University Musical Encyclopedia - Volume VIII - The Theory Of Music And Piano Technique - Pasta blanda

UNIVERSITY MUSICAK Copyright, Pbotognphhcbe Gwallschaft. Permission Berlin Photographic Co., N. Y. IN ACCORD From the Painting by G. von Hoesslin v UNIVERSITY MUSICAL ENCYCLOPEDIA CHIEF EDITOR LOUIS C. ELSON New England Conservatory of Music In Ten Volumes Vol. I. A History of Music Primitive, Ancient, Medieval, and Modern Euro pean Vol. II. A History of Music Music in America Special Articles Vol. III. Great Composers Vol. IV. Great Composers Continued Vol. V. Religious Music of the World Vol. VI. Vocal Music and Musicians The Vocal Art Great Vocalists Famous Songs Vol. VII. The Opera History and Guide Vol. VIII. The Theory of Music Piano Technique Vol. IX. University Dictionary of Music and Musicians Vol. X. University Dictionary of Musk and Musicians Continued The UNIVERSITY SOCIETY PUBLISHERS I CONTENTS THE THEORY OF MUSIC CHAPTER I PAGE NECESSITY FOR FORM IN Music i Conformity in Variety Monotony Scientific Values Musical Form Plan of a Musical Work and Landscape Garden Unfolding of Musical Faculty Beethoven and Shakespeare Thought and Emotion Selection of Appropriate Form. CHAPTER II CLASSES, CHARACTERS, AND KINDS OF Music. ... 8 Identity of Class in Sacred and Secular Tunes Distinction of Character Necessity for Musical Forms Homophonic and Polyphonic Composi tion Sacred and Secular Characters Vocal, In strumental, and Accompanied Vocal Music Ex amples. CHAPTER III MUSICAL FORMS IN GENERAL 15 How Musical Forms are Made and How Distin guishedSameness and Difference Varieties of Subj ect, etc. Examples. CHAPTER IV SIMPLE SACRED AND SECULAR FORMS 25 Amen Chant Versicles and Responses Psalm tune Hymn-tune Song Duet Trio Quartet Recitative Air, or Aria Chorus Examples. CHAPTER VCOMPOUND SACRED FORMS, 45 Anthem Service Mass Oratorio, the Largest of Compound Sacred Forms Examples. 1189594 sl CONTENTS CHAPTER VI PAGE COMPOUND SECULAR FORMS 52 Madrigal Glee Part Song Cantata Opera Its General Character and Varieties Examples. CHAPTER VII SIMPLE INSTRUMENTAL FORMS 59 Waltz Polka Quadrilles Schottische Reel Strathspey Hornpipe Jig Gavotte Minuet Other Forms Examples. CHAPTER VIII MORE EXTENDED INSTRUMENTAL FORMS 67 Capriccio Fantasia Extravaganza Potpourri Scherzo Rondo March Examples, CHAPTER IX COMPOUND FORMS 77 Suite Sonata Elaborate Analysis of this Form Overture Concerto Symphony. CHAPTER X HARMONY oo Definition Difference between Harmony and Coun terpoint Complex Counterpoint and Simple Har mony Of Italian Origin Emancipation of Har mony Chopins Harmony Grieg Wagner Mo notony and Restlessness Theories of Harmony-Necessity for Rules. CHAPTER XI THOROUGH-BASS IOO A Species of Musical Shorthand Simple Method by which the Student may Either Read or Write Figured BassThe Use of Lines in Organ-point Knowledge Essential for Playing Handel and Bach. CHAPTER XII COUNTERPOINT Origin Organum and Faburden Bach Trend of Modern Music The Obbligato Bad Much Complexity Species of Counter Ef p f o e i c n t t of M T o o d o ern Exaupes of Counterpoint Old Church Com for CONTENTS vii CHAPTER XIII IMITATION, CANON, AND FUGUE 124 Composers of the Contrapuntal Epoch Too Great Attention to External Merit Subjective and Objec tive Glareanus Palestrina to Handel Imitation and Imitative Passages Canons The Flower of Counterpoint is Fugue Fugal Style and Structure Fugue and Cadences Bachs Violin Sonatas His Organ Fugues Mozarts Wonderful Skill Modern Oratorio and Fugue The Fugue andModern Ex pression. CHAPTER XIV CADENCES 134 Various Ways of Ending Harmonic Progression Proportion and Balance Function of Cadences Untrained Ear Unreliable Perfect and Plagal Ca dences Imperfect Cadence Modern Methods Berlioz and Richard Strauss Variety in Cadence. CHAPTER XV INSTRUMENTATION 144 Influence of New Instruments in the Development of Orchestration Why Addu nal Accompani ments are Irreverent Variety in Color Results from Judicious Blending of Contrasting Elements Wagners Intimate Knowledge of the Orchestra...