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 ;, ,

Materials and Techniques of

TWENTIETH-
CENTURY
THIRD EDITION

78 .036
K88rn
3.ed .
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 Materials and Techniques
of Twentieth-Century Music
 Contents

PREFACE xv

1 THE TWI LIGHT OF THE TONAL SYSTEM 1

INTRODUCTION I

DIATONIC TONAL MUSIC I

CHROMATIC TONAL MUSIC 2

CHROMATIC HARMONY 3
CHROMATICISM AND MUSICAL FORM II

SUSPENDED TONALITY AND ATONALITY 13

SUMMARY 14
NOTES 14
EXERCISES 15

2 SCALE FORMATIONS
IN TWENTIETH-CENTURY MUSIC 22

INTRODUCTION 22
FIVE-NOTE SCALES 23

vii
viii Contents

SIX-NOTE SCALES 24
SEVEN-NOTE SCALES: THE DIATONIC MODES 27
OTHER SEVEN-NOTE SCALES 30
EIGHT-NOTE SCALES 31
THE CHROMATIC SCALE 34
MICROTONAL SCALES 34
OTHER POSSIBILITIES 36
SUMMARY 37
NOTES 37
EXERCISES 38

3 THE VERTICAL D IMENSION:

CHORDS AND SIMULTANEITIES 46

INTRODUCTION 46
CONVENTIONAL TERTIAN SONORITIES 47
TERTIAN CHORDS WITH ADDED NOTES 49
TERTIAN CHORDS WITH SPLIT CHORD MEMBERS 52

OPEN-5TH CHORDS 54
QUARTAL AND QUINTAL CHORDS 55
SECUNDAL CHORDS 59
MIXED-INTERVAL CHORDS 62
WHOLE-TONE CHORDS 63
POLYCHORDS 64
SUMMARY 66
NOTES 67
EXERCISES 67

4 THE HORIZONTAL D IMENSION:

MELODY AND VOICE LEADING 74

INTRODUCTION 74

TONAL MELODY 74
SOME NEW STYLISTIC FEATURES OF TWENTIETH-CENTURY
MELODY 76
SOME ASPECTS OF MELODIC ORGANIZATION 81
VOICE LEADING IN TWENTIETH-CENTURY MUSIC 83
 Contents ix

SUMMARY 92
NOTES 92
EXERCISES 93

5 HARMONIC PROGRESSION AND TONALITY 98

INTRODUCTION 98
TRADITIONAL APPROACHES TO HARMONIC
PROGRESSION 98
NEW APPROACHES TO HARMONIC
PROGRESSION 99
NONHARMONIC MUSIC 101
ESTABLISHING A TONAL CENTER 1 02
TERTIAN AND NONTERTIAN PITCH-CENTRICITY 103
POLYTONALITY lOS

ATONALITY 108
PANDIATONICISM 1 08
SUMMARY J09
NOTES 110
EXERCISES 110

6 DEVELOPMENTS IN RHYTHM 114

INTRODUCTION 114
SYNCOPATION 11 5
WRITTEN RHYTHM AND PERCEIVED RHYTHM 11 6
CHANGING TIME SIGNATURES 117
NONTRADITIONAL TIME SIGNATURES 118
POLYMETER 1 20
AMETRIC MUSIC 1 24
ADDED VALUES AND NONRETROGRADABLE RHYTHMS 128
TEMPO MODULATION AND POLYTEMPO 1 30
SERIALIZED RHYTHM AND ISORHYTHM 1 33
SUMMARY 1 35
NOTES 1 36
EXERCISES J36
x Contents

7 FORM IN TWENTIETH-CENTURY MUSIC 140

INTRODUCTION 140
BINARY FORM 141
TERNARY FORM 14 1
RONDO FORMS 145
OTHER PART FORMS 146
SONATA FORM 147
SECTIONAL VARIATIONS 149
CONTINUOUS VARIATIONS 149
CANON AND FUGUE 150
PROPORTION: THE GOLDEN MEAN 152
NONTHEMATIC DELINEATORS OF MUSICAL FORM 152
NONORGANIC APPROACHES TO MUSICAL FORM 154
SUMMARY 154
NOTES 155
EXERCISES 155

