This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.
quadgram | frequency |
---|---|
w i t h | 1046 |
t i o n | 717 |
v v v v | 716 |
t h a t | 667 |
h i c h | 451 |
w h i c | 451 |
t h e r | 415 |
n t h e | 394 |
o f t h | 379 |
t h i s | 363 |
f t h e | 350 |
a t i o | 338 |
o u l d | 319 |
t h e s | 310 |
d t h e | 302 |
m u s i | 296 |
o u g h | 293 |
u s i c | 292 |
o t h e | 292 |
s a n d | 266 |
i n t h | 262 |
t h e m | 261 |
t h e p | 253 |
a n d t | 251 |
i n g t | 229 |
n d t h | 223 |
h e r e | 221 |
w o u l | 220 |
h a v e | 213 |
t h i n | 212 |
i o n a | 201 |
e t h e | 198 |
t i n g | 196 |
m e n t | 196 |
e a n d | 195 |
t o t h | 195 |
i c a l | 192 |
w i l l | 191 |
a l l y | 191 |
e a c h | 191 |
t h e i | 185 |
h a t i | 183 |
t h e c | 180 |
e d t o | 178 |
f o r m | 176 |
r o u g | 176 |
t t h e | 176 |
n i n g | 175 |
w h a t | 170 |
t h r o | 169 |
f r o m | 169 |
i n g a | 168 |
a n d s | 167 |
e d t h | 166 |
i n t o | 164 |
o n a l | 164 |
h r o u | 163 |
i o n s | 162 |
s i o n | 161 |
n g t h | 158 |
t i m e | 156 |
m u c h | 156 |
h t h e | 154 |
t h e a | 154 |
a n d i | 153 |
t h e t | 153 |
o u n d | 153 |
e n c e | 151 |
r a t i | 151 |
i n t e | 149 |
i n g s | 146 |
t u r e | 145 |
d e n t | 143 |
w h e n | 143 |
c t i o | 142 |
r t h e | 142 |
c o m p | 141 |
i g h t | 141 |
d i n g | 139 |
o n t h | 139 |
d a n d | 138 |
n a n d | 136 |
p l a y | 135 |
s t h a | 134 |
r i n g | 134 |
w o r k | 133 |
s o m e | 132 |
o r t h | 132 |
t e a c | 132 |
a l a n | 132 |
t i v e | 131 |
i o n o | 130 |
i t h the | 129 |
h i n g | 129 |
o n o f | 128 |
t a n d | 128 |
t h e n | 127 |
t h e f | 127 |
u g h t | 126 |
e n t s | 126 |
e v e r | 126 |
w o r l | 125 |
a r t i | 125 |
o r l d | 125 |
h e r o | 124 |
o g r a | 123 |
y a n d | 123 |
a n c e | 123 |
i t h i | 122 |
t h e b | 120 |
f o r t | 119 |
t h t h | 118 |
s t u d | 118 |
k i n g | 117 |
n d i n | 116 |
c e s s | 116 |
c o n t | 116 |
l e a r | 115 |
s i c a | 115 |
l i n g | 113 |
t u d e | 112 |
v e r y | 111 |
e f o r | 111 |
s e l f | 111 |
h a t t | 110 |
i t h t | 109 |
a n d a | 108 |
c o n s | 108 |
a n d c | 108 |
t h e w | 106 |
r e a l | 106 |
t h o u | 106 |
p e r i | 106 |
e m u s | 106 |
k n o w | 106 |
e d i n | 106 |
a t t h | 105 |
e n t i | 105 |
h e i r | 104 |
l i k e | 103 |
i t h a | 103 |
r e s e | 102 |
s t h e | 102 |
n t e r | 101 |
o f m y | 101 |
n g a n | 100 |
r i e n | 100 |
b e e n | 99 |
i n g o | 99 |
e c t i | 99 |
y e a r | 99 |
e t h a | 98 |
p a r c | 98 |
e o f t | 97 |
i e n c | 97 |
n d e r | 97 |
c h e r | 97 |
on the other hand | 96 |
a r t o | 96 |
u d e n | 96 |
p r o c | 95 |
b a n d | 95 |
x e r o | 94 |
e r o x | 94 |
h e a r | 93 |
y o u r | 93 |
g r a p | 93 |
d w i t | 93 |
n g i n | 93 |
r a p h | 93 |
r o c e | 93 |
w w w w | 92 |
a n d r | 92 |
e s o f | 92 |
a n d p | 92 |
s s i o | 92 |
t u a l | 91 |
of hope in the | 91 |
e a r n | 91 |
a piece of hope | 91 |
i o u s | 91 |
piece of hope in | 91 |
w e r e | 91 |
t h e y | 90 |
i h a v | 90 |
o n a n | 90 |
o c e s | 89 |
a b o u | 89 |
e a r s | 88 |
g t h e | 88 |
t h e l | 88 |
o v e r | 88 |
e i n t | 88 |
o u r s | 87 |
e x p e | 87 |
hope in the darkness | 87 |
c o m m | 87 |
a l l e | 87 |
p a r t | 87 |
o n c e | 86 |
i n g i | 86 |
t h e d | 86 |
a c h e | 86 |
a t e d | 86 |
m o r e | 86 |
c h o o | 85 |
s c h o | 85 |
s i n g | 85 |
b o u t | 85 |
o p e n | 85 |
s t a n | 84 |
a n d w | 84 |
e r i e | 83 |
e d a n | 83 |
h e r s | 83 |
h e m u | 83 |
e n d e | 83 |
l a n d | 82 |
p r e s | 82 |
g a n d | 82 |
e c o m | 82 |
i t i o | 82 |
d t h a | 82 |
e d w i | 81 |
e s t h | 81 |
m i n d | 81 |
h o u g | 81 |
a t h e | 81 |
p o r t | 80 |
t o b e | 80 |
v i n g | 80 |
a b l e | 80 |
e s a n | 80 |
h e c o | 79 |
c o u l | 79 |
h i s p | 79 |
h o o l | 79 |
in the united states | 79 |
m e t h | 79 |
t h e o | 78 |
c a l l | 78 |
e v e l | 78 |
l i f e | 78 |
n w h i | 78 |
k i n d | 77 |
i s t i | 77 |
e c o n | 77 |
a r c h | 77 |
e n t h | 77 |
r e c o | 77 |
l e c t | 76 |
y s e l | 76 |
m y s e | 76 |
x p e r | 76 |
e i n g | 76 |
w r i t | 75 |
p o e m | 75 |
a c t i | 75 |
e r i n | 75 |
r n i n | 75 |
h e p o | 74 |
s o f t | 74 |
h e p r | 74 |
n g t o | 74 |
s t r u | 74 |
t h e g | 74 |
d i n t | 74 |
and join the dance | 73 |
a t i v | 73 |
c h i n | 73 |
c o n c | 73 |
t i s t | 73 |
come and join the | 73 |
c o m e | 72 |
e n t a | 72 |
o r m a | 72 |
y i n g | 72 |
r e s s | 72 |
a n d f | 72 |
s t e r | 72 |
t e d t | 72 |
s i n t | 72 |
e s s i | 72 |
t h e e | 72 |
a s s i | 72 |
a n d m | 72 |
r t i s | 72 |
e r s o | 71 |
t h e h | 71 |
s t i c | 71 |
b e i n | 71 |
i n g m | 71 |
i h a d | 70 |
h a t w | 70 |
l l o w | 70 |
r a n d | 69 |
n d r e | 69 |
r i t i | 69 |
the new york city | 69 |
j u s t | 68 |
s e a r | 68 |
e a r c | 68 |
a n d d | 68 |
i n w h | 68 |
r e a d | 68 |
u n d e | 68 |
o t i o | 68 |
the end of the | 67 |
h e s t | 67 |
w a y s | 67 |
at the end of | 67 |
p o e t | 66 |
i n a l | 66 |
v i e w | 66 |
a n d e | 66 |
m p l e | 66 |
p p l e | 66 |
e n e r | 65 |
e r e d | 65 |
