wanyu/IteraTeR_v2 huggingface dataset:
Original:    See also Absent-minded professor Sources The Oxford Dictionary of National Biography (includes photo) Obituary in the Manchester Guardian on 1 September 1930
Revised:  Works See also Absent-minded professor Sources The Oxford Dictionary of National Biography (includes photo) Obituary in the Manchester Guardian on 1 September 1930
Edit intent: fluency
Original:    See also Absent-minded professor Sources The Oxford Dictionary of National Biography (includes photo) Obituary in the Manchester Guardian on 1 September 1930
Revised:  See also Absent-minded Sources The Oxford Dictionary of National Biography (includes photo) Obituary in the Manchester Guardian on 1 September 1930
Edit intent: fluency
Original:  Relative of the fat four eyed freak known as Sebastian Spooner, he was most notable for his absent-mindedness, and for supposedly mixing up the syllables in a spoken phrase, with unintentionally comic effect.
Revised:  He was most notable for his absent-mindedness, and for supposedly mixing up the syllables in a spoken phrase, with unintentionally comic effect.
Edit intent: coherence
Original: Etymology Named after beryl, a semiprecious mineral, from which it was first isolated. etymology onlineEncyclopedia BrittanicaElemental Matter Approximately 35 micrograms of beryllium is found in the average human body, an amount not considered harmful.
Revised: Etymology Named after beryl, a semiprecious mineral, from which it was first isolated. Approximately 35 micrograms of beryllium is found in the average human body, an amount not considered harmful.
Edit intent: coherence
Original:  CDC - NIOSH Pocket Guide to Chemical Hazards - Arsenic (inorganic compounds, as As) CDC - NIOSH Pocket Guide to Chemical Hazards - Mercury compounds [except (organo) alkyls] (as Hg)
Revised:  CDC - NIOSH Pocket Guide to Chemical Hazards - Mercury compounds [except (organo) alkyls] (as Hg)
Edit intent: coherence
Original:  It is a steel-gray, strong, lightweight and brittle group 2 element. but it is often confused with being an alkaline earth metal but its not URL It is a divalent element that occurs naturally only in combination with other elements to form minerals.
Revised:  It is a steel-gray, strong, lightweight and brittle alkaline earth metal but its not URL It is a divalent element that occurs naturally only in combination with other elements to form minerals.
Edit intent: coherence
Original:  It is a steel-gray, strong, lightweight and brittle group 2 element. but it is often confused with being an alkaline earth metal but its not URL It is a divalent element that occurs naturally only in combination with other elements to form minerals.
Revised:  It is a steel-gray, strong, lightweight and brittle group 2 element. but it is often confused with being an alkaline earth metal . It is a divalent element that occurs naturally only in combination with other elements to form minerals.
Edit intent: coherence
Original: Mechanical applications Because of its stiffness, light weight and dimensional stability over a wide temperature range, beryllium metal is used for lightweight structural components in the defense and aerospace industries in high-speed aircraft, guided missiles, spacecraft, and satellites, including the James Webb telescope .
Revised: Mechanical applications Because of its stiffness, light weight and dimensional stability over a wide temperature range, beryllium metal is used for lightweight structural components in the defense and aerospace industries in high-speed aircraft, guided missiles, spacecraft, and satellites, including the James Webb Space Telescope .
Edit intent: clarity
Original:  Biography Huo Da was born into a family of scholars on November 26 , 1945 in Beijing.
Revised:  Biography Huo Da was born into a family of scholars on 26 , 1945 in Beijing.
Edit intent: clarity
Original:  > Ennis provides a comprehensive account of the derivation of Thurstonian models for a wide variety of behavioral tasks including preferential choice, ratings, triads, tetrads, dual pair, same-different and degree of difference, ranks, first-last choice, and applicability scoring.
Revised:  Ennis provides a comprehensive account of the derivation of Thurstonian models for a wide variety of behavioral tasks including preferential choice, ratings, triads, tetrads, dual pair, same-different and degree of difference, ranks, first-last choice, and applicability scoring.
