Classical Music Composer Quotes

Everything we do is music." (Classical Composer)(From: 4'33")

I have never seen a more sublime demonstration of the totalitarian mind, a mind which might be linked unto a system of gears where teeth have been filed off at random. Such snaggle-toothed thought machine, driven by a standard or even by a substandard libido, whirls with the jerky, noisy, gaudy pointlessness of a cuckoo clock in Hell. The boss G-man concluded wrongly that there were no teeth on the gears in the mind of Jones. 'You're completely crazy,' he said. Jones wasn't completely crazy. The dismaying thing about classic totalitarian mind is that any given gear, thought mutilated, will have at its circumference unbroken sequences of teeth that are immaculately maintained, that are exquisitely machined. Hence the cuckoo clock in Hell - keeping perfect time for eight minutes and twenty-three seconds, jumping ahead fourteen minutes, keeping perfect time for six seconds, jumping ahead two seconds, keeping perfect time for two hours and one second, then jumping ahead a year. The missing teeth, of course, are simple, obvious truths, truths available and comprehensible even to ten-year-olds, in most cases. The wilful filling off a gear teeth, the wilful doing without certain obvious pieces of information - That was how a household as contradictory as one composed of Jones, Father Keeley, Vice-Bundesfuehrer Krapptauer, and the Black Fuehrer could exist in relative harmony - That was how my father-in-law could contain in one mind an indifference toward slave women and love fora a blue vase - That was how Rudolf Hess, Commandant of Auschwitz, could alternate over the loudspeakers of Auschwitz great music and calls for corpse-carriers - That was how Nazi Germany sense no important difference between civilization and hydrophobia - That is the closest I can come to explaining the legions, the nations of lunatics I've seen in my time.

Beethoven introduced us to anger. Haydn taught us capriciousness, Rachmaninoff melancholy. Wagner was demonic. Bach was pious. Schumann was mad, and because his genius was able to record his fight for sanity, we heard what isolation and the edge of lunacy sounded like. Liszt was lusty and vigorous and insisted that we confront his overwhelming sexuality as well as our own. Chopin was a poet, and without him we never would have understood what night was, what perfume was, what romance was.

History's greatest composers world be rolling in their graves if they knew that their beautiful compositions were reduced to distorted hold music.

If you are going to hear the work of the world’s greatest composers, you will have to allow for a little murder here and there. […] Those who want justice can go to the police, but those who want something a little more interesting should go to the orchestra!

Concert pianists get to be quite chummy with dead composers. They can't help it. Classical music isn't just music. It's a personal diary. An uncensored confession in the dead of night. A baring of the soul. Take a modern example. Florence and the Machine? In the song 'Cosmic Love,' she catalogs the way in which the world has gone dark, distorting her, when she, a rather intense young woman, was left bereft by a love affair. 'The stars, the moon, they have all been blown out.

Bowman was aware of some changes in his behavior patterns; it would have been absurd to expect anything else in the circumstances. He could no longer tolerate silence; except when he was sleeping, or talking over the circuit to Earth, he kept the ship's sound system running at almost painful loudness. / At first, needing the companionship of the human voice, he had listened to classical plays--especially the works of Shaw, Ibsen, and Shakespeare--or poetry readings from Discovery's enormous library of recorded sounds. The problems they dealt with, however, seemed so remote, or so easily resolved with a little common sense, that after a while he lost patience with them. / So he switched to opera--usually in Italian or German, so that he was not distracted even by the minimal intellectual content that most operas contained. This phase lasted for two weeks before he realized that the sound of all these superbly trained voices was only exacerbating his loneliness. But what finally ended this cycle was Verdi's Requiem Mass, which he had never heard performed on Earth. The "Dies Irae," roaring with ominous appropriateness through the empty ship, left him completely shattered; and when the trumpets of Doomsday echoed from the heavens, he could endure no more. / Thereafter, he played only instrumental music. He started with the romantic composers, but shed them one by one as their emotional outpourings became too oppressive. Sibelius, Tchaikovsky, Berlioz, lasted a few weeks, Beethoven rather longer. He finally found peace, as so many others had done, in the abstract architecture of Bach, occasionally ornamented with Mozart. / And so Discovery drove on toward Saturn, as often as not pulsating with the cool music of the harpsichord, the frozen thoughts of a brain that had been dust for twice a hundred years.

I composed it myself!" said the Fiddler Crab. "But it's highly classical, I admit. All really great music is an acquired taste.

In every field, even the most eminent creators typically produce a large quantity of work that’s technically sound but considered unremarkable by experts and audiences. When the London Philharmonic Orchestra chose the 50 greatest pieces of classical music, the list included six pieces by Mozart, five by Beethoven, and three by Bach.14 To generate a handful of masterworks, Mozart composed more than 600 pieces before his death at thirty-five, Beethoven produced 650 in his lifetime, and Bach wrote over a thousand.

I am into classical music, in fact,” I say. “It’s been around for more than a thousand years, its composers have more name recognition than whatever ‘indie’ music you’re listening to right now, and symphonies sell out millions of performances a year. So go ahead, tell me classical music is tedious or boring or inferior.

That same brutal principle of unequal distribution applies outside the financial domain— indeed, anywhere that creative production is required. The majority of scientific papers are published by a very small group of scientists. A tiny proportion of musicians produces almost all the recorded commercial music. Just a handful of authors sell all the books. A million and a half separately titled books (!) sell each year in the US. However, only five hundred of these sell more than a hundred thousand copies. 12 Similarly, just four classical composers (Bach, Beethoven, Mozart, and Tchaikovsky) wrote almost all the music played by modern orchestras. Bach, for his part, composed so prolifically that it would take decades of work merely to hand- copy his scores, yet only a small fraction of this prodigious output is commonly performed.

The century of airplanes deserves its own music. As there are no precedents, I must create anew.

I love music passionately. And because I love it, I try to free it from barren traditions that stifle it.

The works that Johann Sebastian Bach has left us, are a priceless national heritage, of a kind that no other race possesses.

There was that sound again--snap, then a footfall. She tried to whirl around as a dark form--Dear God--sprang with a splash from the darkness--grabbed her from behind, shoved her under the water.

The human attitude of which classical music is the expression is always the same; it is always based on the same kind of insight into life and strives for the same kind of victory over blind chance. Classical music as gesture signifies knowledge of the tragedy of the human condition, affirmation of human destiny, courage, cheerful serenity. The grace of a minuet by Handel or Couperin, the sensuality sublimated into delicate gesture to be found in many Italian composers or in Mozart, the tranquil, composed readiness for death in Bach – always there may be heard in these works a defiance, a death-defying intrepidity, a gallantry, and a note of superhuman laughter, of immortal gay serenity. Let that same note also sound in our Glass Bead Games, and in our whole lives, acts, and sufferings.

Medieval scholars held on to a classical Greek theory, according to which the movements of the stars across the sky create heavenly music that permeates the entire universe. Humans enjoy physical and mental health when the inner movements of their body and soul are in harmony with the heavenly music created by the stars. Human music should therefore echo the divine melody of the cosmos, rather than reflect the ideas and caprices of flesh-and-blood composers. The most beautiful hymns, songs and tunes were usually attributed not to the genius of some human artist but to divine inspiration.

Having considered Handel's tumultuous opera career and his first term at Covent Garden in the 1730s, perhaps we may dare to suggest he was one of the foremost pioneers in establishing autonomy within the traditional system of music patronage, notwithstanding his efforts to become an independent impressario often proved disappointing.

Handel's yearning for independence from the traditional chains of patronage and his persistence in monitoring his productions resulted with unique developments concerning Baroque 'opera seria'; however, paradoxically his personal obsession to obtain complete artistic freedom generated disastrous side-effects that eventually impeded the progress of opera in London.

The economic collapse and the development of good color stereo television had resulted in the complete destruction of the movie industry. Although there was still much poor entertainment on the air, any person could usually find entertainment to suit his taste, whether it was for adventure stories or Shakespeare, for popular music or the works of the great composers.

Let’s face it, she’s our inspiration! The Muse as fluffball! And the inspiration of men, as well! Why else were the sagas of heroes, of their godlike strength and superhuman exploits, ever composed, if not for the admiration of women thought stupid enough to believe them? Where did five hundred years of love lyrics come from, not to mention those plaintive imploring songs, all musical whines and groans? Aimed straight at women stupid enough to find them seductive! When lovely woman stoops or bungles her way into folly, pleading her good intentions, her wish to please, and is taken advantage of, especially by somebody famous, if stupid or smart enough, she gets caught, just as in classic novels, and makes her way into the tabloids, confused and tearful, and from there straight into our hearts. We forgive you! we cry. We understand! Now do it some more!

The year 1968 was also ground zero for popular music in Germany. Karl Bartos, in 1968 a 16-year-old gifted classical musician, puts it like this: ‘We don’t have the blues in our genes and we weren’t born in the Mississippi Delta. There were no black people in Germany. So instead we thought we’d had this development in the twenties which was very, very strong and was audio-visual. We had the Bauhaus school before the war; and then after the war we had tremendous people like Karlheinz Stockhausen and the development of the classical and the electronic classical. This was very strong and it all happened very close to Düsseldorf, in Cologne, and all the great composers at that time came there. During the late forties up until the seventies they all came to Germany; people like John Cage, Pierre Boulez and Pierre Schaeffer, and they all had this fantastic approach to modern music, and we felt it would make more sense to see Kraftwerk as part of that tradition more than anything else.

