Lauljaskond Rootsis, 1969) 29. 2 First performance in Tartu’s Vanemuine Theatre, 8 Apr. 1921, the orchestra was conducted by the composer. The contrasting second image exerts an almost epic influence: Example 26. Eller’s creative thinking is not confined within certain forms; there are no strict classical principles in the developmental process. With the nightly sensations like fear and the “complaining of phantoms”, epic and lyric moods are expressed. In the recapitulation section the dramatic centre of gravity has been reached before the achievement of the major key solution. The importance of themes has been diminished, thematic transformations lead neither to development nor a harmonic scheme. The novelty of Eller in this work can be seen in his individual point of view on content and form, the latter being very detailed, elastic and capricious, creating a wholly novel phenomenon in Estonian music
material part of the system; tableaux, code books, or whatever mechanical apparatus may be necessary," and not "the key proper." Kerckhoffs here makes for the first time the distinction, now basic to cryptology, between the general system and the specific key. Why must the general system "not require secrecy," as, for example, a codebook requires it? Why must it be "a process that. . . our neighbors can even copy and adopt"? Because, Kerckhoffs said, "it is not necessary to conjure up imaginary phantoms and to suspect the incorruptibility of employees or subalterns to understand that, if a system requiring secrecy were in the hands of too large a number of individuals, it could be compromised at each engagement in which one or another of them took part." This has proved to be true, and Kerckhoffs' second requirement has become widely accepted under a form that is sometimes called the fundamental assumption of military cryptography: that the enemy knows the general system
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