Edit intent: clarity
Original:  Even earlier, a closed form for a Thurstonian multivariate model  with arbitrary covariance matrix was published in 1988 as discussed in Chapter 7 of Ennis (2016).
Revised:  Even earlier, a closed form for a Thurstonian multivariate model with arbitrary covariance matrices was published in 1988 as discussed in Chapter 7 of Ennis (2016).
Edit intent: fluency
Original:  This model has numerous applications , particularly in unfolding to individual ideal points in a multidimensional space, and is not limited to any particular number of items or individuals.
Revised:  This model has numerous applications and is not limited to any particular number of items or individuals.
Edit intent: clarity
Original:  In barely a month he fully absorbed the new musical style he was exposed to, as evident in his Violin Sonata which he had written in 3 weeks after he started studying there.
Revised:  In barely a month he fully absorbed the new musical style he was exsjudposed to, as evident in his Violin Sonata which he had written in 3 weeks after he started studying there.
Edit intent: fluency
Original:  Retrieved from URL ! width="10\%" |Date ! width="25\%" |Title ! width="15\%" |Genre !Opus ! class="unsortable" width="50\%" |Notes  |- |1901 |Ang Unang Buko |Waltz, Bandurria solo | |Dedicated to his Grandmother Macaria Libunao |  - |1905 |Filipino Boy |Two-step | | |  - |1909 |Baanag at Lakas |Band, March | |Dedicated to the Confederacion Bulakeña |  - |1911 |Lucila |Sarswela | |In 3 parts. libretto by Florentino Ballecer.
Revised:  Retrieved from URL ! width="10\%" |Date ! width="25\%" |Title ! width="15\%" |Genre !Opus ! class="unsortable" width="50\%" |Notes !Status |- |1901 |Ang Unang Buko |Waltz, Bandurria solo | |Dedicated to his Grandmother Macaria Libunao | - |1905 |Filipino Boy |Two-step | | | - |1909 |Baanag at Lakas |Band, March | |Dedicated to the Confederacion Bulakeña | - |1911 |Lucila |Sarswela | |In 3 parts. libretto by Florentino Ballecer.
Edit intent: coherence
Original:  Retrieved from URL ! width="10\%" |Date ! width="25\%" |Title ! width="15\%" |Genre !Opus ! class="unsortable" width="50\%" |Notes  |- |1901 |Ang Unang Buko |Waltz, Bandurria solo | |Dedicated to his Grandmother Macaria Libunao |  - |1905 |Filipino Boy |Two-step | | |  - |1909 |Baanag at Lakas |Band, March | |Dedicated to the Confederacion Bulakeña |  - |1911 |Lucila |Sarswela | |In 3 parts. libretto by Florentino Ballecer.
Revised:  Retrieved from URL ! width="10\%" |Date ! width="25\%" |Title ! width="15\%" |Genre !Opus ! class="unsortable" width="50\%" |Notes |- |1901 |Ang Unang Buko |Waltz, Bandurria solo | |Dedicated to his Grandmother Macaria Libunao | Lost | - |1905 |Filipino Boy |Two-step | | | - |1909 |Baanag at Lakas |Band, March | |Dedicated to the Confederacion Bulakeña | - |1911 |Lucila |Sarswela | |In 3 parts. libretto by Florentino Ballecer.
Edit intent: fluency
Original:  Retrieved from URL ! width="10\%" |Date ! width="25\%" |Title ! width="15\%" |Genre !Opus ! class="unsortable" width="50\%" |Notes  |- |1901 |Ang Unang Buko |Waltz, Bandurria solo | |Dedicated to his Grandmother Macaria Libunao |  - |1905 |Filipino Boy |Two-step | | |  - |1909 |Baanag at Lakas |Band, March | |Dedicated to the Confederacion Bulakeña |  - |1911 |Lucila |Sarswela | |In 3 parts. libretto by Florentino Ballecer.
Revised:  Retrieved from URL ! width="10\%" |Date ! width="25\%" |Title ! width="15\%" |Genre !Opus ! class="unsortable" width="50\%" |Notes |- |1901 |Ang Unang Buko |Waltz, Bandurria solo | |Dedicated to his Grandmother Macaria Libunao | - |1905 |Filipino Boy |Two-step | | | | - |1909 |Baanag at Lakas |Band, March | |Dedicated to the Confederacion Bulakeña | - |1911 |Lucila |Sarswela | |In 3 parts. libretto by Florentino Ballecer.