Don Chrisantos Michael Wanzala "Don CM Wanzala" (born April 13), popularly known as Don Santo (stylized as DON SANTO) is a Kenyan singer, rapper, songwriter, arranger, actor, author, content producer, Photo-Videographer, Creative Director (Blame It On Don), entrepreneur, record executive and Leader of the Klassik Nation and chairman and president of Global Media Ltd, based in Nairobi City in Kenya. ​ The genius of DON SANTO rests in his willingness to break from traditional formula and constantly push the envelope. He flips the method of the moment with undeniable swagger and bold African sensibility. As a songwriter, Santo revisits simple, but profound aspects of the human experience – love, lust, desire, joy, and pain that define classical art and drama. He applies his concept to rich, full vocals that exude his intended effect. It is this uncanny ability to compose classics and deliver electrifying live performances that define everything that is essential DON SANTO. In 2015, Santo won the East Africa Music Awards in the Artist of the year Category while his song "Sina Makosa" won the Song of The year. A believer in GOD, FAMILY & GOOD LIFE (Klassikanity).

Then I met David Janko on the station. He was a young white in his early twenties. I made the mistake of talking to him, something about classical music because it was the only thing I could listen to while drinking beer in bed in the early morning. If you listen morning after morning you are bound to remember things. And when Joyce had divorced me I had mistakenly packed 2 volumes of The Lives of the Classical and Modern Composers into one of my suitcases. Most of these men's lives were so tortured that I enjoyed reading about them, thinking, well, I am in hell too and I can't even write music.

Take just one well-known event: The Beatles' 1964 appearance on The Ed Sullivan Show. This has been depicted with astonishing regularity as a pivotal cultural moment; in fact an entire movie -- I Wanna Hold Your Hand -- was built around it. And that Sullivan episode was indeed a major event in popular culture. But did you know that in 1961, 26 million people watched a CBS live broadcast of the first performance of a new symphony by classical composer Aaron Copland? Moreover, with all the attention that sixties rock groups receive, it may come as a surprise to learn that My Fair Lady was Columbia Records' biggest-selling album before the 1970s, beating out those of sixties icons Bob Dylan, Janis Joplin and The Byrds.

As any painter, writer, or composer knows, artworks arise from the tension between their physical materials and the thought or spirit that shapes them from within. Though they require some outward, physical element, they cease to function as art when they are reduced to their objectlike, artifactual element. This definitive tension underlies art’s varied social uses and explains how it came to be celebrated on the one hand as an expression of the highest spiritual achievements of humanity and, on the other, criticized as merely another precious object—a trapping of wealth, privilege, and social exclusion. Even in the heyday of classical music, there was always a gap between the philosophical claims for music and social practice

Simonton finds that on average, creative geniuses weren’t qualitatively better in their fields than their peers. They simply produced a greater volume of work, which gave them more variation and a higher chance of originality. “The odds of producing an influential or successful idea,” Simonton notes, are “a positive function of the total number of ideas generated.” Consider Shakespeare: we’re most familiar with a small number of his classics, forgetting that in the span of two decades, he produced 37 plays and 154 sonnets. Simonton tracked the popularity of Shakespeare’s plays, measuring how often they’re performed and how widely they’re praised by experts and critics. In the same five-year window that Shakespeare produced three of his five most popular works—Macbeth, King Lear, and Othello—he also churned out the comparatively average Timon of Athens and All’s Well That Ends Well, both of which rank among the worst of his plays and have been consistently slammed for unpolished prose and incomplete plot and character development. In every field, even the most eminent creators typically produce a large quantity of work that’s technically sound but considered unremarkable by experts and audiences. When the London Philharmonic Orchestra chose the 50 greatest pieces of classical music, the list included six pieces by Mozart, five by Beethoven, and three by Bach. To generate a handful of masterworks, Mozart composed more than 600 pieces before his death at thirty-five, Beethoven produced 650 in his lifetime, and Bach wrote over a thousand. In a study of over 15,000 classical music compositions, the more pieces a composer produced in a given five-year window, the greater the spike in the odds of a hit. Picasso’s oeuvre includes more than 1,800 paintings, 1,200 sculptures, 2,800 ceramics, and 12,000 drawings, not to mention prints, rugs, and tapestries—only a fraction of which have garnered acclaim. In poetry, when we recite Maya Angelou’s classic poem “Still I Rise,” we tend to forget that she wrote 165 others; we remember her moving memoir I Know Why the Caged Bird Sings and pay less attention to her other 6 autobiographies. In science, Einstein wrote papers on general and special relativity that transformed physics, but many of his 248 publications had minimal impact. If you want to be original, “the most important possible thing you could do,” says Ira Glass, the producer of This American Life and the podcast Serial, “is do a lot of work. Do a huge volume of work.” Across fields, Simonton reports that the most prolific people not only have the highest originality; they also generate their most original output during the periods in which they produce the largest volume.* Between the ages of thirty and thirty-five, Edison pioneered the lightbulb, the phonograph, and the carbon telephone. But during that period, he filed well over one hundred patents for other inventions as diverse as stencil pens, a fruit preservation technique, and a way of using magnets to mine iron ore—and designed a creepy talking doll. “Those periods in which the most minor products appear tend to be the same periods in which the most major works appear,” Simonton notes. Edison’s “1,093 patents notwithstanding, the number of truly superlative creative achievements can probably be counted on the fingers of one hand.

I can remember starving in a small room in a strange city shades pulled down, listening to classical music I was young I was so young it hurt like a knife inside because there was no alternative except to hide as long as possible- not in self-pity but with dismay at my limited chance: trying to connect. the old composers-Mozart, Bach, Beethoven, Brahms were the only ones who spoke to me and they were dead. finally, starved and beaten, I had to go into the streets to be interviewd for low-paying and monotonous jobs by strange men behind desks men without eyes men without faces who would take my hours break them piss on them. now I work for the editors the readers the critics but still hang around and drink with Mozart, Bach, Brahms and the Bee some buddies some men sometimes all we need to be able to continue alone are the dead rattling the walls that close us in.

In those days, the pursuit of music was perceived in a pair of dichotomies. Listeners were divided into amateurs and connoisseurs, performers into dilettanti and virtuosi. As in C. P. E. Bach’s keyboard sonatas for Kenner und Liebhaber, composers generally wrote with those divisions in mind. In 1782, Mozart wrote his father about his new concertos, “[H]ere and there connoisseurs alone can derive satisfaction; the non-connoisseurs cannot fail to be pleased, though without knowing why.”35 That defined the essentially populist attitude of what came to be called the Classical style: composers should provide something for everybody, at the same time gearing each work for its setting, whether it was the more intimate and complex chamber music played by enthusiasts in private homes, or public pieces for theater and larger concerts, which were written in a more straightforward style.

Einstein served as a source of inspiration for many of the modernist artists and thinkers, even when they did not understand him. This was especially true when artists celebrated such concepts as being “free from the order of time,” as Proust put it in the closing of Remembrance of Things Past. “How I would love to speak to you about Einstein,” Proust wrote to a physicist friend in 1921. “I do not understand a single word of his theories, not knowing algebra. [Nevertheless] it seems we have analogous ways of deforming Time.”54 A pinnacle of the modernist revolution came in 1922, the year Einstein’s Nobel Prize was announced. James Joyce’s Ulysses was published that year, as was T. S. Eliot’s The Waste Land. There was a midnight dinner party in May at the Majestic Hotel in Paris for the opening of Renard, composed by Stravinsky and performed by Diaghilev’s Ballets Russes. Stravinsky and Diaghilev were both there, as was Picasso. So, too, were both Joyce and Proust, who “were destroying 19th century literary certainties as surely as Einstein was revolutionizing physics.” The mechanical order and Newtonian laws that had defined classical physics, music, and art no longer ruled.

Except for Christianity, the Nazis reject as Jewish everything which stems from Jewish authors. This condemnation includes the writings of those Jews who, like Stahl, Lassalle, Gumplowicz, and Rathenau, have contributed many essential ideas to the system of Nazism. But the Jewish mind is, as the Nazis say, not limited to the Jews and their offspring only. Many “Aryans” have been imbued with Jewish mentality—for instance the poet, writer, and critic Gotthold Ephraim Lessing, the socialist Frederick Engels, the composer Johannes Brahms, the writer Thomas Mann, and the theologian Karl Barth. They too are damned. Then there are whole schools of thought, art, and literature rejected as Jewish. Internationalism and pacifism are Jewish, but so is warmongering. So are liberalism and capitalism, as well as the “spurious” socialism of the Marxians and of the Bolsheviks. The epithets Jewish and Western are applied to the philosophies of Descartes and Hume, to positivism, materialism and empiro-criticism, to the economic theories both of the classics and of modern subjectivism. Atonal music, the Italian opera style, the operetta and the paintings of impressionism are also Jewish. In short, Jewish is what any Nazi dislikes. If one put together everything that various Nazis have stigmatized as Jewish, one would get the impression that our whole civilization has been the achievement only of Jews.

It might be imagined that certain people in history—the naturally gifted, the geniuses—have either somehow bypassed the Apprenticeship Phase or have greatly shortened it because of their inherent brilliance. To support such an argument, people will bring up the classic examples of Mozart and Einstein, who seemed to have emerged as creative geniuses out of nowhere. With the case of Mozart, however, it is generally agreed among classical music critics that he did not write an original and substantial piece of music until well after ten years of composing. In fact, a study of some seventy great classical composers determined that with only three exceptions, all of the composers had needed at least ten years to produce their first great work, and the exceptions had somehow managed to create theirs in nine years. Einstein began his serious thought experiments at the age of sixteen. Ten years later he came up with his first revolutionary theory of relativity. It is impossible to quantify the time he spent honing his theoretical skills in those ten years, but is not hard to imagine him working three hours a day on this particular problem, which would yield more than 10,000 hours after a decade. What in fact separates Mozart and Einstein from others is the extreme youth with which they began their apprenticeships and the intensity with which they practiced, stemming from their total immersion in the subject. It is often the case that in our younger years we learn faster, absorb more deeply, and yet retain a kind of creative verve that tends to fade as we get older.

