Extended Anacruses in Mozart's Instrumental Music

Extended Anacruses in Mozart's Instrumental Music Author(s): Eric McKee Source: Theory and Practice, Vol. 29 (2004), pp. 1-37 Published by: Music Theory Society of New York State Stable URL: http://www.jstor.org/stable/41054353 Accessed: 12-03-2015 13:40 UTC

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ExtendedAnacruses in Mozart'sInstrumental Music EricMcKee The expressiveimpactof a melodicentrancehas muchto do withthe way in ofthemelodyis alignedwiththemeter.1 whichthebeginning TherearetwoposA melodymaybeginon a downbeat{downbeatmelody)or itmaybegin sibilities. on a weakbeatofthemeasure(anacrusticmelody).Downbeatmelodiesareoften heardas strongandassertive;anacrustic melodiesaretypically softer in character andevokea senseoflightness. The contrast betweenthesetwotypesis an importantsourceofmusicaldramain Mozart'sinstrumental music. betweenthe Althoughdownbeatmelodies allow only one relationship thereis a widerangeofpossibilities withanacrustic melodies. melodyandmeter, This varietyin rhythmic betweena melodyand itsmetricalorganirelationships zationis a compositional resourcethatMozartdrewuponin hisVienneseperiod, andhis exploration of thefullrangeof possibilities greatlyexpandedtheexpressivepotential ofhis melodicwriting. rich Particularly sourcesof theseanacruses arehispianoconcertibeginning withK. 414 (1782). Perhapsthebest-known exis the of his in K. G 550 however, Minor, ample, openingmelody Symphony (1788), shownin Example1. In thisarticleI examineMozart'suse of anacrusesof a measureor morein - whatI call extendedanacruses.Extendedanacrusesare a signature fealength tureofMozart'smaturemelodicstyle,yetheretofore no full-length has study addressedthe topic.The firstpartof this articleformulizesthe conceptof an extendedanacrusis.Thisis followedbyillustrations ofdifferent typesofextended anacrusesdrawnfromMozart'sinstrumental music.My studyis limitedto cases whereextendedanacrusesregularlyoccur as a consistentpatternwithinthe melodicorganization. In thiswayI distinguish anacrusesthatareintroductory and thosethatareintegral to themelodicfabricofthework. Anacruses DefiningExtended Fred Lerdahl and Ray Jackendoff, I definean anacrusisas the span Following fromthebeginning of a melodyto thestrongest beatcontainedtherein.2 It is imto note that the first downbeat of a not be its portant beat, melodymay strongest 1


2

Theoryand Practice in G Minor,K. 550. Example1. OpeningofMozart'sSymphony Molto Allegro

