The Masters of the Violin. Composed by Mathieu Crickboom. This edition: Sheet music. Downloadable. Op. Vol. II. Schott Music - Digital #Q42355. Published by Schott Music - Digital

6 soloists, SATB choir, chamber orchestra (1[afl/pic] 1 2[1.bcl] 1 — 2 1 1 0 — 1 perc — hp, pf — str —Solo Voices — SATB Chorus) - Digital Download SKU: MQ.5969-E Composed by David Conte. Instrument part. 47 pages. E. C. Schirmer Music Company - Digital #5969-E. Published by E. C. Schirmer Music Company - Digital (MQ.5969-E). The Journey is a twenty-minute cantata extracted from the opera The Dreamers. The opera was commissioned and produced by the Sonoma City Opera in 1996; Antoinette Kuhry, producer; musical direction by John Miner; stage direction by Sanrda Bernhard. The Dreamers captures a formative moment in American history where characters are separated by their cultural and racial differences, and brought together by their dreams and their longing for a new home. The Journey was commissioned by the Oakland East Bay Symphony, Michael Morgan, conductor, and was premiered at the Paramount Theater in Oakland, CA on May 18th, 2001. To set the scene for the excerpt here entitled The Journey: The entire town of Sonoma is gathered at The Collonade Theater to watch an amateur production of Shakespeare's Othello. An unpleasant racial incident occurs which brings the performance to a halt. To smooth thingsover, a sing-a-long is proposed. The song chosen is My Old Kentucky Home by Stephen Foster. After a brief statement of that tune in the orchestra, the entire company enters a dream-state, as six characters from the opera, with commentary by the chorus, sing arias about home. Johnny Rowe, an American soldier stationed in Sonoma, serves as a kind of master-of-ceremonies. Black Sam is a freed slave working as a gambler in Sonoma to earn money to buy his wife out of slavery. Indian Princess Isadora is the last of her tribe. Jim and Mary Eastin have migrated to California from Kentucky. Lizzy Fine is a widow who sings a farewell to her departed husband. The finale of this sequence is an Octet, where all six characters and the men and women of the chorus sing their various texts together, ending with the words from Stephen Foster: Weep no more.

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1504108 Composed by English Traditional. Arranged by James M. Guthrie. Chamber,Christmas,Historic,Standards,Traditional. 15 pages. Jmsgu3 #1079563. Published by jmsgu3 (A0.1504108). The 12 Days of Christmas is significant for its cultural and religious implications. This period, also known as Twelvetide, spans from December 25 (Christmas Day) to January 6 (Epiphany), marking the time between the birth of Jesus and the arrival of the Magi. Historical ContextThe tradition of the 12 days was formalized by the Council of Tours in 567, which proclaimed this time a sacred season, emphasizing the importance of celebration and reflection during this period. Each day is associated with various saints and religious observances, making it a time of spiritual significance for many Christians.The Carol and Its MeaningThe well-known carol The Twelve Days of Christmas lists a series of increasingly extravagant gifts given on each of the twelve days. Although it is often perceived as a simple festive song, there are theories about its deeper meanings. One popular but debunked theory suggests that the gifts symbolize elements of the Christian faith, serving as a secret catechism for Catholics during times of persecution. However, this interpretation lacks substantial historical evidence and is considered more of a myth than fact. Cultural PracticesCulturally, the 12 Days of Christmas have evolved into various traditions, including gift-giving, feasting, and festive gatherings. In some cultures, gifts are exchanged on January 6, celebrated as Three Kings Day, while others may celebrate throughout twelve days. The carol likely originated as a memory game for children, intended to be fun and engaging rather than a severe religious text. In summary, the 12 Days of Christmas represent a blend of religious significance, historical tradition, and cultural celebration, making it an enduring aspect of the Christmas season.

Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital

Large Ensemble,Strings Acoustic Guitar,Bass Voice,Double Bass,Electric Bass Guitar,Harp,Horn,Piano and Keyboard,Steel Guitar,Synthesizer,Tuba - Digital Download SKU: A0.762930 By Amphibia Cultural Legacy. By Mark Mothersbaugh and T.J. Hill. Children,Classical,Contemporary,Film/TV,Multicultural,World. Score and parts. 2 pages. Amphibia Cultural Legacy #370636. Published by Amphibia Cultural Legacy (A0.762930). Audiences around the world are captivated whenever they hear a cover remixed with an orchestra. But this particular remixed melody comes from an even more special source - that of the theme song in Disney Channel’s Amphibia! Titled Anne’s Theme, this beautiful blend of music and rhythm has made waves in the industry due to its mesmerizing sound. Racing percussion and filled strings come together to form a brilliant melody unlike any other.Unsurprisingly, it has become one of the show’s most popular musical numbers among diehard fans everywhere. Those cleverly blending their own melodizing magic have now surprisingly dedicated themselves to getting creative with remixing Anne’s Theme so that it can be played with every traditional orchestral piece. Such recreations can make for sweet symphonies, making this musical number truly timeless and rapturously beautiful!