But my point applies to a broader audience. Indulge me in one more thought experiment, a familiar one: You will be stranded on a desert island, and you can take just 10 books and 10 music CDs. What do you choose? My prediction is that even people who don’t listen to classical music regularly will take Bach, Mozart, and Beethoven. Even people who haven’t picked up Shakespeare in years will take the collected works of Shakespeare. When we want something we can go back to again and again, we choose the same giants that the experts choose. My proposition about the literature, music, and visual arts of the last half century is that hardly any of it has enough substance to satisfy, over time. The post-1950 West has unquestionably produced some wonderful entertainments, and I do not mean wonderful slightingly. The Simpsons is wickedly smart, Saving Private Ryan is gripping, Groundhog Day is a brilliant moral fable. The West’s popular culture is for my money the only contemporary culture worth patronizing, with its best stories more compelling and revealing than the ones written by authors who purport to write serious novels, and its best popular music with more energy and charm than anything the academic composers turn out. It is a mixed bag, with the irredeemably vulgar side by side, sometimes intermingled, with the wittiest and most thoughtful work. But the quality is often first-rate—as well it might be. The people producing the best work include some who in another age could have been a Caravaggio or Brahms or Racine, and perhaps dozens of others good enough to have made their way onto the roster of significant figures. Why not be satisfied with wonderful entertainments?

This once-proud country of ours is falling Into the hands of the wrong people,' said Jones. He nodded, and so did Father Keeley and the Black Fuehrer. 'And, before it gets back on the right track,' said Jones, 'some heads are going to roll.' I have never seen a more sublime demonstration of the totalitarian mind, a mind which might be likened unto a system of gears whose teeth have been filed off at random. Such a snaggle-toothed thought machine, driven by a standard or even a substandard libido, whirls with the jerky, noisy, gaudy pointlessness of a cuckoo clock in Hell. The boss G-man concluded wrongly that there were no teeth on the gears in the mind of Jones. 'You're completely crazy,' he said. Jones wasn't completely crazy. The dismaying thing about the classic totalitarian mind is that any given gear, though mutilated, will have at its circumference unbroken sequences of teeth that are immaculately maintained, that are exquisitely machined. Hence the cuckoo clock in Hell — keeping perfect time for eight minutes and thirty-three seconds, jumping ahead fourteen minutes, keeping perfect time for six seconds, jumping ahead two seconds, keeping perfect time for two hours and one second, then jumping ahead a year. The missing teeth, of course, are simple, obvious truths, truths available and comprehensible even to ten-year-olds, in most cases. The willful filing off of gear teeth, the willful doing without certain obvious pieces of information — That was how a household as contradictory as one composed of Jones, Father Keeley, Vice-Bundesfuebrer Krapptauer, and the Black Fuehrer could exist in relative harmony — That was how my father-in-law could contain in one mind an indifference toward slave women and love for a blue vase — That was how Rudolf Hoess, Commandant of Auschwitz, could alternate over the loudspeakers of Auschwitz great music and calls for corpse-carriers — That was how Nazi Germany could sense no important differences between civilization and hydrophobia —

The concentrated structure of musical form, based on dramatic climaxes, gradually breaks up in romanticism and gives way again to the cumulative composition of the older music. Sonata form falls to pieces and is replaced more and more often by other, less severe and less schematically moulded forms—by small-scale lyrical and descriptive genres, such as the Fantasy and the Rhapsody, the Arabesque and the Étude, the Intermezzo and the Impromptu, the Improvisation and the Variation. Even extensive works are often made up of such miniature forms, which no longer constitute, from the structural point of view, the acts of a drama, but the scenes of a revue. A classical sonata or symphony was the world in parvo: a microcosm. A succession of musical pictures, such as Schumann’s Carnaval or Liszt’s Années de Pèlerinage, is like a painter’s sketch-book; it may contain magnificent lyrical-impressionistic details, but it abandons the attempt to create a total impression and an organic unity from the very beginning. [...] This change of form is accompanied by the literary inclinations of the composers and their bias towards programme music. The intermingling of forms also makes itself felt in music and is expressed most conspicuously in the fact that the romantic composers are often very gifted and important writers. In the painting and poetry of the period the disintegration of form does not proceed anything like so quickly, nor is it so far-reaching as in music. The explanation of the difference is partly that the cyclical ‘medieval’ structure had long since been overcome in the other arts, whereas it remained predominant in music until the middle of the eighteenth century, and only began to yield to formal unity after the death of Bach. In music it was therefore much easier to revert to it than, for example, in painting where it was completely out of date. The romantics’ historical interest in old music and the revival of Bach’s prestige had, however, only a subordinate part in the dissolution of strict sonata form, the real reason is to be sought in a change of taste which was in essentials sociologically conditioned.

This once-proud country of ours is falling into the hands of the wrong people,” said Jones. He nodded, and so did Father Keeley and the Black Fuehrer. “And, before it gets back on the right track,” said Jones, “some heads are going to roll.” I have never seen a more sublime demonstration of the totalitarian mind, a mind which might be likened unto a system of gears whose teeth have been filed off at random. Such a snaggle-toothed thought machine, driven by a standard or even a substandard libido, whirls with the jerky, noisy, gaudy pointlessness of a cuckoo clock in Hell. The boss G-man concluded wrongly that there were no teeth on the gears in the mind of Jones. “You’re completely crazy,” he said. Jones wasn’t completely crazy. The dismaying thing about the classic totalitarian mind is that any given gear, though mutilated, will have at its circumference unbroken sequences of teeth that are immaculately maintained, that are exquisitely machined. Hence the cuckoo clock in Hell—keeping perfect time for eight minutes and thirty-three seconds, jumping ahead fourteen minutes, keeping perfect time for six seconds, jumping ahead two seconds, keeping perfect time for two hours and one second, then jumping ahead a year. The missing teeth, of course, are simple, obvious truths, truths available and comprehensible even to ten-year-olds, in most cases. The willful filing off of gear teeth, the willful doing without certain obvious pieces of information— That was how a household as contradictory as one composed of Jones, Father Keeley, Vice-Bundesfuehrer Krapptauer, and the Black Fuehrer could exist in relative harmony— That was how my father-in-law could contain in one mind an indifference toward slave women and love for a blue vase— That was how Rudolf Hoess, Commandant of Auschwitz, could alternate over the loudspeakers of Auschwitz great music and calls for corpse-carriers— That was how Nazi Germany could sense no important differences between civilization and hydrophobia— That is the closest I can come to explaining the legions, the nations of lunatics I’ve seen in my time. And for me to attempt such a mechanical explanation is perhaps a reflection of the father whose son I was. Am. When I pause to think about it, which is rarely, I am, after all, the son of an engineer. Since there is no one else to praise me, I will praise myself—will say that I have never tampered with a single tooth in my thought machine, such as it is. There are teeth missing, God knows—some I was born without, teeth that will never grow. And other teeth have been stripped by the clutchless shifts of history— But never have I willfully destroyed a tooth on a gear of my thinking machine. Never have I said to myself, “This fact I can do without.” Howard W. Campbell, Jr., praises himself. There’s life in the old boy yet! And, where there’s life— There is life.

In many fields—literature, music, architecture—the label ‘Modern’ stretches back to the early 20th century. Philosophy is odd in starting its Modern period almost 400 years earlier. This oddity is explained in large measure by a radical 16th century shift in our understanding of nature, a shift that also transformed our understanding of knowledge itself. On our Modern side of this line, thinkers as far back as Galileo Galilei (1564–1642) are engaged in research projects recognizably similar to our own. If we look back to the Pre-Modern era, we see something alien: this era features very different ways of thinking about how nature worked, and how it could be known. To sample the strange flavour of pre-Modern thinking, try the following passage from the Renaissance thinker Paracelsus (1493–1541): The whole world surrounds man as a circle surrounds one point. From this it follows that all things are related to this one point, no differently from an apple seed which is surrounded and preserved by the fruit … Everything that astronomical theory has profoundly fathomed by studying the planetary aspects and the stars … can also be applied to the firmament of the body. Thinkers in this tradition took the universe to revolve around humanity, and sought to gain knowledge of nature by finding parallels between us and the heavens, seeing reality as a symbolic work of art composed with us in mind (see Figure 3). By the 16th century, the idea that everything revolved around and reflected humanity was in danger, threatened by a number of unsettling discoveries, not least the proposal, advanced by Nicolaus Copernicus (1473–1543), that the earth was not actually at the centre of the universe. The old tradition struggled against the rise of the new. Faced with the news that Galileo’s telescopes had detected moons orbiting Jupiter, the traditionally minded scholar Francesco Sizzi argued that such observations were obviously mistaken. According to Sizzi, there could not possibly be more than seven ‘roving planets’ (or heavenly bodies other than the stars), given that there are seven holes in an animal’s head (two eyes, two ears, two nostrils and a mouth), seven metals, and seven days in a week. Sizzi didn’t win that battle. It’s not just that we agree with Galileo that there are more than seven things moving around in the solar system. More fundamentally, we have a different way of thinking about nature and knowledge. We no longer expect there to be any special human significance to natural facts (‘Why seven planets as opposed to eight or 15?’) and we think knowledge will be gained by systematic and open-minded observations of nature rather than the sorts of analogies and patterns to which Sizzi appeals. However, the transition into the Modern era was not an easy one. The pattern-oriented ways of thinking characteristic of pre-Modern thought naturally appeal to meaning-hungry creatures like us. These ways of thinking are found in a great variety of cultures: in classical Chinese thought, for example, the five traditional elements (wood, water, fire, earth, and metal) are matched up with the five senses in a similar correspondence between the inner and the outer. As a further attraction, pre-Modern views often fit more smoothly with our everyday sense experience: naively, the earth looks to be stable and fixed while the sun moves across the sky, and it takes some serious discipline to convince oneself that the mathematically more simple models (like the sun-centred model of the solar system) are right.