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4

Theoryand Practice

in orderto allow thefirstmeasureof a melody of themusicaltexture adjustment to be heardas hypermetrically weak.The musicaldeviceMozartmostoftenuses toestablishtheperception ofa metrically weakmeasureinthefaceofmelodiciniof texturein tiationis solo texture.In a valuable articleon the interpretation is most ClassicalandearlyRomanticmusic,JanetLevyobservesthatsolo texture withintheformaldiscourse.8 oftenusedtoinitiateorlead toimportant beginnings voice counterpoint, The absenceof othervoices,and withtheman explicitouterthatlends itselfwell to the functionof createsa textualand tonalinstability anacruses. It is thetwo-part processof solo texture leadingto a stableaccompaniment in context which extendedanacrusesmayarisethat establishes an ideal pattern especiallythoseinvolving[4123] and [3412].As Levyobserves,accompaniment such as theAlbertibass, are cues forthematicstability, whereby"the patterns, senseof 'truebeginning'(of themusicaldiscourse)is oftenconveyedby theestablishment of an accompaniment patternaftera less stableor less naturaltexcomes froma ture."9Much of the perceivedstabilityof an accompaniment nature.As a result,it takes made explicitby its repetitive metricalorganization on thepartof thelistenerto discernthemetricalorganization, less effort thereby factors Additional moreeasilyon larger-scale one organization. allowing toreflect of in and the establishment harmonic suchas harmonic rhythm, clarity, regularity of an accompaniment. to thestability a harmonic bass also contribute Mozartalso composesextendedanacrusesin whichthemelody Conversely, As RogerKamienhas oftheaccompaniment. after theentrance a measure begins and of entrances shown,staggered accompaniment melodyare commonplacein in Figures2a In suchcases, as illustrated music.10 Romantic and Classical early the either metrical and2b,themelody's supersede accompaniment's, may pattern in a secondary in a splitdownbeat,or it mayconflictwithit,resulting resulting shadow meter.11 to as a referred meter whatis sometimes However,in someinin G stances,suchas in theopeningofMozart'sSymphony Minor,thetonalconnatureofthemelodyaresuchthatthemelodydoes notestablish textandrhythmic In thesecases themelodyena metrical pattern apartfromtheaccompaniment's. 2. As Figure2c shows,thisscenarioresultsin [2341]. terson hyperbeat is largelyinfluenced by the workof My generalconceptof hypermeter As and Carl Schachter, Rothstein.12 LerdahlandJackendoff, VictorZuckerkandl, a confrom arise haveargued,meterand(byextension) thesetheorists hypermeter musicalaccents.Accentsmay ofregularly sistent andpredictable recurring pattern suchas markedchangesin dynamics, resultfroma numberofconditions texture, of largerlevelsof meter, In theestablishment and duration. articulation, contour, andgroupaccentsarethosecreatedbychangesinharmony themostdeterminant of congruHis "rule into rules.13 theseconditions has formulated ing.Rothstein ofthe beats where earlier, ence,"towhichI referred possible,strong requiresthat, harof His "rule of a withtherhythmic meterbe coordinated groupings melody. be beats monicrhythm" aligned strong requiresthat,wherepossible,metrically with changesof harmony.Both rules guide my hypermetric interpretations. thatgivesriseto thevarietyof circumstance However,thesinglemostimportant of thenoncongruence 1 is texture showninFigure melodicrhythms specifically,


ExtendedAnacruces

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Figure2. Possiblemetrical readingsof staggered melody and accompaniment textures. a. SplitDownbeat

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As a refinement ofRothstein's ruleofcongruence, I melodyandaccompaniment. offera ruleoftexture. It requiresthatin cases wherethemelodybeginsbeforethe thebeginning of theaccompaniment should,wherepossible,be accompaniment, thanthebeginning ofthemelody. metrically stronger I nowturnto a seriesof shortanalysesin whichI examineMozart'suse of extendedanacruses.Musical excerptsare presentedforeach of thethreecatethatresultin extendedanacruses:[4123], [3412], and goriesof melodicrhythm therondo[2341].I concludethearticlewithan analysisofa completemovement, finaleofMozart'sPianoConcertoin C Major,K. 467 (1785), wherethemetrical of therefrain's rotation organization melodyundergoesa processof hypermetric ([1234]->[4123]->[2341])thatrunstheentirecourseofthework. [4123] One-baranacrusesoccurmoreoftenin Mozart'sinstrumental musicthanany othertypeof extendedanacrusis.Mozartwas apparently fondof usingone-bar


6

Theoryand Practice

anacrusesin minuetsand especiallyin triomovements. The resultingmelodic establishedby an unstablesolo texturemovingto a [4123] is invariably rhythm stableaccompaniment formal patternin the followingmeasure.An important function of one-baranacrusesand of all extendedanacrusesis contrast;when Mozartuses extendedanacruses,thesectionimmediately beforeor afterwilltyp[1234].14 icallybe characterized by a strongly in-phasemelodicrhythm: thefirst Minuetand Trio7,K. 563. Example2 presents repriseoftheMinuet in E'>MajorforViolin, andthefirst repriseofTrio 1 fromMozart'sDivertimento 15 of minuetsin general,Mozart's Viola, and Cello, K. 563. As is characteristic without an anacrusis.The [1234]melodicrhythm minuetbeginson thedownbeat, is firmly established by thesimultaneous entryof theviolinand viola andby the ofmm.1-2 in mm.?>-A. variedrepetition andsubMozart'sVienneseminuets tendtobe loud,rhythmically assertive, in and His to sudden articulation, register, harmony. trios, changes dynamics, ject of theaestheticqualitiesof theminuetas on theotherhand,are morereflective andnobleease werequalitieseighteenthdanced.Beauty,grace,artful simplicity, used to describethephysicalmotionsof the masters routinely century dancing in Mozart'sTrio1. Tonally minuetdancers.Theseaestheticqualitiesaremanifest on thecircleof fifths to the"relaxed"keyof thesubitmovescounterclockwise Example2. ExcerptsfromtheMinuetandTrio 1 in E'>Major,K. 563. ofMozart'sDivertimento Thefirst oftheMinuet reprise

