Music: An Art and a Language

Renew：Part 28
Author：Walter Raymond Spalding
Update：08-15-2023
Tags：Arts Photography
Description：Music: An Art and a Language summary: Music: An Art and a Language summary is updating. Come visit Novelonlinefull.com sometime to read the latest chapter of Music: An Art and a Language. If you have any question about this novel, Please don't hesitate to contact us or translate team. Hope you enjoy it.

Read Now

Chapter List

Chapter II of Gurney"s _Power of Sound_, a book remarkable for its insight.]
Chapter XII of Ernest Walker"s _History of Music in England_. The famous Petrie collection of Irish Folk-tunes should also be consulted.]
Chapter I, the principle of systematic repet.i.tion or imitation--first discovered and partially applied by the musicians[33] of the early French School and by the Netherland masters--finally culminated in the celebrated vocal works (a capella or unaccompanied) composed by Palestrina and his contemporaries for the Roman Catholic Liturgy. Up to this point the whole texture of music had been conceived in connection with voices; but with the development of the organ, so admirably suited for polyphonic style, and the perfection of the family of stringed instruments, the principles of polyphony were carried over and applied to instrumental treatment. The composer who, through his constructive genius, most fully embodied these principles[34] was John Sebastian Bach (1685-1750). We are now prepared to explain the characteristics of polyphonic music and then to a.n.a.lyze some typical examples from Bach and other polyphonic composers. The essential difference between h.o.m.ophonic and polyphonic style is implied by the terms themselves.
Chapter III of _The Appreciation of Music_ by Surette and Mason.]
Chapter in Foote and Spalding"s _Harmony_, and to the chapter on Scales in Parry"s _Evolution of the Art of Music_.]
Chapter 6
Chapter III.]
Chapter IX.]
Chapter XIX of Pratt"s _History of Music_.]
Chapter VIII, and Mason"s _Beethoven and His Forerunners_, essay on Haydn.]
Chapter 11
Chapter 12
Chapter IX), many of Beethoven"s Finales are in this mixed form, clear examples of which may be found in the last movements of the Fourth, Eighth and Twelfth Sonatas. The Finale of the Twelfth Sonata has been included in the Supplement in order to make this important form familiar to the student. To return now to the Finale of the sonata we are studying. Its first two portions correspond exactly to the usual practice in the Rondo-Sonata form just explained; _i.e._, we find in the Exposition a first theme, a modulatory transition, a second theme (beginning in measure 17) and a definite repet.i.tion of the first theme, in measures 25-32. Then, after two measures of bold modulation, begins the middle, episodical pa.s.sage which, closing with a whimsical cadenza-like pa.s.sage, leads back to the beginning of the third part.
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter VII of Boschot"s _Un Romantique sous Louis Philippe_.]
Chapter X, of the _Art of Music_ (Cesar Saerchinger, N.Y.), and for biographical details and matters of general import, Vol. II, Chap. IX.]
Chapter IX in Volume 8 of the _Art of Music_, and Chapter XIII in Volume 2. There are also some stimulating remarks on Brahms"s style in general, and on the att.i.tude of a past generation towards his work, in those delightful essays, in 2 volumes, _By the Way, About Music_ by the late well-known critic, W.F. Apthorp.]
Chapter 21
Chapter 22
Chapter 23
Chapter IV.]
Chapter 25
Chapter II, p. 33), is incorporated in the Finale. The Scherzo is unique as an orchestral _tour de force_; for, with the exception of a short middle portion for wood-wind and bra.s.s, it is for the string orchestra playing pizzicato throughout. The effect is extremely fantastic and resembles that of ghosts flitting about in their stocking-feet or of sleep-chasings, to use Whitman"s expression.[309] The Finale is a riot of natural, primitive joy, a picture--as the composer says--of a popular festivity. "When you find no joy within you, go among the people, see how fully they give themselves up to joyous feelings."
Chapter IX of Spalding"s _Tonal Counterpoint_.]
Chapter 28