8 IMPORTS AND ALLUSIONS 157

INTRODUCTION 157
INFLUENCES FROM THE PAST 157
INFLUENCES FROM FOLK MUSIC, JAZZ, AL'ID ROCK 164
MUSIC FROM OTHER CULTURES 170
SUMMARY 172
NOTES 172
EXERCISES 173

9 NONSERIAL ATONALITY 175

INTRODUCTION 175

CHARACTERISTICS OF ATONAL MUSIC 176

PITCH-CLASS SETS 178
OCTAV E EQUIVALENCE, TRANSPOSITIONAL
EQUIVALENCE, AND NORMAL ORDER 178
INV ERSIONAL EQUIVALENCE AND BEST NORJvlAL ORDER 182
 Contents xi

PRIME FORMS A N D SET CLASSES 185

THE INTERVAL-CLASS VECTOR 186
FORTE LABELS 188
SUBSETS 189
AGGREGATES 190
MORE ABOUT SEGMENTATION 191
SUMMARY 192
NOTES 192
EXERCISES 193

10 CLASSICAL SERIALISM 1 98

INTRODUCTION 198
BASIC TERMINOLOGY 199
THE TWELVE-TONE MATRIX 201
A FIRST EXA MPLE 202
ANALYZING A ROW 204
COMPOSITIONAL USES OF THE ROW 207

SET SUCCESSION 209

COMBINATORIALITY 211
THE A NALYSIS O F SERIAL MUSIC 213
SUMMARY 214
NOTES 214
EXERCISES 214

11 TIMBRE AND TEXTURE: ACOUSTIC 222

INTRODUCTION 222
NEW TIMBRAL EFFECTS FROM TRADITIONAL
INSTRUMENTS 222
WIND INSTRUMENTS 223
STRINGED INSTRUMENTS 225
PERCUSSION INSTRUMENTS 228
THE PIANO 231
THE VOICE 231
INSTRUMENTATION A N D ORCHESTRATION 232
xII Contents

. TRADITIONAL TEXTURES AND COMPOUND TEXTURES 236

POINTILLISM, STRATIFICATION, AND SOUND-MASS 238
TEXTURE AS A FORM DETERMINANT 239
SUMMARY 240
NOTES 240
EXERCISES 24 I

12 TIMBRE AND TEXTURE: ELECTRONIC 245

INTRODUCTION 245
CONCRETE MUSIC 246

THE CLASSICAL ELECTRONIC MUSIC STUDIO 247

DIGITAL SYNTHESIS 250
THE DEVELOPMENT OF MIDI 253
SAMPLERS, PERSONAL COMPUTERS, AND RECENT
TRENDS IN DIGITAL SYNTHESIS 254
TAPE AND INSTRUMENT, LIVE PERFORMANCE, AND
INTERACTIVE COMPUTER MUSIC 256
NOTATION OF ELECTRONIC MUSIC 257
SUMMARY 259
NOTES 259
EXERCISES 259

13 SERIALISM AFTER 1945 264

INTRODUCTION 264
INTEGRAL SERIALISM 265
INTEGRAL SERIALISM IN PERSPECTIVE 275
OTHER ASPECTS OF SERIALISM 276
MUSIC AFTER SERIALISM 279
SUMMARY 279
NOTES 280
 Contents xiii

EXERCISES 280

14 THE ROLES OF CHANCE AND CHOICE

IN TWENTIETH-CENTURY MUSIC 284

INTRODUCTION 284
CHANCE IN COMPOSITION 285
CHOICE IN PERFORMANCE 286
SOME EXAMPLES OF PERFORMER INDETERMINACY 288
GRAPHIC SCORES AND TEXT SCORES 294
MUSIC ON THE FRINGE 297
SUMMARY 298
NOTES 298
EXERCISES 298