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ExtendedAnacruces

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is simple it stayswithinthepiano range;and itstexture dominant; dynamically, andtransparent.16 In theopeningmeasureofthetrio,theviolaentersalonewiththreequarternotesleadingto thedownbeatofm. 2, at whichpointan "um-pah-pah" accompanimentpatternbegins. The change of texturefrom solo to melody and harmonic thetwo-bar (see theharmonic accompaniment, rhythm analysis),theimofm. 2 (whichestablishesa two-barunit),andtheregistrai mediaterepetition patandm. 1 ternoflow-highin thebass all support hearingm. 2 as a hyperdownbeat melodicrhythm as an extendedanacrusis.The resulting [4123] notonlycreates butalso allows fora gentlerand less abruptphraseentrance. The gracontrast, ofthisopeningis accentuated ciousgentleness andlightness the harmonic by proon a V7, whichresolvesto thetonicin m. 4. gression.The triobeginsoff-tonic Minuetand Trio,K. 439. Example3 presents Mozart'sminuetandtriofrom theDivertimento No. 1 in C Major forthreebassethorns,K. 439. The melodic groupingof theopeningfour-bar melody,1+1+2, strongly supportthein-phase melodicrhythm it is not theunderlying [1234].Although immediately apparent, harmonic and bass line also this progression support interpretation. Conceptually, thebass's openingCf does notinitiatea prolongational span.Rather,itfunctions as a chromatic themotionfroman implied0 at the passingtonethatembellishes 1 of m. to the D at the of thepieceopens beginning beginning m.2. In thisreading, withan impliedtonicthatmovesto a supertonic via a passingapplied-dominant on thethirdbeatof m. 1. The variedreturn of theopeningphrasein m. 13 confirmsthisinterpretation does the return from m. 8 to m. 1). (as The trioopenswiththesolo violinfollowedby theaccompaniment in the nextmeasure.The entranceof a stableand rhythmically activeaccompaniment marksthedownbeatofm. 2 as a potential thisis confirmed hyperdownbeat; bythe two-barrepetition In orderto maintaina consis(mm.4-5) of theentiretexture. tentduplehypermeter thesectionalrepeats,Mozartendsthefirsthalfof through thetriowitha metrically to theopenstrongcadence,whichleads backnaturally The melodicrhythm [4123] ingweakmeasure,nowheardas a fourth hyperbeat. is maintained thetrio. throughout A remarkable in thisminuet-trio feature movement is thatthereturn ofthe openingmaterialin thesecondhalfof theminuet(mm.13-20) is recomposedin sucha wayas to suggesta metricalmodulation to thehypermetric rotation ofthe trio.Specifically, in m. 16 Mozartextendsthedominantforone extrameasure whilemaintaining thesamevoice-leading betweentheoutervoicesas relationship hadoccurred inmm.4-5. In ordertopreservetheoriginaleight-bar phraselength, Mozartconnectstheendoftheexpansionto a variedreturn ofthematerialbegineliminated. ningon secondbeatofm. 6. Threebeatsarethereby The expansionofthedominant in combination withthecontinuous eighthnoterun- begunin thelowestvoice andpickedup in theuppervoicesin thefol- rhythmically and tonallyfuse together m. 16 throughto the lowingmeasure downbeatofm. 18 as a singlemusicalgesture.In a conservative readingitis possibletocontinuethepreviously-established theentireminuet. hypermeter through outthedominant However,thesuddenshiftin harmonic (whichstretches rhythm


8

Theoryand Practice

in m. 17,andthe byone measure),theabsenceofa newfour-bar groupbeginning mm. strongarrivalon thedownbeatof m. 18 all suggesta readingthatinterprets 16-18 as a "composed-out deceleration."17 The deceleration elongatesthefourth beatofthehypermeasure andby doingso shiftstheplacementofthenexthyperdownbeatfromm. 17 to m. 18.The strongly accentuated arrivalofthetonicin m. 18, in whichforthefirsttimein thepiece thebass joins forceswiththeother voicesin similar(leaping)motion,supportsthestatusof m. 18 as metrically accented.The shiftin the placementof hyperdownbeats, fromodd-numbered to even-numbered to rundirectlyintothe measures,allows a four-bar hypermeter four. trio,whichbeginson hyperbeat 13412] Piano Concertoin F Major,K. 413,firstmovement. Thisconcerto, in the written winterof 1782-83, was the second piano concertoMozartcomposedforthe Viennesepublic.Criticssuch as AlfredEinsteinand PhilipRadcliffehave reand "amiable" character.18 markedupon this work's "gentle,""unobtrusive," concurs: Cuthbert Girdlestone Example3. The MinuetandTriofrom in C Major,K. 439. Mozart'sDivertimento .

