ABSTRACT. Martin argues that in Regina Coeli, KV 108 the exposition is heralded in the concertante instrumental introduction (the harmonic development is as simple and clear as the formal structure). Duffy contends that, unlike other modes of expression, music’s meaning tends to shy away from translation in a linguistic sense. Lopes-Graça maintains that every great musical work is an organism that includes in itself its own beginning, middle, and end (an entity that contains in itself its own reason). Ledkovsky notes that Swan points to a certain resemblance between Znamenny chant and Russian folk-song. Hooper stresses that, in his choral music, Burgess gave great thought to the setting of text to music.



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