related works
XXIII Streams & chorals : for viola and winds / Jos Kunst
	
			Genre: 
		
		Orchestra
	
			Subgenre: 
		
		Viola and large ensemble
	
			Scoring: 
		
		1111 4sax 1110 vla-solo
	
Double Concerto : for piccolo, piano and orchestra / Jan Vriend
	
			Genre: 
		
		Unknown
	
			Scoring: 
		
		picc-solo pf-solo 3fl(picc) 2ob eh 2cl cl-b cl-cb 2fg cfg 4h 3tpt 2trb trb-b tb3perc synth str
	
Ballet des petits pieds : pour instruments à vent, 1972, rev. 1984 / Nico Hermans
	
			Genre: 
		
		Orchestra
	
			Subgenre: 
		
		Wind ensemble (13 or more players)
	
			Scoring: 
		
		2222 2200
	
Symphonies of wind instruments : version for wind ensemble, 1997 / Daan Manneke
	
			Genre: 
		
		Orchestra
	
			Subgenre: 
		
		Wind ensemble (13 or more players)
	
			Scoring: 
		
		3333 4331
	
2 : music for winds and percussion, 1985, r[evision] 1986 / Menno Helmus
	
			Genre: 
		
		Orchestra
	
			Subgenre: 
		
		Wind ensemble (13 or more players)
	
			Scoring: 
		
		0231 3231 4perc
	
composition
				Elements of Logic [IV-72] : for wind ensemble / Jos Kunst & Jan Vriend
			
					
										Other authors:
									
									
									Kunst, Jos
									(Composer)
								
							Vriend, Jan
									(Composer)
								
							
							Description:
						
						
						Program note (English): In Elements of Logic comes another hobbyhorse into play: the phenomenon of ambiguity. Ambiguity plays a crucial role in every succesful work of art that exploits 'surprise' and double meanings. It requires a certain craftiness, that is, a dexterity of multidimensional thinking and insight, so that the slight-of-hand works in practice as well as in theory. An example: end = beginning is a commonly-used trick in classical music, where the last note/harmony of a phrase is the first note/harmony of the next, new phrase. But high = low, much = little, loud = soft, fast = slow, dynamic = startic, etc., are also effective musical double meanings. And let's nog forget the enharmonic link between keys, a textbook application of ambiguity. Elements of Logic has yet another facet to its history, one that comes from activities and experiments within ASKO itself. Briefly, it is the need, or the challenge, to make the compositional process as objective as possible. In a jointly-composed
work, choices and decisions must be motivated and justified in clear language. Just as the performers of a work, in order to come to an unanimos interpretation, need clear instructions to complement their musical intuition. With today's musical culture dominated by a sickly vagueness with regard to musical inspiration and musical feeling, this was an understandable reaction. The idea that music is a product of brains as well as intuition is difficult for the masses to digest, for they prefer to worship the divine hand of a mysterious rather than faces the banalities that composition as craftmanship demands. - JAN VRIEND