The Evolution of the Art of MusicD. Appleton, 1906 - 342 pagini |
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Pagina 54
... composer can contrive in the upper parts . The device of reiteration is also happily used to give a characteristic ... composers for giving unity and intelligibility to progressions , and is used constantly by every composer of any ...
... composer can contrive in the upper parts . The device of reiteration is also happily used to give a characteristic ... composers for giving unity and intelligibility to progressions , and is used constantly by every composer of any ...
Pagina 92
... composers , which have the same sort of aspect as the artistic efforts of a baby just out of its cradle , when it tries to represent mankind or its favourite animals . It may have been the severity of these difficulties which caused ...
... composers , which have the same sort of aspect as the artistic efforts of a baby just out of its cradle , when it tries to represent mankind or its favourite animals . It may have been the severity of these difficulties which caused ...
Pagina 94
... composer merely wrote the word orce at the beginning of the piece , and the singers ( generally those who took the lower ... composers even in adapting tunes together worked in the direction of succes- sions of fifths and fourths , like ...
... composer merely wrote the word orce at the beginning of the piece , and the singers ( generally those who took the lower ... composers even in adapting tunes together worked in the direction of succes- sions of fifths and fourths , like ...
Pagina 96
... composers developed their skill in adapting voice parts to one another , in course of time they even managed to write in four parts with some facility , and this necessarily made them more accustomed to the effect of the less purely ...
... composers developed their skill in adapting voice parts to one another , in course of time they even managed to write in four parts with some facility , and this necessarily made them more accustomed to the effect of the less purely ...
Pagina 97
... composers had already at this early date a very definite idea of the canonic form , which was one of the earliest and simplest devices of contrapuntal music , and almost the only one which was cultivated with any success before the ...
... composers had already at this early date a very definite idea of the canonic form , which was one of the earliest and simplest devices of contrapuntal music , and almost the only one which was cultivated with any success before 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...