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Verse:Irta/Music: Difference between revisions
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====Artistic movements and composers==== | ====Artistic movements and composers==== | ||
The most popular 19th century Western composer in Irta is Mahi Driu, who was also a cello virtuoso. She wrote over 50 string quartets, 6 cello suites and several concerti for cello and string ensemble. | The most popular 19th century Western composer in Irta is Mahi Driu, who was also a cello virtuoso. She wrote over 50 string quartets, 6 cello suites and several concerti for cello and string ensemble. | ||
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**Introduces a Bosanquet-like layout which becomes controversial? | **Introduces a Bosanquet-like layout which becomes controversial? | ||
*Arthur Arantzazumab, guitarist and cellist | *Arthur Arantzazumab, guitarist and cellist | ||
The Second Viennese school isn't a thing in Irta; the equivalent is a resurgence of modes 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 asemic writing 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 41edo. | |||
== Arabic == | == Arabic == | ||