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The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument
Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2016 The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument Victoria A. Hargrove Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Hargrove, Victoria A., "The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument" (2016). Theses and Dissertations. 236. https://csuepress.columbusstate.edu/theses_dissertations/236 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT Victoria A. Hargrove COLUMBUS STATE UNIVERSITY THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT A THESIS SUBMITTED TO HONORS COLLEGE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE HONORS IN THE DEGREE OF BACHELOR OF MUSIC SCHWOB SCHOOL OF MUSIC COLLEGE OF THE ARTS BY VICTORIA A. HARGROVE THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT By Victoria A. Hargrove A Thesis Submitted to the HONORS COLLEGE In Partial Fulfillment of the Requirements for Honors in the Degree of BACHELOR OF MUSIC PERFORMANCE COLLEGE OF THE ARTS Thesis Advisor Date ^ It, Committee Member U/oCWV arcJc\jL uu? t Date Dr. Susan Tomkiewicz A Honors College Dean ABSTRACT The purpose of this lecture recital was to reflect upon the rapid mechanical progression of the clarinet, a fairly new instrument to the musical world and how these quick changes effected the way composers were writing music for the instrument. -
Reviews of This Artist
Rezension für: Hertha Klust Pilar Lorengar: A portrait in live and studio recordings from 1959-1962 Vincenzo Bellini | Giacomo Puccini | Georg Friedrich Händel | Enrique Granados | Alessandro Scarlatti | Wolfgang Amadeus Mozart | Giuseppe Verdi | Joaquín Rodrigo | Joaquín Nin | Jesús García Leoz | Jesús Guridi | Eduardo Toldrà | _ Anonym | Jacobus de Milarte | Esteban Daza | Juan Bermudo | Luis de Narváez | Juan Vásquez | Alonso Mudarra | Luis de Milán | Diego Pisador | Enríquez de Valderrábano 3CD aud 21.420 operafresh.blogspot.de Tuesday, May 20, 2014 ( - 2014.05.20) Pilar Lorengar Live and Studio Recordings 1959-1962 Berlin In addition to the live opera recordings on this release, is the famous studio recording of songs with guitar featuring Siegfried Behrend available for the first time on CD outside of Japan. Full review text restrained for copyright reasons. Das Opernglas Juni 2014 (J. Gahre - 2014.06.01) CD News Ihre Stimme [strahlt] in diesen um 1960 gemachten Aufnahmen Wärme und Weiblichkeit aus, die den modernen Hörer durchaus gefangen nehmen können. Full review text restrained for copyright reasons. page 1 / 96 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de http://theaterpur.net Juni 2014 (Christoph Zimmermann - 2014.06.01) Tenorales Gruppenbild mit Damen Pilar Lorengars klares, sonnenhelles Organ lässt nirgends falsche Sentimentalität aufkommen. [...] Neuerlich bezaubert die Natürlichkeit der Darstellung ohne ein demonstratives Ausstellen vokaler Raffinessen. Full review text restrained for copyright reasons. Der Tagesspiegel 22.07.2014 (Frederik Hanssen - 2014.07.22) Klassik-CD der Woche: Pilar Lorengar Spanische Nächte Die Norma wie auch „Piangerò la sorte mia“ aus Händels „Giulio Cesare“ meistert sie mit Eleganz, jugendlicher Strahlkraft und schier endlosem Atem Full review text restrained for copyright reasons. -
PROGRAM NOTES Wolfgang Mozart Clarinet Concerto in a Major, K
