This is a list of all the questions and their associated study carrel identifiers. One can learn a lot of the "aboutness" of a text simply by reading the questions.
| identifier | question |
|---|---|
| work_7cgwg2vh6fdkdmgm2mqp5ykvji | It may be that trebles with modes marginally above the standard mode frequencies Designing a guitar ftimil?, Fig. |
| work_45wy3fczjvc5fj53ll2knwbjv4 | Homer, Gregory, and Bill Evans? work_45wy3fczjvc5fj53ll2knwbjv4 Guitar diagram for A- minor 7 add 9 A m in? work_cagg2iehrvacpijnsx55uocaje What pops into your head before you try to fall asleep? work_cagg2iehrvacpijnsx55uocaje Where''s my life?!'' work_qauxvqzy35eszi54ysadvjqyjq Is human information processing conscious? work_qauxvqzy35eszi54ysadvjqyjq What about music? work_snruknwrzbaupasn7skiaqlh4i How and when does an image become a document? work_snruknwrzbaupasn7skiaqlh4i What happens when the avant- garde appropriates its affective properties along with its images? work_snruknwrzbaupasn7skiaqlh4i What happens when the avant- garde cozies up to the mainstream cinema? work_snruknwrzbaupasn7skiaqlh4i Without the cinema, though, would we still be able to see them? work_dqbaol2l6nfrlmygths4vqk47m All we like sheep? work_dqbaol2l6nfrlmygths4vqk47m Bargainin ’ for salvation: Bob Dylan, a Zen master? work_dqbaol2l6nfrlmygths4vqk47m What is the future of the music industry? work_dqbaol2l6nfrlmygths4vqk47m What would Keith Richards do? work_dqbaol2l6nfrlmygths4vqk47m What ’s that sound? work_hcnsckvh2bfjdp7sjhdkehu5na Could one scale be used for all instruments, or should different scales be developed using some, but not all, common items( Horowitz, 1994)? work_hcnsckvh2bfjdp7sjhdkehu5na How does adjudicator training affect reliability? work_hcnsckvh2bfjdp7sjhdkehu5na How reliable is the WJIES when used by a larger panel of experienced adjudicators? work_hcnsckvh2bfjdp7sjhdkehu5na If reliable and valid instrumental jazz improvi- sation measures presently exist, is it truly necessary to construct additional rating scales? work_jeaea5yzlnbyvnymnnngmzvjti Are there kinds of concepts? work_jeaea5yzlnbyvnymnnngmzvjti Does the induced clustering of the exemplars and the features take the form of a partition or is it an overlapping clustering? work_jeaea5yzlnbyvnymnnngmzvjti Is the number of exemplar and feature clusters fixed throughout the esti- mation procedure or is it dynamically updated? work_jeaea5yzlnbyvnymnnngmzvjti Natural categories: Well- defined or fuzzy sets? work_jeaea5yzlnbyvnymnnngmzvjti The models differ in many respects, however: Are the models deterministic or stochastic? work_5u3r7cajqbbivoevkhhea6ncgy But are all of them equally important for music analysis and interpretation? work_5u3r7cajqbbivoevkhhea6ncgy JAAH Dataset 3d degree Includes diminished 5th? work_5u3r7cajqbbivoevkhhea6ncgy Major Minor Major chord Dominant 7thchord Yes Minor chord Diminishedchord Halfdiminished 7th chord Includes minor 7th? work_5u3r7cajqbbivoevkhhea6ncgy No NoIncludes minor 7th? work_5u3r7cajqbbivoevkhhea6ncgy There ’s a good progress for both datasets, but is the task close to being completely solved? work_53x2t22auffgxhyvfxvcwrttgu 39 D. Coplan,''The Urbanisation of African Music: Some Theoretical Observations'', Popular Music, 2[ issue number? work_53x2t22auffgxhyvfxvcwrttgu 7 Zambia? work_53x2t22auffgxhyvfxvcwrttgu Cultural brokerage was something that they did – or were supposed to do – but does that mean they were cultural brokers? work_53x2t22auffgxhyvfxvcwrttgu What for UNIP was a prerequisite for national unity, the broadcasters saw as endangering the liberal, democratic? work_liud7tkplbabjku3d6qh7i4fnm Once you ’re doing the thing that you believe in, why not do other gigs and make money out of it and have a more comfortable lifestyle? work_7shefhbpyvf7pabtdlj52nvgaa E D I T O R I A L In July, I participated in a two- day meeting dubbed “ Restoring or Renaturing? work_7shefhbpyvf7pabtdlj52nvgaa So, what am I doing? work_7shefhbpyvf7pabtdlj52nvgaa So, why did we avoid this discussion at the workshop? work_7shefhbpyvf7pabtdlj52nvgaa • Can rewilding be a legitimate goal in Europe, or is this a Holy Grail better pursued in the New World? work_7shefhbpyvf7pabtdlj52nvgaa • How can restoration history improve our current efforts to restore? work_7shefhbpyvf7pabtdlj52nvgaa • What can the historical record tell us about the nature of degradation? work_7shefhbpyvf7pabtdlj52nvgaa • What historical assumptions do we hold when we set out to restore, and what are the political and social implications? work_kjij7pfoonfqzc3h2zbgjvbfpq ( Akata et al., 2015a), DEVISE( Frome et al., 2013), SJE( Akata et al., 2015c), ESZSL(?) work_kjij7pfoonfqzc3h2zbgjvbfpq ? Socher et al., 2013) the search space includes all the class embeddings both at training time and at test time. work_kjij7pfoonfqzc3h2zbgjvbfpq Are we ready for autonomous driving? work_kjij7pfoonfqzc3h2zbgjvbfpq Finally, the standard label propagation(?) work_kjij7pfoonfqzc3h2zbgjvbfpq In addition to the classical regularization techniques, how can we encourage the models to share knowledge across related tasks? work_kjij7pfoonfqzc3h2zbgjvbfpq Our work is also inspired by?. work_kjij7pfoonfqzc3h2zbgjvbfpq Quo vadis, action recognition? work_kjij7pfoonfqzc3h2zbgjvbfpq What principles make the representation generalize better to novel tasks? work_4zym37jx4jfhzm2c5o7gcjfgju What''s the point?" |
| work_4zym37jx4jfhzm2c5o7gcjfgju | What''s the point? |
| work_4zym37jx4jfhzm2c5o7gcjfgju | Is the goal worthwhile? |
| work_4zym37jx4jfhzm2c5o7gcjfgju | Is the rule an effective way of achieving the purported goal? |
| work_4zym37jx4jfhzm2c5o7gcjfgju | What goal is served by the following rule? |
| work_2ip4tri33vfdbfxs5spwnrl2ji | 3.1 What is Complexity? |
| work_2ip4tri33vfdbfxs5spwnrl2ji | 7 2 Working Thesis and Procedure 8 3 Music Complexity as a Semantic Descriptor 10 3.1 What is Complexity? |
| work_2ip4tri33vfdbfxs5spwnrl2ji | But how can we arrive there? |
| work_2ip4tri33vfdbfxs5spwnrl2ji | How can musical preference be modified? |
| work_2ip4tri33vfdbfxs5spwnrl2ji | How do we identify the aspects of music that make the formulation of the overall behaviour difficult? |
| work_2ip4tri33vfdbfxs5spwnrl2ji | What are the atomic components we should consider in this context? |
| work_2ip4tri33vfdbfxs5spwnrl2ji | What is complexity? |
| work_2ip4tri33vfdbfxs5spwnrl2ji | Which are useful semantic descriptors to be used? |
| work_2ip4tri33vfdbfxs5spwnrl2ji | Which one should be rated more complex? |
| work_2ip4tri33vfdbfxs5spwnrl2ji | Why should musical complexity descriptors be particularly interesting for the normal music consumer? |
| work_l6yr6hunf5atnl3tqjan3dvy64 | Do you auralize? |
| work_l6yr6hunf5atnl3tqjan3dvy64 | How does it develop? |
| work_l6yr6hunf5atnl3tqjan3dvy64 | If so, what is the nature of these images triggered during sight reading? |
| work_l6yr6hunf5atnl3tqjan3dvy64 | In addition, there were five mathe- matical number line completion exercises( e.g., 22, 27, 25, 30,?) |
| work_l6yr6hunf5atnl3tqjan3dvy64 | Is it based on auditory, phonatory, or manual motor resources? |
| work_l6yr6hunf5atnl3tqjan3dvy64 | Is it linked to expertise of music instrument, music literacy, music theory, sight reading, or absolute perfect pitch? |
| work_l6yr6hunf5atnl3tqjan3dvy64 | Is the process similar to other actions involving “ inner hearing, ” such as subvocalization, inner voice, or inner speech? |
| work_l6yr6hunf5atnl3tqjan3dvy64 | Motor imagery: Perception or action? |
| work_l6yr6hunf5atnl3tqjan3dvy64 | Subvocalization in auditory- verbal im- agery: Just a form of motor imagery? |
| work_lzcrk6hbjbhdtdgn6megkb77ay | ARE REPLICAS OF NICOLÁS DEL VALLE''S PEAR- SHAPED GUITAR FROM 1850 ACOUSTICALLY MATCHING THE ORIGINAL? |
| work_lzcrk6hbjbhdtdgn6megkb77ay | ARE REPLICAS OF NICOLÁS DEL VALLE''S PEAR- SHAPED GUITAR FROM 1850 ACOUSTICALLY MATCHING THE ORIGINAL? |
| work_lzcrk6hbjbhdtdgn6megkb77ay | Are “ accurate ” metrics and material propositions enough to manufacture an acoustical twin? |
| work_xmwqoqkdhvhafjd3iibwtv4hbe | ( 33) Is the second sentence of this excerpt necessary? |
| work_xmwqoqkdhvhafjd3iibwtv4hbe | Are these hall- marks found in music that is primarily white? |
| work_xmwqoqkdhvhafjd3iibwtv4hbe | But did n''t Armstrong participate on those Oliver dates? |
| work_xmwqoqkdhvhafjd3iibwtv4hbe | But then, was n''t Freeman''s tone and attack of the heavier type as compared to Miller, or for that matter Lester Young? |
| work_xmwqoqkdhvhafjd3iibwtv4hbe | But will it teach us that blacks and whites coex- isted peacefully? |
| work_xmwqoqkdhvhafjd3iibwtv4hbe | Could n''t it be left at cit- ing the under- sung talents and achievements of Elmer Schoebel? |
| work_xmwqoqkdhvhafjd3iibwtv4hbe | Is this a rejoinder to Albert Murray''s insistence that jazz can not exist without the blues? |
| work_xmwqoqkdhvhafjd3iibwtv4hbe | Is this because the only black bands invited to record were the ones with greater novelty appeal? |
| work_xmwqoqkdhvhafjd3iibwtv4hbe | Similarly, Jimmy Dorsey''s famous"Tiger Rag"variation is found on page 141 in the transposed key of F. What purpose do these transpositions serve? |
| work_xmwqoqkdhvhafjd3iibwtv4hbe | Will the"noble lie"be righted and will those learning about jazz get a balanced viewpoint? |
| work_jjcsitw7trfdtk4gsf6unluy2u | An instrument from 1720 or 1950, dates of the creation of the pieces? |
| work_jjcsitw7trfdtk4gsf6unluy2u | Do we actually even need to hear it to understand it? |
| work_jjcsitw7trfdtk4gsf6unluy2u | Do we understand an old instrument by hearing it? |
| work_jjcsitw7trfdtk4gsf6unluy2u | From which period really is this instrument? |
| work_jjcsitw7trfdtk4gsf6unluy2u | Has a dark sounding violin a dark colour? |
| work_jjcsitw7trfdtk4gsf6unluy2u | Is it about an instrument newly made from an old template? |
| work_jjcsitw7trfdtk4gsf6unluy2u | Is it even from a precise period? |
| work_jjcsitw7trfdtk4gsf6unluy2u | Or an instrument from 1803 which has the incredible capability of being used for both music written way before and way after its fabrication? |
| work_jjcsitw7trfdtk4gsf6unluy2u | What do we hear in each concert: a violin from 1995 or 2002, date of the concerts? |
| work_jjcsitw7trfdtk4gsf6unluy2u | What is the real signification ot the manufacture year still visible on the authentic maker ’s tag inside the instrument? |
| work_jjcsitw7trfdtk4gsf6unluy2u | [ 19] Belluck P. “ A Strad? |
| work_jjcsitw7trfdtk4gsf6unluy2u | [ 3] Barclay R. The preservation and use of historic musical instruments: display case or concert hall? |
| work_ukxdgneatbhmzin4vjoqgafwhi | 10 Sub- questions How has MFT impacted my artistic practice and contributed to the communication of non- musical factors behind my music? |
| work_ukxdgneatbhmzin4vjoqgafwhi | 106 What next? |
| work_ukxdgneatbhmzin4vjoqgafwhi | Rationale: Why Alternate Tuning? |
| work_ukxdgneatbhmzin4vjoqgafwhi | Rationale: Why Alternate Tuning? |
| work_ukxdgneatbhmzin4vjoqgafwhi | To what extent does this research contribute to unlocking some of the underlying creative processes inherent to alternate tuning practices? |
| work_ukxdgneatbhmzin4vjoqgafwhi | What are the advantages and disadvantages of applying MFT to composition and performance? |
| work_ukxdgneatbhmzin4vjoqgafwhi | What kind of music would a pianist create if the organization of the 12 chromatic tones within the piano ’s octave were drastically rearranged? |
| work_ukxdgneatbhmzin4vjoqgafwhi | What melodic inventions would a saxophonist come up with if the relationships among fingerings and pitches were manipulated? |
| work_ukxdgneatbhmzin4vjoqgafwhi | When will we choose love over hatred? |
| work_lrrbivovsbbrnpvkf2jtxxpvgi | Does Golijov ’s music sound more cosmopolitan than León ’s for its explicit genre references? |
| work_lrrbivovsbbrnpvkf2jtxxpvgi | For whom does their music sound “ Latin American ” and for whom does it not? |
| work_lrrbivovsbbrnpvkf2jtxxpvgi | How can theories of global connectedness and cultural iden- tifi cation help explain their experiences, opinions, and music? |
| work_lrrbivovsbbrnpvkf2jtxxpvgi | How have iden- tity politics aff ected their self- presentation and reception among audiences and critics? |
| work_lrrbivovsbbrnpvkf2jtxxpvgi | Sounding Cosmopolitan? |
| work_lrrbivovsbbrnpvkf2jtxxpvgi | Why “ Latin American ”? |
| work_lrrbivovsbbrnpvkf2jtxxpvgi | “ Arts Participation as Cultural Capital in the United States, 1982–2002: Signs of Decline? ” Poetics 32: 169–94. |
| work_lrrbivovsbbrnpvkf2jtxxpvgi | “ But how? ” he asked, laughing. |
| work_lrrbivovsbbrnpvkf2jtxxpvgi | “ What was Multiculturalism? ” Portal Journal of Multidisci- plinary International Studies 2, no. |
| work_lrrbivovsbbrnpvkf2jtxxpvgi | “ Why Does n’t the Whole World Love Chamber Music? ” American Music 19, no. |
| work_cxoqb4uja5ctrhdxq764cqjxuq | ( Tirro 1993, p. 51) Is there such a thing as the ‘ blue note ’? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | As correctly noted by Keil: Bob Blaumer got the title wrong in his essay ‘ Black Culture Myth or Reality? ’: it should be ‘ Myth as Reality ’. |
| work_cxoqb4uja5ctrhdxq764cqjxuq | For me it ’s really hard to separate between jazz Is there such a thing as the ‘ blue note ’? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | For what is there to measure? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | I am using the notion ‘ diatonic ’ to stress the Is there such a thing as the ‘ blue note ’? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | In Is there such a thing as the ‘ blue note ’? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | Is there such a thing as the ‘ blue note ’? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | Printed in the United Kingdom Is there such a thing as the ‘ blue note ’? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | The idea of the ‘ blue note ’ as pitch Is there such a thing as the ‘ blue note? ’ This question is raised for a number of reasons. |
| work_cxoqb4uja5ctrhdxq764cqjxuq | The main question still is: What aspects of the musical material are conceived of as significant to listeners and performers? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | ‘ John Scofield – 80-åras ledende jazzgitarist? ’, Musikk Praksis, 5/86, pp. |
| work_7bbjlq5xyfaglhzelefr2g7ism | Does Helga not acquire more achievement- value in total than Liam? |
| work_7bbjlq5xyfaglhzelefr2g7ism | Does the effortful interpretation of DCV allow, problematically, for need- lessly introduced difficulties to contribute to the value of achievements? |
| work_7bbjlq5xyfaglhzelefr2g7ism | For that reason, this seems to me an objection to the competence requirement.24 Why is this the right conclusion? |
| work_7bbjlq5xyfaglhzelefr2g7ism | If( again per DV) greater difficulty contributes greater value, then pre- cisely how do we measure difficulty? |
| work_7bbjlq5xyfaglhzelefr2g7ism | In such a place where no exertion is necessary, would we not find ways to introduce challenges into our easy lives? |
| work_7bbjlq5xyfaglhzelefr2g7ism | Is difficulty enough for achievement? |
| work_7bbjlq5xyfaglhzelefr2g7ism | Is it at all clear that she would choose the easier project? |
| work_7bbjlq5xyfaglhzelefr2g7ism | Is it clear that the easier would be the prudentially better choice? |
| work_7bbjlq5xyfaglhzelefr2g7ism | Is n’t difficulty bad for us? |
| work_7bbjlq5xyfaglhzelefr2g7ism | It limits the scope of the original objection, rather than addressing it completely.23 How does the competitive interpretation compare? |
| work_7bbjlq5xyfaglhzelefr2g7ism | They were certainly both great, but was one or the other greater in virtue of Django ’s physiological limita- tions? |
| work_7bbjlq5xyfaglhzelefr2g7ism | What about when the ceteris paribus clause does hold? |
| work_7bbjlq5xyfaglhzelefr2g7ism | What counts as an achievement in art more than such contribution? |
| work_7bbjlq5xyfaglhzelefr2g7ism | What does it mean for a task to be difficult? |
| work_7bbjlq5xyfaglhzelefr2g7ism | When is a task difficult and so( per DV) its completion a valuable achieve- ment? |
