The Evolution of the Art of MusicD. Appleton, 1906 - 342 pagini |
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Pagina 8
... were formalised into distinct musical intervals . It is still possible to find among lowly organised savages examples of a kind of music which is so little defined in detail that the impulsive cry or howl 8 DO THE ART OF MUSIC.
... were formalised into distinct musical intervals . It is still possible to find among lowly organised savages examples of a kind of music which is so little defined in detail that the impulsive cry or howl 8 DO THE ART OF MUSIC.
Pagina 13
... example of that law of contrasts which runs through the whole art , and forms , next to the definition of material , its most essential feature . The The law of contrasts forms the basis of all the important forms of the art , for a ...
... example of that law of contrasts which runs through the whole art , and forms , next to the definition of material , its most essential feature . The The law of contrasts forms the basis of all the important forms of the art , for a ...
Pagina 16
... examples to show them how things ought not to be done . But it is very probable that in the end they selected an interval which would approve itself to the acoustical theorist as well as to the unsophisticated ear of a modern lover of ...
... examples to show them how things ought not to be done . But it is very probable that in the end they selected an interval which would approve itself to the acoustical theorist as well as to the unsophisticated ear of a modern lover of ...
Pagina 28
... examples of scales which are already very complete , implying a very long period of ante- cedent cultivation of the art . In the tenth century they had already developed a scale which has the appearance of being singularly complete , as ...
... examples of scales which are already very complete , implying a very long period of ante- cedent cultivation of the art . In the tenth century they had already developed a scale which has the appearance of being singularly complete , as ...
Pagina 31
... the scale differently in respect of their flats and sharps . The system can be made intelligible by a few examples out of this enormous number . Our familiar major mode forms one of them , and goes by the name of SCALES 31.
... the scale differently in respect of their flats and sharps . The system can be made intelligible by a few examples out of this enormous number . Our familiar major mode forms one of them , and goes by the name of SCALES 31.
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Termeni și expresii frecvente
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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