The Evolution of the Art of MusicKegan Paul, Trench, Trubner & Company, Limited, 1920 - 342 pagini |
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Termeni și expresii frecvente
achieved adopted arias arpeggios artistic Bach Bach's beauty Beethoven began branch of art cadence century character characteristic choral music chords chorus colour complete composers contrapuntal contrast contrived counterpoint definite devices dramatic early effect emotional emphasised expression familiar feeling fugues genuine German Handel harmonic form harmonic music harmony harpsichord Haydn human ideas illustrate important influence instinct instru instrumental music intelligible intervals Italian J. S. Bach kind means melodic systems melody ment methods mind minor modern music modes mood movement Mozart musicians nature notes octave opera opera seria oratorio orchestral organ music organised ornamental passages pentatonic perfect phrases pianoforte polyphonic possible principles of design pure rhythm rhythmic scale scheme semitones sense singers singing solo solo music sonata sonata form song sound style successful symphonies tetrachord Teutonic things tion tonality tone tonic treatment utterance variety various violin vocal voice whole
Pasaje populare
Pagina 218 - My idea was that the overture ought to indicate the subject and prepare the spectators for the character of the piece they are about to see; that the instruments ought to be introduced in proportion to the degree of interest and passion in the words...
Pagina 313 - Meyerbeer's object was to make the mere externals tell. He did not care in the least whether his details were commonplace or not. His scores look elaborate and full of work, but the details are the commonest arpeggios, familiar and hackneyed types of figures of accompaniment, scales, and obvious rhythms. Musically it is a huge pile of commonplaces, infinitely ingenious, and barren. There is but little cohesion between the scenes, and no attempt at consistency to the situations in style and expression....
Pagina 140 - ... and most of the acts end with choruses and massing of crowds on the stage to give weight and impressiveness to the final climax. Lulli shows excellent sense of relief and proportion in the general planning and laying out of the musical elements in the scenes, and in regulating the relations of the respective acts and •scenes to one another ; and he is conspicuously successful for his time in shaking himself free from the ecclesiastical associations of the modes, and adopting a thoroughly secular...
Pagina 337 - The marvellous concentration of faculties towards the achievement of such ends as actually exist, must of itself be enough to give the product human interest. Moreover, though a man's life may not be prolonged, it may be widened and deepened by what he puts into it; and any possibility of getting into touch with those highest moments in art in which great ideals...
Pagina 182 - ... in the great fantasia in G minor, the toccata in D minor, the prelude in B minor. He occasionally touches on tender and pathetic strains, but for the most part rightly adopts an attitude of grand dignity which is at once generous in its warmth and vigour, and reserved in the matter of sentiment. His work in this line seems to comprise all the possibilities of pure organ music. Everything that has been written since is but the pale shadow of his splendid conceptions...
Pagina 244 - Mannheim in 1777 and 1778, so often alluded to, that his full powers in the line of instrumental music were called into play. The musical traditions at Mannheim were at that time probably the best in Europe, and their effect upon Mozart was immediate and salutary. For when he moved on to Paris in 1778, in company with some of the Mannheim instrumentalists, he wrote, for performance there, the first of his symphonies which occupies an important place in musical history. For artistic delicacy in detail,...
Pagina 48 - In all such cases the process must have been a gliding of the voice up or down, without notes that were strictly defined either in relation to one another or to any general principle.
Pagina 217 - I endeavored to reduce music to its proper func-tion, that of seconding poetry by enforcing the expression of the sentiment, and the interest of the situations, without interrupting the action, or weakening it by superfluous ornament.
Pagina 7 - ... no definition or regularity of impulse. The latter is frequently met with among savage races, and even as near the homes of highest art as the out-of-the-way corners of the British Isles. Pure unalloyed rhythmic music is found in most parts of the uncivilised globe, and the degree of excitement to which it can give rise, when the mere beating of a drum or tom-tom is accompanied by dancing, is well known to all the world.
Pagina 247 - ... trios, and sonatas for violin and clavier. The style appropriate to each had been more or less ascertained, and the schemes of design had been perfectly organised for all self-dependent instrumental music. Both Haydn and Mozart immensely improved upon their predecessors in the power of finding characteristic subjects, and in deciding the type of subject which is best fitted for instrumental music. The difference in that respect between their early and later works is very marked.