Johann Sebastian Bach, Wolfgang Amadeus Mozart, Ludwig van Beethoven, William Shakespeare, and Michelangelo Buonarroti stand together at the peak of Western culture.

The important point here is that music for the Greeks and the wider classical tradition was not so much understood as something performed, composed, practiced, or played; rather, music was interpreted as a mathematical discipline that sought to discover and formalize the symmetrical relations between sounds.6 It was an integral component to the mathematical disciplines that comprised the quadrivium: arithmetic, geometry, music, and astronomy. For the classical mind, arithmetic revealed “number in itself,” geometry revealed “number in space,” music revealed “number in time,” and astronomy revealed “number in space and time.” In this sense, music was an integral part of the Greek educational curriculum which functioned as a metaphor for this whole cosmic chain of interrelationships and harmonies. Indeed, Plato could say: “The whole choral art is also in our view the whole of education” (Laws, Bk II). The Greeks understood the nature of reality and its systems of relations in musical terms.

This aggressive gendering of creativity renders it highly exclusionary, as reflected in Clara Schumann’s belief that women should not even wish to compose. Equally it genders the sense of identification with the composer that was central to the classical star culture.

... and this man, the greatest musical poet and the greatest musical rhetorician that has ever existed, and probably that ever will exist, was a German. Be proud of him, oh Fatherland, be proud of him, but also be worthy of him!

That same brutal principle of unequal distribution applies outside the financial domain—indeed, anywhere that creative production is required. The majority of scientific papers are published by a very small group of scientists. A tiny proportion of musicians produces almost all the recorded commercial music. Just a handful of authors sell all the books. A million and a half separately titled books (!) sell each year in the US. However, only five hundred of these sell more than a hundred thousand copies.12 Similarly, just four classical composers (Bach, Beethoven, Mozart, and Tchaikovsky) wrote almost all the music played by modern orchestras. Bach, for his part, composed so prolifically that it would take decades of work merely to hand-copy his scores, yet only a small fraction of this prodigious output is commonly performed. The same thing applies to the output of the other three members of this group of hyper-dominant composers: only a small fraction of their work is still widely played. Thus, a small fraction of the music composed by a small fraction of all the classical composers who have ever composed makes up almost all the classical music that the world knows and loves.

As a contrast to the Bach of pure music I present the Bach who is a poet and painter in sound. In his music and in his texts he expresses the emotional as well as the descriptive with great vitality and clarity. Before all else he aims at rendering the pictorial in lines of sound. He is even more tone painter than tone poet. His art is nearer to that of Berlioz than to that of Wagner. If the text speaks of drifting mists, of boisterous winds, of roaring rivers, of waves that ebb and flow, of leaves falling from the tree, of bells that toll for the dying, of the confident faith that walks with firm steps or the weak faith that falters, of the proud who will be debased and the humble who will be exalted, of Satan rising in rebellion, of angels on the clouds of heaven, then one sees and hears all this in his music. Bach has, in fact, his own language of sound. There are in his music constantly recurring rhythmical motives expressing peaceful bliss, lively joy, intense pain, or sorrow sublimely borne. The impulse to express poetic and pictorial concepts is the essence of music. It addresses itself to the listener's creative imagination and seeks to kindle in him the feelings and visions with which the music was composed. But this it can do only if the person who uses the language of sound possesses the mysterious faculty of rendering thoughts with a superior clarity and precision. In this respect Bach is the greatest of the great.

Frank Sinatra, for instance, who had a wide knowledge of classical music, revered Vaughan Williams and the composer’s Job in particular,

In his excellent book on classical music practice, The Perfect Wrong Note, pianist and teacher William Westney describes the need for privacy like this: The reason so many of us lose our bearings about practising early in life is that we practice in living rooms with other family members in earshot—and healthy practice would simply sound too obnoxious, intrusive, repetitious and unmusical for others to hear without annoyance.[1] There are two kinds of privacy that a practice room of your own will give you: one is inward, and the other is outward. The inward privacy is the knowledge that nobody can hear you, allowing you the freedom to experiment with any sound you want without fear of being judged. But it’s the long hours and the repetition that gets to others. In a private space, you can repeat something over and over and over again without fear of annoying anybody. Don’t assume the need for practice privacy will go away the better you get. Consider what the great composer Igor Stravinsky wrote in his autobiography: My family and I were quartered in a hotel in which it was impossible for me to compose. I was anxious, therefore, to find a piano some place where I could work in peace. I have never been able to compose unless sure that no one could hear me. A music dealer...provided me with a sort of lumber room full of empty Chocolat Suchard packing cases, which opened on to a chicken run.[2] That practice room wasn’t quite what Stravinsky was looking for, and he soon found another that suited him. Keep looking for a practice space that works for you.

Rhythm is what we beat our feet to. It is “the time relationship between tunes.

In a study of over 15,000 classical music compositions, the more pieces a composer produced in a given five-year window, the greater the spike in the odds of a hit.

Many compositions cannot be comprehended without special training or many hours of repeated listening. Even highly educated consumers who enjoy modern art and read James Joyce often find Elliott Carter and Pierre Boulez to be puzzling or perhaps even painful to listen to. Composers of contemporary "classical" music have not made the headway that their peers in literature or painting have enjoyed. Contemporary music, depending on genre, is either the most or the least popular of the these three arts.

CONCERTS IN TOWN “Summergarden: New Music for New York” The Museum of Modern Art turns to music every summer, hosting a variety of classical, jazz, and pop performers in its Sculpture Garden. Juilliard runs the classical department, with Joel Sachs leading members of the New Juilliard Ensemble; this week’s concert offers contemporary works for strings by Roberto Sierra, Eric Lindsay, and the dean of Australian composers, Peter Sculthorpe (the String Quartet No. 15, from 1999), as well as a piece for flute and strings by the Belize-born British composer Errollyn Wallen. (11 W. 53rd St. July 20 at 8. Free with museum admission.)

In Schubert, for instance, say, in Wiegenleid D867 or Der Wanderer and den Mond D870 one finds perhaps the ultimate listening experience, the composer attaining to that invisible thread which we call the 'muse', a trajectory that descries a perfect line of profitable endeavour, a teetering edge where perfection of .... tone, I think, must be the word - occupies a faltering, infinitesimally narrow arris – short of it and you fail, further and you fall – the arc of the something profound yet beyond rationalization Yeah but, no but - bleedin' classical music

I was … attacked for being a pasticheur, chided for composing “simple” music, blamed for deserting “modernism,” accused of renouncing my “true Russian heritage.” People who had never heard of, or cared about, the originals cried “sacrilege”: “The classics are ours. Leave the classics alone.” To them all my answer was and is the same: You “respect,” but I love.

Bach's simple and basic themes ultimately engage and appeal to my adolescent side while the seemingly complex arrangements, though perhaps patronizingly in some cases, also reflect my juvenile perception of what looks and sounds 'grown-up,' intelligent, refined and sophisticated. There were few composers and musicians in my youth that I could say understood me and really got me, almost all were classical. J. S. Bach was one one of them.

Right now, We are living in perhaps the most exciting time in history to buy, own or play that eternal instruments, The piano Cover. What is your goal is to purchase something as small as software that can record what you want to play, a newly designed player piano, a digital machine or a classic phonetic model, there have never been as many options for the trencherman. Player Pianos Also called reproducing pianos. this class of instrument describe a modern update on the paper-outcry player pianos you keep in mind from old movies, and they have grown enormously in popularity over the final decennial. These are not digital instruments they are real, philological pianos with hammers and rope that can be played generally. but they can also start themselves. using filthy electronic technology. Instead of shove paper, they take their hint from lethargic disks, specially formatted CDs or internal memory systems. different manufacturers offer vast sanctum of pre-recorded titles for their systems. music in every genre from pop to the classics filed by some of the earth’s top pianists. These sophisticated systems arrest every nuance of the original performances and play them back with dramatic accuracy providing something that’s actually so much better than CD fidelity because the activities are live. Watch my new cover : Dancing on my own piano Thanks to these new systems, many people who do not play the piano are enjoying live piano music at any time of at morning, night and day. How many they are concurrent dinners for two or entertaining a houseful of partygoers, these high-tech pianos take centre period. For people who do play the piano, these systems can be used to record their own piano deeds, Interface by- Computers, aid in music education, assist with composing and many other applications. In short, these modern marvels aren’t your grandfather's’ player pianos! If you want to learn see the video first : Dancing on my own piano cover

One imagines that he might have understood the supreme value of Bach's vocal works - not primarily as objects or artefacts, but as individual visions of life and as priceless forms of communication with his fellow man. For this is what is so distinctive when we compare Bach's legacy to that of his forerunners and successors. Monteverdi gives us the full gamut of human passions in music, the first composer to do so; Beethoven tells us what a terrible struggle it is to transcend human frailties and to aspire to the Godhead; and Mozart shows the kind of music we might hope to hear in heaven. But it is Bach, making music in the Castle of Heaven, who gives us the voice of God - in human form.

As a young child in Rome, he wrote out the entire score of a nine-voice religious work after hearing it twice.

These and other discoveries tell us that music is a vital instrument for building our energetic fields. Any maternal and loving song, sound, or tone stirs instant healing within our body and helps sustain our energetic fields. The music of Mozart, Bach, Brahms, Chopin, and other classical composers has been shown to improve our social, emotional, mental, and physical well-being. As it enters our energetic field, it nourishes these important spiritual borders. As well, exposing ourselves to natural sounds enhances our connection with the electromagnetic field of the earth, bolsters our energetic fields, and stimulates relaxing brain waves.