Edit intent: fluency
Original:  Retrieved from URL ! width="10\%" |Date ! width="25\%" |Title ! width="15\%" |Genre !Opus ! class="unsortable" width="50\%" |Notes  |- |1901 |Ang Unang Buko |Waltz, Bandurria solo | |Dedicated to his Grandmother Macaria Libunao |  - |1905 |Filipino Boy |Two-step | | |  - |1909 |Baanag at Lakas |Band, March | |Dedicated to the Confederacion Bulakeña |  - |1911 |Lucila |Sarswela | |In 3 parts. libretto by Florentino Ballecer.
Revised:  Retrieved from URL ! width="10\%" |Date ! width="25\%" |Title ! width="15\%" |Genre !Opus ! class="unsortable" width="50\%" |Notes |- |1901 |Ang Unang Buko |Waltz, Bandurria solo | |Dedicated to his Grandmother Macaria Libunao | - |1905 |Filipino Boy |Two-step | | | - |1909 |Baanag at Lakas |Band, March | |Dedicated to the Confederacion Bulakeña | Published | - |1911 |Lucila |Sarswela | |In 3 parts. libretto by Florentino Ballecer.
Edit intent: fluency
Original:  |  - |1913 |Akibat |Sarswela | |In 1 Act. libretto by Florentino Ballecer.
Revised:  | | - |1913 |Akibat |Sarswela | |In 1 Act. libretto by Florentino Ballecer.
Edit intent: fluency
Original:  |  - |1915 July 2 |Sa Bubungan |Play | |In 1 act. unknown librettist |  - |1915 |Dalawang Pag-asa |Play | |In 1 act. libretto by Florentino Ballecer |  - |1916/1917 |Amorosa |Vocal, Foxtrot | |Spanish Lyrics by Jesus Balmori |  - |1917 |U.P. Beloved |Vocal | |Winner of the University Hymn competition.
Revised:  | - |1915 July 2 |Sa Bubungan |Play | |In 1 act. unknown librettist | | - |1915 |Dalawang Pag-asa |Play | |In 1 act. libretto by Florentino Ballecer | - |1916/1917 |Amorosa |Vocal, Foxtrot | |Spanish Lyrics by Jesus Balmori | - |1917 |U.P. Beloved |Vocal | |Winner of the University Hymn competition.
Edit intent: fluency
Original:  |  - |1915 July 2 |Sa Bubungan |Play | |In 1 act. unknown librettist |  - |1915 |Dalawang Pag-asa |Play | |In 1 act. libretto by Florentino Ballecer |  - |1916/1917 |Amorosa |Vocal, Foxtrot | |Spanish Lyrics by Jesus Balmori |  - |1917 |U.P. Beloved |Vocal | |Winner of the University Hymn competition.
Revised:  | - |1915 July 2 |Sa Bubungan |Play | |In 1 act. unknown librettist | - |1915 |Dalawang Pag-asa |Play | |In 1 act. libretto by Florentino Ballecer | | - |1916/1917 |Amorosa |Vocal, Foxtrot | |Spanish Lyrics by Jesus Balmori | - |1917 |U.P. Beloved |Vocal | |Winner of the University Hymn competition.
Edit intent: fluency
Original:  |  - |1915 July 2 |Sa Bubungan |Play | |In 1 act. unknown librettist |  - |1915 |Dalawang Pag-asa |Play | |In 1 act. libretto by Florentino Ballecer |  - |1916/1917 |Amorosa |Vocal, Foxtrot | |Spanish Lyrics by Jesus Balmori |  - |1917 |U.P. Beloved |Vocal | |Winner of the University Hymn competition.
Revised:  | - |1915 July 2 |Sa Bubungan |Play | |In 1 act. unknown librettist | - |1915 |Dalawang Pag-asa |Play | |In 1 act. libretto by Florentino Ballecer | - |1916/1917 |Amorosa |Vocal, Foxtrot | |Spanish Lyrics by Jesus Balmori | Published | - |1917 |U.P. Beloved |Vocal | |Winner of the University Hymn competition.