s t r a | 65 |
e r s t | 65 |
a p p l | 64 |
a l l t | 64 |
r e a t | 64 |
e v e n | 64 |
l a s s | 64 |
i n m y | 64 |
t o g r | 64 |
d f o r | 64 |
m e a n | 63 |
a c h i | 63 |
the darkness nanako sato | 63 |
in the darkness nanako | 63 |
w a r d | 63 |
g u i t | 63 |
t h a n | 63 |
c l a s | 62 |
l i t y | 62 |
m i l y | 62 |
e s t i | 62 |
s t o r | 62 |
e a r t | 62 |
e s e a | 62 |
h a n d | 62 |
e r t h | 62 |
i w a s | 62 |
i t a r | 62 |
t u r n | 62 |
e p r o | 62 |
m i n g | 62 |
i n g e | 62 |
w a s a | 62 |
c h a n | 62 |
u n i x | 61 |
s o n a | 61 |
s f o r | 61 |
n g o f | 61 |
n t i n | 61 |
e w i t | 61 |
b a c k | 61 |
i c a n | 60 |
c r e a | 60 |
f o r e | 60 |
at the same time | 60 |
s p i r | 60 |
n t e n | 60 |
v e n t | 60 |
of the music industry | 60 |
t o f t | 60 |
as well as the | 60 |
n t o t | 60 |
w e l l | 60 |
u i t a | 60 |
v a l u | 59 |
a t i n | 59 |
a n d o | 59 |
v e r s | 59 |
m o v e | 59 |
r f o r | 59 |
g h t h | 59 |
c i a l | 59 |
y t h e | 59 |
e t h i | 59 |
l o v e | 58 |
e s t o | 58 |
o n s t | 58 |
c a r l | 58 |
i n d of | 58 |
o m e t | 58 |
h e s e | 58 |
s p e c | 58 |
h e i n | 58 |
r t o g | 58 |
o f t e | 58 |
a n d b | 57 |
t e n t | 57 |
m a n y | 57 |
p e r s | 57 |
s e e m | 57 |
n e s s | 57 |
e r e s | 57 |
e r o f | 57 |
n o t i | 57 |
i n a n | 57 |
f o r a | 57 |
e w o r | 57 |
u e s t | 56 |
r i e s | 56 |
e r t o | 56 |
a l i t | 56 |
a l l o | 56 |
in proceedings of the | 56 |
a t u r | 56 |
l a y e | 56 |
t i a l | 55 |
e p o e | 55 |
m t h e | 55 |
n s t r | 55 |
w i n g | 55 |
l t h e | 55 |
o f c o | 55 |
e w a s | 55 |
i n g w | 55 |
at t h e | 54 |
v a r i | 54 |
h e n i | 54 |
t e r n | 54 |
s e n t | 54 |
c u l t | 54 |
a n d h | 54 |
it is important to | 54 |
e a l i | 54 |
s o u n | 54 |
n c e s | 54 |
m e t o | 54 |
o m t h | 53 |
i s c o | 53 |
r a c t | 53 |
i r s t | 53 |
t a t i | 53 |
l i s t | 53 |
in the context of | 53 |
t e x t | 53 |
e s s o | 53 |
a y i n | 53 |
t r a n | 53 |
r o m t | 53 |
r s o n | 53 |
e l i n | 53 |
r a n s | 52 |
l l t h | 52 |
n e e d | 52 |
l l e n | 52 |
m o s t | 52 |
f i r s | 52 |
c h i l | 52 |
o n t e | 52 |
e s s e | 52 |
e t i m | 52 |
i n s t | 52 |
m e d i | 51 |
p e r f | 51 |
a n d n | 51 |
a l t h | 51 |
t o r e | 51 |
i s t e | 51 |
the age of the | 51 |
t e n d | 51 |
v e l o | 51 |
s t a r | 51 |
n f o r | 51 |
a l u e | 51 |
v i s i | 51 |
i o n t | 51 |
c o u r | 51 |
o l o g | 51 |
the w e b | 51 |
d e r s | 51 |
w h e r | 51 |
c h a r | 51 |
w o r d | 51 |
a l i z | 51 |
h a t h | 50 |
y o w n | 50 |
r o x p | 50 |
s w i t | 50 |
e s o n | 50 |
a r n i | 50 |
p a s s | 50 |
in the age of | 50 |
n t h i | 50 |
a n g e | 50 |
x p a r | 50 |
r o o m | 50 |
a l s o | 50 |
e r f o | 50 |
h e m o | 50 |
r i n t | 50 |
o x p a | 50 |
l e s s | 50 |
h a l l | 49 |
e p a r | 49 |
e n i n | 49 |
t a i n | 49 |
r i g h | 49 |
n e v e | 49 |
o w i n | 49 |
e m e n | 49 |
l o n g | 49 |
c o n n | 49 |
o r m e | 49 |
e n t o | 49 |
e t r y | 48 |
a k i n | 48 |
l w a y | 48 |
o i n t | 48 |
y p e r | 48 |
me of my dog | 48 |
u r s e | 48 |
my life as a | 48 |
o i c e | 48 |
a r i o | 48 |
a t t e | 48 |
o m p l | 48 |
u t t h | 47 |
h e w o | 47 |
t i c a | 47 |
check all that apply | 47 |
r a t e | 47 |
n d c o | 47 |
h i g h | 47 |
c t i v | 47 |
l u e s | 47 |
e r e a | 47 |
o e t r | 46 |
life as a musician | 46 |
e s e n | 46 |
e f l e | 46 |
h e n o | 46 |
m y o w | 46 |
a l w a | 46 |
e n t e | 46 |
o w t h | 46 |
n d e n | 46 |
h i l d | 46 |
c e p t | 46 |
p r o v | 46 |
r a m e | 45 |
q u e s | 45 |
one of the most | 45 |
a n i n | 45 |
h i n k | 45 |
i n the s | 45 |
i w i l | 45 |
o p l e | 45 |
h a t is | 45 |
s i d e | 45 |
s i t i | 44 |
e t o t | 44 |
r a i n | 44 |
bound by the beauty | 44 |
e r a n | 44 |
e o p l | 44 |
o f r e | 44 |
t a k e | 44 |
e n o t | 44 |
i t i n | 44 |
i z e d | 44 |
t a r t | 44 |
i w o u | 44 |
p e o p | 44 |
c t e d | 44 |
e d b y | 44 |
m e o f | 44 |
r e f l | 44 |
n o t h | 43 |
c l e a | 43 |
g i n a | 43 |
u a l l | 43 |
h e m a | 43 |
r m a n | 43 |
in new york city | 43 |
nanako sato nanako sato | 43 |
f r a m | 43 |
t o c o | 43 |
t r a c | 43 |
o n l y | 43 |
o v e d | 43 |
d e v e | 43 |
o n t o | 43 |
the s and s | 43 |
c e o f | 43 |
n e o f | 43 |
p o s i | 42 |
o n t i | 42 |
a s t e | 42 |
e o f m | 42 |
f t h i | 42 |
o f i n | 42 |
age of the web | 42 |
n t e x | 42 |
e d u c | 42 |
i n g p | 42 |
f u l l | 42 |
e d m e | 42 |
m a n d | 42 |
u n d a | 42 |
i n g b | 42 |
r n e d | 42 |
e r a t | 42 |
b o t h | 42 |
s t i o | 42 |
in the case of | 42 |
p r o f | 42 |
a r l i | 42 |
i n g f | 42 |
h e w a | 42 |
personal computing in the | 42 |
e a l l | 41 |
p r o g | 41 |
r e n t | 41 |
l i v e | 41 |
conference on computer vision | 41 |
f e e l | 41 |
e r s a | 41 |
l d b e | 41 |
in the form of | 41 |
i t u a | 41 |
l o c k | 41 |
h i s c | 41 |
paper presented at the | 41 |
h i s s | 41 |
g t h a | 41 |
n t e d | 41 |
a p h y | 41 |
o n e o | 41 |
w a s t | 41 |
t r u c | 41 |
o r t a | 41 |
c a t i | 41 |
f i n d | 41 |
e s i n | 41 |