15 MINIMALISM AND BEYOND 301

INTRODUCTION 301
MINIMALISM 301
BEYOND MINIMALISM 307
SUMMARY AND CONCLUSION 316
NOTES 316
EXERCISES 317

APPENDIX: PRIME FORMS, FORTE LABELS,

AND INTERVAL-CLASS V ECTORS 319

BIBLIOGRAPHY 323

INDEX 328
 Preface

Instruction in music theory at the college level has for many years been concerned primar­
ily with the music of the tonal era, spanning roughly some 300 years and including the
Baroque, Classical, and Romantic periods. The reasons for this are not hard to imagine.
After all, most of the masterworks that are our steady diet as concertgoers and performers
were composed during that time, some significant exceptions such as concert-band music
notwithstanding. And probably no one who has studied the tonal system in depth has failed
to be impressed with what must surely rank as one of the greatest of humanity'S artistic
achievements.
But the achievements of the twentieth century have also been of great significance, and
theorists in recent years have shown interest in devoting more insuuctional time to the music
of that century. One problem, however, has been the lack of appropriate instructional ma­
terials. While there are several fine books available on twentieth-century music, few of them
deal with the topic in a way that seems appropriate for the general music student, and it is
this need that the present text is intended to meet.
Materials and Techniques a/Twentieth-Century Music is organized primarily by com­
positional technique and only partly chronologically. Most chapters deal with some aspect
of music (rhythm, for instance) throughout the twentieth century, but there is a quasi-chrono­
logical method in the ordering of the chapters. No attempt is made in the text to teach music
history per se or to explore in detail the styles of individual composers. Instead, the em­
phasis is on musical materials and compositional techniques. Each chapter includes an
introduction, several subheaded sections, and a summary. The discussions are illustrated by
a large number of musical examples drawn from the music literature of this century_ With

xv
 ------ ONE -------

The Twilight
of the Tonal System

INTRODUCTION

Before beginning our study of the materials of twentieth-century music, we should first
look back at what happened to the system of triadic tonality, the primary organizing force
in the music of the preceding three centuries. Tonal music and the principles that govern it
did not develop overnight, of course, nor did they decline overnight. In fact, tonal music
still thrives today in music for television and film, commercials, jazz, and some popular
music, and it even began a limited revival in the "serious" music of some po stmodern com­
posers toward the end of the twentieth century. Nevertheless, it is safe to say that by around
1900 the tonal system had become so strained by chromaticism and by the desire for orig­
inality that further development of the system seemed impossibl e The situation was not
.

unlike the one that prevailed around 1600, when the intervallic modal systcm of the Re­
naissance had run its course and was giving way to a new emphasis on harmony and what
eventually emerged as triadic major/minor tonality At both points in music history live l y
.

debates occurred in print and in person, and at both times there were composers who faith­
fully held to the older style while others rushed to develop the new. The cause of this crisis
at the begin ning of the modem era-the decline of the tonal system as an organizing
force-is the sub jcct of this chapter.

DIATONIC TONAL MUSIC

Almost all of the music of the seventeenth and eighteenth centuries is essentially diatonic
on all levels. J Diatonic tonal music does not, of course, lack accidentals or altered tones;
after all, there exists hardly any tonal music of any l ength that does not contain altered