I think a lot about your stories. All the trivia you told me about the lives of composers. Their love lives. Many of them reminded us of our own story. Maybe it's because their feelings echo through eternity. Maybe every love story is repeating to make a complete canon. Maybe we're all part of the most beautiful, saddest canon, composed by the universe.

Conversely, animals can be quite sensitive to human music. There are stories of dogs who hide under the couch for piano works by atonal composers but not for those by, say, Mozart. One music teacher told me that her dog would heave an audible sigh of relief if she stopped playing complex, fast-moving pieces by Franz Liszt and proceeded to something calmer. And there are reports of cows that produce more milk listening to Beethoven (although, if this is true, shouldn't one hear more classical music on farms?). Birds listen as carefully to sounds as any musician. They have to, because they learn from each other. Many birds are not born with the song they sing: the symphonies they offer us for free in forests and meadows are cultural. White-crowned sparrows, for example, develop their normal song only when they have been exposed early in life to the sounds of an adult of their species. Many songbirds have dialects-differences in song structure from one population to another. One theory about this is that if a female can tell from a male's song that he is a local boy, she may prefer him as a mate, as he may be genetically adapted to regional conditions. Given the variability in song from location to location it is hard to maintain that birdsong is instinctive in the usual sense. There is room for creativity and modification. Some individuals act as star performers, setting new trends in their region.

Composer found himself faced with a public whose attention had to be roused and captivated by more effective means than those to which the older public had responded. Simply because he was afraid of losing contact with his audience, he developed the musical composition into a series of constantly renewed impulsed, and worked it up from one expressive intensity to another.

The brilliant execution which they presuppose in the performer has a double function: it restricts the practice of music to the expert, and it deludes the layman. In the case of the virtuoso-composers, the prototype of whom is Paganini; the dazzling style is intended above all to flabbergast the listener, but with the real masters the technical difficulty is merely the expression of an inner difficulty and complication. Both tendencies, the enlargement of the distance between the amateur and the virtuoso as well as the deepening of the gulf between lighter and more difficult music, lead to the dissolution of the classical genres. The virtuoso mode of writing inevitably atomizes the big, massive forms; the bravura piece is relatively short, sparkling, pointed. But the intrinsically difficult, individually differentiated style, based on the sublimation of thoughts and feelings, also promotes the dissolution of universally valid, stereotyped and long-winded forms.

Newell and Simon predicted that by 1970 computers would be capable of composing classical music, discovering important new mathematical theorems, and understanding and translating spoken language.

Levine, Robert. The Story of the Orchestra: Listen While You Learn About the Instruments, the Music and the Composers Who Wrote the Music!,

The Ballad of John Axon was the first of a series created by MacColl, Seeger and BBC producer Charles Parker that shone the microphone like a searchlight into obscure or overlooked sectors of British society: fishermen, teenagers, motorway builders, miners, polio sufferers, even the nomadic travelling community. Gathered on the spot, their oral histories were reworked as intelligent and dynamic folk anthropology, attuned to their era’s nuanced tug-of-war between conservatism and progress. The eight programmes, broadcast by the BBC between 1958–64, were experiments conducted on the wireless, splicing spoken word, field recordings, sound effects, traditional folk song and newly composed material into audio essays that verged on the hypnotic. They were given a name that elegantly fused tradition and modernity: radio

The Ballad of John Axon was the first of a series created by MacColl, Seeger and BBC producer Charles Parker that shone the microphone like a searchlight into obscure or overlooked sectors of British society: fishermen, teenagers, motorway builders, miners, polio sufferers, even the nomadic travelling community. Gathered on the spot, their oral histories were reworked as intelligent and dynamic folk anthropology, attuned to their era’s nuanced tug-of-war between conservatism and progress. The eight programmes, broadcast by the BBC between 1958–64, were experiments conducted on the wireless, splicing spoken word, field recordings, sound effects, traditional folk song and newly composed material into audio essays that verged on the hypnotic. They were given a name that elegantly fused tradition and modernity: radio ballads. Until the mid-1950s standard BBC practice in making radio documentaries involved researchers visiting members of the public – ‘actuality characters’ – and talking to them, perhaps even recording them, then returning to headquarters and working out a script based on their testimonies. The original subjects would then be revisited and presented with the scripted version of their own words. That’s the reason such programmes sound so stilted to modern ears: members of the public are almost always speaking a scriptwriter’s distillation of their spontaneous thoughts. When MacColl and Charles Parker drove up to Stockport in the autumn of 1957 with an EMI Midget tape recorder in their weekend bags, they planned to interview Axon’s widow and his colleagues for information, then turn their findings into a dramatic reconstruction featuring actors and musicians. In fact, they stayed in the area for around a fortnight and ended up with more than forty hours of voices and location recordings. The material, they agreed, was too good to tamper with.

Britain had become a kind of cargo cult, a jumble of disassociated local customs, rituals and superstitions: uncanny relics of the distant, unknowable Britain of ancient days. Why, for instance, do sword dancers lock weapons in magical shapes such as the pentagram or the six-pointed star, led by a man wearing a fox’s head? What is the straw bear plodding round the village of Whittlesey in Cambridgeshire every January? Why do a bunch of Nutters black up their faces and perform a coconut dance in several Lancashire villages? What possesses people to engage in the crazed ‘furry dance’, singing the ‘Hal-An-Tow’ song, on 6 May at Helston in Cornwall? Why do beribboned hobby horses canter round the streets of Padstow and Minehead every May Day, with attendant ‘Gullivers’ lunging at onlookers with a giant pair of pincers? The persistence of such rites, and the apparent presence of codes, occult symbolism and nature magic in the dances, mummers’ plays and balladry of yore, have provided a rich compost for some of the outgrowths of folk in the 1960s and afterwards. Even to dip a toe into the world of folklore is to unearth an Other Britain, one composed of mysterious fragments and survivals – a rickety bridge to the sweet grass of Albion. As Bert Lloyd mentioned, ‘To our toiling ancestors [these customs] meant everything, and in a queer irrational way they can still mean much to us.’1

Opera was born in Florence at the end of the sixteenth century. It derived almost seamlessly from its immediate precursor, the intermedio, or lavish between-the-acts spectacle presented in conjunction with a play on festive occasions. Plays were spoken, and their stage settings were simple: a street backed by palace facades for tragedies, by lower-class houses for comedies; for satyr plays or pastorals, the setting was a woodland or country scene. Meanwhile the ever-growing magnificence of state celebrations in Medici Florence on occasions such as dynastic weddings gave rise to a variety of spectacles involving exuberant scenic displays: naval battles in the flooded courtyard of the Pitti Palace, tournaments in the squares, triumphal entries into the city. These all called upon the services of architects, machinists, costume designers, instrumental and vocal artists. Such visual and aural delights also found their way into the theater—not in plays, with their traditional, sober settings, but between the acts of plays. Intermedi had everything the plays had not: miraculous transformations of scenery, flying creatures (both natural and supernatural), dancing, singing. The plays satisfied Renaissance intellects imbued with classical culture; the intermedi fed the new Baroque craving for the marvelous, the incredible, the impossible. By all accounts, no Medici festivities were as grand and lavish as those held through much of the month of May 1589 in conjunction with the marriage of Grand Duke Ferdinand I and Christine of Lorraine. The intermedi produced between the acts of a comedy on the evening of May 2 were considered to be the highlight of the entire occasion and were repeated, with different plays, on May 6 and 13. Nearly all the main figures we will read about in connection with the birth of opera took part in the extravagant production, which was many months in the making: Emilio de' Cavalieri acted as intermediary between the court and the theater besides being responsible for the actors and musicians and composing some of the music; Giovanni Bardi conceived the scenarios for the six intermedi and saw to it that his highly allegorical allusions were made clear in the realization. Jacopo Peri and Giulio Caccini were among the featured singers, as was the madrigal composer Luca Marenzio, who wrote the music for Intermedio 3, described below. The poet responsible for the musical texts, finally, was Ottavio Rinuccini, who wrote the poetry for the earliest operas...

Mozart began composing highly intricate pieces of music in a period of time when the most popular genre of music was style galant—an elegant genre to be sure, but defined by the simplicity of its structure. The style galant was in and of itself a reaction to the musical style that had come directly before it, commonly referred to as the Baroque period. Music in the Baroque style was highly embellished, defined by the use of ornamentation, or unnecessarily complicated measures inserted throughout the piece of music. Critics of the period were quick to say that the Baroque style lacked a coherent melody and was largely dissonant, even to the trained ear. Popular musical forms in the Baroque period included sonatas and cantatas, the former of which Mozart would return to and utilize toward the end of his career. Baroque music was defined by its seriousness—it was often cited as being largely unpleasant to listen to unless one was a musician oneself. The style galant, in response, depended on its light-heartedness and its wide range of appeal to a variety of audiences. The Classical style, which Mozart and his peers pioneered, was another response to the oversimplification of popular music that the style galant characterized. As previously discussed, Mozart spent a great deal of his early years in Paris studying the works of Baroque masters Bach and Handel, and that period of music greatly influenced many of his most recognizable works. Mozart, however, had the talent (and the distance from the period when Baroque music was at its height) to study the most valid criticisms of the Baroque style and pick and choose the intricacies of the style that worked, while discarding the ones that did not. He was able to adapt the dated style to form a completely new aesthetic while steering popular music back toward the trend of compositions that were more complex than the style galant afforded.