| work_7bbjlq5xyfaglhzelefr2g7ism | Who are the relevant competitors to our virtuosic violinist: other( professional) violinists or other virtuosi? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 3 What is Physical Modeling Synthesis? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 4 Why Musical Physical Models on handheld mobile devices? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 54 What is moForte''s"Conduct and Express"metaphor? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 55 Can users jam together across the internet? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 56 http://en.wikipedia.org/wiki/Latency_(audio) Can users jam together across the internet? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 58 What about wireless audio out of the device? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 59 What about wireless synchronized performances( virtual orchestras)? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 60 What about playing along with your music library? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 61 Can the app listen to your music library and automatically generate charts to play? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 62 What will the social network sharing look like? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 63 Will moForte do Physical Models for games? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 65 Do you have backing tracks? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 66 How much of the CPU is moForte Guitar utilizing? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 67 How accurate is the timing in moForte Guitar? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 68 Why even model a guitar, do n''t samples sound great? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 70 What about acoustic guitars and all the other chordophones? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 71 When will moForte offer a Ukulele? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 73 What ’s the plan for growing the number of effects that are offered? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 77 Why would a guitar player be interested in moForte Guitar? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 78 Will you do plugins VST, Audio Units, other audio plugin architectures? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 79 How are you different from the Guitar Hero& Rock Band line of games? |
| work_b7qrowue6naevdorm5cfvertoi | 5/10/2014 80 Will moForte provide guitar training software? |
| work_b7qrowue6naevdorm5cfvertoi | Coupling, multi stage decay? |
| work_b7qrowue6naevdorm5cfvertoi | What about overdrive? |
| work_b7qrowue6naevdorm5cfvertoi | What is the latency? |
| work_b7qrowue6naevdorm5cfvertoi | • The ukulele is one of the most requested instruments that we are asked about;-) 5/10/2014 72 Can I plug my real guitar into the effects chain? |
| work_naabgn6aujg3dd2lsn63lwchji | Anthony keeps the game going, asking 96 why not now — why wait until tomorrow, why do n’t they meet this afternoon? |
| work_naabgn6aujg3dd2lsn63lwchji | Beat Down to Your Soul: What Was the Beat Generation? |
| work_naabgn6aujg3dd2lsn63lwchji | Davis, Rocio G. “ Oral Narrative as Short Story Cycle: Forging Community in Edwidge Danticat''s ‘ Krik? |
| work_naabgn6aujg3dd2lsn63lwchji | Did we put them down or repress them? |
| work_naabgn6aujg3dd2lsn63lwchji | I answered to my legal name, of course, but who was Lizzy Thompson? |
| work_naabgn6aujg3dd2lsn63lwchji | Rocio G. Davis, “ Oral Narrative as Short Story Cycle: Forging Community in Edwidge Danticat''s ‘ Krik? |
| work_naabgn6aujg3dd2lsn63lwchji | She no longer sings, teaches, nor hears from any of her old friends, and she is left wondering to herself, “ ‘ Why did I ever become a singer? |
| work_naabgn6aujg3dd2lsn63lwchji | Trigilio, “ Who Writes? |
| work_naabgn6aujg3dd2lsn63lwchji | Upon rereading his first novel, Go, in 1976, Holmes questions in a new Introduction: “ Can it really have been like that? |
| work_naabgn6aujg3dd2lsn63lwchji | We ’re responsible for the lack of outstanding genius in the women we knew? |
| work_naabgn6aujg3dd2lsn63lwchji | Were there any? |
| work_naabgn6aujg3dd2lsn63lwchji | “ Many Drummers, a Single Dance? ” Girls Who Wore Black: Women Writing the Beat Generation. |
| work_naabgn6aujg3dd2lsn63lwchji | “ The Know- Nothing Bohemians. ” Beat Down to Your Soul: What Was the Beat Generation? |
| work_naabgn6aujg3dd2lsn63lwchji | “ The Other Night at Columbia: A Report from the Academy. ” Beat Down to Your Soul: What Was the Beat Generation? |
| work_naabgn6aujg3dd2lsn63lwchji | “ What Is Magical Realism, Really? ” Writing- World. |
| work_naabgn6aujg3dd2lsn63lwchji | “ Who Writes? |
| work_naabgn6aujg3dd2lsn63lwchji | … But then, among the group of people we knew at the time, who were the writers of such power as Kerouac or Burroughs? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | An understanding between Bollywood and Hollywood? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | Did I give the example- a starving person, if you feed him a meal, you feed him once, if you teach him how to fish, you feed him for life? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | Do I have to do anything? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | He''s actually a former student also so Kirtana: What''s his name? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | How does someone interested in jazz develop their musical skill in India? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | How does someone interested in jazz develop their musical skill in India? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | I ask myself are they really that good? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | In what ways do jazz artists build professional careers in India? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | In what ways do jazz artists build professional careers in India? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | Jazz goes to college: has academic status served the art?. |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | Kirtana: Yeah, with just my guitar teacher, yeah Marcus: How many did you have? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | Kirtana: yeah, piano as well, piano, and voice Marcus: and voice, did they have any other instruments? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | Marcus: Oh you did? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | Marcus: Ok yeah, how''s your practice like? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | Marcus: Ok, is teaching pretty good? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | Marcus: Really? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | Marcus: You are? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | Playing by ear: Foundation or Frill? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | What are the circumstances that might cause an Indian to choose jazz as a genre to perform? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | What are the circumstances that might cause an Indian to choose jazz as a genre to perform? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | Why jazz? |
| work_qjjc6yhjvzevtjxnb7zmhhog2a | or guitar? |
| work_nelbnukmyvcdtefv2mhbqaouga | * But why write? |
| work_nelbnukmyvcdtefv2mhbqaouga | And as for King Richard? |
| work_nelbnukmyvcdtefv2mhbqaouga | And finally, who could possibly expect that that x- ray would show a tumor in her pelvic girdle, as clear as the sun rising over a hill? |
| work_nelbnukmyvcdtefv2mhbqaouga | And where do you begin, if the only way to express compassion and concern is bu hao? |
| work_nelbnukmyvcdtefv2mhbqaouga | And, more worriedly, What do you expect from us? |
| work_nelbnukmyvcdtefv2mhbqaouga | BHow can you make it new? |
| work_nelbnukmyvcdtefv2mhbqaouga | BNo go back, just … right … you see it? |
| work_nelbnukmyvcdtefv2mhbqaouga | But I remember thinking: is n’t every patient one in a million? |
| work_nelbnukmyvcdtefv2mhbqaouga | But Matt is not average, is he? |
| work_nelbnukmyvcdtefv2mhbqaouga | But how can you know if you ’re truly doing good? |
| work_nelbnukmyvcdtefv2mhbqaouga | But who expects acute hip pain to turn into a limp that persists for months? |
| work_nelbnukmyvcdtefv2mhbqaouga | Could anyone die? |
| work_nelbnukmyvcdtefv2mhbqaouga | Could it make them aware at 3 AM, attending a patient in the ICU, of the extraordinary nature of their experiences? |
| work_nelbnukmyvcdtefv2mhbqaouga | Could our hours here perhaps change how they how they converse with patients? |
| work_nelbnukmyvcdtefv2mhbqaouga | Estimated time of departure would be 4:00 a.m. Did I want pancakes on the plane, or something else? |
| work_nelbnukmyvcdtefv2mhbqaouga | How can one be both a doctor and a writer? |
| work_nelbnukmyvcdtefv2mhbqaouga | How do we understand the consequences of our intentions and actions? |
| work_nelbnukmyvcdtefv2mhbqaouga | How is that possible? |
| work_nelbnukmyvcdtefv2mhbqaouga | If they''re not well- rounded, ethical people by the time they are admitted to medical school, how can a brief course possibly make a difference? |
| work_nelbnukmyvcdtefv2mhbqaouga | Now what are the chances of that? |
| work_nelbnukmyvcdtefv2mhbqaouga | One in seven billion, or whatever the growing number is now? |
| work_nelbnukmyvcdtefv2mhbqaouga | Or could he be better? |
| work_nelbnukmyvcdtefv2mhbqaouga | Or was it for that person? |
| work_nelbnukmyvcdtefv2mhbqaouga | Plus, why bother? |
| work_nelbnukmyvcdtefv2mhbqaouga | The fact that this math professor got his life- changing diagnosis on March 14th, Pi Day, however? |
| work_nelbnukmyvcdtefv2mhbqaouga | What can you say that is different from the thousands who have been here before and who will be here in the future? |
| work_nelbnukmyvcdtefv2mhbqaouga | What do these have to do with becoming a doctor? |
| work_nelbnukmyvcdtefv2mhbqaouga | What else can we do? |
| work_nelbnukmyvcdtefv2mhbqaouga | What if he ’s worse? |
| work_nelbnukmyvcdtefv2mhbqaouga | What if the cure leads to a more vicious problem? |
| work_nelbnukmyvcdtefv2mhbqaouga | What ’s your point? |
| work_nelbnukmyvcdtefv2mhbqaouga | When will the gravel arrive? |
| work_nelbnukmyvcdtefv2mhbqaouga | Where were we going? |
| work_nelbnukmyvcdtefv2mhbqaouga | Why are you making us read these things? |
| work_nelbnukmyvcdtefv2mhbqaouga | Why narrative? |
| work_ehzscqefgndlzb4imawdl6krum | ( Revolution Now? work_ehzscqefgndlzb4imawdl6krum Analysis- What is it Good For? |
| work_ehzscqefgndlzb4imawdl6krum | Does the Song Remain the Same? work_ehzscqefgndlzb4imawdl6krum Introduction: What is Film Genre?" |
| work_ehzscqefgndlzb4imawdl6krum | Smart, Lyrical, Even Genteel, But Is It Rock? |
| work_ehzscqefgndlzb4imawdl6krum | They''re Recording, But Are They Artists? |
| work_ehzscqefgndlzb4imawdl6krum | Whaf''s a Record Exec To Do With Aimee Mann? |
| work_ehzscqefgndlzb4imawdl6krum | ( thump thump) i do? |
| work_ehzscqefgndlzb4imawdl6krum | 11 Djjmin/ Cjj Cjjmin Djjmin/ Cjj Cjjmin Djjmin/ Cjj Cjjmin Djjmin/ Cjj Cjjmin Djjmin/ Cjj Cjjmin rt J? |
| work_ehzscqefgndlzb4imawdl6krum | 1st( whistled) 1 J\ 7 7? |
| work_ehzscqefgndlzb4imawdl6krum | 7 J 7 J 7 J 7"7? |
| work_ehzscqefgndlzb4imawdl6krum | As Siberry commented,"Picking up my own telephone and asking''Where''s that T- shirt I ordered?''. |
| work_ehzscqefgndlzb4imawdl6krum | Bass 0*_ 54 1< s> r-7 P''•_ the gt E m i n sus4 Dn\lf I J\ V nin^*''1 V F 1 r-"FT? |
| work_ehzscqefgndlzb4imawdl6krum | Bass 239 D 35 a tempo knocked the ta- ble o- ver then I I grabbed your shoul B[? |
| work_ehzscqefgndlzb4imawdl6krum | Bass 9 y? |
| work_ehzscqefgndlzb4imawdl6krum | Bass go? |
| work_ehzscqefgndlzb4imawdl6krum | But what are you gon na do about money? |
| work_ehzscqefgndlzb4imawdl6krum | But what if people do n''t like what you do? |
| work_ehzscqefgndlzb4imawdl6krum | Do n''t I take good care of you, Joe? |
| work_ehzscqefgndlzb4imawdl6krum | Do n''t make it once, but can you make it twice? |
| work_ehzscqefgndlzb4imawdl6krum | Fuck''em? |
| work_ehzscqefgndlzb4imawdl6krum | Hello Joe, how ya doin''? |
| work_ehzscqefgndlzb4imawdl6krum | Her dog can smile 122"at strangers,""laugh,"use a phone and, by extension, talk("do you want me to dial the number for you?"). |
| work_ehzscqefgndlzb4imawdl6krum | How far can you go with only a dream? |
| work_ehzscqefgndlzb4imawdl6krum | How far is the nearest throne? |
| work_ehzscqefgndlzb4imawdl6krum | I P S? |
| work_ehzscqefgndlzb4imawdl6krum | Is the tonal centre here D dorian or G mixolydian? |
| work_ehzscqefgndlzb4imawdl6krum | J, J, J 1 J 1 J? |
| work_ehzscqefgndlzb4imawdl6krum | Mrs. Bergman, how you doin''? |
| work_ehzscqefgndlzb4imawdl6krum | Souljah explains:"Where are all the good black men? |
| work_ehzscqefgndlzb4imawdl6krum | This choice is particularly striking considering that in her prior negotiation of the Latin genre on"are we dancing now? |
| work_ehzscqefgndlzb4imawdl6krum | U Cjjmin Djjmin/ Cjj Cjjmin 5 1- r t a? |
| work_ehzscqefgndlzb4imawdl6krum | What if you fail? |
| work_ehzscqefgndlzb4imawdl6krum | What? |
| work_ehzscqefgndlzb4imawdl6krum | Where? |
| work_ehzscqefgndlzb4imawdl6krum | Whose Music? |
| work_ehzscqefgndlzb4imawdl6krum | With only a hope? |
| work_ehzscqefgndlzb4imawdl6krum | [ The French torch song tradition?] |
| work_ehzscqefgndlzb4imawdl6krum | do you? |
| work_ehzscqefgndlzb4imawdl6krum | does it hurt them? |
| work_ehzscqefgndlzb4imawdl6krum | i have to clear your table excuse me it''s right to keep it clean so i clean yes — i clean do you clean? |
| work_ehzscqefgndlzb4imawdl6krum | look at it, do you want to go for a walk, want a cookie, do you want me to dial the number for you? |
| work_ehzscqefgndlzb4imawdl6krum | we were waiting in the darkness and one night( or was it day?) |
| work_ehzscqefgndlzb4imawdl6krum | what? |
| work_sqtz6bndpff3za5medjcaubcny | Is it f i n i s h e d y e t? |
| work_sqtz6bndpff3za5medjcaubcny | W h a t i f t h e p r o j e c t h a d n o t b e e n f i n i s h e d? |
| work_sqtz6bndpff3za5medjcaubcny | ), And What Would You Do? |
| work_sqtz6bndpff3za5medjcaubcny | 115 On Becoming( My Own Hero?) |
| work_sqtz6bndpff3za5medjcaubcny | 152 Section IV What have I learned/ unlearned? |
| work_sqtz6bndpff3za5medjcaubcny | 160 R e f e r e n c e s 162 v i Demo CD of Poetry, Narratives, and Soundscapes T r a c k l H o w O l d? |
| work_sqtz6bndpff3za5medjcaubcny | 22 W h e r e d o I c o m e f r o m/ t o? |
| work_sqtz6bndpff3za5medjcaubcny | 31 I A m S t a r t i n g( to L o s e) 32 I''ve( E m) b r a c e d 34 iv W h a t d o I e n c o u n t e r? |
| work_sqtz6bndpff3za5medjcaubcny | 35 B i g P e o p l e 37 How O l d? |
| work_sqtz6bndpff3za5medjcaubcny | 52 W h a t d o I create? |
| work_sqtz6bndpff3za5medjcaubcny | 57 O n M u s i c C l a s s after a S l e e p l e s s N i g h t 58 H o w D o Y o u D e t e r m i n e? |
| work_sqtz6bndpff3za5medjcaubcny | 59 How Do You Determine? |
| work_sqtz6bndpff3za5medjcaubcny | 60 L e a r n e d o r i n v e n t e d, I a s k? |
| work_sqtz6bndpff3za5medjcaubcny | A f t e r a l l, is t h e n o t i o n o f h e r o i s m n o t r e a l l y p a r t o f t h e s c a f f o l d i n g o f o u r c u l t u r e? |
| work_sqtz6bndpff3za5medjcaubcny | A l l p a t h s e v e n t u a l l y l e a d t o G o d? |
| work_sqtz6bndpff3za5medjcaubcny | A m I, as a g u i t a r i s t, a m e t a p h o r i c g u n s l i n g e r? |
| work_sqtz6bndpff3za5medjcaubcny | A r e q u e s t i o n s great t h a t h a v e n o a n s w e r? |
| work_sqtz6bndpff3za5medjcaubcny | A r e y o u b r i n g i n g u s a n e w c l o c k?" |
| work_sqtz6bndpff3za5medjcaubcny | B u t h o w c a n o n e e x p l a i n s p i r i t?" |
| work_sqtz6bndpff3za5medjcaubcny | B u t w h a t h a p p e n s if, after a l l t h i s i n d o c t r i n a t i o n a n d p r a c t i c e, y o u d o n''t m e a s u r e u p as a h e r o? |
| work_sqtz6bndpff3za5medjcaubcny | B u t who is the real me? |
| work_sqtz6bndpff3za5medjcaubcny | D i d h i s m o t h e r o r f a t h e r treat h i m l i k e t h i s? |
| work_sqtz6bndpff3za5medjcaubcny | D i d n''t I e x p l a i n? |
| work_sqtz6bndpff3za5medjcaubcny | D o I seek a d v e n t u r e s a n d p e r f o r m a n c e c h a l l e n g e s o n t h e m u s i c a l f r o n t i e r? |
| work_sqtz6bndpff3za5medjcaubcny | D o e s n''t C l o v e r B l u f f s n e e d i t?" |
| work_sqtz6bndpff3za5medjcaubcny | D o n''t y o u see? |
| work_sqtz6bndpff3za5medjcaubcny | D o y o u h e a r w h a t I h e a r? |
| work_sqtz6bndpff3za5medjcaubcny | Did he, as principal, not have to at least give me a little say in this matter? |
| work_sqtz6bndpff3za5medjcaubcny | H e r o e s: w h o are t h e y? |
| work_sqtz6bndpff3za5medjcaubcny | H o w c a n t h i s b e? |
| work_sqtz6bndpff3za5medjcaubcny | H o w c a n t h i s b e? |
