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  • Ate Agora

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    Andre Rizatto
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    This document is a musical score containing musical notation written in an unknown language or code. It consists of various geometric shapes, letters and symbols arranged in linear fashion across multiple lines suggesting it is conveying some type of musical composition, melody, or other auditory work. However, the meaning and intent of the notation cannot be understood without a key to decipher it.

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    Ate_Agora

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    This document is a musical score containing musical notation written in an unknown language or code. It consists of various geometric shapes, letters and symbols arranged in linear fashion across multiple lines suggesting it is conveying some type of musical composition, melody, or other auditory work. However, the meaning and intent of the notation cannot be understood without a key to decipher it.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    4 views1 page

    Ate Agora

    Uploaded by

    Andre Rizatto
    This document is a musical score containing musical notation written in an unknown language or code. It consists of various geometric shapes, letters and symbols arranged in linear fashion across multiple lines suggesting it is conveying some type of musical composition, melody, or other auditory work. However, the meaning and intent of the notation cannot be understood without a key to decipher it.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    of 1

    Ate

    Agora

                                                
    Guilherme Garcia

     
     
      

     

                                                 
           

    10

                                              
          
    19


               
                       
                    
     1.
    
    2.

      
    28

                                          
        
       
       
    36

                 
                     
       
    44

                                                
        
      
    54

          
                             
     

     
    62
    1. 2. D.S. al Coda

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