But of course, this infolding of attention doesn’t need to be spatialized or visual. For an auditory example, I look to Deep Listening, the legacy of the musician and composer Pauline Oliveros. Classically trained in composition, Oliveros was teaching experimental music at UC San Diego in the 1970s. She began developing participatory group techniques—such as performances where people listened to and improvised responses to each other and the ambient sound environment—as a way of working with sound that could bring some inner peace amid the violence and unrest of the Vietnam War. Deep Listening was one of those techniques. Oliveros defines the practice as “listening in every possible way to every thing possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life, of nature, of one’s own thoughts as well as musical sounds.

In Punjab, the great Guru Nanak (1469–1539 CE), who founded the Sikh faith, was greatly influenced by the Bhakti movement. Sikhism, under Nanak, and the nine Gurus who followed him, the last being Guru Gobind Singh (1666–1708 CE), created a remarkably sublime and powerful monotheistic faith of nirguna bhakti. In clear Vedantic tones, its mul mantar or fundamental prayer—Ik Onkar: There is only one Supreme Being—made a powerful call of universal spiritual appeal. Like Brahman, the Sikh Absolute is nirankar (formless), akal (timeless), karta purakh (the Creator), agam agochar (incomprehensible and invisible) and is Waheguru (wonderous Teacher). The religion emphasised the non-duality of divinity—Ek noor te sab jag upja: From one luminous light the entire universe arose. In this one statement, it pole-vaulted above conventional religious orthodoxies. Of great importance in the Sikh faith is mehar, kirpa, karam or the Grace of God. Guru Nanak taught that to obtain this, the most important form of worship is bhakti. Guru Arjan, in the Sukhmani Sahib, recommended that true religion is one of loving devotion to God. Selfless devotion and service can lead to Sach Khand or the Realm of Truth, which is the final union with the spirit of God, akin to the Advaita notion of brahmanubhav. Thus, Sikhism considers simran (the meditative remembrance) of God, and japna (chanting or kirtan of God’s name) to be an essential part of religious practice. The singing of the Guru’s hymns as contained in the Guru Granth Sahib—the only divine symbol of worship recognised by Sikhism—is practised through the shabad kirtans. The passages of the Guru Granth Sahib were poetically composed in rhyme, and lent themselves easily to exceptionally soulful musical compositions based on thirty-one ragas of classical music.

We end up composing our own operetta between the group using the lyrics from the classical “My Neck, My Back” over the musical stylings of “La donna è mobile.

The polyglot poet, composer, courtier and Indian-born intellectual Amir Khusrau (1253–1325) is in many ways the symbol of this confluence of the two opposing cultures. Born to a father from Khurasan and a mother from Delhi, Khusrau is credited with giving Indian Islamic culture a distinctive flavour for the first time, bringing together Indian classical music and Islamic mysticism, or Sufism, together with the invention of the qawwali. He also played a major role in the literary flowering of Hindavi, the root from which both Urdu and Hindi developed. As he put it himself:

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【V信83113305】：The San Francisco Conservatory of Music (SFCM) is a prestigious institution renowned for its excellence in music education. Founded in 1917, it has nurtured generations of talented musicians, composers, and performers. Located in the heart of San Francisco, the conservatory offers a vibrant environment where students collaborate with world-class faculty and engage with the city’s rich cultural scene. SFCM provides rigorous training in classical, jazz, and contemporary music, emphasizing both technical mastery and artistic expression. Its state-of-the-art facilities, including the Bowes Center, foster creativity and innovation. The conservatory also boasts strong ties to professional ensembles like the San Francisco Symphony, offering students unparalleled performance opportunities. With a commitment to diversity and community engagement, SFCM continues to shape the future of music, producing graduates who excel on global stages. Its blend of tradition and innovation makes it a beacon for aspiring musicians worldwide.，SFCOMdiploma旧金山音乐学院挂科处理解决方案, 旧金山音乐学院毕业证-SFCOM毕业证书, SFCOM旧金山音乐学院毕业证制作代办流程, 定做旧金山音乐学院毕业证-SFCOM毕业证书-毕业证, 旧金山音乐学院-SFCOM大学毕业证成绩单, 办理SFCOM学历与学位证书投资未来的途径, SFCOM毕业证购买, 如何获取旧金山音乐学院-SFCOM-毕业证本科学位证书

【V信83113305】：The Manhattan School of Music (MSM), located in New York City, is one of the world’s premier conservatories, renowned for its exceptional training in classical and jazz music. Founded in 1917, MSM offers undergraduate, graduate, and doctoral programs, fostering the artistic growth of talented musicians from around the globe. The school’s faculty comprises celebrated performers, composers, and educators who provide personalized mentorship. Situated in the vibrant cultural hub of Manhattan, students benefit from unparalleled performance opportunities, including collaborations with leading orchestras and ensembles. MSM’s state-of-the-art facilities, such as the Ades Performance Space and the Neidorff-Karpati Hall, enhance the learning experience. With a strong emphasis on innovation and tradition, MSM continues to shape the future of music, producing Grammy-winning artists and influential educators. Its dynamic environment and commitment to excellence make it a top choice for aspiring musicians.，一流Manhattan School of Music曼哈顿音乐学院学历精仿高质, 极速办MSOM曼哈顿音乐学院毕业证MSOM文凭学历制作, 办理曼哈顿音乐学院毕业证文凭, 办理美国MSOM本科学历, MSOM毕业证成绩单专业服务, 哪里买曼哈顿音乐学院毕业证|MSOM成绩单, 办理曼哈顿音乐学院毕业证-MSOM毕业证书-毕业证, Manhattan School of Music曼哈顿音乐学院原版购买

【V信83113305】：The San Francisco Conservatory of Music (SFCM) is a prestigious institution renowned for its excellence in music education. Founded in 1917, it has nurtured generations of talented musicians, composers, and performers. Located in the heart of San Francisco, the conservatory offers a vibrant environment where students immerse themselves in classical, jazz, and contemporary music. With world-class faculty and state-of-the-art facilities, SFCM provides rigorous training, fostering artistic growth and innovation. Its close ties to the San Francisco Symphony and other cultural institutions offer students unparalleled performance opportunities. The conservatory’s commitment to diversity and creativity makes it a hub for aspiring artists. SFCM continues to shape the future of music, blending tradition with cutting-edge exploration.，San Francisco Conservatory of Music旧金山音乐学院-多少钱, 办旧金山音乐学院毕业证SFCOM Diploma, 一流旧金山音乐学院学历精仿高质, 旧金山音乐学院本科毕业证, 美国办旧金山音乐学院毕业证办成绩单购买, 出售证书-哪里能购买毕业证, 原版定制旧金山音乐学院毕业证-SFCOM毕业证书-一比一制作

【V信83113305】：Founded in 1965, Toho Gakuen School of Music is one of Japan's leading institutions for music education, renowned for its rigorous training and artistic excellence. Located in Tokyo, the university offers a wide range of programs, including classical, jazz, and contemporary music, catering to aspiring performers, composers, and educators. With state-of-the-art facilities, such as concert halls and recording studios, students gain hands-on experience in a professional environment. The faculty consists of distinguished musicians and educators, fostering both technical mastery and creative expression. Toho Gakuen also emphasizes global engagement, collaborating with international institutions and hosting renowned artists for masterclasses. Its alumni have achieved success worldwide, making it a cornerstone of Japan's vibrant music scene.，東邦音楽大学留学本科毕业证, 定做东邦音乐大学毕业证-東邦音楽大学毕业证书-毕业证, 一流東邦音楽大学东邦音乐大学学历精仿高质, 日本留学本科毕业证, 办理东邦音乐大学毕业证, 東邦音楽大学文凭制作服务您学历的展现, 東邦音楽大学毕业证成绩单专业服务, 办东邦音乐大学毕业证-university

【V信83113305】：Tokyo College of Music, established in 1907, is one of Japan's most prestigious institutions for music education. Located in Tokyo, it offers a comprehensive curriculum covering classical, jazz, and contemporary music, with programs ranging from undergraduate to doctoral levels. The college is renowned for its world-class faculty, state-of-the-art facilities, and a strong emphasis on performance and composition. Students benefit from frequent masterclasses, international collaborations, and opportunities to perform in renowned venues. The institution also fosters research in musicology and music technology, contributing to global musical innovation. Alumni include celebrated musicians, composers, and educators who have made significant impacts worldwide. With its rich history and commitment to excellence, Tokyo College of Music remains a cornerstone of Japan's vibrant music scene.，日本留学本科毕业证, 东京音乐大学学位定制, 留学生买毕业证東京音楽大学毕业证文凭成绩单办理, 办东京音乐大学毕业证東京音楽大学 Diploma, 办理東京音楽大学东京音乐大学毕业证文凭, 日本東京音楽大学东京音乐大学毕业证成绩单在线制作办理, 東京音楽大学毕业证文凭-东京音乐大学毕业证, 东京音乐大学颁发典礼学术荣誉颁奖感受博士生的光荣时刻

【V信83113305】：Nagoya College of Music, located in Japan's Aichi Prefecture, is a prestigious institution dedicated to nurturing musical talent. Established in 1965, the college offers comprehensive programs in performance, composition, and music education, blending traditional Japanese and Western musical traditions. With state-of-the-art facilities, including concert halls and recording studios, students receive hands-on training under experienced faculty. The college emphasizes both classical and contemporary genres, fostering creativity and technical excellence. Its vibrant campus life includes masterclasses, international exchanges, and frequent performances, providing students with opportunities to showcase their skills. Graduates have gone on to successful careers as performers, educators, and composers, contributing to Japan's rich musical landscape. Nagoya College of Music remains a hub for aspiring musicians seeking world-class training and artistic growth.，名古屋音楽大学毕业证购买, 出售名古屋音乐大学研究生学历文凭, 极速办名古屋音乐大学毕业证名古屋音楽大学文凭学历制作, 名古屋音楽大学名古屋音乐大学电子版毕业证, 一比一原版名古屋音乐大学毕业证-名古屋音楽大学毕业证书-如何办理, 办理真实毕业证成绩单留信网认证, 【日本篇】名古屋音乐大学毕业证成绩单