| work_sqtz6bndpff3za5medjcaubcny | H o w c o u l d I t u r n t h i s a r o u n d? |
| work_sqtz6bndpff3za5medjcaubcny | H o w d o w e p e r f o r m i n r e l a t i o n t o t h e s e s h i f t i n g b o u n d a r i e s?" |
| work_sqtz6bndpff3za5medjcaubcny | H o w d o y o u d e t e r m i n e I n y o u r p o s i t i o n o f p o w e r If the question put to you Is w o r t h y o f a n a n s w e r? |
| work_sqtz6bndpff3za5medjcaubcny | H o w d o y o u k n o w? |
| work_sqtz6bndpff3za5medjcaubcny | H o w is t h a t so? |
| work_sqtz6bndpff3za5medjcaubcny | H o w m u c h d i d I l a u g h? |
| work_sqtz6bndpff3za5medjcaubcny | H o w m u c h d i d I l a u g h? |
| work_sqtz6bndpff3za5medjcaubcny | H o w m u c h d i d I l a u g h? |
| work_sqtz6bndpff3za5medjcaubcny | H o w o f t e n d o y o u h e a r t h e p h r a s e"G r e a t Q u e s t i o n"? |
| work_sqtz6bndpff3za5medjcaubcny | H o w w i l l h e h a n d l e t h e r i g o r s o f h i g h s c h o o l l i f e? |
| work_sqtz6bndpff3za5medjcaubcny | How Do You Determine? |
| work_sqtz6bndpff3za5medjcaubcny | How does one prepare? |
| work_sqtz6bndpff3za5medjcaubcny | HowOld? |
| work_sqtz6bndpff3za5medjcaubcny | I was too shocked to say"But it''s only September- can''t you alter the schedule and give me one night?" |
| work_sqtz6bndpff3za5medjcaubcny | N o w, w h a t S H O U L D w e d o? |
| work_sqtz6bndpff3za5medjcaubcny | O n e o f m y f i r s t p o e m s, How Old? |
| work_sqtz6bndpff3za5medjcaubcny | O r a re t h e y s i m p l y great as segues i n a p e r f o r m a n c e? |
| work_sqtz6bndpff3za5medjcaubcny | Retrieved J u l y 15 2 0 0 7 from http://encycIopedia.thefreedictionaiy.com/Liminalit\? |
| work_sqtz6bndpff3za5medjcaubcny | S h e a s k s,"W o u l d t h e g i r l s l i k e t o m a k e o n e?" |
| work_sqtz6bndpff3za5medjcaubcny | S h o u l d w e t e l l h e r T h e t h i n g s t h a t w e n t o n t h e r e t h a t d a y? |
| work_sqtz6bndpff3za5medjcaubcny | S h o u l d w e t e l l h e r a b o u t i t? |
| work_sqtz6bndpff3za5medjcaubcny | That was that? |
| work_sqtz6bndpff3za5medjcaubcny | W a s I w r o n g i n m y a c t i o n s? |
| work_sqtz6bndpff3za5medjcaubcny | W a t c h c a r e f u l l y N o w w h o is t o b l a m e? |
| work_sqtz6bndpff3za5medjcaubcny | W h a t c o u l d I d o t o r e m e d y t h i s s i t u a t i o n? |
| work_sqtz6bndpff3za5medjcaubcny | W h a t c o u l d i t b e? |
| work_sqtz6bndpff3za5medjcaubcny | W h a t d i d y o u d o?" |
| work_sqtz6bndpff3za5medjcaubcny | W h a t d o I create( i n t h e c l a s s r o o m, t h e a c a d e m y, a n d f o r m y s e l f?) |
| work_sqtz6bndpff3za5medjcaubcny | W h a t d o I e n c o u n t e r? |
| work_sqtz6bndpff3za5medjcaubcny | W h a t d o t h i n k a b o u t y o u a n d m e p e r f o r m i n g a s o n g t o g e t h e r? |
| work_sqtz6bndpff3za5medjcaubcny | W h a t does t h i s s p e l l?" |
| work_sqtz6bndpff3za5medjcaubcny | W h a t h a s t r a n s p i r e d i n t h e class A s y o u w a x e d p o e t i c a b o u t y o u r p a s t? |
| work_sqtz6bndpff3za5medjcaubcny | W h a t i f I d i d n''t u n d e r s t a n d w h a t h e w a s s a y i n g? |
| work_sqtz6bndpff3za5medjcaubcny | W h a t i f m y m u s i c e m p h a s i z e d o r t o o k t h e p o e t r y o n a n i n a p p r o p r i a t e t a n g e n t? |
| work_sqtz6bndpff3za5medjcaubcny | W h a t i f t h e t r u t h f u l n e s s o f o u r u n f o l d i n g r i p s at t h e v e r y f a b r i c o f w h o w e t h o u g h t w e w e r e? |
| work_sqtz6bndpff3za5medjcaubcny | W h a t i f y o u are s h o r t e r t h a n six feet? |
| work_sqtz6bndpff3za5medjcaubcny | W h a t i f y o u h a v e b r i g h t r e d h a i r? |
| work_sqtz6bndpff3za5medjcaubcny | W h a t i f( p e r i s h t h e t h o u g h t) y o u are n o t a t o u g h f i g h t e r b u t r a t h e r a s e n s i t i v e d r e a m e r? |
| work_sqtz6bndpff3za5medjcaubcny | W h a t w i l l h a p p e n i f w e are u n c o m f o r t a b l e o r d i s g r a c e d w i t h w h a t w e f i n d? |
| work_sqtz6bndpff3za5medjcaubcny | W h a t w o u l d Y O U d o If y o u r m o t h e r a s k e d y o u? |
| work_sqtz6bndpff3za5medjcaubcny | W h o a m I? |
| work_sqtz6bndpff3za5medjcaubcny | W h o q u a l i f i e s as a h e r o? |
| work_sqtz6bndpff3za5medjcaubcny | W i l l s o m e o n e l o o k at these p i c t u r e s w i t h C u r i o s i t y s o m e t i m e i n t h e f u t u r e? |
| work_sqtz6bndpff3za5medjcaubcny | What do I create? |
| work_sqtz6bndpff3za5medjcaubcny | Where do I come from/ to? |
| work_sqtz6bndpff3za5medjcaubcny | Where to Now? |
| work_sqtz6bndpff3za5medjcaubcny | Who am I? |
| work_sqtz6bndpff3za5medjcaubcny | i t? |
| work_sqtz6bndpff3za5medjcaubcny | • A m I m y yet m y o w n h e r o? |
| work_sqtz6bndpff3za5medjcaubcny | • H o w d i d t h e y r e s o n a t e w i t h m e • H o w d o t h e y l i v e t h r o u g h m e? |
| work_sqtz6bndpff3za5medjcaubcny | • H o w d o t h e y i m p a c t o n m y t e a c h i n g? |
| work_sqtz6bndpff3za5medjcaubcny | • W h a t is t h e r o l e o f p r e s e n t d a y h e r o e s f o r m e? |
| work_sqtz6bndpff3za5medjcaubcny | • W h y d o I see t h e m as h e r o e s? |
| work_d3f7mu4mfvf27lv2p7esonhttq | ( 1996a, p. 552) W h a t is a curriculum of user interface? |
| work_d3f7mu4mfvf27lv2p7esonhttq | ( 1996a, p. 597) W H A T I S L I T E R A C Y? |
| work_d3f7mu4mfvf27lv2p7esonhttq | ( Kay 1994) Surely this is far- fetched; but why does this seem so beyond our reach? |
| work_d3f7mu4mfvf27lv2p7esonhttq | ( Kay 2000a, p. 395) W h a t is to be done, then? |
| work_d3f7mu4mfvf27lv2p7esonhttq | ( Lessig 2002a) H o w does a society ensure freedom? |
| work_d3f7mu4mfvf27lv2p7esonhttq | ), Power, Action and Belief: A New Sociology of Knowlege? |
| work_d3f7mu4mfvf27lv2p7esonhttq | 1 1 This clearly presents difficulties from a business perspective; how o n earth does one market such a concept to a potential audience? |
| work_d3f7mu4mfvf27lv2p7esonhttq | 253 Where is that Dynabook, Anyway? |
| work_d3f7mu4mfvf27lv2p7esonhttq | 254 Squeak and Croquet at OOPSLA''04 255 Squeak: Mouse that Roared? |
| work_d3f7mu4mfvf27lv2p7esonhttq | 259 Chapter 8: Drawing Things Together 261 Where we''ve Been 261 Dynabook: Artifact or Idea? |
| work_d3f7mu4mfvf27lv2p7esonhttq | 267 Cultural history is not Biography 270 Back from the Future 272 Who Cares About the Dynabook? |
| work_d3f7mu4mfvf27lv2p7esonhttq | 3: C a r t o o n b y T e d K a e h l e r, f r o m G o l d b e r g& R o b s o n( 1983) H o w different is this from the world we''ve come to inhabit? |
| work_d3f7mu4mfvf27lv2p7esonhttq | A n d how could we know anyway, given that our thinking about technology is so circumscribed? |
| work_d3f7mu4mfvf27lv2p7esonhttq | A n d so what shall we do, right now? |
| work_d3f7mu4mfvf27lv2p7esonhttq | A n d where w i l l we learn such things? |
| work_d3f7mu4mfvf27lv2p7esonhttq | A r e these not the special province of education? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Adele Goldberg and Joan Ross wrote an article.in the 1981 BYTE special issue on Smalltalk entitled"Is the Smalltalk-80 System for Children? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Alternatively, we can ask: who''s responsible for this mess? |
| work_d3f7mu4mfvf27lv2p7esonhttq | At what cost? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Because literacy is about ideas, Kay connects the notion of literacy firmly to literature: W h a t is literature about? |
| work_d3f7mu4mfvf27lv2p7esonhttq | But Smalltalk was escaping to where? |
| work_d3f7mu4mfvf27lv2p7esonhttq | But even mechanically, we make up more complexirepresentations than one/ zero or yes/ no by collecting bits''into? |
| work_d3f7mu4mfvf27lv2p7esonhttq | But i n this are also the seeds of an alternative; how could different media be harnessed in such a way as to lead i n a more productive direction? |
| work_d3f7mu4mfvf27lv2p7esonhttq | But if, as this suggests, the actual implementation is not important, what are we left with? |
| work_d3f7mu4mfvf27lv2p7esonhttq | But what had happened to the Dynabook? |
| work_d3f7mu4mfvf27lv2p7esonhttq | But what is Squeak, exactly? |
| work_d3f7mu4mfvf27lv2p7esonhttq | But what would"criticism"mean, exactly, i n the context of educational technology? |
| work_d3f7mu4mfvf27lv2p7esonhttq | But when is a project ever finished? |
| work_d3f7mu4mfvf27lv2p7esonhttq | But where do we place math curriculum along this continuum? |
| work_d3f7mu4mfvf27lv2p7esonhttq | But would n''t, one might argue, the appearance of a personal computer on every desk be right i n line w i t h what Kay was driving at? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Chapter 2: Positions and Approaches 63 H o w Do W E K N O W A G O O D I D E A W H E N W E S E E O N E? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Chapter 6: Personal Computing in the Age of the Web 187 taught something like Maxwell''s equations? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Chapter 8: Drawing Things Together 266 D Y N A B O O K: A R T I F A C T O R I D E A? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Croquet Anyone? |
| work_d3f7mu4mfvf27lv2p7esonhttq | D o these two exclusives represent our full realm of possibility? |
| work_d3f7mu4mfvf27lv2p7esonhttq | D o we see anyone calling this out, or Working on alternative channels? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Daddy Are We There Yet?. |
| work_d3f7mu4mfvf27lv2p7esonhttq | Does Latour''s parable of the irrevocable, tragic reversibility( pace Callon) of technosocial systems totally apply? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Does Squeak bring us closer to the Dynabook vision, then? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Does this make the Dynabook more alive — or just more undead, a better candidate for the B- movie horror genre? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Does this mean that the teaching of such concepts as algebra is quaint? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Education and Powerful Ideas W h a t are"powerful ideas"? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Etoys simulations? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Everyone? |
| work_d3f7mu4mfvf27lv2p7esonhttq | H o w can children have any"embedded cultural experience"that encourages learning logic and systems thinking? |
| work_d3f7mu4mfvf27lv2p7esonhttq | H o w do we as a society ensure freedom? |
| work_d3f7mu4mfvf27lv2p7esonhttq | H o w do we ensure that it does not''become the IT equivalent of"music appreciation?" |
| work_d3f7mu4mfvf27lv2p7esonhttq | H o w many schools can claim this kind of involvement? |
| work_d3f7mu4mfvf27lv2p7esonhttq | H o w would millions of users make effective use of digital information technology? |
| work_d3f7mu4mfvf27lv2p7esonhttq | He wondered"what w o u l d the equivalent be for general- purpose programming?" |
| work_d3f7mu4mfvf27lv2p7esonhttq | How does it fit into our lives? |
| work_d3f7mu4mfvf27lv2p7esonhttq | How would one count them? |
| work_d3f7mu4mfvf27lv2p7esonhttq | If Croquet really took off, w o u l d Etoys wither? |
| work_d3f7mu4mfvf27lv2p7esonhttq | If we take away the necessity of actual technical artifacts, are we not left w i t h human beings, w i t h pure society? |
| work_d3f7mu4mfvf27lv2p7esonhttq | In 1972, Kay wrote: W h a t then is a personal computer? |
| work_d3f7mu4mfvf27lv2p7esonhttq | In order to answer the question,"how do we recognize a good idea when we see one?" |
| work_d3f7mu4mfvf27lv2p7esonhttq | In school, w i l l our children learn the logic and dynamics of digital media, in the sense I outlined in Chapter 3? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Is Squeak really an"idea processor for kids of all ages"or is it just another authoring environment? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Is Using a Computer Like Driving a Car, Reading a Book, or Solving a Problem? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Is it that we have now seen through the"technohype,"realizing, after all, that we were the dupes of salespeople and other evangelists? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Is that enough? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Is the Dynabook real, or not? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Is the Smalltalk-80 System for Children? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Is there a Text in this Class? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Is this just nostalgia for a golden age? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Is this likely to change? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Is this not precisely the point of traditional science education? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Is this not the responsibility of education, of schooling? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Is this not what democractic citizenship — as framed by Dewey — is all about? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Is this so radical a stance? |
| work_d3f7mu4mfvf27lv2p7esonhttq | It is i n many ways a discourse of anxiety: how to deal w i t h complexity, inundation, threats, spam, viruses? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Just the boys? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Just the girls? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Just what is a powerful idea, anyway? |
| work_d3f7mu4mfvf27lv2p7esonhttq | L A T E B I N D I N G"A N D S Y S T E M S D E S I G N But how would you do it? |
| work_d3f7mu4mfvf27lv2p7esonhttq | N o w, if technology is translation, is n''t something always"lost i n translation"? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Norm Friesen''s excellent article,"What are Educational Objects?" |
| work_d3f7mu4mfvf27lv2p7esonhttq | O n l y students planning to study science or engineering in University? |
| work_d3f7mu4mfvf27lv2p7esonhttq | O r do we still believe there is some more general value i n mathematics? |
| work_d3f7mu4mfvf27lv2p7esonhttq | O r is it"too little too late? |
| work_d3f7mu4mfvf27lv2p7esonhttq | O r is it? |
| work_d3f7mu4mfvf27lv2p7esonhttq | O r w i l l we be content to accept pre- packaged, shrinkwrapped capabil- ities, defined by corporations and marketers? |
| work_d3f7mu4mfvf27lv2p7esonhttq | O r, prevailing aside, why is it so very marginalized? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Or is it? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Pioneering computer scientist Edsger Dykstra wrote, i n 1989: W h a t is a program? |
| work_d3f7mu4mfvf27lv2p7esonhttq | S Q U E A K: M O U S E T H A T R O A R E D? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Should we learn to expect it to be malleable, manipulable, combinable, and understandable? |
| work_d3f7mu4mfvf27lv2p7esonhttq | So the deeper and more difficult question is how do we as a culture ensure freedom? |
| work_d3f7mu4mfvf27lv2p7esonhttq | So why have powerful ideas been evacuated from educational computing i n the past decade or so? |
| work_d3f7mu4mfvf27lv2p7esonhttq | So, when can we drop the"interim"qualifier? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Software: Art, Engineering, Mathematics, or Science?. |
| work_d3f7mu4mfvf27lv2p7esonhttq | Squeak in print? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Squeak vs. Squeakland Is Etoys what Squeak is all about? |
| work_d3f7mu4mfvf27lv2p7esonhttq | T H E D Y N A B O O K T O D A Y: H O W F A R H A V E W E C O M E? |
| work_d3f7mu4mfvf27lv2p7esonhttq | T H E S Q U E A K C O M M U N I T Y A N D I T S T R A J E C T O R I E S W h a t to make of Squeak? |
| work_d3f7mu4mfvf27lv2p7esonhttq | T H E S T O R Y S O F A R — A C O N V E N T I O N A L M Y T H O L O G Y Y o u may ask yourself, how did we get here? |
| work_d3f7mu4mfvf27lv2p7esonhttq | T o what can we attribute this shift? |
| work_d3f7mu4mfvf27lv2p7esonhttq | The question at hand, for me as an historian, is what happened? |
| work_d3f7mu4mfvf27lv2p7esonhttq | The question w h i c h Squeak begs — is it really"back to the future?" |
| work_d3f7mu4mfvf27lv2p7esonhttq | The question,"what are these things good for?" |
| work_d3f7mu4mfvf27lv2p7esonhttq | The underlying political question here is who w i l l have access to those ideas and their application? |
| work_d3f7mu4mfvf27lv2p7esonhttq | This tendency shows up i n questions like"What is T H E effect of T H E computer on cognitive development?" |