m b e r | 41 |
computing in the age | 41 |
r o g r | 41 |
c o l l | 41 |
e n t u | 41 |
c a r d | 41 |
e r o e | 40 |
e p e r | 40 |
e r e n | 40 |
seen and unseen classes | 40 |
r l i e | 40 |
e n t t | 40 |
i n d e | 40 |
o d u c | 40 |
a s b e | 40 |
i t h m | 40 |
t t e n | 40 |
e a t i | 40 |
r o d u | 40 |
t e r e | 40 |
p o i n | 40 |
g r o w | 40 |
t r a t | 40 |
b e c o | 40 |
e x p l | 40 |
n i n t | 40 |
p p o r | 40 |
i n g h | 40 |
n d a r | 40 |
l t h o | 40 |
l t u r | 40 |
r e s t | 40 |
l e v e | 40 |
r o e s | 40 |
n a l l | 40 |
r e t h | 40 |
h e b a | 40 |
n t h a | 40 |
u l t u | 39 |
b i l l | 39 |
reminds me of my | 39 |
u l t i | 39 |
i v e s | 39 |
h e t h | 39 |
n d e d | 39 |
p h i c | 39 |
u n d s | 39 |
y t h a | 39 |
s p r o | 39 |
s o n g | 39 |
h a r l | 39 |
the w o r | 39 |
i v e r | 39 |
a m i n | 39 |
g r o u | 39 |
h e s u | 39 |
e n s i | 39 |
i s s u | 39 |
o u s e | 39 |
r o w n | 39 |
e m i l | 39 |
t i h a | 39 |
cited on pages and | 39 |
r u c t | 39 |
at the university of | 39 |
h e a d | 39 |
h a s b | 39 |
f l e c | 39 |
j j j j | 39 |
e c o r | 39 |
l o o k | 39 |
e p r e | 39 |
b e f o | 38 |
s t e n | 38 |
o o o o | 38 |
please feel free to | 38 |
a r p a | 38 |
g e n e | 38 |
o s i t | 38 |
n i t i | 38 |
e q u e | 38 |
d m i n | 38 |
h a r d | 38 |
i l i t | 38 |
d i s c | 38 |
n t l y | 38 |
m i n e | 38 |
l a n kay | 38 |
d e e p | 38 |
h e f i | 38 |
a s t h | 38 |
e e l i | 38 |
r s t a | 38 |
r t h a | 38 |
a r a t | 38 |
n g w i | 38 |
i d e a | 38 |
s n o t | 38 |
n t o a | 38 |
f o u n | 38 |
c o r d | 38 |
e r c a | 38 |
l a y i | 38 |
s s e d | 38 |
i a l l | 38 |
p e r c | 38 |
a t i h | 38 |
d r e n | 37 |
a y e r | 37 |
a career in music | 37 |
a r r a | 37 |
i t a t | 37 |
o u n t | 37 |
h e p a | 37 |
r d i n | 37 |
d n o t | 37 |
i n e d | 37 |
b e c a | 37 |
o n s o | 37 |
a p h i | 37 |
n t o f | 37 |
l a t e | 37 |
d e d t | 37 |
h i l e | 37 |
y f o r | 37 |
g a i n | 37 |
u n t i | 37 |
r s a n | 37 |
in the early s | 37 |
to be able to | 37 |
u l d b | 37 |
small but mighty roar | 37 |
o w e r | 37 |
h e n t | 37 |
research in music education | 37 |
r s o f | 37 |
h y p e | 37 |
e t h o | 37 |
h e s o | 37 |
a t e r | 37 |
t e l y | 37 |
m a t i | 37 |
w h i l | 37 |
h a n g | 37 |
h a t c | 36 |
t i c e | 36 |
r i o u | 36 |
c i o u | 36 |
h a d t | 36 |
n d s o | 36 |
i would like to | 36 |
n c e a | 36 |
s w e r | 36 |
h e t i | 36 |
i f i c | 36 |
o m m o | 36 |
it w a s | 36 |
m e i n | 36 |
g i n g | 36 |
n a r r | 36 |
e m i n | 36 |
t t l e | 36 |
o m e s | 36 |
as t h e | 36 |
m a t e | 36 |
r o u n | 36 |
h i s t | 36 |
c e r t | 36 |
n g e r | 36 |
l l i n | 36 |
t o m y | 36 |
l i z e | 36 |
a t w e | 36 |
p e n school | 36 |
n d a n | 36 |
p e c i | 36 |
h o m e | 36 |
v e t o | 36 |
o n i n | 35 |
i s t r | 35 |
h e r a | 35 |
m m o n | 35 |
e a r l | 35 |
a m e t | 35 |
e s s a | 35 |
o u t t | 35 |
e t i c | 35 |
a r l y | 35 |
r i a n | 35 |
m u s t | 35 |
free to comment on | 35 |
f t e n | 35 |
l a t i | 35 |
c a m e | 35 |
d r e s | 35 |
t i e s | 35 |
i n the early | 35 |
to comment on your | 35 |
r t a n | 35 |
h e m e | 35 |
l l e d | 35 |
u g h a | 35 |
g r a m | 35 |
b y t h | 35 |
c e a n | 35 |
u r e s | 35 |
i n g c | 35 |
please check all that | 35 |
of a japanese garden | 35 |
t e l l | 35 |
e l i e | 35 |
i n i t | 35 |
s b e e | 35 |
g w i t | 35 |
g r a d | 35 |
i g i n | 35 |
o n s c | 34 |
p r o d | 34 |
w a s n | 34 |
m a k e | 34 |
feel free to comment | 34 |
p l e t | 34 |
h a d a | 34 |
o w l e | 34 |
a l c o | 34 |
f o r c | 34 |
r e v e | 34 |
v o i c | 34 |
of the women beats | 34 |
b l e t | 34 |
c t u r | 34 |
h e s a | 34 |
n t i a | 34 |
l e a n | 34 |
e f i n | 34 |
r e s o | 34 |
a t h a | 34 |
b e l i | 34 |
t a n t | 34 |
p o s e | 34 |
o m m u | 34 |
i c u l | 34 |
i s i o | 34 |
r i c a | 34 |
new york city beat | 34 |
o r a t | 34 |
t y o f | 34 |
m p o s | 34 |
e r a l | 34 |
l d r e | 34 |
u a l i | 34 |
h a t m | 34 |
u n i t | 34 |
n c e o | 34 |
n e r a | 34 |
o u t o | 34 |
k a n d | 34 |
t s o f | 34 |
t e r a | 34 |
s t e m | 34 |
g o o d | 34 |
c o n v | 34 |
u m e n | 34 |
n s p i | 33 |
l e d g | 33 |
e n t l | 33 |
d e r t | 33 |
c e n t | 33 |
h e r t | 33 |
o r i g | 33 |
reminiscence of a japanese | 33 |
t i c i | 33 |
n o w l | 33 |
r i g i | 33 |
d u c t | 33 |
y i n t | 33 |
w l e d | 33 |
t f o r | 33 |
l e t o | 33 |
t a b l | 33 |
d c o n | 33 |
n d t o | 33 |
l y a n | 33 |
e e n t | 33 |
m a l l | 33 |
o r d e | 33 |
u r i n | 33 |
r c h e | 33 |
e r t a | 33 |
s s u e | 33 |
e l l as | 33 |
i e v e | 33 |
n g m y | 33 |
e h a d | 33 |
t h e v | 33 |
v e r t | 33 |
o u s l | 33 |
j e c t | 33 |
r c a r | 33 |
m o t i | 33 |
h e r i | 33 |
r i v e | 33 |
o l l o | 33 |
l i t t | 32 |
e c i a | 32 |
i t t l | 32 |
e m e d | 32 |
in care of worth | 32 |
n w i t | 32 |
i t i v | 32 |
h o u s | 32 |
e h a v | 32 |
p e c t | 32 |
k e t h | 32 |
r e d i | 32 |
h e f o | 32 |
r o v i | 32 |
of worth auto parts | 32 |
i t i e | 32 |
r o f e | 32 |
g i n t | 32 |
n g s o | 32 |
r r a t | 32 |
