The Evolution of the Art of MusicD. Appleton, 1906 - 342 pagini |
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Pagina 2
... 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 GABCDE , the semitones coming between first and second and fifth and sixth ; the Phrygian mode became like a scale played on the ...
... chords which did not overlap was adopted about the time of Pythagoras . Thus the Doric mode stood as E F GABCDE , the semitones coming between first and second and fifth and sixth ; the Phrygian mode became like a scale played on the ...
Alte ediții - Afișează-le pe toate
The Evolution of the Art of Music C Hubert H 1848-1918 Parry Nu există previzualizare disponibilă - 2015 |
The Evolution of the Art of Music C Hubert H 1848-1918 Parry Nu există previzualizare disponibilă - 2015 |
The Evolution of the Art of Music C Hubert H 1848-1918 Parry Nu există previzualizare disponibilă - 2015 |
Termeni și expresii frecvente
achieved adopted arias arpeggios artistic Bach Bach's bass 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 emphasise expression familiar feeling fugues genuine German Handel harmonic form harmonic music harmony harpsichord Haydn human idea 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 organisation 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
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 i - Heredity." $1.50. 42. ANTS, BEES, AND WASPS. A Record of Observations of the Habits of the Social Hymenoptera. By Sir JOHN LUBBOCK, Bart., FRS, DCL, LL.
Pagina 7 - The rhythmic music is then defined only by the pulses, and has no change of pitch ; while purely melodic music has change of pitch, but 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 outof-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...
Pagina 244 - Parisian one into the shade in every respect. The general quality of the musical thoughts is finer, richer, and more interesting; while the purely orchestral effects, especially in the slow movement, are among the most successful things of the kind he ever achieved. And finally the three great symphonies which he wrote in Vienna in 1788 represent the highest level in idea and style and in every distinguished quality of art he ever attained to. They are the crown of his life's work; for in them he...