Edit intent: fluency
Original:  Tagalog Text by Felix Auxilio Roxas |  - |1918 April 28 |Kawanggawa |Sarswela | |In 1 act.
Revised:  Tagalog Text by Felix Auxilio Roxas | | - |1918 April 28 |Kawanggawa |Sarswela | |In 1 act.
Edit intent: fluency
Original:  Tagalog Text by Felix Auxilio Roxas |  - |1920 |Kung Hindi Man |Vocal, Kundiman | |Tagalog Lyrics by the composer, English Translation by Atilano Montesa |  - |1921 |Academic Overture |Piano, Orchestral | |Originally for 2 pianos, later arranged by Antonino Buenaventura for orchestra.
Revised:  Tagalog Text by Felix Auxilio Roxas | | - |1920 |Kung Hindi Man |Vocal, Kundiman | |Tagalog Lyrics by the composer, English Translation by Atilano Montesa | - |1921 |Academic Overture |Piano, Orchestral | |Originally for 2 pianos, later arranged by Antonino Buenaventura for orchestra.
Edit intent: fluency
Original:  |  - |1921 |An Old Love Song |Vocal | |Adopted from Dowland's Songbook |  - |1921 |String Quartet in F Major |Chamber |1, no. 1 |for String Quartet.
Revised:  | Ms. | - |1921 |An Old Love Song |Vocal | |Adopted from Dowland's Songbook | - |1921 |String Quartet in F Major |Chamber |1, no. 1 |for String Quartet.
Edit intent: fluency
Original:  |  - |1921 |An Old Love Song |Vocal | |Adopted from Dowland's Songbook |  - |1921 |String Quartet in F Major |Chamber |1, no. 1 |for String Quartet.
Revised:  | - |1921 |An Old Love Song |Vocal | |Adopted from Dowland's Songbook | | - |1921 |String Quartet in F Major |Chamber |1, no. 1 |for String Quartet.
Edit intent: fluency
Original:  |  - |1921 |Sonata in C Major |Piano, Sonata |3, no. 2 |In 3 movements: Allegro con moto, Adagio, Rondo: Allegro con moto quasi vivace.
Revised:  | Lost | - |1921 |Sonata in C Major |Piano, Sonata |3, no. 2 |In 3 movements: Allegro con moto, Adagio, Rondo: Allegro con moto quasi vivace.
Edit intent: fluency
Original:  |  - |1921 |Longing |Vocal, Chamber | |Quartet for three voices |  - |1921 |Fughetta in C on a Theme by Mozart |Chamber | |for String Quartet |  - |1921 |Mountain Suite |Orchestral | |In 4 movements: Ang Liwayway (Dawn), Sayaw ng mga Diwata (Dance of the Nymphs), Ang Matanda sa Punso (The Old Man of the Anthill), Ang Sayaw ng mga Ita (Negrito Dance) The material for this suite was reworked from his sarswela Akibat.
Revised:  | Lost | - |1921 |Longing |Vocal, Chamber | |Quartet for three voices | - |1921 |Fughetta in C on a Theme by Mozart |Chamber | |for String Quartet | - |1921 |Mountain Suite |Orchestral | |In 4 movements: Ang Liwayway (Dawn), Sayaw ng mga Diwata (Dance of the Nymphs), Ang Matanda sa Punso (The Old Man of the Anthill), Ang Sayaw ng mga Ita (Negrito Dance) The material for this suite was reworked from his sarswela Akibat.
Edit intent: fluency
Original:  |  - |1921 |Longing |Vocal, Chamber | |Quartet for three voices |  - |1921 |Fughetta in C on a Theme by Mozart |Chamber | |for String Quartet |  - |1921 |Mountain Suite |Orchestral | |In 4 movements: Ang Liwayway (Dawn), Sayaw ng mga Diwata (Dance of the Nymphs), Ang Matanda sa Punso (The Old Man of the Anthill), Ang Sayaw ng mga Ita (Negrito Dance) The material for this suite was reworked from his sarswela Akibat.