w a n t | 32 |
care of worth auto | 32 |
t i n u | 32 |
e b a n | 32 |
e r e w | 32 |
u l l y | 32 |
r e o f | 32 |
t e n s | 32 |
i v i n | 32 |
a p p r | 32 |
the australian portfolio musician | 32 |
e d f o | 32 |
p i r i | 32 |
r e q u | 32 |
t t h a | 32 |
d p r o | 32 |
f y o u | 32 |
i m e s | 32 |
a n t i | 32 |
i n g r | 32 |
t o r y | 32 |
p a t h | 32 |
q u i r | 32 |
o f a r | 32 |
f o l l | 32 |
l i g h | 32 |
i n e s | 32 |
e t e r | 32 |
n d o f | 32 |
e e n a | 32 |
a n d l | 32 |
s c o n | 32 |
m o d e | 31 |
i s h e | 31 |
d u c a | 31 |
f e s s | 31 |
a n o t | 31 |
a i n t | 31 |
e n s e | 31 |
o c o n | 31 |
y s t e | 31 |
o m p o | 31 |
r e c t | 31 |
b r e a | 31 |
in the late s | 31 |
y o f t | 31 |
t a l k | 31 |
n t i l | 31 |
o g n i | 31 |
l o g i | 31 |
e c o u | 31 |
university of southern california | 31 |
the messenger from oz | 31 |
l a c k | 31 |
r t a i | 31 |
o u t h | 31 |
a t i c | 31 |
i n f o | 31 |
b r i a | 31 |
a m i l | 31 |
n s c i | 31 |
s f r o | 31 |
u c a t | 31 |
s y s t | 31 |
p o w e | 31 |
r d e r | 31 |
the use of the | 31 |
v e t h | 31 |
i l d r | 31 |
n c o n | 31 |
n c e p | 31 |
t e d a | 31 |
a v e a | 31 |
h a v i | 31 |
n e d t | 31 |
s o f m | 31 |
e r i c | 31 |
a t c h | 31 |
r m i n | 31 |
n a t u | 31 |
c o g n | 31 |
of the new york | 31 |
n s o f | 31 |
of the beat generation | 30 |
t e r i | 30 |
i n g l | 30 |
e q u i | 30 |
u c t i | 30 |
e d g e | 30 |
i o n i | 30 |
e s t u | 30 |
the ways in which | 30 |
d a n c | 30 |
m a r k | 30 |
p r i n | 30 |
i t y o | 30 |
e c l a | 30 |
w t h e | 30 |
s c i o | 30 |
a t e a | 30 |
t o r i | 30 |
h a t s | 30 |
a w a y | 30 |
t t e r | 30 |
the o p e | 30 |
as w e l | 30 |
o f m u | 30 |
m a r i | 30 |
a r n e | 30 |
i c i a | 30 |
s i g n | 30 |
f m u s | 30 |
s t o f | 30 |
r i t e | 30 |
s o f a | 30 |
p p r o | 30 |
f a t h | 30 |
a n b e | 30 |
y c o n | 30 |
n c e r | 30 |
r t e d | 30 |
i t h o | 30 |
w e e n | 30 |
everything reminds me of | 30 |
s s e s | 30 |
t o f m | 30 |
m e t i | 30 |
o l l e | 30 |
r a c k | 30 |
i l l i | 30 |
e r s i | 30 |
n t r o | 30 |
i t h e | 30 |
u s e d | 30 |
n t u r | 30 |
l i n e | 30 |
i m p l | 30 |
s m a l | 30 |
o f e s | 30 |
r i u m | 30 |
h a t a | 30 |
n o f t | 30 |
n y o u | 30 |
t t i n | 30 |
n a l i | 30 |
f e r e | 29 |
s e r v | 29 |
l v e s | 29 |
proceedings of the ieee | 29 |
i n s p | 29 |
l c o n | 29 |
m e r i | 29 |
author pacific philosophical quarterly | 29 |
southern california and john | 29 |
a l t o | 29 |
e l o p | 29 |
the music industry and | 29 |
a large number of | 29 |
of southern california and | 29 |
s h e d | 29 |
h e l a | 29 |
l l e c | 29 |
the way in which | 29 |
t i c s | 29 |
a s a n | 29 |
a d t o | 29 |
i t i c | 29 |
john wiley sons ltd | 29 |
t e r s | 29 |
y o u n | 29 |
t w e e | 29 |
c o n d | 29 |
n s a n | 29 |
a d i n | 29 |
s p o e | 29 |
s u p p | 29 |
i c h is | 29 |
l d i n | 29 |
s t i n | 29 |
o v e t | 29 |
o m e o | 29 |
h o u t | 29 |
h e s i | 29 |
n d s t | 29 |
t h n o | 29 |
i n t u | 29 |
r o m a | 29 |
e m a n | 29 |
at x e r | 29 |
a m e r | 29 |
i s p o | 29 |
t a l l | 29 |
r a l l | 29 |
n d m y | 29 |
h t h i | 29 |
the author pacific philosophical | 29 |
and john wiley sons | 29 |
m a n c | 29 |
f o u r | 29 |
u t o f | 29 |
california and john wiley | 29 |
o r i e | 29 |
n o r m | 29 |
r e m e | 28 |
a l l m | 28 |
i o n w | 28 |
i k e t | 28 |
f a m i | 28 |
i r e c | 28 |
o n s i | 28 |
h e c h | 28 |
c e n d | 28 |
s c r i | 28 |
l e t h | 28 |
e c t e | 28 |
w e h a | 28 |
i m p o | 28 |
new york city bohemian | 28 |
m u l t | 28 |
of research in music | 28 |
in conjunction with the | 28 |
h o w e | 28 |
l y t h | 28 |
a s n o | 28 |
i r i t | 28 |
n d s c | 28 |
e e m e | 28 |
l a c e | 28 |
o u n g | 28 |
l o g y | 28 |
c a n b | 28 |
a n e w | 28 |
e r h a | 28 |
p h e r | 28 |
p i n g | 28 |
o t h i | 28 |
o r d i | 28 |
r s t o | 28 |
h e l i | 28 |
in the s and | 28 |
o m e n | 28 |
i t y t | 28 |
o n t r | 28 |
s u r e | 28 |
m a s t | 28 |
m y f a | 28 |
a c h a | 28 |
queensland conservatorium griffith university | 28 |
n t a l | 28 |
d t o b | 28 |
l e n g | 28 |
e r s e | 28 |
e t u r | 28 |
p a r a | 28 |
f t e r | 27 |
t m e n | 27 |
i m a g | 27 |
c a n d | 27 |
g h t e | 27 |
d i f f | 27 |
i n d o | 27 |
girls who wore black | 27 |
r i t u | 27 |
m a d e | 27 |
i c h the | 27 |
the role of the | 27 |
l o w i | 27 |
n n e r | 27 |
s t i l | 27 |
the m i d | 27 |
kind of bird flies | 27 |
e d o n | 27 |
n d d e | 27 |
m e t a | 27 |
e f r o | 27 |
is one of the | 27 |
d o w n | 27 |
i v i t | 27 |
q u e n | 27 |
a g a i | 27 |
e f i r | 27 |
u s l y | 27 |
s i c i | 27 |
n d p o | 27 |
b u i l | 27 |
t e d w | 27 |
t i l l | 27 |
f o r w | 27 |
e d i a | 27 |
e s t r | 27 |
h e n e | 27 |
the statistical analysis of | 27 |
c h a l | 27 |
analysis of experimental data | 27 |
r e d t | 27 |
l l y a | 27 |
a u g h | 27 |
comment on your answer | 27 |
u r a l | 27 |
s s o f | 27 |
s s o n | 27 |
a f t e | 27 |
l y i n | 27 |
a r i n | 27 |
e l a t | 27 |
i n c o | 27 |
f i n a | 27 |