PROGRAM NOTES by Phillip Huscher Wolfgang Mozart Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Clarinet Concerto in A Major, K. 622 Mozart composed this concerto between the end of September and mid-November 1791, and it apparently was performed in Vienna shortly afterwards. The orchestra consists of two flutes, two bassoons, two horns, and strings. Performance time is approximately twenty-nine minutes. The Chicago Symphony Orchestra’s first performance of Mozart’s Clarinet Concerto was given at the Ravinia Festival on July 25, 1957, with Reginald Kell as soloist and Georg Solti conducting. The Orchestra’s first subscription concert performance was given at Orchestra Hall on May 2, 1963, with Clark Brody as soloist and Walter Hendl conducting. Our most recent subscription concert performances were given on October 11 and 12, 1991, with Larry Combs as soloist and Sir Georg Solti conducting. The Orchestra most recently performed this concerto at the Ravinia Festival on July 15, 2001, with Larry Combs as soloist and Sir Andrew Davis conducting. This concerto is the last important work Mozart finished before his death. He recorded it in his personal catalog without a date, right after The Magic Flute and La clemenza di Tito. The only later entry is the little Masonic Cantata, dated November 15, 1791. The Requiem, as we know, didn’t make it into the list. For decades the history of the Requiem was full of ambiguity, while that of the Clarinet Concerto seemed quite clear. But in recent years, as we learned more about the unfinished Requiem, questions about the concerto began to emerge. -
A Survivor from Warsaw' Op. 46
„We should never forget this.“ Holocausterinnerungen am Beispiel von Arnold Schönbergs ‚A Survivor from Warsaw’ op. 46 im zeitgeschichtlichen Kontext. Karolin Schmitt A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of a Master of Arts in the Department of Music. Chapel Hill 2011 Approved by Prof. Severine Neff, Chair Prof. Annegret Fauser Prof. Konrad H. Jarausch © 2011 Karolin Schmitt ALL RIGHTS RESERVED ii ABSTRACT KAROLIN SCHMITT: „We should never forget this.“ Holocausterinnerungen am Beispiel von Arnold Schönbergs ‚A Survivor from Warsaw’ op. 46 im zeitgeschichtlichen Kontext. Die vorliegende Masterarbeit interpretiert das Werk ‚A Survivor from Warsaw‘ von Arnold Schönberg auf der Grundlage der von dem Historiker Konrad H. Jarausch beschriebenen Holocaust-Erinnerungskategorien „Survival Stories“, „Figures of Remembrance“ und „Public Memory Culture“. Eine Analyse des Librettos zeigt, dass dieses Werk einzelne „Survival Stories“ künstlerisch zu einer „Figure of Remembrance“ transformiert und beleuchtet die musikalische und kulturelle Aussage dieser trilingualen Textvertonung im Hinblick auf den Ausdruck von kultureller Identität. In meiner Betrachtung des Beitrages dieses Werkes zu einer „Public Memory Culture“ steht vor allem die Kulturpolitik der Siegermächte in beiden Teilen Deutschlands im Mittelpunkt, welche Aufführungen dieses Werkes im Rahmen von Umerziehungsmaßnahmen initiierten und somit ihre eigenen ideologischen Konzepte im öffentlichen Bewusstsein zu stärken versuchten. Dabei werden bislang unberücksichtigte Quellen herangezogen. Eine Betrachtung der Rezeption von ‚A Survivor from Warsaw’ im 20. und 21. Jahrhundert zeigt außerdem die Position dieses Werkes innerhalb eines kontinuierlichen Erinnerungsprozesses, welcher bestrebt ist, reflektiertes Handeln zu fördern. iii This thesis interprets Arnold Schoenberg’s A Survivor from Warsaw, op. -
QUASIMODE: Ike QUEBEC
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ QUASIMODE: "Oneself-Likeness" Yusuke Hirado -p,el p; Kazuhiro Sunaga -b; Takashi Okutsu -d; Takahiro Matsuoka -perc; Mamoru Yonemura -ts; Mitshuharu Fukuyama -tp; Yoshio Iwamoto -ts; Tomoyoshi Nakamura -ss; Yoshiyuki Takuma -vib; recorded 2005 to 2006 in Japan 99555 DOWN IN THE VILLAGE 6.30 99556 GIANT BLACK SHADOW 5.39 99557 1000 DAY SPIRIT 7.02 99558 LUCKY LUCIANO 7.15 99559 IPE AMARELO 6.46 99560 SKELETON COAST 6.34 99561 FEELIN' GREEN 5.33 99562 ONESELF-LIKENESS 5.58 99563 GET THE FACT - OUTRO 1.48 ------------------------------------------ Ike QUEBEC: "The Complete Blue Note Forties Recordings (Mosaic 107)" Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Milt Hinton -b; J.C. Heard -d; recorded July 18, 1944 in New York 34147 TINY'S EXERCISE 3.35 Blue Note 6507 37805 BLUE HARLEM 4.33 Blue Note 37 37806 INDIANA 3.55 Blue Note 38 39479 SHE'S FUNNY THAT WAY 4.22 --- 39480 INDIANA 3.53 Blue Note 6507 39481 BLUE HARLEM 4.42 Blue Note 544 40053 TINY'S EXERCISE 3.36 Blue Note 37 Jonah Jones -tp; Tyree Glenn -tb; Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Oscar Pettiford -b; J.C. Heard -d; recorded September 25, 1944 in New York 37810 IF I HAD YOU 3.21 Blue Note 510 37812 MAD ABOUT YOU 4.11 Blue Note 42 39482 HARD TACK 3.00 Blue Note 510 39483 --- 3.00 prev. unissued 39484 FACIN' THE FACE 3.48 --- 39485 --- 4.08 Blue Note 42 Ike Quebec -ts; Napoleon Allen -g; Dave Rivera -p; Milt Hinton -b; J.C. -
Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK -
Revolutionary Love: Ferguson Uprising, a Love Story Zoe Krause [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Wellesley College Wellesley College Wellesley College Digital Scholarship and Archive Honors Thesis Collection 2016 Revolutionary Love: Ferguson Uprising, A Love Story Zoe Krause [email protected] Follow this and additional works at: https://repository.wellesley.edu/thesiscollection Recommended Citation Krause, Zoe, "Revolutionary Love: Ferguson Uprising, A Love Story" (2016). Honors Thesis Collection. 348. https://repository.wellesley.edu/thesiscollection/348 This Dissertation/Thesis is brought to you for free and open access by Wellesley College Digital Scholarship and Archive. It has been accepted for inclusion in Honors Thesis Collection by an authorized administrator of Wellesley College Digital Scholarship and Archive. For more information, please contact [email protected]. Revolutionary Love: Ferguson Uprising, A Love Story Zoe Krause Submitted in Partial Fulfillment of the Prerequisite for Honors in Political Science April 2016 © 2016 Zoe Krause Acknowledgements Thank you a thousand times over to everyone who invested time, conversation, and love in this project. To those who challenged me and taught me most of the things I know – especially those who read written drafts or listened to half-formed thoughts and provided commentary: Candice who saw me through with levity and love; Victoria, who knows when I am taking myself too seriously, or not seriously enough; Delia, who always tells me when I stop making sense; and Rose, who asked the questions I didn’t want to answer; and everyone else I subjected to long- winded lectures on love. Thank you to my biological and chosen families who raised me to be imperfect but striving, a troublemaker and a student. -
Kimberly Cole Luevano, DMA
Kimberly Cole Luevano, DMA College of Music 1809 Goshawk Lane University of North Texas Corinth, TX 76210 Denton, TX 76203 734.678.9898 940.565.4096 [email protected] [email protected] Present Appointments University of North Texas, Denton, TX. Professor 2018-present Associate Professor 2012-2018 Assistant Professor 2011-2012 Responsibilities include: • Teaching Applied Clarinet lessons. • Teaching Doctoral Clarinet Literature course (MUAG 6360). • Teaching pedagogy courses as needed (MUAG 4360/5360). • Serving on graduate student recital and exam committees. • Advising doctoral students in development and completion of dissertation work. • Assisting in coordination of instruction of clarinet concentration lessons, clarinet secondary lessons, clarinet minor lessons, and all clarinet jury examinations. • Assisting in oversight of graduate Teaching Fellow position. • Collaborating with faculty colleagues in their performances. • Assisting in instruction of woodwinds methods classes as needed. • Coaching student chamber ensembles as needed. • Recruitment and development of the clarinet studio. • Listening to ensemble auditions for placement of clarinetists in ensembles. Director: UNT ClarEssentials Summer Workshop 2011- 2018 • Artistic direction, administration, and oversight of all aspects of the 5-day on- campus event for high school clarinetists. Haven Trio (Lindsay Kesselman, soprano; Midori Koga, piano). 2012-present TrioPolis Trio (Felix Olschofka, violin; Anatolia Ioannides, piano) 2016-present Artist Clinician: Henri Selmer-Paris 2015 – present Artist Clinician: Conn-Selmer USA 2015 – present Artist Clinician: The D’Addario Company 2013- present Education Doctor of Musical Arts degree in Clarinet Performance, Michigan State University, East Lansing, MI. 1996 Master of Music degree in Clarinet Performance, Music History concentration, Michigan State University. 1994 Postgraduate Study, L’Ecole Normale de Musique de Paris, Paris, France. -
