<html><body><div style="color:#000; background-color:#fff; font-family:verdana, helvetica, sans-serif;font-size:12pt"><div><span>Dear Devin and the List,</span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span><br></span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span>considering these interesting choices, made by different composers from different places and periods, it makes sense to talk about semantics of a key, beyond simple color associations. F sharp minor must have meant something to all these composers. How to express this semantic equivalent is another question, though.</span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color:
transparent;"><span><br></span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span>Best wishes,</span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span><br></span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span>Ildar Khannanov</span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color: transparent;"><span>Peabody Conservatory, Johns Hopkins University</span></div><div style="color: rgb(0, 0, 0); font-family: verdana, helvetica, sans-serif; font-size: 16px; font-style: normal; background-color:
transparent;"><span>solfeggio7@yahoo.com</span></div><div class="yahoo_quoted" style="display: block;"> <div style="font-family: verdana, helvetica, sans-serif; font-size: 12pt;"> <div style="font-family: HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif; font-size: 12pt;"> <div dir="ltr"> <font face="Arial" size="2"> On Tuesday, May 20, 2014 6:51 AM, Devin Chaloux <devin.chaloux@gmail.com> wrote:<br> </font> </div> <br><br> <div class="y_msg_container"><div id="yiv8462336348"><div><div dir="ltr">I have a few personal favorites that are from less traditional, but still common-practice sources:<div><br clear="none"></div><div>Edward MacDowell's "To A Water Lily" from Woodland Sketches, Op. 51/6 (one of my favorite in this set, free MP3 on IMSLP)</div>
<div>Louis Moreau Gottschalk's "The Banjo"</div><div>A couple from Grieg's Op. 43 Lyric Suites: "In My Homeland" Op. 43/3 and "To Spring" Op. 43/6</div><div>Opening of George Whitfield Chadwick's tone poem "Aphrodite" (bearing an uncanny resemblance to the prelude of Tristan und Isolde...which is also strange because there have been some who have said the same about Melpomene too [see Bomberger])</div>
<div>Cesar Franck's Piano Trio Op. 1/1 (first movement is in F# minor with a very significant section in F# major, finale is in F# major)</div><div><br clear="none"></div><div>Best,</div><div class="yiv8462336348gmail_extra"><div><div><b><br clear="none">Devin Chaloux</b></div>
<div><font size="1">Indiana University</font></div><div><font size="1">Ph.D. in Music Theory (enrolled)</font></div><div><font size="1">University of Cincinnati - College-Conservatory of Music</font></div>
<div><font size="1">M.M. in Music Theory '12</font></div>
<div><font size="1">University of Connecticut</font></div>
<div><font size="1">B.M. in Music Theory '10</font></div>
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