h i n the | 27 |
h e s c | 27 |
s i m p | 27 |
r o l l | 27 |
u p p o | 27 |
m i n a | 27 |
t u r a | 27 |
a r r i | 27 |
s h o w | 27 |
v e a n | 27 |
york city beat community | 27 |
r a c e | 27 |
d t o t | 27 |
e t w e | 27 |
b e t w | 27 |
e m o r | 27 |
s c e n | 27 |
l i t i | 27 |
of bird flies backward | 27 |
n k i n | 27 |
b i l i | 27 |
h e p i | 27 |
at the beginning of | 27 |
t o n e | 27 |
a n d g | 27 |
i l l b | 27 |
statistical analysis of experimental | 27 |
l i s h | 26 |
p o l i | 26 |
n t t h | 26 |
r e i n | 26 |
u l a r | 26 |
jammer pseudonym and subject | 26 |
g i c a | 26 |
in the band room | 26 |
o i n g | 26 |
i c o u | 26 |
o n s e | 26 |
c i a n | 26 |
h a t e | 26 |
r e s u | 26 |
base and novel classes | 26 |
r o l e | 26 |
n d p r | 26 |
a r t e | 26 |
a s o n | 26 |
a t e l | 26 |
s e l v | 26 |
l e o f | 26 |
a v e b | 26 |
in the music industry | 26 |
a c k t | 26 |
h e t e | 26 |
as well as a | 26 |
in contrast to the | 26 |
i k e a | 26 |
i n the late | 26 |
i c h i | 26 |
o r c e | 26 |
n the late s | 26 |
a v e r | 26 |
u l a t | 26 |
n n i n | 26 |
o m p a | 26 |
o r e a | 26 |
e l v e | 26 |
r o f t | 26 |
t e t h | 26 |
o f o u | 26 |
a v i n | 26 |
h i s m | 26 |
i n u e | 26 |
h e l p | 26 |
n e r g | 26 |
pseudonym and subject number | 26 |
as well as to | 26 |
i r e d | 26 |
i e s o | 26 |
t t h i | 26 |
n d o n | 26 |
p l a c | 26 |
n i t y | 26 |
t o t a | 26 |
o g i c | 26 |
i n o r | 26 |
o n s a | 26 |
u l d be | 26 |
m i d s | 26 |
e s t e | 25 |
o r a n | 25 |
i q u e | 25 |
l l o f | 25 |
a r t s | 25 |
a t r e | 25 |
org page info about | 25 |
t h o d | 25 |
r e v i | 25 |
t e m p | 25 |
a n s c | 25 |
i s i t | 25 |
the beginning of the | 25 |
this kind of bird | 25 |
g h t o | 25 |
i m p r | 25 |
v i v a | 25 |
g e t h | 25 |
e d m y | 25 |
u r n e | 25 |
e r e c | 25 |
t h r e | 25 |
e p l a | 25 |
l o f t | 25 |
f f e r | 25 |
r y i n | 25 |
h i n t | 25 |
page info about policies | 25 |
r e w a | 25 |
i n d i | 25 |
a s e d | 25 |
r u m e | 25 |
t e d i | 25 |
c t u a | 25 |
n d e e | 25 |
r k i n | 25 |
i s t a | 25 |
e c o g | 25 |
t i v i | 25 |
s a t i | 25 |
n u m b | 25 |
jazz education in india | 25 |
s h o u | 25 |
h e d i | 25 |
h e a t | 25 |
a c e d | 25 |
u m b e | 25 |
s k e t | 25 |
e t h r | 25 |
i s p r | 25 |
l t i m | 25 |
e s a m | 25 |
t s a n | 25 |
m y t h | 25 |
w t h a | 25 |
n the early s | 25 |
s e c o | 25 |
a p p e | 25 |
n c o u | 25 |
e t c h | 25 |
n a t i | 25 |
e g r e | 25 |
d y n a | 25 |
info about policies terms | 25 |
o m a n | 25 |
r e a s | 25 |
h a s a | 24 |
n d f o | 24 |
i n r e | 24 |
n o t a | 24 |
d i d n | 24 |
n e c t | 24 |
u r e o | 24 |
t w a s | 24 |
a r e n | 24 |
a l r e | 24 |
d y o u | 24 |
l e t e | 24 |
d o f t | 24 |
t u i t | 24 |
o l e s | 24 |
e e d e | 24 |
i t t e | 24 |
d t h i | 24 |
e m o t | 24 |
can be found in | 24 |
s u e s | 24 |
a m e a | 24 |
r i c h | 24 |
m s e l | 24 |
h i s w | 24 |
n t u i | 24 |
e y o u | 24 |
n o w t | 24 |
i v e d | 24 |
e d i t | 24 |
i n k i | 24 |
n i g h | 24 |
v e m e | 24 |
s a m e | 24 |
o c u s | 24 |
r a d i | 24 |
k e t c | 24 |
h e a c | 24 |
a t i s | 24 |
e r e i | 24 |
journal of music education | 24 |
n n e c | 24 |
a n t e | 24 |
k e e p | 24 |
m a n i | 24 |
on computer vision and | 24 |
t y a n | 24 |
n g e s | 24 |
s t o t | 24 |
of the beat community | 24 |
n m i n | 24 |
i t h its | 24 |
y t h i | 24 |
r a m a | 24 |
a m a r | 24 |
b r a c | 24 |
n t i c | 24 |
a v e l | 24 |
e r e t | 24 |
u d i e | 24 |
o f h e | 24 |
as part of the | 24 |
r o c k | 24 |
the fact that the | 24 |
vision and pattern recognition | 24 |
h e n a | 24 |
u r e a | 24 |
i e n t | 24 |
o r d s | 24 |
d w o r | 24 |
e a d i | 24 |
t e c h | 24 |
of computer music analysis | 24 |
u c h of | 24 |
h e c a | 24 |
o n n e | 24 |
ieee conference on computer | 24 |
a r i u | 24 |
a t o r | 24 |
computer vision and pattern | 24 |
in addition to the | 24 |
n o r d | 24 |
d i t i | 24 |
q coded commentary on | 24 |
e i n s | 24 |
r t i c | 24 |
u i t i | 24 |
t h e u | 24 |
o n d e | 23 |
a t i w | 23 |
a l o n | 23 |
of two worlds united | 23 |
h o u r | 23 |
i n c l | 23 |
n a l c | 23 |
u c c e | 23 |
m p r o | 23 |
r s i n | 23 |
o m i n | 23 |
and the use of | 23 |
t r u m | 23 |
d t o a | 23 |
n d w h | 23 |
t y o u | 23 |
n e x t | 23 |
c e t h | 23 |
the u n i | 23 |
p l a i | 23 |
r e l a | 23 |
in film and history | 23 |
r t o f | 23 |
t r i c | 23 |
e a d y | 23 |
h e e n | 23 |
i n c e | 23 |
c i p a | 23 |
n i s t | 23 |
i v a r | 23 |
r i o n | 23 |
the beat literary community | 23 |
a r d t | 23 |
art music in the | 23 |
o m p u | 23 |
f i n i | 23 |
n t o s | 23 |
i e s t | 23 |
i n i s | 23 |
c h e d | 23 |
o n i c | 23 |
s u c c | 23 |
r w a r | 23 |
e s c r | 23 |
n c e t | 23 |
h e g r | 23 |
t o f i | 23 |
r o m m | 23 |
a m u s | 23 |
n a t e | 23 |
h o d o | 23 |
training samples per class | 23 |
t o o k | 23 |
u m a n | 23 |
t o a n | 23 |
f a r t | 23 |
d i s t | 23 |
m p o r | 23 |
g f o r | 23 |
s e a n | 23 |
research in film and | 23 |
at the time of | 23 |
