The Principles And Methods Of Musical Criticism |
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accept actual admit aesthetic alleged analysis artistic assertion Beethoven Berlioz Brahms Calvocoressi César Franck chapter chord clear Clive Bell composer composer's consider consists course deal Debussy definite determine doubt emotions Ernest Newman essays evidence exactly experience fact fail feel Hadow harmony imagination imply impressions instance intellect interest judge judgements kind knowledge listener Liszt logic M. D. CALVOCORESSI matter means melody ment merely methods mind Modern Music Mozart musical criticism object opinion original Pelléas et Mélisande play point of view polytonal possible practice praise principle problem programme programme music prove purely purpose question readers realize reason reference regard remains reply resort rhythm rule scale sense sequences sounds standards starting-point statement student suggest symphony Tannhäuser taste technical things tion tonal scheme utterances Vincent d'Indy W. J. Turner whole-tone whole-tone scale word writing