We both said it was a matter to be proud of; but this clumsy defence that Evgenie mentions, this strange argument CAN, of course, only be an accidental
case --one in a thousand!"
With The Accidentals, Minrose Gwin has given us homegrown magic realism, a US version of that Latin American genre that brings the tangible intangible to life.
And, because of this, The Accidentals is also a novel about how a chance comment or instantaneous decision may set in motion a series of events that can end up changing lives, even history itself.
The Accidentals opens in Opelika, Louisiana, in 1957, a small busybody town not far from New Orleans, where acceptable women join the Daughters of the American Revolution, Junior League, and Ladies' Hospital Auxiliary.
It begins in D-flat major and moves to F-sharp major, then alternates between the two keys three more times, with a bell-like section midway through the piece with Piano I appearing in C major with many accidentals over the D-flat key signature of Piano II, which carries the melody.
Because of the choice of key signatures and plethora of accidentals, which only last a few measures, the piece is sufficiently difficult to merit inclusion in the advanced repertoire category despite its slow tempo with metronome marking of a quarter note at 66.
Careful treatment of accidentals is one of the edition's hallmarks.
The organ score follows a policy regarding accidentals different from the vocal and instrumental parts, adhering to modern conventions (accidentals apply to an entire bar and editorial accidentals are shown in square brackets).
This section provides, in essence, an abridged critical report containing descriptions of the most important variants, along with discussion of those editorial accidentals most likely to concern performers.
He knows the essentials of the situation, I do not; instead of knowing essentials, I am immersed in accidentals, even though I do not recognize them as such.
The first thing to notice is that the crucial distinction is not between knowing the essentials and being totally ignorant of the thing in question; the crucial distinction is between knowing essentials and being lost in accidentals. The alternative to knowing essentials is not sheer ignorance, but a special kind of familiarity with the object in question: a familiarity in which we can recognize the object but come short of grasping it in regard to what it is in itself.
Although the term "musica ficta" does not appear in his title, his book is squarely concerned with the subject in its proper - that is, medieval - sense, for it is about accidentals that actually do appear in the manuscript sources of secular music from 1275 to about 1450.
213"; and chapter 4, "Du Fay; Mid-Century Developments." The tour chapters are meant to chart a continuity of what Brothers calls the "beautiful use" of accidentals. The theory introduction is perhaps the most striking part of the book; among its many minority viewpoints are some that I have come to espouse independently.
The "lost traditions" are the verlorene Selbstverstandlichkeiten posited by German writers at the beginning of this century, which today are widely if inaccurately known as the "rules of musica ficta." The accidentals that modern editors add above the notes to vocal works of the fourteenth to sixteenth centuries are meant to reflect the accidentals that singers of the time would have added in accordance with these lost traditions.
This statement suggests that Toft was writing in part to counter the view that few if any accidentals should be added to this music, a viewpoint not discussed or referred to in the text.