l i e v | 23 |
i e n d | 23 |
composers of art music | 23 |
r e a n | 23 |
l a i n | 23 |
d t h r | 23 |
a y e d | 23 |
e c h a | 23 |
n d t e | 23 |
c o u n | 23 |
e a v i | 23 |
of arpeggio etude no | 23 |
f h e r | 23 |
h e d e | 23 |
c u r r | 23 |
o f h i | 23 |
n g s t | 23 |
conspiracy theory nanako sato | 23 |
u i l d | 23 |
in this paragraph are | 23 |
o n e w | 23 |
c i n g | 23 |
journal of research in | 23 |
o r w a | 23 |
e e x p | 23 |
b l u e | 23 |
of the messenger from | 23 |
g n i t | 23 |
s e t h | 23 |
s u a l | 23 |
i v e a | 23 |
t o m a | 23 |
o b e a | 23 |
u g h m | 23 |
g h t t | 23 |
n d w o | 23 |
n c l u | 22 |
d e a s | 22 |
n m e n | 22 |
c t o r | 22 |
s u l t | 22 |
o n v e | 22 |
d i r e | 22 |
n t i m | 22 |
l l e r | 22 |
a v e n | 22 |
p a n d | 22 |
e x p r | 22 |
n c e d | 22 |
s o c i | 22 |
a k e s | 22 |
h e t r | 22 |
it w i l | 22 |
quotations in this paragraph | 22 |
a t e t | 22 |
o u r n | 22 |
d m y s | 22 |
i c p r | 22 |
i n m i | 22 |
e n d s | 22 |
within the context of | 22 |
through the use of | 22 |
e r o i | 22 |
v e i n | 22 |
n c o m | 22 |
b u t i | 22 |
o f y o | 22 |
n g f o | 22 |
a n d v | 22 |
d r o p | 22 |
o l l a | 22 |
e c a u | 22 |
m f o r | 22 |
i n d m | 22 |
a r s o | 22 |
r e d a | 22 |
d o u t | 22 |
i n d t | 22 |
g e r s | 22 |
h u m a | 22 |
in the jam session | 22 |
s t r o | 22 |
i t y a | 22 |
h i t e | 22 |
i c f o | 22 |
d o l o | 22 |
the development of a | 22 |
h o s e | 22 |
d e e d | 22 |
o r k i | 22 |
b l a c | 22 |
e l e a | 22 |
of art music in | 22 |
f o c u | 22 |
m e d t | 22 |
e s u l | 22 |
e m o v | 22 |
e s t a | 22 |
r i t y | 22 |
a s a l | 22 |
r f u l | 22 |
r e t u | 22 |
to w h i | 22 |
v e b e | 22 |
w i n d | 22 |
h e r w | 22 |
e w h e | 22 |
o t o f | 22 |
s t r e | 22 |
o d o l | 22 |
w h i t | 22 |
e r g y | 22 |
c r i t | 22 |
e o n e | 21 |
y o u w | 21 |
n d m o | 21 |
e s s t | 21 |
o u t a | 21 |
e a n i | 21 |
the bad and the | 21 |
is based on the | 21 |
e c h n | 21 |
e s c h | 21 |
i o n f | 21 |
a u s e | 21 |
o w e d | 21 |
i s t o | 21 |
d a l l | 21 |
l l b e | 21 |
h e d a | 21 |
r e n d | 21 |
l o w e | 21 |
d s o f | 21 |
i e c e | 21 |
f o r s | 21 |
m m e r | 21 |
for the sake of | 21 |
m y p r | 21 |
a p e r | 21 |
i n t r | 21 |
m m u n | 21 |
p i e c | 21 |
y o u are | 21 |
o f p o | 21 |
a d b e | 21 |
r o v e | 21 |
d h a v | 21 |
m p u t | 21 |
x p l a | 21 |
d m e t | 21 |
a r t h | 21 |
i n s i | 21 |
m a r c | 21 |
e o f a | 21 |
p a r e | 21 |
m u n i | 21 |
o p l a | 21 |
when i was a | 21 |
a r g e | 21 |
u e t o | 21 |
e t e a | 21 |
s u c h | 21 |
d i n a | 21 |
u a t e | 21 |
s w a s | 21 |
t i m a | 21 |
x p r e | 21 |
c a u s | 21 |
n q u i | 21 |
s i v e | 21 |
o n g s | 21 |
d r a m | 21 |
b o u n | 21 |
e r f u | 21 |
i d e d | 21 |
t i n t | 21 |
a w o r | 21 |
a l i n | 21 |
i t e r | 21 |
e w e r | 21 |
a n a n | 21 |
i l l n | 21 |
i t i a | 21 |
s c o u | 21 |
h a d b | 21 |
s e o f | 21 |
p e n i | 21 |
t e s t | 21 |
o f u n | 21 |
z i n g | 21 |
a u t o | 21 |
s s a n | 21 |
o e m s | 21 |
e n g e | 21 |
e w i l | 21 |
s e d t | 21 |
e d e d | 21 |
l y r e | 21 |
z a t i | 21 |
u s i n | 21 |
c a r t | 21 |
e t h n | 21 |
t s t o | 21 |
a wide variety of | 21 |
d r e a | 21 |
bad and the ugly | 21 |
s t r i | 21 |
a l m o | 21 |
i z a t | 21 |
r e a c | 21 |
the k i n | 21 |
p i c t | 21 |
in computer music analysis | 21 |
o l u t | 21 |
at a p p | 21 |
a s i n | 21 |
y o u t | 21 |
e w t h | 21 |
a s s u | 21 |
n g c o | 21 |
e a t r | 20 |
r t o o | 20 |
mf mf mf mf | 20 |
university of california press | 20 |
e s o u | 20 |
e h a s | 20 |
c l u d | 20 |
a c t o | 20 |
s s i n | 20 |
s t h r | 20 |
within the beat community | 20 |
e g r a | 20 |
i was able to | 20 |
the late s and | 20 |
l i m i | 20 |
c a l p | 20 |
all use subject to | 20 |
l e n c | 20 |
jstor terms and conditions | 20 |
a i n l | 20 |
h o l e | 20 |
a i n e | 20 |
o b s e | 20 |
a l l s | 20 |
e w o u | 20 |
u s t a | 20 |
the use of a | 20 |
l i v i | 20 |
d e c i | 20 |
university of chicago press | 20 |
i c t u | 20 |
c f o r | 20 |
h e g o | 20 |
w e v e | 20 |
a s s e | 20 |
t o d e | 20 |
c o v e | 20 |
t a r i | 20 |
e s w i | 20 |
f r i e | 20 |
e n r e | 20 |
n d s i | 20 |
e a s t | 20 |
i f i e | 20 |
mental representation of music | 20 |
i n i n | 20 |
the short story cycle | 20 |
r e s p | 20 |
n t t o | 20 |
r i o r | 20 |
o f l i | 20 |
c p r o | 20 |
n s t a | 20 |
m y l i | 20 |
c a r r | 20 |
is important to note | 20 |
to do w i | 20 |
t w i t | 20 |
h i s i | 20 |
e h o w | 20 |
m i n i | 20 |
m b l e | 20 |
t o l o | 20 |
c r e d | 20 |
the rest of the | 20 |
d v e n | 20 |
k e d t | 20 |
terms and conditions http | 20 |
g i da l | 20 |
t o f a | 20 |
do w i t | 20 |
m a g e | 20 |
a small number of | 20 |
i n terms of | 20 |
t h m y | 20 |
pm all use subject | 20 |
b r a i | 20 |
s y o u | 20 |
this paragraph are from | 20 |
h o u l | 20 |
o w e v | 20 |
n o w i | 20 |
e e p e | 20 |
a d e m | 20 |
n d n e | 20 |
in light of the | 20 |
o n m y | 20 |
o u r a | 20 |
i n u x | 20 |