| work_d3f7mu4mfvf27lv2p7esonhttq | W H O C A R E S A B O U T T H E D Y N A B O O K? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W H Y N O T T H E D Y N A B O O K? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W H Y T H I S A P P R O A C H? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W H Y T H I S S T U D Y? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h a t are we to make of such a case? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h a t does that mean, exactly? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h a t is Digital? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h a t is its relation- ship to education, defined broadly? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h a t is the lesson in that gap? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h a t lessons can we draw from that? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h a t makes an idea powerful? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h a t makes us able to recognize a good or powerful idea, and conversely what prevents us from that recognition? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h a t should we as individuals expect from digital media? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h a t ties these varying brands together? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h a t to do? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h o could conceive of how software might become a marketable item? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h y has the Dynabook vision not prevailed? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h y is n''t Squeak a bigger deal, given its heritage, its flexibility, its goals, its cost? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h y not divide it up into little computers, as time sharing was starting to? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h y not thousands of them, each simulating a useful structure? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h y should it be important that computer scientists have their minds — god forbid their hands — on education? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h y should we care about this? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h y should we want to sidestep those issues? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W h y? |
| work_d3f7mu4mfvf27lv2p7esonhttq | W i t h o u t the concretion of black boxes w h i c h may be closed, objectified, reified, what are techno- social networks to be composed of? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Was all that talk of powerful ideas just marketing? |
| work_d3f7mu4mfvf27lv2p7esonhttq | What are Educational Objects? |
| work_d3f7mu4mfvf27lv2p7esonhttq | What good is a PC without a network connection, we can now legitimately ask? |
| work_d3f7mu4mfvf27lv2p7esonhttq | What good is it? |
| work_d3f7mu4mfvf27lv2p7esonhttq | What is a computer? |
| work_d3f7mu4mfvf27lv2p7esonhttq | What is it for? |
| work_d3f7mu4mfvf27lv2p7esonhttq | What is mediation, then, or media? |
| work_d3f7mu4mfvf27lv2p7esonhttq | What, then, is personal computing in the early years of the 21st century? |
| work_d3f7mu4mfvf27lv2p7esonhttq | When''sthe last time you used duct tape on a duct? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Where are the Missing Masses? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Where are we? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Where is that Dynabook, Anyway? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Which Way to the Future? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Whitehead''s event- oriented process philosophy? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Why Not the Dynabook? |
| work_d3f7mu4mfvf27lv2p7esonhttq | Why This Approach? |
| work_d3f7mu4mfvf27lv2p7esonhttq | ft''"? |
| work_d3f7mu4mfvf27lv2p7esonhttq | iv Web authoring and computer literacy 214 Why Not Smalltalk? |
| work_d3f7mu4mfvf27lv2p7esonhttq | multimedia presentation? |
| work_d3f7mu4mfvf27lv2p7esonhttq | or"Does Logo work?"... |
| work_d3f7mu4mfvf27lv2p7esonhttq | s m f o r i^ m t i n B K^ j l f i i s t i t e m f i o m- j list 1 ccT»isilveT^fpRjyjng''sii<.hi a f u n c t i o n a l l o w s o n e X t^ » t j? |
| work_d3f7mu4mfvf27lv2p7esonhttq | t e r s a E? |
| work_d3f7mu4mfvf27lv2p7esonhttq | user- interface research? |
| work_d3f7mu4mfvf27lv2p7esonhttq | web application development?) |
| work_d3f7mu4mfvf27lv2p7esonhttq | what it is about — how could He? |
| work_d3f7mu4mfvf27lv2p7esonhttq | why»not a n 8- s i d e d star? |
| work_d3f7mu4mfvf27lv2p7esonhttq | — 247 The Blue Plane and the Pink Plane 248 Squeak Communities Today 250 Squeak in print? |
| work_d3f7mu4mfvf27lv2p7esonhttq | • Chapter 5: Translating Smalltalk 185 Chapter 6: Personal Computing in the Age of the Web W H A T IS A"P O W E R F U L I D E A,"A N Y W A Y? |
| work_d3f7mu4mfvf27lv2p7esonhttq | • W H Y N O T S M A L L T A L K? |
| work_d3f7mu4mfvf27lv2p7esonhttq | •:"Digital"simply refers to digits,, and what • aredigitsbutfingers? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | ( Gerhardstein, 2002, p. 115) Are jammers audiating? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | ( Please use back of the page if you need more space) Please circle the phrase or word that best describes your participation: Do you do vocals? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | ( if so) How would you explain to other musicians what to play on one of your songs? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | ( jamming) Are the others you play with just as good? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | 2.4.4 Ear- playing My beginning band method book contained the song Are You Sleeping?, playable with the first six notes the students had learned. |
| work_v6xbsimt7ngf5a53ch3akhhzoy | 2.4.5 Composition and Creativity “ Hey, want to hear our song? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | 430) By the time we are ready to recognize rock, will something different be on the horizon? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Again, I do n''t want to take too much of your jamming time; would 15 minutes be a reasonable amount of time? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | All of them? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Are there some parts of school that are more satisfying for you than others? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Are these people you jam with your friends too? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Are those without such skills necessarily lost to curricular or extracurricular music? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Are you as good a musician as these people you jam with, or are they better or worse than you? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Are you good at this? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Are you nervous playing in front of an audience, and can you tell me about a time when you were not nervous? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | As the music curriculum continues to evolve, will jamming be part of what lies beyond band? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Because your parents want you to? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Can you describe the feeling? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Can you describe what that feels like? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Can you give an example or two? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Can you give an example? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Can you tell me about a time when that happened, what it felt like? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Canadian pop/ rock music in the grade seven classroom, what, who, where, when, why, how? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Could a focus more inclusive of popular music in schools reverse this trend by changing student dispositions regarding school music? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Could their continued participation in the jam be explained by an existing theory of motivation? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Could you play it again? ” They did so, playing a bit self- consciously at first. |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Could you play the bridge, or the B section, of this melody, if I was to play it for you first? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Despite the fact that you take actual music courses, you come to the band room during your free time and play – why? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Did anyone help you, and if so, in what ways? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Did you ever feel “ in the zone ” today while playing? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Did you feel distracted at any time? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Did you feel that you made a contribution to the session today? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Did you practice an instrument at home this week? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Directed Journaling One of the questions I asked subjects to answer in their journaling was: “ Did you practice an instrument at home this week? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do any or all of you bring your own music ideas to a practice to show the others? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do other people in this school think of you as a musician? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do other students think of you as musicians? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do they know you have a band going here? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do they support you in any way? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do we consider the rock band as a chamber ensemble worthy of our coaching? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do we, as band teachers, do a good job of teaching people to play by ear? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you ever feel bad after you jam? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you ever finish each other''s sentences, or read each other''s thoughts, figuratively or musically speaking? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you get musical support and help from anyone in the school, and if so, from whom? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you have any plans for continuing in music after you leave school? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you like figuring songs out by ear? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you like playing by ear? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you play alone sometimes? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you see yourself as a good student overall? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you share them with others? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you tend to hang out together? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you tend to jam with the same people most days? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you think any of what you learn from playing together as a band would help you in that job? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you think you are good at playing by ear? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you think you are good at reading music, say, in band class, or in piano lessons? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you think you work well together, generally speaking? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you write your own songs? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Do you, as a group, see yourselves as part of the music program at this school, even though what you are doing here is not a course? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Does jamming have any effect on the rest of your life? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Does jamming make the rest of your life better in any way? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Does that matter to you? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Does this matter to you? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Does what you are doing here help all of you to become better musicians? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Does what you have learned in choir, concert band, jazz band or music comp help you in your jamming? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Five years from now, what role do you think( or hope) music will play in your life? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | For grades? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | For some other reason? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | For status in the school? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Have you ever been surprised that the time has gone so quickly when you were playing? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Have you ever played this melody before? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Have you ever taken private lessons on an instrument? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Have you learned anything in regular music classes that has helped you play here? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | How accurate were their results likely to be? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | How are they learning? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | How close are you? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | How did you get started? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | How do the AMMA scores of the jammers in my sample compare to the AMMA scores of the non- jammers in my sample? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | How do you think this could be improved? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | How long have you been working together as a group? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | How long have you played the( jam session instrument), and why did you choose this instrument? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | How well had they coped? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | How would you do that? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | However, might I also have looked at the scores of Doris and Snoop and concluded that they were not likely to accomplish much? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | I play keyboards, and I wondered if you would be willing to teach me your song? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | If a class in the school was canceled for the day, how would you spend that time? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | If so, because of what? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | If so, can you give a specific example of this happening? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | If so, can you give an example? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | If so, could you tell me who and where? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | If so, did the teacher use printed music most of the time, or did he/ she show you things to play in another way? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | If so, do you encourage the others to contribute different ideas that might fit? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | If so, how? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | If so, in what way? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | If so, what do you see yourself doing musically? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | If so, what does he do that helps? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | If so, when? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | If so, why did you do that? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | If subjects generally improved their scores the second time they took the test, might this point to a way to improve ear- to- hand achievement? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | If you were not allowed to do this in school, could you and would you find another way of playing together? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | In what ways does Csikszentmihalyi''s flow theory explain the continued participation of students in the jam session? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | In what ways is this a positive experience for you? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | In what ways might this activity make you feel good? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | In what ways? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Is music education, in fact, less valued in our culture that it has been? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Is this not evidence of their musical sensitivity? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Is your band teacher supportive of jamming? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Is “ music for every student ” a motto that we live up to? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | It''s something from American Idol, right? ” I had to admit that I had no idea. |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Looking back to when you first started doing this, do you think you are a better musician now than you were then? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | My ancillary question regarding SOR scores asked: How did the SOR scores of the jammers compare to the SOR scores of the non- 105 jammers? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | My second specific research question asked: In what ways does flow theory explain the continued participation of students in the jam session? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | My third analysis( above) addressed this question: How did the SOR scores of the jammers compare to the SOR scores of the non- jammers? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | No one seemed to know what made people happy about their lives: What made life meaningful? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Or do you do this in several ways? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Point of view: concert band: is concert band outmoded? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Ready? ” The song was the theme from cartoon show King of the Hill. |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Some of them? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Subject# Jam frequency: self- reported Jam frequency: my observations Studio log:# of bookings Jams outside of school? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | The general research question was: Does participation in a band room jam session benefit students cognitively and motivationally? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | The last question, “ Was the child in flow? ” was answered by observation of focus, affect, and obliviousness to surroundings. |
| work_v6xbsimt7ngf5a53ch3akhhzoy | The sax player turned to us: “ Hey, wanna hear this new song I wrote for the Remembrance Day assembly next week? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | There is an advocacy movement for music education, but has it been effective? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | To be fair, there were several subjects who got all the way through the test, turned to me, and said, “ Can I do it again? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Wanna form a virtual band? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Was a subject who appeared in the jam spaces only occasionally, but always participated musically during those times a jammer? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Was a subject who was always in the jam spaces but never played an instrument a jammer? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Was that the bell? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Was this transformation of time entirely a reflection of the activity, music- making, or could other factors have been involved as well? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Was today''s music session fun? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Were any of these people jammers? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Were you happy with how you played today? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What I want to know is this: Are these students learning? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What are musical identities and why are they important? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What are some of your favorite things about( what do you like best about) playing the 70( jam session instrument)? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What are they learning? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What classes, and what did you learn, specifically? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What designation could I put on a subject who appeared in the jam spaces for the first few days, and was never seen there again after that time? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What do you figure they think of you and your music? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What do you get from this personally? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What do you think other people in the school think of people like you who hang out in the band room and play? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What do you think you learn musically from this experience? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What instruments do you play? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What key would you suggest? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What made it enjoyable? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What made life worth living? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What music courses are you taking this year? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What would be your usual way of learning a new song? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | What, specifically? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | When I asked him: “ Do you know the term autotelic? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | When you jam in the band room, are you nervous? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Where? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Which one do you like playing most, and why? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why do you come here, as opposed to, say, going to McD''s to hang out? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why do you play? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why do you think so? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why do you think that is? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why do you think they do that? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why do you think this is? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why do you think this is? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why or why not? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why or why not? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why or why not? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why or why not? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why or why not? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why or why not? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why these people? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why, or why not? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Why, or why not? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Would 15 minutes be a reasonable amount of time? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Would n''t comparing these two groups on the basis of TMEHC scores be a bit like comparing oranges and apples? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Would the offering of of classes in rock musicology necessarily solve the problem of inclusion? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Would you like me to tell you the key it''s in? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Would you say the people you play with are your friends? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | Would you say you are fairly happy when jamming? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | and In what ways does flow theory explain the continued participation of students in the jam session? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | and In what ways does flow theory6 explain the continued participation of students in the jam session? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | church group, a band in a basement/ garage, a group session at a music store, a cafe gig, etc) Do you play by ear? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | never/ a little/ sometimes/ often/ all the time If you do play by ear, could you tell me the circumstances? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | never/a little/sometimes/often/always Can you operate the recording equipment? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | no/a little/some/fairly well/very competently Do you write your own songs? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | where? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | “ Are you our sub? ” they asked hopefully, perhaps anticipating a fun- filled hour putting a new teacher through her paces. |
| work_v6xbsimt7ngf5a53ch3akhhzoy | “ Can we figure out another song? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | “ Do you recognize it? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | “ Hey, I know that one! ” I said, “ Do you want to jam it? ” Snoop nodded shyly, and I sat down at the piano. |
| work_v6xbsimt7ngf5a53ch3akhhzoy | “ Hey, what about me? ” came the shout from the corner of the room. |
| work_v6xbsimt7ngf5a53ch3akhhzoy | “ If you found it easy, would you like to continue? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | “ On a scale of 1 to 10, with 10 being most difficult, how difficult did you find this task? |
| work_v6xbsimt7ngf5a53ch3akhhzoy | “ What about those two? ” I asked. |
| work_v6xbsimt7ngf5a53ch3akhhzoy | “ What''s the matter, could n''t stand the noise? ” one colleague joked. |
| work_v6xbsimt7ngf5a53ch3akhhzoy | “... should we broaden our base of operation by including students who are outside our regular music classes? ”( Kuzmich, 1991, pg. |
| work_6r5fds5lfbdzfilb4szygi5gyq | ( If not offended to be asked and if it has not come up in the conversation prior) How old are you? |
| work_6r5fds5lfbdzfilb4szygi5gyq | ( Looking at the courses) What is your opinion of this version? |
| work_6r5fds5lfbdzfilb4szygi5gyq | ( Please check all that apply) 73. Who most inspires you to be the musician you are? |
| work_6r5fds5lfbdzfilb4szygi5gyq | ( Simon) Teaching? |
| work_6r5fds5lfbdzfilb4szygi5gyq | ( Throsby, 1989); But What Do You Do for a Living? |
| work_6r5fds5lfbdzfilb4szygi5gyq | ( Upon looking at the MLaaM course outlines) What is your opinion of a course such as MLaaM? |
| work_6r5fds5lfbdzfilb4szygi5gyq | ( primary motivation) 4. Who inspires me to be a good musician? |
| work_6r5fds5lfbdzfilb4szygi5gyq | ( when was that — at what age?) |
| work_6r5fds5lfbdzfilb4szygi5gyq | ................ 207 6.9.3 Does money matter? |
| work_6r5fds5lfbdzfilb4szygi5gyq | ......................................... 138 5.2.3 Tertiary education: What should students be learning? |
| work_6r5fds5lfbdzfilb4szygi5gyq | .................................................................... 219 6.11.6 Fallback careers or teaching- artists? |
| work_6r5fds5lfbdzfilb4szygi5gyq | 139 5.2.3 Tertiary education: What should students be learning? |
| work_6r5fds5lfbdzfilb4szygi5gyq | 159 3 Neutral Who cares? |
| work_6r5fds5lfbdzfilb4szygi5gyq | 245 3 Neutral What is ‘ portfolio ’? |
| work_6r5fds5lfbdzfilb4szygi5gyq | 351 The DRA? |
| work_6r5fds5lfbdzfilb4szygi5gyq | 5.1.8 What should be included in vocational preparation in the conservatoire environment( MLaaM)? |
| work_6r5fds5lfbdzfilb4szygi5gyq | 54 • What do I understand now that I did not understand before I began the interviews? |
| work_6r5fds5lfbdzfilb4szygi5gyq | 6.11.6 Fallback careers or teaching- artists? |
| work_6r5fds5lfbdzfilb4szygi5gyq | 6.13 The ‘ Gig ’ Economy: Has the Industry Changed For the Western Art Musician? |
| work_6r5fds5lfbdzfilb4szygi5gyq | 6.9 How Much Does an Australian Portfolio Career Musician Earn? |
| work_6r5fds5lfbdzfilb4szygi5gyq | 6.9.3 Does money matter? |
| work_6r5fds5lfbdzfilb4szygi5gyq | 71 It could be argued that the DRA? |
| work_6r5fds5lfbdzfilb4szygi5gyq | All responses were categorised into Dreamers, Realists, Artists and Unclear( DRA? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Although the primary question is central to this study, the sub- question ‘ how do I improve my practice? ’ forms its foundation. |
| work_6r5fds5lfbdzfilb4szygi5gyq | An example of the open- ended questions asked: What are your music employment ambitions? |
| work_6r5fds5lfbdzfilb4szygi5gyq | And how that will affect your students? |
| work_6r5fds5lfbdzfilb4szygi5gyq | And trying to keep up with the fam[ily] and[ my] sister lives in Sydney and oh, it ’s just … hectic, you know? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Any other comments? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Approximately how much($ or trade of services/ products) were you paid for this employment? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Approximately how much($ or trade of services/ products) were you paid for this employment? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Are musicians truly important? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Are there more skills you would like to learn? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Are you happy with what you are currently doing? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Aside from your chief practical study training, what skills and training do you feel you should possess for successful music employment? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Australian artists, starving and wellnourished: What can we learn from the prototypical protean career? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Broadly speaking — on a scale of one to 10—how confident are you that you can continue being a musician until you choose to retire? |
| work_6r5fds5lfbdzfilb4szygi5gyq | But there is no collaboration — not even with Wind or Brass? ’( Amanda, 1YFG). |
| work_6r5fds5lfbdzfilb4szygi5gyq | Can you see yourself retiring from music? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Can you see yourself retiring from music? |
| work_6r5fds5lfbdzfilb4szygi5gyq | College student responses to web and paper surveys: Does mode matter? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Describe the changes in tertiary music education have you seen during your time as a tertiary music educator? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Describe the changes in the music industry have you experienced during this time? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Describe what do you know about MLaaM? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Describe what you are currently employed as? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Describe your career path to date? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Describe your impressions of the future of music? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Describe your impressions of their career ambitions? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Describe your students ’ communicated career ambitions? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Did you graduate from the Queensland Conservatorium? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Did you graduate from the Queensland Conservatorium? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Did you study at the Queensland Conservatorium? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Did you study at the Queensland Conservatorium? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Do you believe this to include teaching music? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Do you believe this to include teaching music? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Do you believe this to included teaching music? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Do you consider ‘ teaching ’ to be part of the profile of the term ‘ musician ’? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Do you have any other thoughts you would like to mention? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Do you really expect to get paid? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Does the profession and industry need to further shrink and become increasingly territorial for such a course to be accepted as imminently relevant? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Does your website possess a call- to- action? |
