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  • [2.14] The change in conception of the Sprechstimme in Schoenberg's last decade or so of his life is also revealed in his new way of notating it in works such as Ode to Napoleon (1942), A Survivor from Warsaw (1947) and Modern Psalm (1950), where he used a single line (instead of five) for notating the approximate pitch of the speaker (see Example 1 [DjVu] [GIF], Example 2 [DjVu] [GIF], Example 3
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