a c i n | 20 |
s i t y | 20 |
h a p p | 20 |
i n q u | 20 |
e g i n | 20 |
answered question skipped question | 20 |
use subject to jstor | 20 |
t y t o | 20 |
f f f f | 20 |
e r m i | 20 |
as a means to | 20 |
a l o t | 20 |
e n t r | 20 |
save alert research feed | 20 |
u c h more | 20 |
a n d y | 20 |
r c g i | 20 |
e r v e | 20 |
v e d t | 20 |
e e n d | 20 |
a r c g | 20 |
e c a m | 20 |
i c a t | 20 |
to jstor terms and | 20 |
l i n u | 20 |
o r m o | 20 |
f i c a | 20 |
c a l m | 20 |
n a n c | 20 |
e a u t | 20 |
v i t y | 20 |
a d v e | 20 |
this content downloaded from | 20 |
n d o w | 20 |
b e g i | 20 |
f a l l | 20 |
i v e t | 20 |
subject to jstor terms | 20 |
n a l a | 20 |
a l l i | 20 |
o n w i | 20 |
t e r m | 20 |
i n t i | 20 |
f c o n | 20 |
a r e a | 20 |
r e n c | 20 |
e a c t | 20 |
s p o n | 20 |
c g i da | 20 |
h a t it | 20 |
b l e s | 20 |
a c o m | 20 |
h n o g | 19 |
i f f e | 19 |
n t s t | 19 |
s o f s | 19 |
l u d e | 19 |
s t o p | 19 |
e h e r | 19 |
u p e r | 19 |
d f r o | 19 |
e b e e | 19 |
as a means of | 19 |
a c c e | 19 |
n d m e | 19 |
in terms of the | 19 |
i c h e | 19 |
i a t e | 19 |
l n o t | 19 |
t o r s | 19 |
a p h o | 19 |
l o t o | 19 |
l a r g | 19 |
o h a v | 19 |
t r e a | 19 |
v e r b | 19 |
d b y t | 19 |
m o v i | 19 |
o a c h | 19 |
t o i n | 19 |
r o s e | 19 |
n g m e | 19 |
e r n e | 19 |
i n e t | 19 |
l y c o | 19 |
w o n d | 19 |
a r i e | 19 |
h e f a | 19 |
r e m o | 19 |
d i t a | 19 |
in the face of | 19 |
h i s e | 19 |
h e b o | 19 |
despite the fact that | 19 |
a b i l | 19 |
o t a l | 19 |
r e a m | 19 |
f i n e | 19 |
t a p h | 19 |
d a r t | 19 |
to be part of | 19 |
york city bohemian community | 19 |
i v e p | 19 |
s w o r | 19 |
j o h n | 19 |
d b e e | 19 |
h e h i | 19 |
o r e c | 19 |
v e a l | 19 |
e a t e | 19 |
s h i n | 19 |
o t h a | 19 |
n t r a | 19 |
n i q u | 19 |
a v i e | 19 |
a wide range of | 19 |
c h e s | 19 |
both seen and unseen | 19 |
a v e t | 19 |
l r e a | 19 |
h i l l | 19 |
i b l e | 19 |
e r i o | 19 |
first specific research question | 19 |
e r y o | 19 |
r t i n | 19 |
e l l e | 19 |
n e t h | 19 |
i a l s | 19 |
a d u a | 19 |
b l o c | 19 |
p h o n | 19 |
c k i n | 19 |
mp f mp f | 19 |
d c o m | 19 |
s u p e | 19 |
n o g r | 19 |
o u r t | 19 |
a t i m | 19 |
l o s e | 19 |
s o n e | 19 |
y l i f | 19 |
e m p t | 19 |
e a s e | 19 |
n l y t | 19 |
h i s a | 19 |
o t e n | 19 |
important to note that | 19 |
i k n o | 19 |
r a g e | 19 |
d e r i | 19 |
e n e w | 19 |
h e b l | 19 |
s a i d | 19 |
t o g e | 19 |
i n l y | 19 |
e r e is | 19 |
d d r e | 19 |
a d m i | 19 |
n g s a | 19 |
m y d a | 19 |
s s t h | 19 |
r m a t | 19 |
u l d n | 19 |
i was a boy | 19 |
of the ieee conference | 19 |
p r o b | 19 |
m a g i | 19 |
s h o r | 19 |
l e a d | 19 |
the ieee conference on | 19 |
n s c e | 19 |
p o t e | 19 |
u l d s | 19 |
as a result of | 19 |
e n c o | 19 |
e m b r | 19 |
music in the u | 19 |
n o u r | 19 |
the development of the | 19 |
w a s s | 18 |
e c a n | 18 |
h y o u | 18 |
so m u c | 18 |
a n s w | 18 |
n g l i | 18 |
o p e r | 18 |
use of the term | 18 |
a n a d | 18 |
the context of the | 18 |
c a p e | 18 |
n a n a | 18 |
t o a l | 18 |
e d o u | 18 |
g o f t | 18 |
l e d t | 18 |
o a r d | 18 |
i t e d | 18 |
i z i n | 18 |
h e h o | 18 |
s i c f | 18 |
t o m e | 18 |
r h a p | 18 |
p i r e | 18 |
i l l e | 18 |
s i l e | 18 |
t o s u | 18 |
m y s t | 18 |
e w i n | 18 |
a n d u | 18 |
c k a n | 18 |
d s t o | 18 |
l l n o | 18 |
e e d t | 18 |
o r t o | 18 |
n a m i | 18 |
t r o l | 18 |
v e r e | 18 |
a r d a | 18 |
a c c o | 18 |
i l e n | 18 |
n e x p | 18 |
representation of music notation | 18 |
t y p e | 18 |
o s t o | 18 |
s t i m | 18 |
e x a m | 18 |
s h i p | 18 |
e a t h | 18 |
s t a i | 18 |
p u l l | 18 |
t e r p | 18 |
by the end of | 18 |
u t i o | 18 |
s o n t | 18 |
s o f c | 18 |
v a n c | 18 |
n d y o | 18 |
both base and novel | 18 |
city of the hospital | 18 |
u n f o | 18 |
l s o f | 18 |
j a z z | 18 |
w a s c | 18 |
s e d o | 18 |
i n v i | 18 |
r a m i | 18 |
h e c r | 18 |
the value of the | 18 |
d h e r | 18 |
n d s e | 18 |
u t i n | 18 |
n t a n | 18 |
s e s s | 18 |
i r o n | 18 |
r o n g | 18 |
p r a c | 18 |
features of unseen classes | 18 |
n o t b | 18 |
e g r o | 18 |
e w h o | 18 |
f a i l | 18 |
n t s o | 18 |
s e n s | 18 |
y w i t | 18 |
d a r i | 18 |
b j e c | 18 |
o n e s | 18 |
c i r c | 18 |
end of alto solo | 18 |
t o p l | 18 |
for the first time | 18 |
r d t o | 18 |
q straight a b | 18 |
n e d a | 18 |
s o n i | 18 |
k n e w | 18 |
n s t h | 18 |
d e l i | 18 |
a l i s | 18 |
it w o u | 18 |
t r o n | 18 |
i l l s | 18 |
b s e r | 18 |
e e d s | 18 |
e p i n | 18 |
it is clear that | 18 |
n p a r | 18 |
u c h a | 18 |
a i n s | 18 |
e l l i | 18 |
y y e a | 18 |
a d d r | 18 |
t h a s | 18 |
n a l m | 18 |
e e p i | 18 |
c e t o | 18 |
the nature of the | 18 |
e o n t | 18 |
i n p a | 18 |
e t a p | 18 |
development of female subjectivity | 18 |
e r f r | 18 |
r s t h | 18 |
n o t e | 18 |
d s c a | 18 |
b o a r | 18 |
a r t m | 18 |
u r r e | 18 |