| work_6r5fds5lfbdzfilb4szygi5gyq | For the same music service, approximately how much would you currently expect to be paid? |
| work_6r5fds5lfbdzfilb4szygi5gyq | For the same music service, approximately how much would you currently expect to be paid? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Gen Z vs. Gen Y: Does the hype add up? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Has your music degree been what you expected? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Have you communicated your point of differentiation from other grant applicants? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Have you completed non- music tertiary education? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Have you completed non- music tertiary education? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Have you ever felt like quitting music? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Have you ever studied at a tertiary music institution? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Have you ever studied at a tertiary music institution? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Have you given appropriate evidence of your activity as a musician that supports your grant request? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How can I improve my teaching and learning practice of MLaaM? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How can it align with the students ’ experience of their degree, professional expectations and career realities? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How did it go? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How did you gain your music employment when you were first beginning/ starting out? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How did you gain your music employment when you were first beginning/ starting out? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How do you currently financially and artistically sustain your career? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How do you currently financially and artistically sustain your career? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How do you feel about graduating next year/ year after? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How do you feel you contribute to their career reality? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How do you presently gain your music employment? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How do you presently gain your music employment? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How does an undergraduate course introduce the reality of the music industry, respect and retain ‘ the dream ’ and vocationally prepare for both? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How has the year been? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How have the students responded to these music industry course introductions? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How have they gone beyond? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How long have you been teaching tertiary education? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How long have you been teaching this course? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How long have you experienced music- related employment? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How long have you experienced music- related employment? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How many years after graduating from your undergraduate degree was your experience of financially earning from music employment? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How many years after graduating from your undergraduate degree was your experience of financially earning from music employment? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How much do musicians really make from Spotify, iTunes and YouTube? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How old are you? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How old are you? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How old are you? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How old are you? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How old were you when you first began financially earning from music- related employment? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How old were you when you first began financially earning from music- related employment? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How will you overcome these? |
| work_6r5fds5lfbdzfilb4szygi5gyq | How would you have reacted to a course introducing the realities and business basics required in the music industry when you were a student? |
| work_6r5fds5lfbdzfilb4szygi5gyq | I do both of those things and you know how much work I ’ve got from them? |
| work_6r5fds5lfbdzfilb4szygi5gyq | In what way( if at all) has this changed over the course of your employment? |
| work_6r5fds5lfbdzfilb4szygi5gyq | In your experience as an active industry musician, what significant changes or trends have you noticed to date? |
| work_6r5fds5lfbdzfilb4szygi5gyq | In your opinion — Should MLaaM be something all music institutions should adopt? |
| work_6r5fds5lfbdzfilb4szygi5gyq | In your opinion, what stage can these elements be introduced into to a degree? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Integrating quantitative and qualitative research: How is it done? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Is it achievable, and how should it be defined? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Is there a final life goal — something you have always been striving towards? |
| work_6r5fds5lfbdzfilb4szygi5gyq | It provokes the question: What is the primary motivation for students aspiring to a music career in the twenty- first century? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Knowing what you know now, what would you say to next year ’s first years starting out? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Likewise, in their paper survey, they were asked the open question, What skills are required to be a successful musician? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Maree 2 I could have talked to people in the same class as I were going through the same thing[ so seek help?] |
| work_6r5fds5lfbdzfilb4szygi5gyq | My compulsory career counselling session in Year 12( was n’t it a bit late for that?) |
| work_6r5fds5lfbdzfilb4szygi5gyq | Of the minimal face- to- face complaints regarding relevance, she would challenge criticisms and ask the students: ‘ Who is your favourite composer? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Or is the resistance to such a course an indicator of potential career failure? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Peas in a cultural pod? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Perhaps redesigning it to ‘ Do you consider teaching to be part of the profile of being a musician? ’ may have clarified the intent. |
| work_6r5fds5lfbdzfilb4szygi5gyq | Please briefly describe your career path from training to now? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Please state for the record your name and age? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Please state your name and Music Industry Course Title/ s and Institution/ s where you teach? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Report titles reflected this: When Are You Going to Get a Real Job? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Right so how do I do it? ’ I ’ll figure that out and I ’ll learn on the job very quickly. |
| work_6r5fds5lfbdzfilb4szygi5gyq | Send another reminder email? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Shaping the tertiary music curriculum: What can we learn from different contexts? |
| work_6r5fds5lfbdzfilb4szygi5gyq | She wondered what defined an inactive performer: ‘ if they have n’t performed for six months, do they no longer count? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Should a music industry studies lecturer remain active in their industry profession? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Should they stalk them on Facebook? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Student learning in higher instrumental education: Who is responsible? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Table 6.3 Relationship Status of Survey Participants Which of the following best describes your current relationship status? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Table 6.48 Survey Q72: ‘ What I Love About Music ’ Q72 What do you love about music? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Table 6.5 Tertiary Study of Survey Participants Have you ever studied at a tertiary music institution? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Table 6.7 Duration of Music- Related Employment of Survey Participants How long have you experienced music- related employment? |
| work_6r5fds5lfbdzfilb4szygi5gyq | That is, their response to Question 3( Why?) |
| work_6r5fds5lfbdzfilb4szygi5gyq | The adequacy of response rates to online and paper surveys: what can be done? |
| work_6r5fds5lfbdzfilb4szygi5gyq | The dilemma is: What career theories should be included in vocational preparation courses? |
| work_6r5fds5lfbdzfilb4szygi5gyq | The education of the professional musician: How much music is required? |
| work_6r5fds5lfbdzfilb4szygi5gyq | The focus groups were asked, What skills are needed to sustain a successful career? |
| work_6r5fds5lfbdzfilb4szygi5gyq | The genealogy and anatomy of the Australian tertiary music sector: How far have we come and where are we going? |
| work_6r5fds5lfbdzfilb4szygi5gyq | The other part of me says be realistic because at the end of the four years what have they got? |
| work_6r5fds5lfbdzfilb4szygi5gyq | The portfolio career: Pushed or pulled to it? |
| work_6r5fds5lfbdzfilb4szygi5gyq | They are saying[ to me], ‘ when am I going to find a job? |
| work_6r5fds5lfbdzfilb4szygi5gyq | This commentary raises these questions: Is the delivery of MLaaM ahead of its time? |
| work_6r5fds5lfbdzfilb4szygi5gyq | This regularly resulted in a feeling of ‘ Well why did I even bother? ’ particularly if it was a low[-paid] or unpaid gig. |
| work_6r5fds5lfbdzfilb4szygi5gyq | Those in the Unclear(?) |
| work_6r5fds5lfbdzfilb4szygi5gyq | To what extent are these skills and capabilities explicitly or implicitly represented in the QCGU tertiary undergraduate curriculum? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Unfortunately, if these skills are not ‘ forced upon ’ the students, the question remains, when are they going to learn them? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Was it what you expected? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What additional components need consideration, and how do they fit within typical conservatoire curriculum design? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What advice can you give an undergraduate musician in the twenty- first century? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What advice would you give current graduating music students? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What advice would you give tertiary music students aspiring to working in the music industry? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What are considered the key skills and capabilities of sustainable portfolio career musicians in Australia? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What are the demographics of your student enrolments and what careers do they envisage themselves as possessing? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What are you doing next year? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What careers do the graduates most likely possess? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What careers does your faculty encourage? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What careers does your institution currently train them for? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What challenges do you think are in store for you? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What changes, additions, and/or subtractions would you recommend( course content, assessment and course activities)? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What city, state and country do you currently live in? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What city, state and country do you currently live in? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What do I currently love about music? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What do I want to do long term with my career? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What do musicians do for a living? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What do you consider should be included in a tertiary music vocational education programme? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What do you consider the most important aspects of your tertiary study? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What do you feel that current tertiary music students should be learning to survive and sustain this environment? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What do you love about music? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What do you love about music? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What do you love about music? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What do you think about a conservatoire delivering a vocational preparation strand such as MLaaM? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What do you wish to do long- term with your career? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What do you wish to do long- term with your career? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What do your students communicate to you about MLaaM? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What has been the most and least$ you have earned? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What has been your career path to date? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What have been the highlights and lowlights of your career? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What have been your career highs and lows? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What implications do these have for the future of the music industry? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What industry activity are you/ have you been engaged in so far? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What influenced you to exit or consider exiting a career in music? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What influenced you to exit or consider exiting a career in music? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What is your highest MUSIC qualification? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What is your highest MUSIC qualification? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What is your impression of the music industry? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What is your name and position at the QCM? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What is your opinion of the music industry in Australia and Internationally? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What methods do you use to find work? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What non- music skills do current tertiary music students need upon graduation? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What non- music skills do you feel you will need to use? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What non- music skills have you had to learn to support your career that you did not learn in your degree/ diploma? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What non- music skills have you needed for this activity? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What non- music skills/ knowledge do you consider graduating music students need to sustain a music career in the 21st century? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What non- music skills/ knowledge do you consider graduating music students need to sustain a music career in the 21st century? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What positive or negative outcomes can you foresee a course such as MLaaM being implemented in your institution? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What qualities do you observe that successful musicians possess? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What ramifications does this have on the future of the music industry and those musicians currently employed? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What significant changes in the music industry have you noticed during this time? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What skills am I going to need to achieve my dreams? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What skills and experience should a music industry studies lecturer possess? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What skills and qualifications should a tertiary music industry preparation lecturer possess? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What skills and qualifications should a tertiary music industry vocational preparation lecturer possess? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What skills do current tertiary music students need to possess in order to sustain a career in the music industry? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What skills do you think students need to have upon graduation? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What skills will you need by the time you graduate to sustain a career in music? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What were you like as a training musician( in your diploma, degree?) |