Revised:  | - |1921 |Longing |Vocal, Chamber | |Quartet for three voices | | - |1921 |Fughetta in C on a Theme by Mozart |Chamber | |for String Quartet | - |1921 |Mountain Suite |Orchestral | |In 4 movements: Ang Liwayway (Dawn), Sayaw ng mga Diwata (Dance of the Nymphs), Ang Matanda sa Punso (The Old Man of the Anthill), Ang Sayaw ng mga Ita (Negrito Dance) The material for this suite was reworked from his sarswela Akibat.
Edit intent: fluency
Original:  |  - |1921 |Longing |Vocal, Chamber | |Quartet for three voices |  - |1921 |Fughetta in C on a Theme by Mozart |Chamber | |for String Quartet |  - |1921 |Mountain Suite |Orchestral | |In 4 movements: Ang Liwayway (Dawn), Sayaw ng mga Diwata (Dance of the Nymphs), Ang Matanda sa Punso (The Old Man of the Anthill), Ang Sayaw ng mga Ita (Negrito Dance) The material for this suite was reworked from his sarswela Akibat.
Revised:  | - |1921 |Longing |Vocal, Chamber | |Quartet for three voices | - |1921 |Fughetta in C on a Theme by Mozart |Chamber | |for String Quartet | Ms. | - |1921 |Mountain Suite |Orchestral | |In 4 movements: Ang Liwayway (Dawn), Sayaw ng mga Diwata (Dance of the Nymphs), Ang Matanda sa Punso (The Old Man of the Anthill), Ang Sayaw ng mga Ita (Negrito Dance) The material for this suite was reworked from his sarswela Akibat.
Edit intent: fluency
Original:  |  - |1921 |Ave Maria |Vocal, Chamber, Sacred | | |  - |1921 |Nocturne |Piano solo | |From Three Pieces for the Pianoforte |  - |1921 |Valse Caprice |Piano solo | |From Three Pieces for the Pianoforte |  - |1921 |Fantasie-Impromptu |Piano solo | |From Three Pieces for the Pianoforte |  - |1921 |The Violet |Vocal | |a trio for 3 sopranos |  - |1921 |U.P. Spells "Up" |Vocal | |from The First University Song Collection of the University of the Philippines.
Revised:  | | - |1921 |Ave Maria |Vocal, Chamber, Sacred | | | - |1921 |Nocturne |Piano solo | |From Three Pieces for the Pianoforte | - |1921 |Valse Caprice |Piano solo | |From Three Pieces for the Pianoforte | - |1921 |Fantasie-Impromptu |Piano solo | |From Three Pieces for the Pianoforte | - |1921 |The Violet |Vocal | |a trio for 3 sopranos | - |1921 |U.P. Spells "Up" |Vocal | |from The First University Song Collection of the University of the Philippines.
Edit intent: fluency
Original:  |  - |1921 |Ave Maria |Vocal, Chamber, Sacred | | |  - |1921 |Nocturne |Piano solo | |From Three Pieces for the Pianoforte |  - |1921 |Valse Caprice |Piano solo | |From Three Pieces for the Pianoforte |  - |1921 |Fantasie-Impromptu |Piano solo | |From Three Pieces for the Pianoforte |  - |1921 |The Violet |Vocal | |a trio for 3 sopranos |  - |1921 |U.P. Spells "Up" |Vocal | |from The First University Song Collection of the University of the Philippines.
Revised:  | - |1921 |Ave Maria |Vocal, Chamber, Sacred | | | Published | - |1921 |Nocturne |Piano solo | |From Three Pieces for the Pianoforte | - |1921 |Valse Caprice |Piano solo | |From Three Pieces for the Pianoforte | - |1921 |Fantasie-Impromptu |Piano solo | |From Three Pieces for the Pianoforte | - |1921 |The Violet |Vocal | |a trio for 3 sopranos | - |1921 |U.P. Spells "Up" |Vocal | |from The First University Song Collection of the University of the Philippines.
