JAVS Spring 2001

VOL. 17 No.1

42

JOURNAL OF THE AMERICAN VIOLA SOCIETY

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Example 3b. Fragment of measure 46 that is the source of motivic material in Examples 3c and 3d below. IIHHfV .. ~

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Example 3c. Measure 47 is based on the first half of the above example.

Example 3d. The following fragment from measure 48 has its motivic origins in the second half of Example 3b. ----------- The element of solo improvisation, which is also found in the folk tradition of the region, is present in the introduction of the Arioso etAllegro de Concert. In the style of parlando rubato, this music leads into the Doi'na proper, the Arioso. The use of cadenza is directly related to this solo improvisation, and such material is found at the end of the introduction. Also, a more involved and lengthy cadenza is incorporated at the end of the A' section as a transition into the B' mate rial. See Example 4 below.

Example 4. Golestan, Arioso etAllegro de Concert, measures 1-9 Lento V Ll ALTO

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