| work_6r5fds5lfbdzfilb4szygi5gyq | What ’s your other job? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What( if) has changed? |
| work_6r5fds5lfbdzfilb4szygi5gyq | What, to your knowledge has been the past history and content of music industry education and career information at your institution? |
| work_6r5fds5lfbdzfilb4szygi5gyq | When you were first training to become a musician a) how old were you and b) what did you want to do long term with your career? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Which of the following best describes your current relationship status? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Which of the following best describes your current relationship status? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Who am I? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Why does Opera Australia no longer come to Brisbane? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Why? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Why? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Within your own employment — what is the approximate ratio of teaching to performance and how, if at all, has that changed over the years? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Would I have been more open and accepting of employment opportunities? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Would my performance outcome be better, worse or the same? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Would you credit it? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Would you describe yourself as a contract musician or a job creator/ instigator? |
| work_6r5fds5lfbdzfilb4szygi5gyq | Would you want to? |
| work_6r5fds5lfbdzfilb4szygi5gyq | You would be like ‘ what??!! |
| work_6r5fds5lfbdzfilb4szygi5gyq | You would be like ‘ what??!! |
| work_6r5fds5lfbdzfilb4szygi5gyq | and can apply it in a variety of mediums? |
| work_6r5fds5lfbdzfilb4szygi5gyq | does the budget balance? |
| work_6r5fds5lfbdzfilb4szygi5gyq | does your CV capitalise on the strengths the audience it is intended for needs? |
| work_6r5fds5lfbdzfilb4szygi5gyq | does your biography have a sense of story line? |
| work_6r5fds5lfbdzfilb4szygi5gyq | dried up — how confident would you be to instigate your own projects? |
| work_6r5fds5lfbdzfilb4szygi5gyq | have you demonstrated that you not only understand the knowledge given in class but also are applying it? |
| work_6r5fds5lfbdzfilb4szygi5gyq | reluctant to consider lifelong learning) • What- can- the- university- do- for- me? |
| work_6r5fds5lfbdzfilb4szygi5gyq | was the same as their response to Question 1( What do you love about music?). |
| work_6r5fds5lfbdzfilb4szygi5gyq | what is the likelihood of this grant being successful if submitted upon graduation? |
| work_6r5fds5lfbdzfilb4szygi5gyq | • Can you describe( if applicable) the reflective element you use in your course? |
| work_6r5fds5lfbdzfilb4szygi5gyq | • Do you have a tutorial process in conjunction with this course? |
| work_6r5fds5lfbdzfilb4szygi5gyq | • How do I understand and explain these connections? |
| work_6r5fds5lfbdzfilb4szygi5gyq | • How have their interviews been consistent or inconsistent with the literature? |
| work_6r5fds5lfbdzfilb4szygi5gyq | • The assessment — and why you chose it • What supporting texts do you use? |
| work_6r5fds5lfbdzfilb4szygi5gyq | • What element of( if at all) and when is entrepreneurship discussed or encouraged? |
| work_6r5fds5lfbdzfilb4szygi5gyq | • What extra learning activities do you incorporate that do not appear on the course outline? |
| work_6r5fds5lfbdzfilb4szygi5gyq | • What is your criticism of your own course? |
| work_6r5fds5lfbdzfilb4szygi5gyq | • What surprises or confirmations of previous instincts have there been? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ! 7 3 3 3 3 3 3 3 3? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ! U? bb-! |
| work_wi5cuuu54nejjhcn7pduan4cgq | "? work_wi5cuuu54nejjhcn7pduan4cgq & 2 5 7? work_wi5cuuu54nejjhcn7pduan4cgq & 2.>? work_wi5cuuu54nejjhcn7pduan4cgq & 2? work_wi5cuuu54nejjhcn7pduan4cgq & 2? work_wi5cuuu54nejjhcn7pduan4cgq & 3 3 3 3 3 3 3 3 3 3 3 3? work_wi5cuuu54nejjhcn7pduan4cgq & 3 37 7&## 3 37 7? work_wi5cuuu54nejjhcn7pduan4cgq & 3? work_wi5cuuu54nejjhcn7pduan4cgq & 3? work_wi5cuuu54nejjhcn7pduan4cgq & 5? work_wi5cuuu54nejjhcn7pduan4cgq & 8? work_wi5cuuu54nejjhcn7pduan4cgq & 8? work_wi5cuuu54nejjhcn7pduan4cgq & 9? work_wi5cuuu54nejjhcn7pduan4cgq & U? work_wi5cuuu54nejjhcn7pduan4cgq & b 2>>>>>>>>>? b 2& cross hands->->->->->->->->->ÿ! work_wi5cuuu54nejjhcn7pduan4cgq & b 3 3? b! work_wi5cuuu54nejjhcn7pduan4cgq & b Use a mode of D, F A, Bb and C as base of improvisation40Play approx bars--.>--? b 40Play approx bars? b 40! work_wi5cuuu54nejjhcn7pduan4cgq & b Use a mode of D, F A, Bb and C as base of improvisation40Play approx bars--.>--? b 40Play approx bars? b 40! work_wi5cuuu54nejjhcn7pduan4cgq & b arco? b------ nat. work_wi5cuuu54nejjhcn7pduan4cgq & b>>>>>>-------& b->->->->->!<>? work_wi5cuuu54nejjhcn7pduan4cgq & b? b? b! work_wi5cuuu54nejjhcn7pduan4cgq & b? b? b! work_wi5cuuu54nejjhcn7pduan4cgq & bb o o o o o o o o o o o o o “<> Locoo o o& bb? bb! work_wi5cuuu54nejjhcn7pduan4cgq & bb ” “& bb? bb! work_wi5cuuu54nejjhcn7pduan4cgq & bbbb-? bbbb-& bbbb? bbbb& bbbb? bbbb& bbbb-. work_wi5cuuu54nejjhcn7pduan4cgq & bbbb-? bbbb-& bbbb? bbbb& bbbb? bbbb& bbbb-. work_wi5cuuu54nejjhcn7pduan4cgq & bbbb-? bbbb-& bbbb? bbbb& bbbb? bbbb& bbbb-. work_wi5cuuu54nejjhcn7pduan4cgq & bbbb? bbbb& bbbb? bbbb& bbbb? bbbb& bbbb? bbbb& bbbb? bbbb. work_wi5cuuu54nejjhcn7pduan4cgq & bbbb? bbbb& bbbb? bbbb& bbbb? bbbb& bbbb? bbbb& bbbb? bbbb. work_wi5cuuu54nejjhcn7pduan4cgq & bbbb? bbbb& bbbb? bbbb& bbbb? bbbb& bbbb? bbbb& bbbb? bbbb. work_wi5cuuu54nejjhcn7pduan4cgq & bbbb? bbbb& bbbb? bbbb& bbbb? bbbb& bbbb? bbbb& bbbb? bbbb. work_wi5cuuu54nejjhcn7pduan4cgq & bbbb? bbbb& bbbb? bbbb& bbbb? bbbb& bbbb? bbbb& bbbb? bbbb. work_wi5cuuu54nejjhcn7pduan4cgq & bbbb? bbbb. work_wi5cuuu54nejjhcn7pduan4cgq & bbbb? bbbb. work_wi5cuuu54nejjhcn7pduan4cgq & bbbb? bbbb. work_wi5cuuu54nejjhcn7pduan4cgq & bbbb? bbbb. work_wi5cuuu54nejjhcn7pduan4cgq & bbbb? bbbb. work_wi5cuuu54nejjhcn7pduan4cgq & bbbb? bbbb. work_wi5cuuu54nejjhcn7pduan4cgq & bbbb? bbbb. work_wi5cuuu54nejjhcn7pduan4cgq & bbbbb •2 •2 •2& bbbbb •2 •2 •2? bbbbb • 2 •2 •2? bbbbb simile. work_wi5cuuu54nejjhcn7pduan4cgq & bbbbb •2 •2 •2& bbbbb •2 •2 •2? bbbbb • 2 •2 •2? bbbbb simile. work_wi5cuuu54nejjhcn7pduan4cgq & bbbbb •2 •2& bbbbb •2 •2? bbbbb • 2 •2? bbbbb • 2 •2. work_wi5cuuu54nejjhcn7pduan4cgq & bbbbb •2 •2& bbbbb •2 •2? bbbbb • 2 •2? bbbbb • 2 •2. work_wi5cuuu54nejjhcn7pduan4cgq & bbbbb->.-->.-->.-->.-? bbbbb->.-->.-->.-->.-& bbbbb. work_wi5cuuu54nejjhcn7pduan4cgq & bbbbb? bbbbb? bbbbb! work_wi5cuuu54nejjhcn7pduan4cgq & bbbbb? bbbbb? bbbbb! work_wi5cuuu54nejjhcn7pduan4cgq & div.#$#$#$##$#$# B? work_wi5cuuu54nejjhcn7pduan4cgq & o o o 3? work_wi5cuuu54nejjhcn7pduan4cgq & o o o o o o o o? work_wi5cuuu54nejjhcn7pduan4cgq & o o o o o o? work_wi5cuuu54nejjhcn7pduan4cgq & o o o o? work_wi5cuuu54nejjhcn7pduan4cgq &## 3&# 3& b--.>--.>--.>? b? b. work_wi5cuuu54nejjhcn7pduan4cgq &## 3&# 3& b--.>--.>--.>? b? b. work_wi5cuuu54nejjhcn7pduan4cgq &-->? work_wi5cuuu54nejjhcn7pduan4cgq &.>? work_wi5cuuu54nejjhcn7pduan4cgq &>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> ” “>&>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>?>& B? work_wi5cuuu54nejjhcn7pduan4cgq &>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> ” “>&>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>?>& B? work_wi5cuuu54nejjhcn7pduan4cgq &>>>>>>>>>>>>? work_wi5cuuu54nejjhcn7pduan4cgq &>>>>? work_wi5cuuu54nejjhcn7pduan4cgq &>? work_wi5cuuu54nejjhcn7pduan4cgq &? work_wi5cuuu54nejjhcn7pduan4cgq &? work_wi5cuuu54nejjhcn7pduan4cgq &? work_wi5cuuu54nejjhcn7pduan4cgq &? work_wi5cuuu54nejjhcn7pduan4cgq &? work_wi5cuuu54nejjhcn7pduan4cgq &? work_wi5cuuu54nejjhcn7pduan4cgq &? work_wi5cuuu54nejjhcn7pduan4cgq &? work_wi5cuuu54nejjhcn7pduan4cgq &? work_wi5cuuu54nejjhcn7pduan4cgq &? work_wi5cuuu54nejjhcn7pduan4cgq &? work_wi5cuuu54nejjhcn7pduan4cgq &? work_wi5cuuu54nejjhcn7pduan4cgq &? work_wi5cuuu54nejjhcn7pduan4cgq &? work_wi5cuuu54nejjhcn7pduan4cgq &? b! work_wi5cuuu54nejjhcn7pduan4cgq ( Harmon) 3? bbbbb! work_wi5cuuu54nejjhcn7pduan4cgq ( cup mute)? bbbb? bbbb? bbbb? bbbb& bbbb. work_wi5cuuu54nejjhcn7pduan4cgq ( cup mute)? bbbb? bbbb? bbbb? bbbb& bbbb. work_wi5cuuu54nejjhcn7pduan4cgq ( cup mute)? bbbb? bbbb? bbbb? bbbb& bbbb. work_wi5cuuu54nejjhcn7pduan4cgq ( cup mute)? bbbb? bbbb? bbbb? bbbb& bbbb. work_wi5cuuu54nejjhcn7pduan4cgq ( cup) 3? bbbbb! work_wi5cuuu54nejjhcn7pduan4cgq - 4? work_wi5cuuu54nejjhcn7pduan4cgq -& b>>>>>>>>>>>>>>>-------& b cross hands->->->->->->->->->->->->->->ÿ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | --- 3? bbbbb--- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | --- 3? bbbbb---- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | --- 3? bbbbb---- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | --- 3? bbbbb---- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | --- 3? bbbbb---- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | --- 3? bbbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ---""# 3? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ---------- 3 3 3 3 3? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ------------? b#"""#"""#"""#"""#"""#""! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ---------> 3 3 3 3& 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ----? bbbb 16? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ----? bbbb 16? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ----? bbbb 16? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ----? bbbb 16? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ----? bbbb 16? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ----? bbbb 16? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ----? bbbb 16? bbbb? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ----? bbbb 16? bbbb? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ----? bbbb 16? bbbb? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | --->? |
| work_wi5cuuu54nejjhcn7pduan4cgq | --->? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ---? b 2 5? b 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ---? b 2 5? b 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | -->? |
| work_wi5cuuu54nejjhcn7pduan4cgq | --? |
| work_wi5cuuu54nejjhcn7pduan4cgq | --? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->->->->->-> U? bbbb U& bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->->->->->-> U? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->->->->->-> U? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->->->->->-> U? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->->->->->-> U? bbbb>. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->->? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->.-->.-->.-->.->----? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->.-->.-->.-->.-? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->.-->.-->.-->.-? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->.-->.-->.-? bbbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->>>>->>>>->>>>->>>>->>>>->>>>->>>>&>>>>? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->>>>->>>>->>>>? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->>>>->>>>->>>>? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->>>>->>>>->>>>? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ->? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | -? |
| work_wi5cuuu54nejjhcn7pduan4cgq | -? |
| work_wi5cuuu54nejjhcn7pduan4cgq | -? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | -? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | -? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | -? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | -? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | -? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | -? bbbb? bbbb? bbbb---. |
| work_wi5cuuu54nejjhcn7pduan4cgq | -? bbbb? bbbb? bbbb---. |
| work_wi5cuuu54nejjhcn7pduan4cgq | -? bbbb? bbbb? bbbb---. |
| work_wi5cuuu54nejjhcn7pduan4cgq | .7? |
| work_wi5cuuu54nejjhcn7pduan4cgq | .> 3 3? |
| work_wi5cuuu54nejjhcn7pduan4cgq | .> U? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | .> U? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | .> U? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | .> U? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | .>? |
| work_wi5cuuu54nejjhcn7pduan4cgq | .>? |
| work_wi5cuuu54nejjhcn7pduan4cgq | .>? |
| work_wi5cuuu54nejjhcn7pduan4cgq | .>? bb& bb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | .>? bb& bb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | .>? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | .>? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | .>? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | .>? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | .>? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | .>? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | .>? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | / 40.>& b.>--.>--.>? b? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | / 40.>& b.>--.>--.>? b? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | / •2•2 •2•2 •2•2&## 3&# 3& b--.>--.>? b? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | / •2•2 •2•2 •2•2&## 3&# 3& b--.>--.>? b? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | / •2•2 •2•2 •2•2&##&#& b---? b? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | / •2•2 •2•2 •2•2&##&#& b---? b? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | /.> •2•2 •2•2&## 3&# 3& b--.>--.>--.>? b? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | /.> •2•2 •2•2&## 3&# 3& b--.>--.>--.>? b? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | 10 pizz.>>>>>> CONSPIRACY THEORY Nanako Sato? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 116& bbbbb? bbbbb& bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 12? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 14->>>>? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 231 234 q=110236 74 74& b ” “? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 2? bb senza sord. |
| work_wi5cuuu54nejjhcn7pduan4cgq | 2? bb senza sord. |