Instrumental Solo,Piano,Violin - Level 1 - Interactive Download SKU: A0.1397654 By Traditional Fiddle Tunes. By Trad. Arranged by Heather M Music. This edition: Interactive Download. Folk,World. Individual part. 4 pages. Duration 48. Heather Mueller Music #58KTKAYtwgFKZQgFAkGUp5. Published by Heather Mueller Music (A0.1397654). Key: C major.Title: Scatter the Mud Type/Genre: Traditional Fiddle Tune - Jig (Irish) Availability: Sheet Music for Sale Immerse yourself in the lively rhythms of Irish tradition with Scatter the Mud, a spirited jig that captures the essence of Celtic music. Key Features: Interactive Sheet Music: Customize tempo and key adjustments using interactive sheet music, allowing for personalized renditions of Scatter the Mud. Tailor the tune to suit your playing style, facilitating enjoyable practice sessions and confident performances. Authentic Irish Flavor: Scatter the Mud is deeply rooted in the rich tapestry of Irish music, reflecting the lively rhythms and melodic motifs that define the jig genre. Immerse yourself in the vibrant spirit of Celtic tradition as you explore this beloved tune. Technique Enhancement: Elevate your fiddling skills with targeted exercises inspired by Scatter the Mud. Delve into scales, bowing techniques, and rhythmic patterns derived from this spirited melody, honing your mastery of Irish fiddling techniques with each practice session. Cultural Connection: Connect with the cultural heritage of Ireland as you explore Scatter the Mud. Let the music transport you to the lively pubs and festive gatherings where Irish musicians have long celebrated the joy of music and dance. Whether you're a seasoned performer or a newcomer to Irish music, Scatter the Mud offers an exhilarating musical experience that celebrates the rich tapestry of Celtic culture. Join in the celebration of Irish tradition and let the music inspire your own musical journey.

Easy Piano - Level 1 - Digital Download SKU: A0.1092814 By Metin Yılmaz. By Metin Yılmaz. Arranged by Metin Yılmaz. 20th Century,Instructional,Jazz,Traditional. Score. 44 pages. Kınay Global #696917. Published by Kınay Global (A0.1092814). Born in Ankara in 1976, Metin Yilmaz started his formal musical education at the Bilkent University, Department of Musical Composition in the Faculty of Performing Arts. He studied with Hatira Ahmetli on “Taniyev’s Harmony and Musical Pedogogy�. He continued his musical studies with Arif Melikov in Baku Music Academy following a special invitation. He performed in four concerts which included his own compositions that were broadcasted on Russian NTV, Azerbaijan State Televisions. He participated in Rostropovitch’s musicality and instrumental composition master classes. He pariticipated in seminars along with Russian and Iranian composers in International Zagulba Composition Festival that took place in Baku. His interviews from these seminars were published in various mediums. Some of his pianoworks were represented in various concerts and recorded by known pianist Yuri Savetskin. He completed his composition education in Turkey with Aydın Azimov in Mersin University State Conservatorium and graduated in the first place. Soon after his graduation he perfırmed and conducted his own piano concerto “SARI� with Mersin Youth Symphony Orchestra. While working as an academic instructor in Çukurova State Conservatorium he also instructed piano in Mersin Fine Arts High School. Later he instructed in Baskent State Conservatorium. His arrangements and compositions are performed in Antalya, Bodrum and Ankara by Baskent University Academic Orchestra. He continued his master’s and artistic proficiency in Baku Music Academy with Arif Melikov and in Moscow Tchaikovsky Conservatorium with Igor Dranov. His composition “Geveze� (Babbler) was deemed worthy for the first place in Yamaha International Composition Competition and was performed in America, Germany, Italy and China. He participated and performed in various concerts and organizations in Ankara, Baku and Tiblisi Jazz Festivals and jazz Clubs and started Babel Project music community that arranged concerts. The modal jazz and Turkish music arrangements draw attention and his workshops inspired many young jazz musicians. He composed and arranged documentary and titles compositions that were broadcasted on Turkish National Radio and Television and other broadcasting institutions. He thought Music Theory & Culture and participated in foundation of Atilim University Department of Jazz. He thought in Yildirim Beyazıt University State Conservatorium. He broadcasted “HAFIZAMDAKI MAKAMLAR� in Turkish National Television that explored music of architecture. He is the board chairman of Musical Therapy Education and Research Association and general director of School of Art Machine that evolved into Babel Project Music Ltd. His musical compositions fuse elements of traditional, contemporary and classical music styles in a natural sense of integrity blended with mature emotional expressiveness.

