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Mit Hilfe aus dem Waadtland... (Autoschild VD)

Denkbar wäre: "August Heinrich Hoffmann, bekannt als Hoffmann von Fallersleben (* 2. April 1798 in Fallersleben, Kurfürstentum Braunschweig-Lüneburg; † 19. Januar 1874 in Corvey) war ein deutscher Hochschullehrer für Germanistik..." (Wikipedia). Er schrieb diverse Weihnachts- und Kindergedichte, auch eines über den Vorabend von Weihnachten. Ob er mit seinen Kindern genau das getan hatte, was Adorno beschreibt, lässt sich im Internet nicht nachweisen.

No comic videos on my computer.

MuseScore 3.62

Thanky you very much for this observation. To use the Feedback Machine/Bandpas Comb in the Layer is much more realistic than in the Program.

Temme Sikkema Not yet. I will soon use this violin in repetitions of pieces already made, by the Mahavishnu Orchestra with Falcon and Cubase.

The Second Sonata played by Pollini in the 80ies was a great party for the whole public. Then I was in Répons the same time. Very important people of the French Administration sat in the first raws. They all went asleep.

Cubase 11 Artist. Pitchbend in the Key Editor is uncomfortable (I cannot find anything about bending in the Note Editor). Automation as a track allows you to draw the bending and play it afterwards - live in a concert. You handle it like an effect.

You are right. I have now studied the pitchbend part in the key editor carefully for a few hours. It is easier to use than I thought it would be. But it is still not at all in the way you want it to be. 1. It cannot be used as FX in a live concert. 2. It is not reliable in terms of pitchbends in scores - it is as stubborn as a donkey. 3. Its environment is ugly. 4. Some persons do not work with Cubase 11, yet.

My version from today: https://www.youtube.com/watch?v=lPEKxqq5NoA

Video on demand is ready: https://www.youtube.com/watch?v=vyQyuchxVno

Here is the IRCAM Violin description in the piece of today, Sanctuary: https://www.ueliraz.ch/ircam-violin-falcon-sanctuary-2021.pdf

And here is the new piece with the IRCAM Violin, Sanctuary: https://www.youtube.com/watch?v=C_IZkTlPwkA

Maybe in the piece of today, the Violin sounds like I had it in mind, Sanctuary: https://www.youtube.com/watch?v=C_IZkTlPwkA

https://www.ueliraz.ch/granular-synthese/pitch-bend/true-keys.pdf

The PDF shows now a direct way to use the Pitchbend of the Keyboard.

Kleiner Französischfehler im Titel: Les bises... Richtig wäre: Les bisses...

Auf dem Monte Moro über Macugnaga. Hinten das Marinellicouloir des Monte Rosa.

Are the issues of dissonance specifically discussed in Adorno's compositions? - There are two developments in Adorno's composing: a) The steady liberation of dissonance up to the climax in 1928 in Opus 3 (Vier Lieder), which goes far beyond Schoenberg and hallucinates, i.e. anticipates, the music of Boulez in the Second Piano Sonata in 1950. The stability of Adorno's piece is provided not by the "harmony" in the piano, but in a negative dialectic by the solo singing voice. b) The development towards the gradual atomization of the theme (Adorno knew Debussy very well), culminating in the second movement of the String Quartet, where it is impossible to keep the original theme of the variations in musical memory, which by definition is not strict. After the rejection of Schoenberg and Berg, both developmental tendencies immediately slackened, and the composer became the philosopher of the Negative Dialectic. The negative dialectic cannot be understood without the musical and compositional background: Adorno is not a Hegelian, but faithful Boulezien - even before they met each other.