| work_wi5cuuu54nejjhcn7pduan4cgq | 2? bb senza sord. |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3 3? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3 5? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 301& b? b& b 40Play bars Use a mode of D, F A, Bb and C as base of improvisation Collective improvisation section? b 40Play bars& b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 301& b? b& b 40Play bars Use a mode of D, F A, Bb and C as base of improvisation Collective improvisation section? b 40Play bars& b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 37 3 3 3 3? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? b----! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbb-.End of Alto solo? bbbb- 6? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbb-.End of Alto solo? bbbb- 6? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbb-.End of Alto solo? bbbb- 6? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbb-.End of Alto solo? bbbb- 6? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbb-.End of Alto solo? bbbb- 6? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbb-.End of Alto solo? bbbb- 6? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbbb? bbbbb? bbbbb---- 3? bbbbb 4 8 6? bbbbb? bbbbb 12? bbbbb---- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbbb? bbbbb? bbbbb---- 3? bbbbb 4 8 6? bbbbb? bbbbb 12? bbbbb---- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbbb? bbbbb? bbbbb---- 3? bbbbb 4 8 6? bbbbb? bbbbb 12? bbbbb---- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbbb? bbbbb? bbbbb---- 3? bbbbb 4 8 6? bbbbb? bbbbb 12? bbbbb---- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbbb? bbbbb? bbbbb---- 3? bbbbb 4 8 6? bbbbb? bbbbb 12? bbbbb---- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbbb? bbbbb? bbbbb---- 3? bbbbb 4 8 6? bbbbb? bbbbb 12? bbbbb---- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 3? bbbbb? bbbbb? bbbbb---- 3? bbbbb 4 8 6? bbbbb? bbbbb 12? bbbbb---- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 4 9? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 4& b 5 9? b 5& b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 4&? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 40Play bars& b 40Play bars Use a mode of D, F A, Bb and C as base of improvisation? b 40Play bars? b 40Play bars/ •2•2 40Play bars& b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 40Play bars& b 40Play bars Use a mode of D, F A, Bb and C as base of improvisation? b 40Play bars? b 40Play bars/ •2•2 40Play bars& b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 4? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5 3 5 3? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5 5 5 5 5? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5 5? b 5! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5 5? b 55& b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5 A Piece of Hope in the Darkness Nanako Sato? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5 A Piece of Hope in the Darkness Nanako Sato? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5 A Piece of Hope in the Darkness Nanako Sato? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5 ‘ “&>>>>? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5& b. ” “ 5 3? b ” “! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 5? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 6 4? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 6& b 4 4? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 6& b 4& b? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | 6& b"#"# sul pont.at tallon->? b"#"#! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 6? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | 7? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 7? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 8&? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 9&--->? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 9-- 3? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 9? |
| work_wi5cuuu54nejjhcn7pduan4cgq | 9? |
| work_wi5cuuu54nejjhcn7pduan4cgq | >->->? |
| work_wi5cuuu54nejjhcn7pduan4cgq | >>? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | >? |
| work_wi5cuuu54nejjhcn7pduan4cgq | >? |
| work_wi5cuuu54nejjhcn7pduan4cgq | >? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | >? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | >? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? CB A E! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? DCB| EFGA! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b non divis. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b& b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b& b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b& b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b& b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b& b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b& b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b& b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b& b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b----! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b>. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b 2 2? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b 2 2? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b 2 2? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b/ •2&##! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b/ •2&##! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b/ •2•2 œ œ œ œ ˙! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b/ •2•2 œ œ œ œ ˙! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b/ •2•2&## 3 3>>>--- 3&# 3>>>--- 3& b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b/ •2•2&## 3 3>>>--- 3&# 3>>>--- 3& b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b/ •2•2&##! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b/ •2•2&##! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b/ •2•2&##! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b/ •2•2&##! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b/& b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b/& b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b? b 7 3? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b? b 7 3? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b? b 7 3? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? b? b? b 7 3? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb 2? bb? bb 16 4? bb 2? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb! U& bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb& bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb& bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb& bb? bb& bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb& bb? bb& bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb/! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb/! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb? bb 17! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb? bb 17! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb? bb 17! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb? bb 17! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb? bb 17! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb? bb 17! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb? bb? bb? bb/! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb? bb? bb? bb/! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb? bb? bb? bb/! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bb? bb? bb? bb/! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb 4! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb 4! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb 4! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb---. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb-> 2 2->? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb-> 2 2->? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb-> 2 2->? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb-> 2 2->? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb-> 2 2->? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb-> 2 2->? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb-> 2 2->? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb-> 2 2->? bbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb->! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb->! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb->! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb->! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb.>! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb.>! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb>. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb>. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb>. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb>. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb>. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb>. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb>. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb>. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb>>. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb>>. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb>>. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb? bbbb? bbbb End of Alto solo? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb? bbbb? bbbb End of Alto solo? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb? bbbb? bbbb End of Alto solo? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb? bbbb? bbbb? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb? bbbb? bbbb? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbb? bbbb? bbbb? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb-- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb--- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb--- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb--- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb---- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb? bbbbb? bbbbb? bbbbb& bbbbb simile. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb? bbbbb? bbbbb? bbbbb& bbbbb simile. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb? bbbbb? bbbbb? bbbbb& bbbbb simile. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ? bbbbb? bbbbb? bbbbb? bbbbb& bbbbb simile. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ?" |
| work_wi5cuuu54nejjhcn7pduan4cgq | A Piece of Hope in the Darkness Nanako Sato? bb 5! U! |
| work_wi5cuuu54nejjhcn7pduan4cgq | A. Bass Dr. 67&##&#& b--.>--.>--.>? b? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | A. Bass Dr. 67&##&#& b--.>--.>--.>? b? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | Alto 1 solo? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | Alto 1 solo? bbbb.>! |
| work_wi5cuuu54nejjhcn7pduan4cgq | Alto 1 solo? bbbb.>! |
| work_wi5cuuu54nejjhcn7pduan4cgq | Alto 1 solo? bbbb.>! |
| work_wi5cuuu54nejjhcn7pduan4cgq | Alto 1 solo? bbbb.>! |
| work_wi5cuuu54nejjhcn7pduan4cgq | Alto 1 solo? bbbb>. |
| work_wi5cuuu54nejjhcn7pduan4cgq | Blue Butterfly Piano Cadenza for 30- 40 bars until B section Nanako Sato? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | C28 mf ff p mf mf p p ° ø ° ø ° ø ° ø ° ø ° ø C 44 34 44 34 44 34 44 34 44 34 44 34 44 34 44 34 44 34 44 34 44 34 44 34? |
| work_wi5cuuu54nejjhcn7pduan4cgq | CONSPIRACY THEORY Nanako Sato? |
| work_wi5cuuu54nejjhcn7pduan4cgq | C‹7 B‹7 B¨‹7 A‹7 A¨Œ„!7 G7 C‹7 B‹7& bbbb? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | DCB| EFGA 10& U? |
| work_wi5cuuu54nejjhcn7pduan4cgq | End of Alto solo? bbbb- 6? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | End of Alto solo? bbbb- 6? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | End of Alto solo? bbbb- 6? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | End of Alto solo? bbbb- 6? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | End of Alto solo? bbbb-. |
| work_wi5cuuu54nejjhcn7pduan4cgq | G&7(#9) G¨Œ„!13 EŒ„!13(#11) f E13(#11) f 106& bbbbb •2 •2 •2 •2? bbbbb • 2 •2 •2 •2& bbbbb? bbbbb& bbbbb--- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | G&7(#9) G¨Œ„!13 EŒ„!13(#11) f E13(#11) f 106& bbbbb •2 •2 •2 •2? bbbbb • 2 •2 •2 •2& bbbbb? bbbbb& bbbbb--- 3! |
| work_wi5cuuu54nejjhcn7pduan4cgq | I145 34 34&##&#& b--.>--.>--.>? b? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | I145 34 34&##&#& b--.>--.>--.>? b? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | I95 98 24 44 24 44 44 24 44 44 24 44 34 34& b 5 5 5 5& b 5? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | I95 Copyright © Nanako Sato 2011 f 101 108 mp fp J114 f p mp f mp mp f p K121 34 44 24 44 24 44 34 44? b? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | I95 Copyright © Nanako Sato 2011 f 101 108 mp fp J114 f p mp f mp mp f p K121 34 44 24 44 24 44 34 44? b? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | K109? bbbbb->.-->.-->.-->.-? bbbbb 4->. |
| work_wi5cuuu54nejjhcn7pduan4cgq | K109? bbbbb->.-->.-->.-->.-? bbbbb 4->. |
| work_wi5cuuu54nejjhcn7pduan4cgq | K112 117? bbbbb • 2 •2 •2 •2? bbbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | K112 117? bbbbb • 2 •2 •2 •2? bbbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | K112? bbbbb->.-->.-->.-->.-? bbbbb 4->. |
| work_wi5cuuu54nejjhcn7pduan4cgq | K112? bbbbb->.-->.-->.-->.-? bbbbb 4->. |
| work_wi5cuuu54nejjhcn7pduan4cgq | K112? bbbbb->.-->.-->.-->.-? bbbbb 4->. |
| work_wi5cuuu54nejjhcn7pduan4cgq | K112? bbbbb->.-->.-->.-->.-? bbbbb 4->. |
| work_wi5cuuu54nejjhcn7pduan4cgq | K112? bbbbb->.-->.-->.-->.-? bbbbb 4->. |
| work_wi5cuuu54nejjhcn7pduan4cgq | K112? bbbbb->.-->.-->.-->.-? bbbbb 4->. |
| work_wi5cuuu54nejjhcn7pduan4cgq | Nanako Sato Rainforest? bbbb 4 4. |
| work_wi5cuuu54nejjhcn7pduan4cgq | Nanako Sato Reminiscence of a Japanese Garden? b 12----- 3 pizz. |
| work_wi5cuuu54nejjhcn7pduan4cgq | Nanako SatoRainforest? bbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | O conspiracy, Sham’st thou to show thy dang’rous brow by night, When evils are most free? |
| work_wi5cuuu54nejjhcn7pduan4cgq | Play approx bars Use a mode of D, F A, Bb and C as base of improvisation 65& b Play approx bars 65? |
| work_wi5cuuu54nejjhcn7pduan4cgq | U& 4? |
| work_wi5cuuu54nejjhcn7pduan4cgq | U? |
| work_wi5cuuu54nejjhcn7pduan4cgq | U? bb U/! |
| work_wi5cuuu54nejjhcn7pduan4cgq | U? bb senza sord. |
| work_wi5cuuu54nejjhcn7pduan4cgq | U? bb senza sord. |
| work_wi5cuuu54nejjhcn7pduan4cgq | U? bb senza sord. |
| work_wi5cuuu54nejjhcn7pduan4cgq | U? bbbb>. |
| work_wi5cuuu54nejjhcn7pduan4cgq | U? bbbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | U? bbbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | U? bbbbb. |
| work_wi5cuuu54nejjhcn7pduan4cgq | Use open D string at the same time 3? b>-! |
| work_wi5cuuu54nejjhcn7pduan4cgq | arco""? b pizz. |
| work_wi5cuuu54nejjhcn7pduan4cgq | arco"#"#"? b#"# 7? b sul pont. |
| work_wi5cuuu54nejjhcn7pduan4cgq | arco"#"#"? b#"# 7? b sul pont. |
| work_wi5cuuu54nejjhcn7pduan4cgq | arco>? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | div arco? |
| work_wi5cuuu54nejjhcn7pduan4cgq | ff mf G‹Œ„!7 q=180 SwingG95 44 44& bb& bb& bb& bb------? bb& bb------? bb& bb? bb& bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ff mf G‹Œ„!7 q=180 SwingG95 44 44& bb& bb& bb& bb------? bb& bb------? bb& bb? bb& bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | ff mf G‹Œ„!7 q=180 SwingG95 44 44& bb& bb& bb& bb------? bb& bb------? bb& bb? bb& bb! |
| work_wi5cuuu54nejjhcn7pduan4cgq | legato 26 44 44 24 24 44& b 5 3 Nanako Sato Reminiscence of a Japanese Garden? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | let ring ¿ 5& b 5? b 5! |
| work_wi5cuuu54nejjhcn7pduan4cgq | o o o o? |
| work_wi5cuuu54nejjhcn7pduan4cgq | o o? |
| work_wi5cuuu54nejjhcn7pduan4cgq | o o? |
| work_wi5cuuu54nejjhcn7pduan4cgq | pizz.>? |
| work_wi5cuuu54nejjhcn7pduan4cgq | play sounds like koto3? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | pluck D string at the same time with finger nail? b! |
| work_wi5cuuu54nejjhcn7pduan4cgq | q=110 L238 34 74? b. |
| work_wi5cuuu54nejjhcn7pduan4cgq | sim.------? b--- nat. |
| work_wi5cuuu54nejjhcn7pduan4cgq | ‘ “? |
| work_wi5cuuu54nejjhcn7pduan4cgq | “<> ‘ “&? |
| work_wi5cuuu54nejjhcn7pduan4cgq | •2 •2 •2& bbbbb •2 •2 •2 •2? bbbbb • 2 •2 •2 •2? bbbbb simile. |
| work_wi5cuuu54nejjhcn7pduan4cgq | •2 •2 •2& bbbbb •2 •2 •2 •2? bbbbb • 2 •2 •2 •2? bbbbb simile. |
| work_wi5cuuu54nejjhcn7pduan4cgq | •2? bbbbb • 2 •2 •2? bbbbb • 2? bbbbb arco--- 3? bbbbb simile. |
| work_wi5cuuu54nejjhcn7pduan4cgq | •2? bbbbb • 2 •2 •2? bbbbb • 2? bbbbb arco--- 3? bbbbb simile. |
| work_wi5cuuu54nejjhcn7pduan4cgq | •2? bbbbb • 2 •2 •2? bbbbb • 2? bbbbb arco--- 3? bbbbb simile. |
| work_wi5cuuu54nejjhcn7pduan4cgq | •2? bbbbb • 2 •2 •2? bbbbb • 2? bbbbb arco--- 3? bbbbb simile. |