Bass Guitar,Instrumental Solo,Piano,Violin - Level 1 - Interactive Download SKU: A0.1399084 By Traditional Fiddle Tunes. By Trad. Arranged by Heather M Music. This edition: Interactive Download. Folk,World. Individual part. 5 pages. Duration 24. Heather Mueller Music #2zpaiRbpJGoKnPgIA20n8b. Published by Heather Mueller Music (A0.1399084). Key: G major.Title: The Highlandman Kissed His Mother Type/Genre: Traditional Fiddle Tune - Reel (Scottish) Availability: Sheet Music for Sale Immerse yourself in the vibrant sounds of Scottish tradition with The Highlandman Kissed His Mother, a spirited reel that evokes the spirit of the Highlands. Key Features: Authentic Scottish Flavor: The Highlandman Kissed His Mother captures the essence of Scottish reel music, with its lively rhythm and memorable melody. Delve into the rich tapestry of Scottish musical heritage as you explore this beloved tune. Interactive Sheet Music: Customize tempo and key adjustments using interactive sheet music, enabling personalized renditions of The Highlandman Kissed His Mother. While the sheet music features the basic melody, remember that in fiddle music, the music serves as a suggestion, allowing room for your own embellishments and improvisations. Technique Enhancement: Elevate your fiddling skills with targeted exercises inspired by The Highlandman Kissed His Mother. Explore scales, bowing techniques, and rhythmic patterns derived from this spirited reel, honing your mastery of Scottish fiddling techniques. Cultural Connection: Connect with the cultural heritage of Scotland as you delve into The Highlandman Kissed His Mother. Let the music transport you to the rugged landscapes and vibrant ceilidhs where Scottish fiddlers have long celebrated the joy of music and dance. Whether you're a seasoned performer or a newcomer to Scottish music, The Highlandman Kissed His Mother offers a spirited musical experience that celebrates the vibrant spirit and tradition of Scottish reel music. Join in the jubilant rhythms of The Highlandman Kissed His Mother and let the music inspire your own musical journey through the Highlands.

Instrumental Solo,Piano,Violin - Level 1 - Interactive Download SKU: A0.1397619 By Traditional Fiddle Tunes. By Trad. Arranged by Heather M Music. This edition: Interactive Download. Folk,World. Individual part. 5 pages. Duration 72. Heather Mueller Music #41zioSwmAGa1bJoEqr7u3L. Published by Heather Mueller Music (A0.1397619). Key: D major.Title: The Mooncoin Jig Type/Genre: Traditional Fiddle Tune - Jig (Irish) Availability: Sheet Music for Sale Embark on a lively journey through Irish musical tradition with The Mooncoin Jig, a spirited melody that captures the essence of Celtic culture. Key Features: Interactive Sheet Music: Customize tempo and key adjustments using interactive sheet music, allowing for personalized renditions of The Mooncoin Jig. Tailor the tune to suit your playing style, facilitating enjoyable practice sessions and confident performances. Authentic Irish Flavor: The Mooncoin Jig is steeped in the rich heritage of Irish music, reflecting the lively rhythms and melodic motifs that define the jig genre. Immerse yourself in the vibrant spirit of Celtic tradition as you explore this beloved tune. Technique Enhancement: Elevate your fiddling skills with targeted exercises inspired by The Mooncoin Jig. Delve into scales, bowing techniques, and rhythmic patterns derived from this spirited melody, honing your mastery of Irish fiddling techniques with each practice session. Cultural Connection: Connect with the cultural heritage of Ireland as you delve into The Mooncoin Jig. Let the music transport you to the rolling hills and verdant valleys of the Emerald Isle, where centuries of tradition are woven into the fabric of everyday life. Whether you're a seasoned performer or a newcomer to Irish music, The Mooncoin Jig offers an exhilarating musical experience that will transport you to the heart of Celtic culture. Join in the celebration of Irish tradition and let the music inspire your own musical journey.

Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.

Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.

Piano,Soprano Saxophone - Level 5 - Digital Download SKU: A0.549256 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 15 pages. Jmsgu3 #3473699. Published by jmsgu3 (A0.549256). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore! Korsakov: Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.   Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire.  Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.  Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.  

Piano,Viola - Level 5 - Digital Download SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 17 pages. Jmsgu3 #3473581. Published by jmsgu3 (A0.549240). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 11 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but great recital encore! Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.   Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire.  Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.  Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.