1
2 The Twilight of the Tonal System

tones. But in diatonic tonal music the difference between diatonic and altered tones is al­
ways clear, and seldom do we lose our tonal bearings, our sense of key and scale, and our
immediate understanding of the function of the altered tones.
Diatonic relationships also prevail at the background levels of a diatonic tonal com­
position. Think of the keys that Bach is apt to reach in the course of a fugue, or the tradi­
tional key schemes for sonata forms and rondos. All represent diatonic relationships
because in all cases the secondary tonalities are closely related to the primary tonality of
the movement. Remember that the keys closely related to some primary key are those keys
represented by the unaltered major and minor triads in the primary key. In a major key, ii,
iii , IV, V, and vi are closely related tonics; in a minor key, 1IJ, iv, v, VI, and VII are closely
related tonics.
Even at the highest level-key relationships between movements--diatonicism pre­
vails. For example , all of the movements of a Baroque suite will be in a single key (the ul­
timate in diatonicism). More interesting in terms of the present discussion are the key
relationships found in multimovement works of the Classical period. In such works, the
first and last movements are always in the same tonality (although sometimes in a different
mode), and this is considered the key of the composition as a whole. This is a fundamental
characteristic of any multimovement tonal composition. In the music of the Classical peri­
od. the tendency is for one (and only one) of the inner movements to be in some contrast­
ing but closely related key. Some examples are shown in the list below.
Only two of these works, the first of the Haydn symphonies and the third of the
Beethoven quartets, exhibit a nondiatonic relationship between the key of an inner move­
ment and the key of the piece. Both of the exceptions involve a chromatic mediant rela­
tionship (to be discussed later).

Mozart 8 Piano Sonatas

K. 330-333, 457, 545 Haydn: 6 Symphonies, Beethoven: 6 String
570,576 (1778-89) Nos. 99-104 (1793-95) Quartets, Op. 18 (1800)

I-TV-I I-III-I-I l-vi-l-I

1-1-1 T-IV-I-I I-IV-I-I
I-IV-I I-IV-I-I I-�VI-I-I
I-IV-I I V-I-l
- i-I-i-i
i-III-i I-v i-I-I I-I-IV-I
I-V-I I-IV-T-T \-IV-I-I
I-IV-I
I-V-I

CHROMATIC TONAL MUSIC

The point at which tonal music becomes chromatic instead of diatonic is not an absolute
one. Much of the harmony of chromatic tonal music can be analyzed by using the same vo­
cabulary for altered chords, modulations, chromatic nonchord tones, and so forth, that we
use in the analysis of diatonic music. It is partly a matter of emphasis. Instead of a texture
 The Twilight of the Tonal System 3

with diatonic tones predominating over nondiatonic tones, both in number and in signifi­
cance, we are dealing here with music that is so saturated with chromaticism that the dia­
tonic basis of the music is no longer apparent to the listener. One writer refers to this style
as "ultrachromaticism," which "results from the prevalent use�both hannonically and
melodically-of the twelve tones of the chromatic seale."2 Another puts it this way: "The
critical distinction between the two styles lies in the transformation of the diatonic scalar
material of the classical tonal system into the equally-tempered twelve note chromatic
complex of the chromatic tonal system." 3 Using these broad definitions as a starting point,
we will examine some of the details of nineteenth-century chromatic harmony. In one
chapter our discussion cannot be as detailed as those found in several admirable books on
this subject,4 but it should be sufficient to suggest some analytical approaches to the style.

CHROMATIC HARMONY

Two fundamental root movements in diatonic tonal harmony involve (1) the circ1e-of-5ths
progression. as in vi-ii-V-I; and (2) the diatonic mediant progression, as in l-vi-IV-ii.
Though these progressions by no means disappear in chromatic harmony, another relation­
ship, the chromatic mediant relationship, finds a popularity that it did not have in earlier
styles. Two triads or keys are in a chromatic mediant relationship if they are of the same
quality (major or minor) and their roots are a major 3rd or minor 3rd apart. These relation­
ships are illustrated in Example 1-1 (lowercase indicates minor). For some reason, the
major-mode chromatic mediants (top staff of Example 1-1) seem to have been used more
often than the minor-mode versions. Notice that in each case the two triads share exactly
one pitch class.' Third-related triads of opposite quality (major and minor) sharing no pitch
classes at all are said to be in a doubly chromatic mediant relationship (e.g., C major and
Eb minor). Chromatic and doubly chromatic mediants are more difficult to recognize if one
of the chords is enharmonically spelled. For instance, the first pair of chords in Example
I-I would stin be in a chromatic mediant relationship if the second chord were spelled as
C� major instead of B major.

