			<media:title type="html">Barry</media:title>
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		<title>Delphi Greece music video</title>
		<link>http://theoryofmusic.wordpress.com/2009/08/29/delphi-greece-music-video/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/08/29/delphi-greece-music-video/#comments</comments>
		<pubDate>Sat, 29 Aug 2009 15:27:24 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[Barry Mitchell music videos]]></category>
		<category><![CDATA[music by Barry Mitchell]]></category>
		<category><![CDATA[ancient Greek festivals]]></category>
		<category><![CDATA[Delphi site of the oracle]]></category>
		<category><![CDATA[games in ancient Greece]]></category>
		<category><![CDATA[listen to music performed by the Locrian Ensemble]]></category>
		<category><![CDATA[places you must visit in Greece]]></category>
		<category><![CDATA[sites of archaeological interest in Greece]]></category>
		<category><![CDATA[the most famous ancient oracle]]></category>
		<category><![CDATA[world heritage sites in Greece]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=849</guid>
		<description><![CDATA[Photos of site of ancient Delphi taken in 2006.  Music by Barry Mitchell, photos by Alison and Barry Mitchell.

Posted in Barry Mitchell music videos, music by Barry Mitchell Tagged: ancient Greek festivals, Delphi site of the oracle, games in ancient Greece, listen to music performed by the Locrian Ensemble, places you must visit in [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=849&subd=theoryofmusic&ref=&feed=1" />]]></description>
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			<media:title type="html">Barry</media:title>
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		<title>Tchaikovsky Serenade for Strings, form of Waltz movement</title>
		<link>http://theoryofmusic.wordpress.com/2009/08/06/tchaikovsky-serenade-for-strings-form-of-waltz-movement/</link>
		<comments>http://theoryofmusic.wordpress.com/2009/08/06/tchaikovsky-serenade-for-strings-form-of-waltz-movement/#comments</comments>
		<pubDate>Thu, 06 Aug 2009 09:57:24 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[articles by Barry Mitchell]]></category>
		<category><![CDATA[history of Romantic music]]></category>
		<category><![CDATA[writing about music]]></category>
		<category><![CDATA[an example of a tonal scheme used by Tchaikovsky]]></category>
		<category><![CDATA[an example of classical rondo form]]></category>
		<category><![CDATA[example of romantic music for strings]]></category>
		<category><![CDATA[form in Tchaikovsky's Serenade for Strings]]></category>
		<category><![CDATA[forms used by Tchaikovsky]]></category>
		<category><![CDATA[how a waltz can be structured]]></category>
		<category><![CDATA[how to describe the form of a piece of music]]></category>
		<category><![CDATA[how to use nearly related keys]]></category>
		<category><![CDATA[neoclassicism in late 19th century music]]></category>

		<guid isPermaLink="false">http://theoryofmusic.wordpress.com/?p=1049</guid>
		<description><![CDATA[An analysis of the form of the second movement of Tchaikovsky&#8217;s Serenade for Strings Op. 48.  This is the waltz movement.




Tchaikovsky Serenade Mvt. II Waltz



Section
bar numbers
number of bars
key
comments


A1
1-20
20
G major bars 1-13
D major bars 14-20
rondo theme
theme in vln I


B
21-52
32
D major bars 21-33
G major bars 34-45
b minor bars 46-52
episode 1


A2
53-72
20
G major bars 53-65
D major bars 66-72
rondo theme
theme in [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=1049&subd=theoryofmusic&ref=&feed=1" />]]></description>
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		<title>Schubert&#8217;s Octet D 803, form of movement II</title>
		<link>http://theoryofmusic.wordpress.com/2009/08/05/schuberts-octet-d-803-form-of-movement-ii/</link>
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		<pubDate>Wed, 05 Aug 2009 21:45:23 +0000</pubDate>
		<dc:creator>Barry Mitchell</dc:creator>
				<category><![CDATA[articles by Barry Mitchell]]></category>
		<category><![CDATA[history of Romantic music]]></category>
		<category><![CDATA[sources for the study of Schubert]]></category>
		<category><![CDATA[writing about music]]></category>
		<category><![CDATA[analysis of the slow movement of Schubert's Octet]]></category>
		<category><![CDATA[development in sonata form]]></category>
		<category><![CDATA[how Schubert composed slow movements]]></category>
		<category><![CDATA[how sonata form is used in slow movements]]></category>
		<category><![CDATA[how to describe the form of a piece of music]]></category>
		<category><![CDATA[Schubert and experimental forms]]></category>
		<category><![CDATA[sonata form and key structure in Schubert]]></category>
		<category><![CDATA[sonata form in the 1820s]]></category>

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		<description><![CDATA[An analysis of the form of the second movement of Schubert&#8217;s Octet D 803.  This is the slow movement.




SCHUBERT OCTET MOVEMENT II STRUCTURE
 



Section
Bar numbers
number of bars
Theme
Key


EXPOSITION
1-24
24
first subject
B flat major (1-24)


25-44
19
transition
G flat major (25-27)
D flat major (28-31)
E flat minor (32)
D flat major (33-35)
E flat minor (36)
D flat major (37-38)
F minor (39-44)


44-70
26
second subject
F major (44-59)
D flat major [...]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=theoryofmusic.wordpress.com&blog=1928050&post=1013&subd=theoryofmusic&ref=&feed=1" />]]></description>
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