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article. The rationale was to create a separate "sub-article" window which could be accessed from within the main article in order to reveal the relevant musicological details for the benefit of students and musicologists. The ultimate objective was to expedite the "clean-up" of the main article without sacrificing the details associated with the description of the composition. Thanks again for your interest and your expert analysis during the process of perfecting the article. It is greatly appreciated. Meliora!-- --
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completness. Any attempt to inject humor into the descriptive passage was not intended. The composition does in fact include chromatic changes which incorporate these key signatures in order to demonstrate the acccordion's robust virtuosic/orchestral potential. Thanks once again for your thoughtful insights. Respectfully pjs012915--
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This makes perfect sense to me, but I do not read the
Classical Music Project page, so I was ignorant of the discussion there. It might have been a good idea to put a brief notice on this Talk page about this, with a link to the relevant discussion, especially since the consensus to merge had been so
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Dear 76.118.3.9: Thank you for your insights regarding the key change modulations. The references to these key changes are indeed related to chromatic passage changes within the evolutuion of the composition and were included within the description of the composition in the interests of accuracy and
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I'm not familiar with the piece myself so am not fit to make edits, but I notice that the discussion of the first movement includes mention of some very outlandish keys like D-flat minor, D-sharp major, and F-flat major, all of which, while touched on occasionally in fleeting chromatic passages, are
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Dear Jerome Kohl - Many thanks for your input--I apologize about the spelling error. Evidently the description of the composition was extracted from the composer's article by the editors of the
Knowledge Classical Music Project in order to preserve the overall integrity and composition of the main
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within the composer's article since this arrangement is consistent with the final decision in the deletion review debate to retain the contents of the article through merging. An additional debate is evidently not required since the deletion review has been closed. I suspect that further inquiries
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very unlikely to be a piece's true modulatory goal. I suspect that someone who thought it would be funny has added these in. If I am wrong in this suspicion and the piece really does go to all those unnecessarily heavy keys, ignore this comment.
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I guess I do not understand what constitutes a "sub-article", but it really doesn't matter. As long as someone has a reason for taking this out of the biographical article, that's good enough for me. Oh, yes: I think you meant to say it is a
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in
Contemporary Music led to questions as to whether the entire contents of the article should be retained within the body of the parent article. The composer's article has since been removed from the Knowledge
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or split off from the parent artilce so the question of resuming a deletion debate is mute. It is my understanding that it is entirely proper to retain the contents of the article as a
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since the composer's article was flagged for final categorization by an editor with expert knowledge in musicology within that project. Thanks for your inquiry --Meliora
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Dear Jerome Kohl - In reply to the above question kindly note that the article was indeed merged into the composer's parent article as a result of a
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decision in a deletion review debate. Subsequent discussions within the
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for writing and maintaining articles. To participate, you can edit this article or visit the
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I'm curious to know what the rationale was for splitting this article off from
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Project in
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has elected to retain the contents of this article as a
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