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and Practice Theìory inViennaappears a verytimid thatMozartcomposed Thefirst [sic]concerto thing emotions other thanthosewhichitis permissible .... Itdoesnotwishtoprovoke ina drawing itsideal,ina word,is thatofa gentleman inpolitesociety; toexpress room.19

andgentlemanly The perceivedamiability politenessof K. 413 are,I believe,due enof in partto Mozart'sprolificuse extendedanacruses:almosteverythematic As an examtrancein theopeningmovement beginswithan extendedanacrusis. ple, I turnto thesecondthemeof theopeningtutti,shownin Example4, which uses themelodicrhythm [3412].20 The secondthemeis dividedintotwo similarparts,mm.24-31 and mm. in whichthefirst 32-41. The firstpartbeginswithtwomeasuresof solo texture Atthearrivalofthemelody'sC inm. 26, the fifth.21 a descending violinsfigurate andpianocontinuoenterwitha stablebass andaccompaniment lowerstrings patof a longdominant ofthebass also marksthebeginning tern.The entrance pedal in m. 24, theovercontextpositsa hyperdownbeat thepreceding point.Although ofa four-bar establishment ofm. 26 andthesubsequent hyperwhelming stability of mm.24-25 as a thirdand fourth metersuggesta reinterpretation hyperbeat.22 themelodicrhythm In orderto maintain [3412] intothesecondpartofthetheme, twoand beginsthesecondpart in m. 32 Mozartendsthefirstparton hyperbeat now withthesameanacrustic up a fourth. transposed although figure, the first the second, theydo not together parallels partmotivically Although not a first is the forma parallelperiod.Strictly phrase,as complete part speaking, a linearasof F majorthrough itis harmonically static;it prolongsthedominant the oftheanacrusisin m. 32 notonlyinitiates centin thefirstviolins.The return second melodicsegmentbut also completesthe ascendinglinearprogression to thedownbeatof begunin m. 26. Thustheentirepassagefrommm.24 through bothas a large-scaleauxiliaryprogression, m. 34 functions V-I, and as a "polite" in m. 34: a conventional to therealsecondthemeentering introduction eight-bar structure. in sentence phraseorganized [2341] arIn hiscelebrated Mozart'sPiano Concertoin G Major,K. 453,firstmovement. EdwardLowinskyobservesthatmanyof Mozart's ticle"On Mozart'sRhythm," andlightness" melodiesachievean "elasticity byavoidingemphasisofthenotated of as a gravitational If meteris thought downbeat.23 field,thentheavoidanceof musicalstresson strongbeatscan impartfeelingsof weightlessness, earthlydeofweighta sense Such "sublime words in or tachment, grace."24 Lowinsky's lessnessarises when the beginningof a melodyis not anchoredby a strong metrical [2341].25 accent;itis at itsmostextremein themelodicrhythm in thatit is theaccomfromtheothermelodicrhythms differs Thispattern on hyperbeat a measureafterward themelodyfollowing thatentersfirst, paniment As shown two.Therearetwotonalcontextsassociatedwiththismelodicrhythm. ofthe at the the tonic establishes inFigure3, inbotha grouping beginning overlap in the In 3a downbeat.26 a as melody Figure pattern hypermetrical accompaniment the shows 5 thefollowingmeasurebeginswitha changeof harmony. Example of Mozart's followingthecadenzafromthefirstmovement passageimmediately