【V信83113305】：The Manhattan School of Music (MSM), located in New York City, is one of the world’s premier conservatories, renowned for its exceptional training in classical and jazz music. Founded in 1917, MSM offers rigorous programs for undergraduate, graduate, and doctoral students, fostering artistic excellence across performance, composition, and music education. Its distinguished faculty includes celebrated musicians and industry leaders, providing students with unparalleled mentorship. Situated near Broadway and Lincoln Center, MSM immerses students in a vibrant cultural hub, offering abundant performance opportunities in prestigious venues like Neidorff-Karpati Hall. The school emphasizes innovation alongside tradition, with cutting-edge facilities and a diverse, global student body. Alumni like Harry Connick Jr. and Angela Bassett highlight its impact across music and the arts. Committed to artistic growth and community engagement, MSM continues to shape the future of music, nurturing the next generation of world-class performers and composers. Its dynamic environment ensures students thrive both artistically and professionally.，曼哈顿音乐学院毕业证制作, 美国大学文凭定制专业服务认证, 办曼哈顿音乐学院毕业证-university, MSOM曼哈顿音乐学院学位证书快速办理, 修改MSOM曼哈顿音乐学院成绩单电子版gpa让学历更出色, 修改MSOM曼哈顿音乐学院成绩单电子版gpa实现您的学业目标, 专业办理Manhattan School of Music曼哈顿音乐学院成绩单高质学位证书服务, 制作曼哈顿音乐学院成绩单

【V信83113305】：Located in Tokyo, Japan, Senzoku Gakuen College of Music is a prestigious institution dedicated to nurturing musical talent since its founding in 1924. Renowned for its comprehensive programs in classical, jazz, and contemporary music, the college offers bachelor’s and master’s degrees, as well as doctoral courses. Its faculty comprises accomplished musicians and educators, providing students with world-class training in performance, composition, and music education. The campus features state-of-the-art facilities, including concert halls, recording studios, and practice rooms, fostering an ideal environment for artistic growth. With a strong emphasis on both tradition and innovation, Senzoku Gakuen actively collaborates with international institutions, enriching its cultural exchange programs. Alumni have achieved success as performers, composers, and educators globally, solidifying the college’s reputation as a leader in music education.，办理洗足学園音楽大学学历与学位证书投资未来的途径, 修改洗足学園音楽大学洗足学园音乐大学成绩单电子版gpa实现您的学业目标, 专业办理洗足学園音楽大学洗足学园音乐大学成绩单高质学位证书服务, 办理洗足学園音楽大学文凭, 哪里买洗足学園音楽大学洗足学园音乐大学毕业证|洗足学園音楽大学成绩单, 办洗足学园音乐大学文凭学位证书成绩单GPA修改, 洗足学园音乐大学文凭-

【V信83113305】：The Dresden University of Music, known as Hochschule für Musik Carl Maria von Weber Dresden, is a prestigious institution with a rich history dating back to 1856. Named after the renowned composer Carl Maria von Weber, it is one of Germany’s leading music academies, offering programs in classical performance, jazz, composition, and music education. Located in the cultural heart of Dresden, the university provides students with access to world-class facilities, including state-of-the-art concert halls and practice rooms. Its faculty comprises distinguished musicians and educators who foster artistic excellence and innovation. The university actively participates in international collaborations, enriching students' experiences through exchanges and masterclasses. With a strong emphasis on both tradition and modernity, the Dresden University of Music continues to shape the future of music, producing globally recognized artists and educators.，办理德累斯顿音乐学院毕业证-Carl Maria von Weber Dresden毕业证书-毕业证, Carl Maria von Weber Dresden文凭办理, 留学生买毕业证毕业证文凭成绩单办理, 德累斯顿音乐学院学位证毕业证, Hochschule für Musik Carl Maria von Weber Dresden文凭毕业证丢失怎么购买, 专业办理德累斯顿音乐学院成绩单高质学位证书服务, 德国硕士毕业证, fake Carl Maria von Weber Dresden diploma transcript, 申请学校!Carl Maria von Weber Dresden成绩单德累斯顿音乐学院成绩单Carl Maria von Weber Dresden改成绩

【V信83113305】：The Manhattan School of Music (MSM), located in New York City, is one of the world’s premier conservatories, renowned for its exceptional training in classical and jazz music. Founded in 1917, MSM offers undergraduate, graduate, and doctoral programs, fostering the next generation of performers, composers, and educators. Its faculty comprises celebrated artists and pedagogues, providing students with mentorship and performance opportunities in a vibrant artistic community. Situated near Broadway and Lincoln Center, MSM benefits from its proximity to New York’s rich cultural scene. Students regularly perform in prestigious venues like the school’s own Neidorff-Karpati Hall and collaborate with leading orchestras and ensembles. The curriculum emphasizes both technical mastery and artistic expression, preparing graduates for dynamic careers in music. With a diverse student body and a commitment to innovation, MSM continues to shape the future of music, blending tradition with contemporary creativity. Its alumni include Grammy winners, opera stars, and influential jazz musicians, cementing its legacy as a global leader in music education.，曼哈顿音乐学院文凭-, 美国办曼哈顿音乐学院毕业证办成绩单购买, 高质Manhattan School of Music曼哈顿音乐学院成绩单办理安全可靠的文凭服务, 曼哈顿音乐学院-大学毕业证成绩单, 修改曼哈顿音乐学院成绩单电子版gpa让学历更出色, 出售证书-哪里能购买毕业证, 挂科办理Manhattan School of Music曼哈顿音乐学院毕业证文凭

【V信83113305】：Located in Tokyo, Japan, Senzoku Gakuen College of Music is a prestigious institution dedicated to nurturing musical talent since its founding in 1924. Renowned for its comprehensive programs in classical, jazz, and contemporary music, the college offers undergraduate and graduate degrees, emphasizing both performance and academic excellence. Its faculty comprises distinguished musicians and educators, providing students with world-class training in instrumental, vocal, and compositional disciplines. The college boasts state-of-the-art facilities, including concert halls, recording studios, and practice rooms, fostering an inspiring learning environment. With a strong emphasis on creativity and innovation, Senzoku Gakuen actively collaborates with international institutions, enriching students' global perspectives. Alumni have achieved success as performers, composers, and educators worldwide, solidifying the college's reputation as a leader in music education.，专业办理洗足学園音楽大学洗足学园音乐大学成绩单高质学位证书服务, 出售洗足学園音楽大学洗足学园音乐大学研究生学历文凭, 洗足学園音楽大学毕业证成绩单专业服务, 一比一原版洗足学园音乐大学毕业证-洗足学園音楽大学毕业证书-如何办理, 购买日本毕业证, 原版复刻日本洗足学园音乐大学毕业证办理成绩单修改, 正版-日本洗足学園音楽大学毕业证文凭学历证书, 洗足学園音楽大学文凭制作服务您学历的展现

【V信83113305】：The Berlin University of the Arts (UdK Berlin), which includes the renowned Berlin Conservatory (Hochschule für Musik Berlin), stands as one of Germany’s most prestigious institutions for musical education. Founded in 1869, it has nurtured generations of world-class musicians, composers, and performers. The conservatory offers a comprehensive curriculum covering classical, jazz, and contemporary music, with an emphasis on both theoretical and practical training. Its faculty comprises distinguished artists and educators, ensuring students receive top-tier mentorship. Located in the vibrant cultural heart of Berlin, the institution provides unparalleled access to performances, collaborations, and artistic inspiration. Alumni include luminaries like Kurt Weill and Dietrich Fischer-Dieskau. With state-of-the-art facilities and a commitment to artistic excellence, the Berlin Conservatory remains a global beacon for aspiring musicians.，德国Hochschule für Musik "Hanns Eisler" Berlin毕业证仪式感|购买Hochschule für Musik "Hanns Eisler" Berlin柏林音乐学院学位证, 办理德国Hanns Eisler Berlin本科学历, 柏林音乐学院留学本科毕业证, 挂科办理柏林音乐学院毕业证文凭, 办理德国Hochschule für Musik "Hanns Eisler" Berlin柏林音乐学院毕业证Hochschule für Musik "Hanns Eisler" Berlin文凭版本, 1:1原版柏林音乐学院毕业证+Hochschule für Musik "Hanns Eisler" Berlin成绩单, Offer(Hanns Eisler Berlin成绩单)柏林音乐学院如何办理?