o s i n | 18 |
r i t t | 18 |
and w h i | 18 |
c c e s | 18 |
i c k e | 18 |
q u a l | 18 |
d e s i | 18 |
u n t e | 18 |
k t h e | 18 |
t i r e | 18 |
g i n n | 18 |
w wn w w | 18 |
i m e w | 18 |
y m u s | 18 |
a n a r | 18 |
d t o r | 18 |
s c a p | 18 |
w i d e | 18 |
a l i f | 18 |
n i c a | 18 |
r m e d | 18 |
t r a i | 18 |
u n c o | 18 |
o o k s | 18 |
r e h e | 18 |
h e c l | 18 |
i d e s | 17 |
s o u l | 17 |
t a k i | 17 |
b e r o | 17 |
s p r i | 17 |
a s u r | 17 |
c u l a | 17 |
e n v i | 17 |
e r b e | 17 |
a m a t | 17 |
g o l d | 17 |
p p p p | 17 |
d s a n | 17 |
c k t o | 17 |
h i s f | 17 |
e m s e | 17 |
a c h s | 17 |
n e w t | 17 |
o l i t | 17 |
d p l a | 17 |
p p e d | 17 |
t r a d | 17 |
p e r h | 17 |
on the basis of | 17 |
e d u p | 17 |
s o u t | 17 |
g p e o | 17 |
c e d t | 17 |
u e n t | 17 |
the work of the | 17 |
u n i v | 17 |
e s u n | 17 |
m e f o | 17 |
strongly disagree disagree unsure | 17 |
a n t a | 17 |
s c r e | 17 |
o n m e | 17 |
o r m y | 17 |
a japanese garden nanako | 17 |
e a r a | 17 |
h e w i | 17 |
e m e t | 17 |
h e o r | 17 |
of basic musical structures | 17 |
t o s h | 17 |
g a l l | 17 |
s o f r | 17 |
r r i v | 17 |
n c r e | 17 |
t e v e | 17 |
cognition of basic musical | 17 |
h e u n | 17 |
w h o l | 17 |
h e r m | 17 |
a b l y | 17 |
r a d e | 17 |
n d h a | 17 |
i n g g | 17 |
t i c o | 17 |
t e r o | 17 |
e n d o | 17 |
n d w i | 17 |
u a t i | 17 |
w w wn w | 17 |
i n a t | 17 |
o r n i | 17 |
d e s t | 17 |
the majority of the | 17 |
review of former work | 17 |
n s i o | 17 |
i t u d | 17 |
h a t p | 17 |
c e s o | 17 |
m e e t | 17 |
u g h i | 17 |
it is difficult to | 17 |
r a d u | 17 |
g h t s | 17 |
n d a l | 17 |
s t t h | 17 |
u r t h | 17 |
n a l s | 17 |
n i t e | 17 |
to the use of | 17 |
in the work of | 17 |
n a l p | 17 |
n t i t | 17 |
n e r o | 17 |
d u a t | 17 |
o f a l | 17 |
state of the art | 17 |
a p h e | 17 |
u i r e | 17 |
of the interracial mother | 17 |
y f a t | 17 |
l a n c | 17 |
d e t h | 17 |
i v e l | 17 |
disagree disagree unsure agree | 17 |
of the w e | 17 |
u r e d | 17 |
e v a l | 17 |
c h t h | 17 |
r y t h | 17 |
h e l e | 17 |
y p r o | 17 |
y g r o | 17 |
r o t h | 17 |
w v glo hie | 17 |
o r k e | 17 |
t o e x | 17 |
w e e k | 17 |
e o f c | 17 |
r o u p | 17 |
e m o s | 17 |
r e a k | 17 |
n i v e | 17 |
a m e s | 17 |
n r e s | 17 |
e r n a | 17 |
s i c t | 17 |
disagree unsure agree strongly | 17 |
s t e d | 17 |
o g e t | 17 |
is t h e | 17 |
l p r o | 17 |
s l o w | 17 |
u l d h | 17 |
e s s f | 17 |
e y e a | 17 |
r w i n | 17 |
e i n f | 17 |
v i d e | 17 |
o r e t | 17 |
r t m e | 17 |
r e g r | 17 |
a l p r | 17 |
e h e a | 17 |
d s i n | 17 |
t c o n | 17 |
a p r o | 17 |
f i e d | 17 |
t o a p | 17 |
p r o p | 17 |
like to flirt with | 17 |
the importance of the | 17 |
n t r i | 17 |
in the middle of | 17 |
s e a v | 17 |
l f o r | 17 |
moderato straight a b | 17 |
wn w w w | 17 |
the beat community and | 17 |
e d i s | 17 |
u r r i | 17 |
n s w e | 17 |
o d e l | 17 |
i n a p | 17 |
a r d s | 17 |
i t h w | 17 |
l d h a | 17 |
a n c o | 17 |
e s p o | 17 |
h a p s | 17 |
b u t t | 17 |
to the fact that | 17 |
p o s t | 17 |
n d b e | 17 |
x p l o | 17 |
s r o o | 17 |
e a s o | 17 |
japanese garden nanako sato | 17 |
a t e s | 17 |
t e r t | 17 |
o u r m | 17 |
h e m s | 17 |
e x t e | 17 |
h e s p | 17 |
i c h a | 17 |
o f a n | 17 |
r y a n | 17 |
g o i n | 17 |
class t o p | 17 |
a n t h | 17 |
o v e m | 17 |
d u c e | 17 |
women writers of the | 17 |
u b l i | 17 |
the v i v | 17 |
c t i c | 17 |
unsure agree strongly agree | 17 |
a n n e | 17 |
e v i e | 17 |
n d n o | 17 |
m b r a | 17 |
d o n t | 17 |
n s t o | 17 |
o n e d | 16 |
m o m e | 16 |
r u s t | 16 |
c e i v | 16 |
as part of a | 16 |
in the development of | 16 |
n d e m | 16 |
g r e e | 16 |
n d c l | 16 |
o n e t | 16 |
m e s s | 16 |
s c o m | 16 |
agree strongly agree total | 16 |
l y t o | 16 |
o w n t | 16 |
a d t h | 16 |
a v e s | 16 |
the competition account of | 16 |
a v o r | 16 |
d i n m | 16 |
a n y o | 16 |
o v i d | 16 |
e n y o | 16 |
p r o a | 16 |
o c i a | 16 |
g p r o | 16 |
a s k e | 16 |
s c a n | 16 |
p h o t | 16 |
o f p e | 16 |
h e b e | 16 |
e l o f | 16 |
c a l s | 16 |
w a l k | 16 |
i c s t | 16 |
o f c a | 16 |
s o l o | 16 |
r e p r | 16 |
s m u s | 16 |
n g l e | 16 |
response strongly disagree disagree | 16 |
n g p r | 16 |
e r o o | 16 |
s o l u | 16 |
l l m y | 16 |
e s u p | 16 |
of the professional musician | 16 |
n t h r | 16 |
g h e r | 16 |
e t o a | 16 |
a n d so | 16 |
l t h a | 16 |
c o m i | 16 |
t r y i | 16 |
c k t h | 16 |
n t o r | 16 |
most of the time | 16 |
i s m a | 16 |
total score for this | 16 |
e s h o | 16 |
it is interesting to | 16 |
o u t m | 16 |
the beat literary tradition | 16 |
l e a s | 16 |
m i s s | 16 |
score for this part | 16 |
h o t o | 16 |
i m a t | 16 |
t o m o | 16 |
p l e a | 16 |
r e m i | 16 |
i d e n | 16 |
h e e x | 16 |
r s e l | 16 |
t p r o | 16 |
u s t r | 16 |
s h e a | 16 |
o n f o | 16 |
w a n d | 16 |
u n c t | 16 |
d t o m | 16 |
i e d t | 16 |
l i z a | 16 |