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REPERTORY. This word is nearly synonymous with inventory, and is so called because its contents are arranged in such order as to be easily found. Clef des Lois Rom. h.t.; Merl. Repertoire, h.t.
     2. In the French law, this word is used to denote the inventory or minutes which notaries are required to make of all contracts which take place before them. Dict. de Jur. h.t.

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A superficial use of both of these repertories would reveal that most entries are similar but, significantly, many are not.
Bly goes on to argue that 'without much reference to other repertories as ballast to her argument about the Queen's Revels, the question of whether the company had a relevant, creative influence on its plays is stated, not proved'.
Following the discussion of sources and repertories proper, appendices to part 2 include a "Brief Guide to Reading and Interpreting Baroque Guitar Tablatures," as well as information on tuning and stringing, which will be very useful to performers as well as musicologists involved in the study and editing of this repertory.
Beethoven and Wagner continued to be played throughout the war and even "living" composers who were banned in 1918-such as Richard Strauss--returned to the repertories soon thereafter.
Unfortunately, as in most current studies of repertories associated with the lute there are a number of inaccuracies in the list of sources, no doubt transmitted from other, older bibliographies--one of the problems inherent in such a heavy reliance on secondary sources.
32) The expected mobility of audiences is corroborated by Roslyn Knutson's analysis of the commercial interplay between different repertories, which suggests that audiences travelled to see plays at various venues, and that repertory strategies often depended upon an audience's familiarity with drama produced at a range of playhouses.
He chooses two full-length works, by Lewis Lockwood on Ferrara and Ian Fenlon on Mantova, for their more traditional emphases on the creation of unique polyphonic repertories for prideful court patrons.
Distinctions between classic ballet dancers and their modern dance cousins are breaking down-many modern dance works have been taken into classic repertories, and equally many members of modern dance troupes regularly take ballet classes.
Most of these repertories, like Franca's, were based loosely on the classics, with Coppelia and Giselle proving the most practicable and popular, yet they also introduced modern classics such as Les Sylphides and Prince Igor or a large range of Balanchine works in addition to completely new works, often specially tailored to the specific needs of the dancers and their audiences.
Later would come commissions from such modern dance choreographers as Lar Lubovitch, David Gordon, Karole Armitage, David Parsons, and Ulysses Dove, along with borrowings from the repertories of Jose Limon, Paul Taylor, and Merce Cunningham, among others.

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