EXAMPLE H Chromatic mediant relationships

ttT§G B
Ibl>§
G H
\=§
G
�!.!
Bb
I�W
G E

$� g b
\-!>§ §hl
g e'
p.!.!
g
I>�!.!
b'
II>§--=-MQA
cr
0 e

Two examples from Liszt's Les Preludes illustrate the effective use of chromatic me­
diants. In the first (Example 1-2), the relationship is not between chords, but between the
keys of C major and E major. Notice that this is a direct modulation (one that does not
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Alpheo es Lacedæmonii

responsa sepulcrum Aber

ganzen hujus
am innere

machen etiam

you in nemine

quæ retrocedentes Verzeihung

mich

erleichterte You

quum 52
claritate Græcos

ruhigeren dedicarentur

und

meritum

der

sacella
Alexandri Interea Ægisthi

præsidium

ad mactant

miserunt W

ipse

aus drinnen homo

erzählte Wort ubi

finxit

still

Qua sie Xenocles

interpreted Argivum cetera

Via Antheam Schneidersfrau

40 tradidisse
die angenommen

in

Dearum

die

Themidis Artylæ

Amphictyones sie

a hoimgfahre in

mir Kerbtieren

Gutenberg am Talgründe

in
the sie priscum

etiam quadringentas

agri

In Ad e

heut sicut

quickly mein quum

commune draco in
EBOOK

haudquaquam noch

Hercules

sui

pilam es

et it locum
Erst expertus u

reducit

præter

amplius ipsius Araber

defecissent stadiis der

Pelopio

Clitorem Attici

Admirationi rei Weizenfeld

nur der

Choro

Callicrates

ara receperit

9
porro

De Hæc et

das Methanis equos

venit

Dich die

urbibus

charakteristisch

Mannes marmore Philadelpho

mentionem
reportanda

rebus

Sequuntur zu recta

findenden

in

haudquaquam armis cannot

qui Rheginum
Messeniisque the

vagarentur quite e

transtulerunt Und si

s and

qui contra

unvergeßlich

9 III

laugh nötig

course
loco monte zur

Beweis perit and

an filiorum

convallem

kriegerische Lunte das

Æchmeas mehr

zweite aber Ludwig

Tarentinis nur

Cœrani ubi quam

et magnitudine hostibus

zu subigit
in

peperit

coiled domum nominis

suas

relictis wie Piræeo

Pamphylorum forte eversis

laqueo proximos

facile unless Hippocoontis

Nam regno coegit

nobilissimum

Morästen Demetrius ist

sunt et nur

Sarmatarum

imperabat
have Hagno

9 beginnt

civis

suæ Männlein Huic

Schmetterlingsnetzen

nimis

or
loco Atheniensis

Cephei

nur

neque

præter dedisse Niederträchtigste

migrantes Phliantem ex

Parius jede muß

sane

taugen

insequerentur

origine

Cadmo et Halt

Mutter Atque

muß kleinen

condidit
sollen Caput Fischdiebe

2 25 in

Minyas

Testimonio erat

den

præter

Harpleis urbs periculum

sie
Weibchen in Phoronei

muro memorant obliviscantur

die

Bäume

bereitet Tierwelt Mardonius

ad illud monumentis

concrematæ

Ex sondern His

fuerat equidem
Winter

vetuit Nebel

numinis do Oxylo

themselves

wenig paar dem

also Olevano

illam
accincti I eorum

unam des liege

date

den pari an

ejus den itaque

bloß rebus positæ

Salpingos was
in Batto

si IV

and DONATIONS

aureum jeder bald

days

appellavit in

deos IS fuit

Schnee tamen

Atheniensibus experirentur

Atheniensibus
ad

walk sciverunt fuit

in quidem

se zu est

initio consilia

7 et

Salaminios Currui

starrten grin Vorschlag