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Piano Concertoin G Major,K. 453.27In m. 328 theend of thecadenzaoverlaps and thereturn of thetonic.The melody withtheentranceof theaccompaniment diminishedas a common-tone entersin thenextmeasurewitha Gftharmonized seventhchord.Contrapuntal ly, the G#functionsas a chromaticpassingtone weakensthesenseof Itspassingfunction withinan ascending-fourth progression. The melodybeginsin mediasres,its trajectory truebeginning. alreadyhaving cadenceofthisfive-bar authentic beenintiated bythetonicin m. 328. The perfect and of a restatement pattern phraseoverlapswitha repeatof theaccompaniment In mm.333-36 themelodyis repeatedonce of theascendingfourth progression. more,thistimeleadingto a phraseelisioninm. 336. The overlapsinmm.328 and four-bar theaccompaniment's 332, andelisionin m. 336,reinforce hypermeter. theentrance In thesecondtype,shownin Figure3b,a tonicchordsupports on thetonic,themelody ofthemelody.Examplesofthistypearerare.By entering thetonic.The beginning willlikelyinitiatesomesortoflinearmotionprolonging thanin thetype accentuation receivegreaterstructural ofthemelodywillthereby shownin Figure3a. In mostcases thistonalcontextwill eitherresultin split of a and melody,or in theestablishment downbeatbetweentheaccompaniment of the nature the In some meter. however, instances, melody rhythmic secondary is such thatit does not establisha metricalpatternapartfromthe accompaniment's.As an exampleof thistype,I turnto the firstmovementof Mozart's ClarinetQuintetinA Major,K. 581. The sublimegrace ClarinetQuintetin A Major,K. 581, firstmovement. thaninthesecevident more is nowhere melodies in Mozart's of Lowinskyspeaks fromthisquintet.As shownin Example6, the ond themeof thefirstmovement withthesecondtheme contrast setsup a rhythmic firsttheme,led by thestrings, and quarhalf-note The melodic rhythm. predominantly in-phase by its strongly is reminiscent submediant move to the an ascendant with motion ter-note rhythmic of the"Marchof the Priests"fromDie Zauberflöte of theopeningprogression 1%This association, texture, gives {TheMagic Flute). alongwiththechorale-like themovethatis maintained themusica senseof spiritualauthority throughout mentin partbecause an expressivequalityoftenassociatedwithspirituality the domain into the theme in the second by rhythmic weightlessnessis translated use ofthemelodicrhythm [2341]. accomAs shownin Example7, thesecondthemebeginswitha staggered ar42 as a m. factors Several texture. strongly supporthearing paniment/melody structural of the the initiates it ticulatedhyperdownbeat: exposition's timespan a newtexture a newtimbre(pizzicato);and it introduces itintroduces dominant; of immense the whoseentrancehas been dramatized build-up energyin the by is heightened theme second of the arrival section.The anticipated transition bythe is four-bar A it.29 restimmediately hypermeter continuing preceding quarter-note dean elaborated in m. 46 the tonic of (whichcompletes by thereturn supported in thefirstviolin,B-A-Gf), thephraseoverlapin m. scendingthirdprogression and changesin tonaland rhyth49 (whichresultsin a metricalreinterpretation), a root-position in m. 53 micdesignoftheaccompaniment descending(beginning of 6), and four-bar and m. 57 fifths prolongation change (rhythmic progression), of the four-bar and m. 61 (rhythmic dominant). prolongation change


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Theoryand Practice

20

ofthemelodythatfollows(mm.21-28), theaccentual In thepiano'ssetting as itis nowexpandedintoa four-part line ofthebass gainsmoresupport, pattern is that the Another noticeablechange texture. by melodyis no longeraccompanied thewindband.In thisnew context,itis possibleto hearthemelodyacquiesceto in [4123]. the metricalschemeof the stringaccompaniment, therebyresulting for or notthisactuallyhappensdependson howthepiece is performed, Whether thereturn of themelodyis typically(thoughnotnecessarily)introduced by an Eingangor improvisedlead-in.Lead-inscan be designedto approachthefirst or as an anacrusis.I wouldsugmeasureofthemelodyeitheras a hyperdownbeat itis reasonableto approachthebegestthatbecausewe areintheopeningrefrain, it intoan ratherthanto transform ginningof themelodyas a hyperdownbeat, anacrusisso earlyin thepiece- Mozartwilldo thissoonenough.In thismanner of theopening modeand dance-likecharacter ofperformance, thepresentational metrical the refrain. the entire is Moreover, emerging through melody preserved createsa musicaltensionthathelpspropel schemeof thestringaccompaniment As shownin Example 9, FrederickNeumannprovidesan the musicforward. that Eingang approachesm. 21 as a hyperdownbeat.33 In m. 28 theoverlapof thelast measureof therefrain's melody eight-bar metwiththefirstmeasureofthetutti'sclosingsectionallowstheeven-numbered metto emergefinallyas thedominant ricalschemeofthestringaccompaniment rical scheme.The tonicprolongation t chordsprovidesit throughneighboring of the refrain's metrical scheme odd-numbered The melody, continuing support. violin'stwo-bar of the first the accentual continues however, support through accentson thehigh melodicgroupings (mm.29-30 and 31-32) and theregistrai At m.34 theentothatofa shadowmeter. is nowsubverted Cs. Itsrole,however, measuresas metrically in supportof even-numbered comestogether tiretexture strong. Neumann'sEingangform. 20 Example9. Frederick ofMozart'sPianoConcertoin C Major,K. 467, finale. perhaps

