suhwahaksaeng

I understand that the full name of the UK is "The United Kingdom of Great Britain and Northern Ireland." This seems to imply that Southern Ireland is an independent nation.

I also understand that James Joyce was from Dublin, which is the capital of Southern Ireland. So what is the goal of the Irish nationalist who attends the party in the wintertime? And what is the goal of the men who meet on Ivy Day in the Committee Room?

In one of my Microsoft Word files, I can't make cuts.

Rather, the material which I want to cut appears in a different color with a line through it.

Same way with material which I want to replace.

The new material appears, but it appears after the replaced material, which likewise appears in a different color with a line through it.

What causes this, and how can I change it?

On page 92 of The Craft of Musical Composition, Hindemith shows three ways of resolving GBDF. The most common way is to use the B as the leading tone, resolve it to C major, and call it a dominant seventh. Another way is to change the F t o an E#, resolve it to F# major, and call it a German sixth. Another way is to change the D to a C## and resolve it to d# minor. At the University of Tennessee, that's called a Hawthorne sixth.

But why can't we use the G for a leading tone and resolve it to Ab major?

It seems to me that if you put an extra long mouthpiece on a Bb clarinet, that will change it into an A clarinet.

Or if you put an extra long head joint on a Db piccolo, that will change it into a C piccolo.

Slides and crooks work on brass instruments; why can't mouthpieces and head joints work on woodwind instruments?

I used to think it was wrong to extracting single movements from extended compositions was cheap, exploitative, and disrespectful to the composer.

But then I noticed that the C major prelude from Book I of the Well-Tempered Clavier appears in Anna Magdalena's Notebook without the fugue.

I also remembered that Janacek originally intended for the first movement of his Sinfonietta to be a single-movement piece for concert band.

I also remembered that Tchaikovsky wrote a slow piece for violin and orchestra which he originally intended as the second movement of his violin concerto, but later changed his mind and presented as a single-movement composition.

These particulars indicate that composers do not always relate all the movements of each work as closely as we might think.