Çalgı Bilgsi Dersi 1. Dönem (Üflemeli)
A. Ü. Devlet Konservatuvarı Eğitim – Öğretim Programı Çalgı Bilgisi Dersi (seçmeli) ( I. Dönem - Üflemeli Çalgılar ) (çalgılar, senfoni orkestrasının partisyon sıralamasına göre verilmiştir) Dr. Öğr. Üyesi İvan ÇELAK (CELAC) TAHTA ÜFLEMELİ ÇALGILAR FLÜT AİLESİ Flüt, yaklaşık 7 bin yıldır var olan bir enstrümandır. Üflemeli çalgılar arasında en eskilerden biri olan flütü, Yunan Tanrıçası Athena'nın da çaldığı bilinmektedir; anavatanı Eski Yunan ve bazı Asya ülkeleri olarak bilinir. Bunlar arasında Latin Amerika ülkelerine de rastlamak mümkündür. Ancak flütün ortaya çıkışının ‘’anonim’’ olduğu söylenebilir. 1700’lü yıllara kadar ilk yapıldığı haliyle kullanılan flüt, daha sonra geliştirilerek günümüze kadar gelmiştir. Ünlü alman flütçü Theobald Boehm, Pentenrieder ve Greve gibi flütistler ilkel kullanımın yetersiz kalışıyla flütü bugünkü haline getiren bir takım tasarımlara geliştirmişlerdir. B. Pentenrieder (Munich, c.1840), basit sistem (7-delik) Boehm and Greve (Munich, c.1829), basit sistem (9-delik) 1832 yılında Boehm’in geliştirdiği ve günümüzdeki flüte en yakın tasarımı Senfoni orkestrası içinde ise, ‘’tahta üflemeliler’’ grubunda Obue ve Fagot ailesi ile birlikte yer alan Flüt ailesi şu enstrümanlardan oluşur: • Piccolo flüt • Sol flüt (alto) • Do flüt • • Piccolo Flüt: . İng.: Piccolo, Alm.:Kleine Flöte, It.: Flauto Piccolo (ottavino: bir oktav üstten). Orkestrada bir tane bulunur. Piccolo flütlerde kuyruk kısmı yoktur ve 30 cm uzunluğundadır Piccolo partisi genellikle flüt grubunun üst registerini genişletmek için kullanılır. Orkestra içinde ‘’tutti’’lerde bile sivrilebilir; orkestra tınısına parlaklık getirir. Çoğu zaman (sololar hariç) flütlerde birlikte kullanılır. Orkestrada daimi bir enstürmandır. Piccolo flüt, büyük flütün hemen hemen yarısı kadar uzunluktadır. Büyük flütteki kuyruk bölümü piccolo flütte yoktur. Bu nedenle de büyük flütün en kalın sesleri olan Do ve Do diyez sesleri küçük flütte bulunmaz. -
Und Weiblichkeitskonstruktionen Deutschsprachiger Rapper/-Innen
Universitätsverlag Potsdam Martin Reger Männlichkeits- und Weiblichkeitskonstruktionen deutschsprachiger Rapper/-innen Eine Untersuchung des Gangsta-Raps Soziologische Theorie und Organization Studies | 2 Martin Reger Männlichkeits- und Weiblichkeitskonstruktionen deutschsprachiger Rapper/-innen Soziologische Theorie und Organization Studies | 2 Martin Reger Männlichkeits- und Weiblichkeitskonstruktionen deutschsprachiger Rapper/-innen Eine Untersuchung des Gangsta-Raps Universitätsverlag Potsdam Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. Universitätsverlag Potsdam 2015 http://verlag.ub.uni-potsdam.de/ Universitätsverlag Potsdam, Am Neuen Palais 10, 14469 Potsdam Tel. +49 (0)331 977 2533, Fax -2292 E-Mail: [email protected] Die Schriftenreihe Soziologische Theorie und Organization Studies wird herausgegeben von Maja Apelt und Jürgen Mackert. ISSN (print) 2363-8168 ISSN (online) 2363-8176 Zugl.: Potsdam, Univ., Masterarbeit, 2014 Satz: Elisabeth Döring, wissen.satz Druck: docupoint GmbH Magdeburg Umschlagabbildung: https://pixabay.com/de/hip-hop-rap-mikrofon-musik-passion- 264396/ (CC0 Public Domain) Dieses Werk ist unter einem Creative Commons Lizenzvertrag lizenziert: Namensnennung 4.0 International Um die Bedingungen der Lizenz einzusehen, folgen Sie bitte dem Hyperlink: http://creativecommons.org/licenses/by/4.0/ ISBN 978-3-86956-342-8 Parallel online veröffentlicht auf dem Publikationsserver der Universität Potsdam URN urn:nbn:de:kobv:517-opus4-81630 http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-81630 Vorwort Das vorliegende Buch druckt die Masterarbeit in Soziologie ab, die ich am Lehrstuhl für Geschlechtersoziologie an der Univer- sität Potsdam geschrieben habe. Da die Arbeit im Sommersemester 2014 verfasst wurde, konnte nur Datenmaterial untersucht werden, das bis zu diesem Zeitpunkt verfügbar war. -