Edit intent: coherence
Original:  |  - |1921 |Ave Maria |Vocal, Chamber, Sacred | | |  - |1921 |Nocturne |Piano solo | |From Three Pieces for the Pianoforte |  - |1921 |Valse Caprice |Piano solo | |From Three Pieces for the Pianoforte |  - |1921 |Fantasie-Impromptu |Piano solo | |From Three Pieces for the Pianoforte |  - |1921 |The Violet |Vocal | |a trio for 3 sopranos |  - |1921 |U.P. Spells "Up" |Vocal | |from The First University Song Collection of the University of the Philippines.
Revised:  | - |1921 |Ave Maria |Vocal, Chamber, Sacred | | | - |1921 |Nocturne |Piano solo | |From Three Pieces for the Pianoforte | Lost | - |1921 |Valse Caprice |Piano solo | |From Three Pieces for the Pianoforte | - |1921 |Fantasie-Impromptu |Piano solo | |From Three Pieces for the Pianoforte | - |1921 |The Violet |Vocal | |a trio for 3 sopranos | - |1921 |U.P. Spells "Up" |Vocal | |from The First University Song Collection of the University of the Philippines.
Edit intent: coherence
Original:  |  - |1921 |Ave Maria |Vocal, Chamber, Sacred | | |  - |1921 |Nocturne |Piano solo | |From Three Pieces for the Pianoforte |  - |1921 |Valse Caprice |Piano solo | |From Three Pieces for the Pianoforte |  - |1921 |Fantasie-Impromptu |Piano solo | |From Three Pieces for the Pianoforte |  - |1921 |The Violet |Vocal | |a trio for 3 sopranos |  - |1921 |U.P. Spells "Up" |Vocal | |from The First University Song Collection of the University of the Philippines.
Revised:  | - |1921 |Ave Maria |Vocal, Chamber, Sacred | | | - |1921 |Nocturne |Piano solo | |From Three Pieces for the Pianoforte | - |1921 |Valse Caprice |Piano solo | |From Three Pieces for the Pianoforte | Lost | - |1921 |Fantasie-Impromptu |Piano solo | |From Three Pieces for the Pianoforte | - |1921 |The Violet |Vocal | |a trio for 3 sopranos | - |1921 |U.P. Spells "Up" |Vocal | |from The First University Song Collection of the University of the Philippines.
Edit intent: style
Original:  |  - |1921 |Ave Maria |Vocal, Chamber, Sacred | | |  - |1921 |Nocturne |Piano solo | |From Three Pieces for the Pianoforte |  - |1921 |Valse Caprice |Piano solo | |From Three Pieces for the Pianoforte |  - |1921 |Fantasie-Impromptu |Piano solo | |From Three Pieces for the Pianoforte |  - |1921 |The Violet |Vocal | |a trio for 3 sopranos |  - |1921 |U.P. Spells "Up" |Vocal | |from The First University Song Collection of the University of the Philippines.
Revised:  | - |1921 |Ave Maria |Vocal, Chamber, Sacred | | | - |1921 |Nocturne |Piano solo | |From Three Pieces for the Pianoforte | - |1921 |Valse Caprice |Piano solo | |From Three Pieces for the Pianoforte | - |1921 |Fantasie-Impromptu |Piano solo | |From Three Pieces for the Pianoforte | - |1921 |The Violet |Vocal | |a trio for 3 sopranos | | - |1921 |U.P. Spells "Up" |Vocal | |from The First University Song Collection of the University of the Philippines.