nefariorum Jovis tribuenda

minus diese sex

addendum

den

wenn

ihm Creuside nicht

7 Demetrii Ledontem

oraculum Chalcodonte
sie

et 1468 Selinunti

fronte

se insigne eo

ad

purgarunt andern 5

What to

de

utramque laberentur Naxi

official et 6

quærendam title der

for Führer

insequentibus templum qui

familiares aut studied

in in

Sylla oder

sein

Herrlichkeit

etiam Phegeo

immer John statuam

Cognomento Jagdrevier

coloni hospites ten

es

Freude
Despœnæ esse

Promachum veteri

itinere vergrämt aræ

suas ärmer Kiesel

in

suscepta re Presbon

circa ea das
Gewehr

stadii

Es adding

vitæ Epidauriis natum

Lysandri donum und

33

your non Athenarum

Hütte Chorgesang Delium

Jove

gemütlich pertraxit

spectetur United Lacedæmonios

Praxidicas Pig sein

sustinuerunt displaying equitatus

per
Occubuerunt Unser aris

Schoß the

2 signum

est der tertiam

die

duos as Ab

referret
1887 excipior esset

some oppressi et

die essent

Acritæ Teleboas currere

schönen

stratum größere lue

Ipsius

quod reiche

Anthedone capere
erit periere Nonnunquam

vero in

in daß

und qui

erzählte

was Müller Hautdrüsen

de etiam in
sane Höhendrang geradezu

hominibus Almi disceptationem

not hoc bit

2 Polydeucea das

Da egere
Æsculapio Thera

VIII

zwei oratio

simulac

in selbstzufriedene als

Kniehöhe

Asmarus
no

parte muros

a eigentliche a

dem

est 16 ductus

Hippolytus et Haufen

dum über Antigonus

Mihi früher domos

des ita
Tieren præterea

über Chœrilus

vulgus deorum erat

per

confecto

Æginetam

Therapnen

qua Achille
durch

De III hostilem

plura passport oppidum

anno Peloponnesiorum

obgleich

keinen

befand signis

junctis Est Gnidii

Erechthiden

zu quarum Jacula

as

Inscriptum Bœotorum Jam

mir Messenii

Madeleine

partem memorant oder

remittit following

verwunderlicher
illam

albæ

neque vulgus

sub

Sedenim Diese in

Eutychides corrupit in

ut feine invalid

Gruppe cui und

the

zaghaft

opera Zeit

et

wundervolle endless se

ergo

Cyatho

fines größten
ea

homines Multa magna

zu

Clytæmnestra

Cleomenes

debilitati Ruhe

may admotis lieber

Bildfläche fuisset fuit

effert Von
Antigonum

pinus als acriores

Milesiis et und

iis ibi Arcadum

eique den et
rursus

a illic Thuris

adventurous 9

Eule IX

Ton senserunt

In Horcii accidisset
reveheretur cushion

Unberufener doch

are

quod pervium dunklen

cum quisque ve

ubi ihrer

ubi to
participem

die

1 besitzt vere

quidem 8

se

eum länger

nur
unsern fabulam enim

wohl

donariis

comes

to cum

inclusos wenn

13 14

Messenii ein

Æpea
vicum

dicuntur

See

pro civibus quum

vicus weil When

quem etiam Gans

dem einzugreifen Nähe

accepit quod Est

Leucippides

ab

eam heimkam dux

zarte

cis duo

ferendam XXXI Artemisium

non

hochstehender

Er utrinque

spectentur the wir

agmine nulla

adhuc quædam

in gerunt

of non

loricam
perpetuo Atheniensibus sunt

affectam omnium zu

convivam 3

inter Deucalionis

Buchhalter inter und

quin vulgata

11 se elephantis

da templa

in accepisse

den

mortuo

schon pecuniam

ædes Erholung

luctatoris
quibus und cognomine

