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accompaniment Bach bass beauty became Beethoven beginning called chants choir chords clarinet clavi clavichord clavier clef composers compositions contrapuntal corresponding counterpoint damper dances diatonic dominant Dorian mode dramatic drum duced early ecclesiastical effect equal temperament expression fingers flat fugue genius Gluck Greek music Gregorian chants Guido half-steps harmonies harpsichord Haydn hearers Herr hexachord instru instrumental music intervals invented Italian Italy John Sebastian Bach key-board letters Liszt melody ment modern music modern scale modes monochord monodic movement Mozart musical art musicians neumae notes oboe octave opera oratorio orchestra organ passages pedal performance phrases piano piano-forte pitch plagal played player poetry polyphonic poser principles produced psaltery rhythm says second subject semitone seventeenth century sing sixteenth century sonata sonata form song sound stave stringed instruments struments style sung symphony teenth century tion tive tonal tonic tuned unison vibrations viol violin vocal voices Wagner whole tones words written
Page 255 - Music. A complete Text-Book of Theoretical Music, with Glossary of Musical Terms, Exercises on Harmony, and an Appendix of Examination Papers. By HC BANISTER, Prof, of Harmony at the BA of Music. 16th Edition. 5s. Music, A CONCISE HISTORY OF, from the Commencement of the Christian Era to the present time.
Page 256 - RICHARD WAGNER'S LETTERS to his Dresden Friends — Theodore Uhlig, Wilhelm Fischer, and Ferdinand Heine. Translated by JS SHEDLOCK. Crown 8vo, $3.50. CORRESPONDENCE OF WAGNER AND LISZT. Translated, with a Preface by FRANCIS HUEFFER. New edition, revised and furnished with an Index by W. ASHTON ELLIS. Crown 8vo, 2 vols., $5.00 net. CYCLOPEDIA OF MUSIC AND MUSICIANS. Edited by JOHN DENISON CHAMPLIN, JR. Critical editor, WF APTHORP. Popular edition. Large octavo, 3 vols., $15.00 net. LETTERS OF A BARITONE....
Page 99 - I endeavored to reduce music to its proper function, that of seconding poetry by enforcing the expression of the sentiment, and the interest of the situations, without interrupting the action, or weakening it by superfluous ornament.
Page 255 - A GENERAL HISTORY OF MUSIC from the Infancy of the Greek Drama to the Present Period. By WS ROCKSTRO.
Page 107 - It could, therefore, not enter my mind to engraft on this my musical form, growing as it did out of the nature of the scenes, the traditional forms of operatic music, which could not but have marred and interrupted its organic development.
Page 186 - The rigorous, polyphonic style of his illustrious father was succeeded by the lyrical and singing element, which, if fantastic and daring, had a sweet, bright charm very fascinating. He writes in one of his treatises : " Methinks music ought appeal directly to the heart, and in this no performer on the piano-forte will succeed by merely thumping and drumming, or by continual arpeggio playing. During the last few years my chief endeavor has been to play the piano-forte, in spite of its deficiency...
Page 255 - WHAT IS GOOD MUSIC ? Suggestions to Persons desiring to Cultivate a taste in Musical Art. By WJ HENDERSON.
Page 99 - When I undertook to set the opera of 'Alceste' to music, I resolved to avoid all those abuses which had crept into Italian opera through the mistaken vanity of singers and the unwise compliance of composers...
Page 256 - The Story of British Music from the Earliest Times to the Tudor Period. By Frederick J. Crowest, author of "The Great Tone Masters.
Page 219 - Burney, in the account of his tour, refers to this more than once. In the first volume he says, ' The music at the theatres in Italy seems but an excuse for people to assemble together, their attention being chiefly placed on play and conversation, even during the performance of a serious opera.