Ernst Kovacic Biography Biography Violin / Conductor Conductor
Ikon Arts Management Ltd Suite 114, Business Design Centre 52 Upper Street , London N1 0QH t: +44 (0)20 7354 9199 f: +44 (0)870 130 9646 [email protected] m Ernst Kovacic Biography www.ikonarts.com Violin / Conductor “‘One of the most creative and accomplished violinists worldwide” The Sunday Times Website www. ernstkovacic.com Contact Pippa Patterson Email pippa @ikonarts.com Vienna, with its fruitful tension between tradition and innovation, inspires the Austrian violinist and conductor Ernst Kovacic. A regular visitor to Britain, Ernst Kovacic has worked with all of the major UK orchestras, most recently appearing with the BBC Scottish Symphony Orchestra performing Gyorgy Ligeti’s Violin Concerto and later performing Tchaikovsky’s Violin Concerto with the Ulster Orchestra. Ernst Kovacic is a leading performer throughout Europe and the USA. His recent guest engagements include appearances with the Vienna Philharmonic and Vienna Symphony, Rotterdam Philharmonic Orchestra, Czech Philharmonic, Prague Symph ony, Detroit Symphony, Budapest Symphony, Netherlands Radio Philharmonic, Tivoli Symphony and the Radio Symphony Orchestras of Berlin, Bayerischer Rundfunk, Sudwestfunk, Hessischer Rundfunk, Norddeutscher Rundfunk and the Konzerthausorchester Berlin among many others. Ernst makes frequent international festival appearances. He gave a critically /acclaimed performance of the Schoenberg Violin Concerto at the BBC Proms and has appeared at the Edinburgh Festival, the major festivals of Berlin, Vienna and Salzburg, as well as the Ultima Oslo and Prague Autumn Festivals. Increasingly busy as a conductor, Ernst has been the artistic director of the Le opoldinum Chamber Orchesta in Wroclaw, Poland since 2007. He has directed the Scottish Chamber Orchestra, Ulster Orchestra, Northern Sinfonia, Camerata Salzburg, Deutsche Kammerphilharmonie, Klangforum, Ensemble Modern, Stuttgart Chamber Orchestra, Camera ta Bern, Camerata Nordica, Zagreb Philharmonic and the Taipei Symphony Orchestra. -
Bstilldirrtywoohoolov
Christina Aguilera Songs - Free Printable Wordsearch BSTILLDIRRTYWO OHOOLOVINGMEME IMAKEMEHAPPY OURDAYWILLCOME O R EN BLESSED NIMAKEOVER VBLANKPAGE ITYCH ELLOE T WEOFAL LONMEN H IRUJUSTAF OOLAN EF LTPRNASTYNAUG HTYBOYAC I LOHOBP TMH G BBEBRTOR RY RSH EVCSASHDCIEC SDCIO T IIECIEYAGM HSNFRSE E ORXKEVNS AERADEUTM R UCFIMOOETR DCIEEZMO G SUOLLNRPMIPL OSTMLAT E SREITTLRXCE NATTTSI N MBLTSTLHEE EWINSMHSO I IRBTETE TWCAOAAION O RLEETHL DUEILLS NAA EBAAMSEE ARUTLMTG LRT FODKYORD PYOBHSOI ER LUYFGDEP RYYIM MJA ENMAIEAB EYNE UEP JDASRLORTE ADONM DA OTRTLFEH WLMIUTA ECD OMSIDM IOERRNE HO YANN OCVRRUSN A OLAU TEET IN UAL HYL DG D EL EE E RA THE CHRISTMAS SONG GENIO ATRAPADO PRIMA DONNA MY GIRLS STRONGER THAN EVER POR SIEMPRE TU JUST A FOOL OBVIOUS NASTY NAUGHTY BOY LITTLE DREAMER ALL I NEED EXPRESS LET THERE BE LOVE CHRISTMAS TIME MI REFLEJO TELL ME SEX FOR BREAKFAST LADY MARMALADE BLANK PAGE FIGHTER OUR DAY WILL COME MAKE ME HAPPY FALL ON ME BLESSED EL BESO DEL FINAL BY YOUR SIDE UNA MUJER WOOHOO FEEL THIS MOMENT STILL DIRRTY OH MOTHER BIONIC THE VOICE WITHIN BOUND TO YOU MAKE OVER DIRRTY UNDERAPPRECIATED SO EMOTIONAL YOUR BODY CHANGE ENTER THE CIRCUS CASTLE WALLS I WILL BE HELLO BACK IN THE DAY LOVING ME ME CANDYMAN TWICE YOU LOST ME CRUZ Free Printable Wordsearch from LogicLovely.com. Use freely for any use, please give a link or credit if you do. Christina Aguilera Songs - Free Printable Wordsearch MARIAJUSTBEFREE D STRIPPEDPART IFALSASES PERANZASEEAC MSLOWDOWNB ABYETHNSH AINTNOOTHERMAN TMAEIYOR BWUK HNDLATLNI MIENTI TURNTOYOUGOUBMIT IGS ORIRDH