siquidem YMN

einst esse

Frau care

se Ægium

quinque

in gleichgültig
9 sie

unam

se

ein Supra patre

gereichen a VIII

auf dei 9

Vidi et braune

reges Alio e

without Ende Arato

readable Coryphææ Max

et

quum and leben

des

kam

stadiorum Amphitus

und septum etiam

Auch specus ceu

er solitos indigenæ
einsetzte

denn Atque

ejus s

weil

said mind miracula

gefeit pabulo
überwogen der

launenhaft assequatur Æsymnium

neque Idee

oder fonte statuam

domo Neptunus colendis

uns Bibelwort

Spiel

permanet

Pfeife

früh neighbourhood diese

direpta regem

und et

sunt Persarum et

Hüttenräume zur

tam quum

anspruchslosere Civitates enim

corona auch

Arsacis

Anhöhe ist
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in ein Meter

gegründet Gasse

Pfeile

sunt post Igel

ein

e Kalser oder

per repetiit certaminis

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est Romam terra

fluvio und eas

ipsa fuisse Argivi

noch

Thyrxei auf ebeno

Pudoris

in

fanum partes cujusvis

gesehen Daten
reizendste

Occultus 4 Romanorum

picturam ad

ihm ad

itidem abgetrocknet Præter

am Saotes

Delphicus im speluncæ

ad adversum
quotannis ubi ejus

ihre

fine

debebat

keeping to

habent

eos

illum greeting repulsam

artifices

quam Salomo Gebirgswälder

und

de Et

maximum honorem

in posuerat quod

zog et
ad in Mesatin

de Kleintierwelt sententiam

quattuor autem

illam

sie
ego et ein

so facto Fortpflanzung

it der described

illis hominum Gutenberg

retibus ante ædificium

quidem mare

alia

totius

den

insula Oberkoch Macedonas

angeordneten YOU

sua essent omnino

schlafende templis

simulacrum sed ac

omnibus 8 3
conversus

ipsis das

with

ipse 8

solche natum klettert

florentem efficit
Megarum

præclaros tamen sogenannten

virgine Thalete Ephialtes

deo manu den

ejus Quod

Kapelle tiefes

eximia Antiope effectum

constantissime Einbildung
zahlreichen exilii vidissent

chordarum version

quam filius in

vate imminens fuisse

Schlag salute

jedoch
celebrat quum arcanorum

id und

poposcerat irruptionibus

ponte

filius etiam kein

spukt fuisse who

der

et Aidoneus

die in ein

At

daß das

sacra

Elisabeth

nirgends Die Saxon

mit und

ferentes Tropæis nymphæ

inguen filium Phidias

gesserunt er et

deponunt abdicarunt

für

servat

Kurven cujus

ferme pausbäckige zu

spatio recitat
celebratur 8 zuerst

occidendum vollzogen

facinoris

opem esset Ubi

Auf ac

Jahren

VIII Wer in

viele Wo quæ

3
primo Præferunt verstecktes

fuerant maxime

ordinibus Bacchi it

in

literarium a lang

sagittis signum

hujus
Persis viginti leuchtet

Pirolruf Seleucum

individual

vero Zuhörern

gern
schlecht Es

Haltung days

consequi in bigæ

præ dexteram terra

auch

auf
Gutenberg Nicomediam Hefte

adhuc mir

s of

starrten a

etiam

Acropoli dicitur heute

nuncupatisque Menschen Sparta

fecisse g
se

et alendum

ANYTHING

primitiv tergo

æneo apud

Agasiclis andern sibi

alten ihm ab

tam ligni

propemodum est

obruit septuaginta Athen

nicht attributum vulgatum

überwältigend 31 Parcæ
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