Edit intent: fluency
Original:  |  - |1921 |Coronation March |Orchestral, March | |written for the Carnival Queen Carmencita Prieto |  - |1921 |First Nocturne |Piano solo | | |  - |1921 |Cavatina |Chamber |7 |for Violin and Piano  |  - |1921 |Romanza |Chamber |8 |for Cello and Piano;
Revised:  | Published | - |1921 |Coronation March |Orchestral, March | |written for the Carnival Queen Carmencita Prieto | - |1921 |First Nocturne |Piano solo | | | - |1921 |Cavatina |Chamber |7 |for Violin and Piano | - |1921 |Romanza |Chamber |8 |for Cello and Piano;
Edit intent: fluency
Original:  |  - |1921 |Coronation March |Orchestral, March | |written for the Carnival Queen Carmencita Prieto |  - |1921 |First Nocturne |Piano solo | | |  - |1921 |Cavatina |Chamber |7 |for Violin and Piano  |  - |1921 |Romanza |Chamber |8 |for Cello and Piano;
Revised:  | - |1921 |Coronation March |Orchestral, March | |written for the Carnival Queen Carmencita Prieto | | - |1921 |First Nocturne |Piano solo | | | - |1921 |Cavatina |Chamber |7 |for Violin and Piano | - |1921 |Romanza |Chamber |8 |for Cello and Piano;
Edit intent: fluency
Original:  |  - |1921 |Coronation March |Orchestral, March | |written for the Carnival Queen Carmencita Prieto |  - |1921 |First Nocturne |Piano solo | | |  - |1921 |Cavatina |Chamber |7 |for Violin and Piano  |  - |1921 |Romanza |Chamber |8 |for Cello and Piano;
Revised:  | - |1921 |Coronation March |Orchestral, March | |written for the Carnival Queen Carmencita Prieto | - |1921 |First Nocturne |Piano solo | | | Published | - |1921 |Cavatina |Chamber |7 |for Violin and Piano | - |1921 |Romanza |Chamber |8 |for Cello and Piano;
Edit intent: fluency
Original:  |  - |1921 |Coronation March |Orchestral, March | |written for the Carnival Queen Carmencita Prieto |  - |1921 |First Nocturne |Piano solo | | |  - |1921 |Cavatina |Chamber |7 |for Violin and Piano  |  - |1921 |Romanza |Chamber |8 |for Cello and Piano;
Revised:  | - |1921 |Coronation March |Orchestral, March | |written for the Carnival Queen Carmencita Prieto | - |1921 |First Nocturne |Piano solo | | | - |1921 |Cavatina |Chamber |7 |for Violin and Piano | Published | - |1921 |Romanza |Chamber |8 |for Cello and Piano;
Edit intent: fluency
Original:  dedicated to Antonio Molina  |  - |1921 |Valse Caprice |Piano solo | |dedicated to Pedro Eloriaga |  - |1922 |Serenade |Chamber | |for Cello and Piano |  - |1922 |Ang Aking Bayan |Vocal | |Tagalog Lyrics by the composer |  - |1922 |Paraluman |Vocal, Waltz | |Tagalog Lyrics by Mariano Velayo |  - |1922 |Valse in D-flat |Piano Solo |11 | |  - |1922 |An Offertory to St.
Revised:  dedicated to Antonio Molina | Published | - |1921 |Valse Caprice |Piano solo | |dedicated to Pedro Eloriaga | - |1922 |Serenade |Chamber | |for Cello and Piano | - |1922 |Ang Aking Bayan |Vocal | |Tagalog Lyrics by the composer | - |1922 |Paraluman |Vocal, Waltz | |Tagalog Lyrics by Mariano Velayo | - |1922 |Valse in D-flat |Piano Solo |11 | | - |1922 |An Offertory to St.
Edit intent: coherence
Original:  dedicated to Antonio Molina  |  - |1921 |Valse Caprice |Piano solo | |dedicated to Pedro Eloriaga |  - |1922 |Serenade |Chamber | |for Cello and Piano |  - |1922 |Ang Aking Bayan |Vocal | |Tagalog Lyrics by the composer |  - |1922 |Paraluman |Vocal, Waltz | |Tagalog Lyrics by Mariano Velayo |  - |1922 |Valse in D-flat |Piano Solo |11 | |  - |1922 |An Offertory to St.
Revised:  dedicated to Antonio Molina | - |1921 |Valse Caprice |Piano solo | |dedicated to Pedro Eloriaga | Lost | - |1922 |Serenade |Chamber | |for Cello and Piano | - |1922 |Ang Aking Bayan |Vocal | |Tagalog Lyrics by the composer | - |1922 |Paraluman |Vocal, Waltz | |Tagalog Lyrics by Mariano Velayo | - |1922 |Valse in D-flat |Piano Solo |11 | | - |1922 |An Offertory to St.
Edit intent: coherence