【V信83113305】：Osaka College of Music, located in the vibrant city of Osaka, Japan, is a prestigious institution dedicated to nurturing musical talent and fostering artistic excellence. Established in 1915, the college offers a comprehensive curriculum covering classical, jazz, and contemporary music, with programs tailored for performers, composers, and educators. Its state-of-the-art facilities, including advanced recording studios and performance halls, provide students with an ideal environment to hone their skills. The faculty comprises renowned musicians and educators who bring decades of experience to their teaching. Known for its strong emphasis on practical training, the college regularly hosts concerts and masterclasses, allowing students to gain real-world experience. With a rich legacy and commitment to innovation, Osaka College of Music continues to shape the future of music in Japan and beyond.，留学生买毕业证毕业证文凭成绩单办理, 1:1原版大阪音楽大学大阪音乐大学毕业证+大阪音楽大学成绩单, 办理大阪音乐大学毕业证文凭, 大阪音楽大学学位证书办理打开职业机遇之门, 办理大阪音乐大学毕业证, 挂科办理大阪音乐大学毕业证本科学位证书, 高仿大阪音乐大学文凭

【V信83113305】：The Robert Schumann Hochschule in Düsseldorf is one of Germany’s most prestigious music academies, renowned for its excellence in classical music education. Founded in 1935, the institution is named after the celebrated Romantic composer Robert Schumann, reflecting its deep commitment to artistic tradition and innovation. The Hochschule offers a wide range of programs, including instrumental and vocal performance, composition, conducting, and music pedagogy, attracting talented students from around the world. With state-of-the-art facilities and a faculty of distinguished musicians, the school provides a nurturing environment for artistic growth. Its close ties to Düsseldorf’s vibrant cultural scene, including collaborations with orchestras and opera houses, offer students invaluable performance opportunities. The Robert Schumann Hochschule continues to shape the future of classical music by fostering creativity and technical mastery in its students.，挂科办理杜塞尔多夫罗伯特-舒曼音乐学院学历学位证, Robert-Schumann-Hochschule杜塞尔多夫罗伯特-舒曼音乐学院挂科了怎么办？, 德国硕士毕业证, Robert-Schumann-Hochschule Düsseldorf文凭制作服务您学历的展现, 办杜塞尔多夫罗伯特-舒曼音乐学院毕业证-university, 办理Robert-Schumann-Hochschule Düsseldorf大学毕业证-杜塞尔多夫罗伯特-舒曼音乐学院, 办理Robert-Schumann-Hochschule毕业证

【V信83113305】：The Freiburg University of Music (Hochschule für Musik Freiburg) is one of Germany’s most prestigious conservatories, renowned for its excellence in classical music education. Founded in 1946, it has cultivated generations of world-class musicians, conductors, and composers. Located in the picturesque city of Freiburg im Breisgau, the institution offers a vibrant artistic environment with state-of-the-art facilities and a strong emphasis on performance, research, and interdisciplinary collaboration. Students benefit from personalized instruction by distinguished faculty, including active performers and scholars. The curriculum spans solo and ensemble performance, music theory, pedagogy, and contemporary music, fostering both technical mastery and creative innovation. Regular masterclasses and concerts provide students with invaluable stage experience. With its rich tradition and forward-thinking approach, Freiburg University of Music remains a top destination for aspiring musicians worldwide, shaping the future of classical and contemporary music.，Offer(Hochschule für Musik Freiburg成绩单)Hochschule für Musik Freiburg弗赖堡音乐学院如何办理?, 弗赖堡音乐学院毕业证学历认证, 弗赖堡音乐学院电子版毕业证与德国Hochschule für Musik Freiburg im Breisgau学位证书纸质版价格, 挂科办理弗赖堡音乐学院学历学位证, 正版-德国Hochschule für Musik Freiburg毕业证文凭学历证书, 挂科办理Hochschule für Musik Freiburg弗赖堡音乐学院学历学位证, 办理弗赖堡音乐学院毕业证-Hochschule für Musik Freiburg毕业证书-毕业证, 德国大学文凭购买, 德国文凭办理

【V信83113305】：The Frankfurt University of Music and Performing Arts (HfMDK) is one of Germany’s most prestigious institutions for artistic education, renowned for its excellence in music, theater, and dance. Founded in 1878, it has cultivated generations of world-class performers, composers, and educators. Located in the vibrant cultural hub of Frankfurt, the university offers a dynamic environment where tradition meets innovation. Its diverse programs span classical and contemporary music, opera, jazz, and dramatic arts, supported by state-of-the-art facilities and a faculty of distinguished artists. HfMDK emphasizes interdisciplinary collaboration, encouraging students to explore new artistic frontiers. With a strong international presence, it attracts talent from around the globe, fostering a creative community that contributes significantly to the global arts scene. The university’s alumni include celebrated figures like Anne-Sophie Mutter and Albrecht Mayer, underscoring its legacy of artistic excellence.，Hochschule für Musik und Darstellende Kunst Frankfurt am Main文凭毕业证丢失怎么购买, 一比一原版Hochschule für Musik und Darstellende Kunst Frankfurt am Main法兰克福音乐和表演艺术学院毕业证购买, 如何获取法兰克福音乐和表演艺术学院-HfMDK Frankfurt-毕业证本科学位证书, 办法兰克福音乐和表演艺术学院毕业证Hochschule für Musik und Darstellende Kunst Frankfurt am Main Diploma, 办理法兰克福音乐和表演艺术学院毕业证-HfMDK Frankfurt毕业证书-毕业证, 法兰克福音乐和表演艺术学院成绩单购买, Hochschule für Musik und Darstellende Kunst Frankfurt am Main法兰克福音乐和表演艺术学院颁发典礼学术荣誉颁奖感受博士生的光荣时刻

【V信83113305】：Showa University of Music, located in Tokyo, Japan, is a prestigious institution dedicated to nurturing musical talent since its founding in 1984. Known for its comprehensive programs in classical, jazz, and contemporary music, the university emphasizes both theoretical knowledge and practical performance skills. With state-of-the-art facilities, including concert halls and recording studios, students receive hands-on training under the guidance of renowned faculty. The curriculum also encourages interdisciplinary collaboration, blending traditional Japanese music with global influences. Alumni have achieved success as performers, composers, and educators worldwide. Showa University of Music fosters creativity and professionalism, making it a hub for aspiring musicians seeking excellence in a dynamic cultural environment. Its commitment to artistic innovation continues to shape Japan's vibrant music scene.，昭和音楽大学硕士毕业证, 办理日本大学毕业证书, 昭和音乐大学学位证书快速办理, 日本学位证毕业证, 哪里买昭和音楽大学昭和音乐大学毕业证|昭和音楽大学成绩单, 昭和音楽大学昭和音乐大学-多少钱, 办昭和音乐大学毕业证 Diploma

【V信83113305】：Toho Gakuen School of Music, commonly known as Toho College of Music, is a prestigious institution in Japan renowned for its excellence in music education. Founded in 1948 in Tokyo, it has cultivated generations of world-class musicians, including renowned conductors, composers, and performers. The school offers rigorous training in classical music, opera, and instrumental performance, emphasizing both technical mastery and artistic expression. With a faculty of distinguished professionals and a curriculum blending tradition and innovation, Toho fosters a dynamic learning environment. Its alumni, such as Seiji Ozawa and Mitsuko Uchida, exemplify the school’s global impact. Toho’s commitment to nurturing talent continues to solidify its reputation as a leading music conservatory in Asia and beyond.，办理桐朋学園大学桐朋学园大学成绩单高质量保密的个性化服务, 一比一原版桐朋学園大学桐朋学园大学毕业证购买, 桐朋学园大学-桐朋学園大学大学毕业证成绩单, fake 桐朋学園大学 degree, 购买桐朋学园大学文凭, 高质桐朋学園大学桐朋学园大学成绩单办理安全可靠的文凭服务, 桐朋学園大学毕业证学历认证, 留学生买毕业证毕业证文凭成绩单办理, 购买桐朋学园大学毕业证

【V信83113305】：The Conservatoire de Paris, officially known as the Paris Conservatoire National Supérieur de Musique et de Danse, is one of the world's most prestigious institutions for music and dance education. Founded in 1795 during the French Revolution, it has nurtured countless legendary musicians, composers, and dancers, including Claude Debussy, Maurice Ravel, and Nadia Boulanger. Renowned for its rigorous training and exceptional faculty, the conservatoire offers programs in instrumental performance, composition, conducting, and dance, blending tradition with innovation. Its alumni have significantly influenced global classical music and contemporary dance. Located in the heart of Paris, the institution continues to attract top-tier talent, maintaining its reputation as a beacon of artistic excellence and a cornerstone of France's cultural heritage.，申请学校!CNSMDP成绩单巴黎国立高等音乐与舞蹈学院成绩单CNSMDP改成绩, 办理巴黎国立高等音乐与舞蹈学院毕业证, 法国Conservatoire National Supérieur de Musique et de Danse de Paris毕业证仪式感|购买Conservatoire National Supérieur de Musique et de Danse de Paris巴黎国立高等音乐与舞蹈学院学位证, CNSMDPdiploma安全可靠购买CNSMDP毕业证, 巴黎国立高等音乐与舞蹈学院本科毕业证, 办理CNSMDP毕业证, 办巴黎国立高等音乐与舞蹈学院毕业证Conservatoire National Supérieur de Musique et de Danse de Paris Diploma, CNSMDP硕士毕业证, 留学生买文凭毕业证-巴黎国立高等音乐与舞蹈学院

【V信83113305】：Tokyo College of Music, established in 1907, is one of Japan's most prestigious institutions for music education. Located in Tokyo, it offers a comprehensive curriculum covering classical, jazz, and contemporary music, with programs for both undergraduate and graduate students. The college is renowned for its world-class faculty, state-of-the-art facilities, and a strong emphasis on performance and creativity. Students benefit from frequent masterclasses, international collaborations, and opportunities to perform in renowned venues. The institution also fosters research in musicology and composition, contributing to the global music community. With a legacy of producing exceptional musicians and composers, Tokyo College of Music continues to shape the future of music through innovation and excellence, maintaining its status as a leading hub for artistic development in Asia.，挂科办理東京音楽大学东京音乐大学毕业证本科学位证书, 申请学校!成绩单东京音乐大学成绩单改成绩, 购买東京音楽大学毕业证, 办理东京音乐大学毕业证文凭, 东京音乐大学学位定制, 办理東京音楽大学大学毕业证-东京音乐大学, 正版-日本東京音楽大学毕业证文凭学历证书, 办理东京音乐大学成绩单高质量保密的个性化服务, 出售东京音乐大学研究生学历文凭

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