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The Second Viennese school isn't a thing in Irta; the equivalent is a resurgence of modes outside the major/minor system, developed in Irta's Ireland as a classical take on Irtan Irish Romanticism. Pandiatonicism as well as a total abandonment of earlier classical musical gestures is a part of this trend. This is part of a broader artistic movement that features modernist poetry and abstract painting. This abstractness becomes the most prominent style in modern music in Irta's British Isles and Quelfton and gives rise to various forms of experimentation such as a "tonal New Complexity" style pioneered by Quelftonian composer ____. Irtan "Second Viennese" composers use 53edo as a rough codification of the notes found in earlier classical melodic tropes. | The Second Viennese school isn't a thing in Irta; the equivalent is a resurgence of modes outside the major/minor system, developed in Irta's Ireland as a classical take on Irtan Irish Romanticism. Pandiatonicism as well as a total abandonment of earlier classical musical gestures is a part of this trend. This is part of a broader artistic movement that features modernist poetry and abstract painting. This abstractness becomes the most prominent style in modern music in Irta's British Isles and Quelfton and gives rise to various forms of experimentation such as a "tonal New Complexity" style pioneered by Quelftonian composer ____. Irtan "Second Viennese" composers use 53edo as a rough codification of the notes found in earlier classical melodic tropes. | ||
==Riphean== | |||
Folk traditions of Riphea are revived as a part of the Nōje Niđjaste movement and a distinctive Riphean style of classical music develops from this. The "Riphean style" was subsequently incorporated into concert music by late 19th century Irtan composers. | |||
== Arabic == | == Arabic == | ||