A Treatise on Musical Form and General Composition

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Clarendon Press, 1875 - Composition (Music). - 149 pages
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Page 59 - ... THERE are many compositions which cannot be brought under any of the foregoing heads, and which yet possess a certain regularity of structure peculiar to themselves. Some writers would class all these works together, as composed in the " Coupe de Fantaisie,
Page 8 - ... principle, symmetry as the second; it is in symmetry that music and poetry agree. Every regular melody may be divided into Periods, Phrases, and Strains. These Ouseley calls the prosody of music. He illustrates these terms by quoting the beginning of the Huntsman's Chorus in Weber's Der Freyschuetz: This, taken altogether, is a Period — a complete sentence ending with a full stop. It is divided into two Phrases of equal length, and each Phrase is divided into two equal Strains. The Strains...
Page 7 - ... powerful influence in transforming the rhythm of words, parallels of construction might be expected when the rhythm of the two is in complete accord. Ouseley, in writing on Melody, mentions tonality as the first fundamental principle, symmetry as the second; it is in symmetry that music and poetry agree. Every regular melody may be divided into Periods, Phrases, and Strains. These Ouseley calls the prosody of music. He illustrates these terms by quoting the beginning of the Huntsman's Chorus...
Page 32 - Jiggs, and other old-fashioned dance-tunes, such as were used to make up "sets," or "suites de pièces," down to the days of Bach and Handel.
Page 52 - ... which depends solely on itself for its effects, and is in no wise dependent- on words, scenery, acting, or any other extraneous condition.

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