The Evolution of the Art of MusicD. Appleton, 1906 - 342 pagini |
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Pagina xi
... chord ; and the stronger the delight in the thought or feeling , the greater is the desire to make the form in which it is conveyed un- mistakably clear and intelligible . But intelligibility depends to a great extent in all things upon ...
... chord ; and the stronger the delight in the thought or feeling , the greater is the desire to make the form in which it is conveyed un- mistakably clear and intelligible . But intelligibility depends to a great extent in all things upon ...
Pagina 10
... him to reach the highest artistic per- fection in subtlety as well as scope of design . The mind first wearies and then suffers pain from over - much reiteration of a single chord , or of an identical rhythm , or ΙΟ THE ART OF MUSIC.
... him to reach the highest artistic per- fection in subtlety as well as scope of design . The mind first wearies and then suffers pain from over - much reiteration of a single chord , or of an identical rhythm , or ΙΟ THE ART OF MUSIC.
Pagina 11
Charles Hubert Hastings Parry. single chord , or of an identical rhythm , or of a special colour , or of a special fragment of melody ; and even of a thing so abstract as a principle . In some of these respects the reason is easily found ...
Charles Hubert Hastings Parry. single chord , or of an identical rhythm , or of a special colour , or of a special fragment of melody ; and even of a thing so abstract as a principle . In some of these respects the reason is easily found ...
Pagina 19
... chords and effort , and such sustained effort can scarcely be regarded as a point of repose . In modern music the cadence is a harmonic process , and not a melodic one ; and the upward motion from the leading note to the tonic in ...
... chords and effort , and such sustained effort can scarcely be regarded as a point of repose . In modern music the cadence is a harmonic process , and not a melodic one ; and the upward motion from the leading note to the tonic in ...
Pagina 25
... chords which did not overlap was adopted about the time of Pythagoras . Thus the Doric mode stood as E F G A B C DE , the semitones coming between first and second and fifth and sixth ; the Phrygian mode became like a scale played on ...
... chords which did not overlap was adopted about the time of Pythagoras . Thus the Doric mode stood as E F G A B C DE , the semitones coming between first and second and fifth and sixth ; the Phrygian mode became like a scale played on ...
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achieved adopted arias arpeggios artistic Bach Bach's beauty Beethoven 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 Illustrations 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 progress 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
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