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The FirstEpisode: [4123]. In thefirstepisode,shownin Example 10, a - established as farback as m. 60- runsunand maintained four-bar hypermeter ofthedancetuneinm.75. Mozartde-emphaintoa partialrestatement interrupted of thedancetuneby embeddingit withina largerascending sizes thebeginning notonlyconcealsthemelody'sentrance run.The additionofthethreeeighth-notes at it intoan extendedanacrusis.Withno accentsof initiation butalso transforms the beginningof m. 75 and withinthe prevailinghypermetrical context,the is effectively transformed froman in-phase[1234]to an melody'smelodicrhythm [4123]. out-of-phase thetwo-noteslurin m. 76. Although Noticea smalldetailin articulation: of the in the statement opening melody,it now assumesgreaterimporpresent accentthatallowsthedownbeatof tance.The slurproducesa typeof articulative In addition, m.76 tobe heardmoreeasilyas an arrivalpointoflocal significance. the thedissonant theslurhighlights A, whichrhythmically displaces conceptually priorG thatfollows.Thusthedownbeatofm. 76 also accruesaccentualemphasis oftheG. bytheconceptualduration SecondStatement oftheRefrain:[4123]. Example11 presentsthesecond of therefrain. someof the statement Figure4 providesa diagramthatillustrates betweentheopeningrefrain anditsrestatement. differences the Perhaps mostimis the reversal of the entrance. As a does result,therefrain change piano's portant notopen witha strongly but rather with material that supported[1234], begins As on its in inmoreclearlysupports occurrence mm. the 21-28, [4123]. previous of this what the does with the terpretation passagehingesupon performer precedthe considerable ing fermata.As we continueto see, this workdemonstrates influence havein determining bothsmall-scalerhythmic performers relationships or nottheyareevenawareofit.Thereare at least andmoreglobalones,whether threefactors toconsiderin arriving at an interpretation: (1) Mozarthas rearranged intherefrain in sucha wayas toundercut thematerial thesupport of [1234],while thesupport of [4123]; (2) on itslastoccurrence themelodicrhythm strengthening ofthedancetunehad rotatedto [4123]; and (3) in thenexttwostatements of the as I shallattempt to demonstrate, thedancetuneundergoes one finalrotarefrain, tionto [2341].Based on thisevidence,I wouldsuggestan interpretation thattakes fulladvantageof Mozart'smanipulation of thetheme'saccompaniment by preof thepreviousepisode.In thisway a performer can servingthe[4123] rotation createa long-range musicalnarrative forwhatis a rathersectionaland thematirondomovement: tohearinga onei.e.,fromhearingno anacrusis, callyrepetitive bar anacrusis,to hearing,by theend of thepiece,theentirefour-bar melodyas anacrustic. If performers decideto highlight thiscycleofrotations, theywouldchoose a lead-inthatapproachesm. 178 as a fourth As an example,Daniel hyperbeat. Barenboim'slead-inis presented in Example 12.34Afteran unmeasured descent fromthefermata's an octaveascentthatis completed highF, Barenboiminitiates in m. 179. The changein contourand motivicdesignat thebeginning of theascent,and theconceptualunityprovidedby theoctaveascent,suggesta four-bar on thelowerG. Sucha lead-inaffects notonlythemetrical hypermeter beginning ofthemelodybutalso itsharmonic Ourpreference for organization organization.


Theoryand Practice

22

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