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accurately act of Resting act of tone-production action actual Added-impetus Agility applied arises arm-supporting Arm-weight arpeggio Artist attainment beauty black keys cause cease cessation Chapter clinging consequence continuous damper depressed descent difference direct distinct effect Elbow employed enable energy exertion fact finger and hand finger-tip Finger-touch force fore-arm give Glissando habits hammer hammer-end Hand and Finger Hand-touch hence hopper induce insist instrument key-attack key-beds key-board key-depression key-descent key-resistance key-surface key-treatment key's knuckle lapse latter lever limb means ment moreover move movement muscles muscular muscular-act muscular-conditions muscular-sense muscularly musical obtain opposite passages pedal percussion performance phalanges pianissimo Pianoforte playing position produce rarefaction reach the key realise rebound RECAPITULATORY recoil requisite resistance result sensation sense slight slightly softest sound Species Species III speed Staccatissimo Staccato sufficiently sympathetic Technique Tenuto and Legato thumb tion tone tone-quality touch Touch-formation Upper-arm upwards vibrations weight whole arm wrist Wrist-joint
Page 25 - ... that only by a frequent passing of feeling into action, is the tendency to such action strengthened. Just as two ideas often repeated in a certain order, become coherent in that order ; and just as muscular motions, at first difficult to combine properly with one another and with guiding perceptions, become by practice facile, and at length automatic ; so the recurring production of any conduct by its prompting emotion, makes that conduct relatively easy. Not by precept, though heard daily ;...
Page 24 - The mere cognition does not affect conduct — conduct is affected only when the cognition passes out of that intellectual form in which the idea of distress is little more than verbal, into a form in which this term of the proposition is developed into a vivid imagination of distress — a mass of painful feeling. It is thus with conduct of every kind.
Page 24 - It is never the knowledge which is the moving agent in conduct ; but it is always the feeling which goes along with that knowledge, or is excited by it. Though the drunkard knows that after to-day's debauch will come to-morrow's headache, yet he is not deterred by consciousness of this truth, unless the penalty is distinctly represented...
Page 24 - The prevailing assumption is, indeed, as much disproved by analysis as it is contradicted by familiar facts. Already we have seen that the connexion is between -action and feeling; and hence the corollary that only by a frequent passing of feeling into action, is the tendency to such action strengthened. Just as two ideas often repeated in a certain order, become coherent in that order ; and just as muscular motions, at first difficult to combine properly with one another and with guiding perceptions,...
Page 2 - Pittsburgh Matthay, Tobias Augustus Act of touch in all its diversity. 1903 Longmans $3; 10s 6d 786.2 "Author's plan consists in analyzing the subject to be taught, analyzing also the doings of successful artists, and thence deducing the laws governing successful playing; then directly communicating such laws of procedure to the pupil, instead of leaving him to discover them for himself.
Page xiii - Granted, that it is wrong to accept any teachings unless one's reason is convinced of their truth, nevertheless it is still more deeply wrong, to be convinced that such teachings are untrue, because they happen, perhaps, to be in complete opposition to doctrines faithfully clung to for years! Only by a rigid analysis of facts can we hope to eliminate untruth, and the author begs for such...
Page viii - Art of Touch, that will for ever defy mechanical imitation ; and will for ever render the simplest performance, coloured by human fingers, immeasurably superior to the most complex one obtained by mechanical agency, however perfect the machine. Although it is only thus, by perfecting himself in the...
Page 168 - Expression," page 10) we read for instance : " to produce the most musical and singing quality, it is necessary that the finger, however firm the pressure, should be in an elastic condition, and it is therefore important that every joint of the finger and hand, and even the wrist, should be kept loose, and should yield slightly with each pressure of the finger-tip.
Page 183 - ... arm supported by its own muscles. The weight used here is that of the hand; the fingers gently support the hand-weight on the surface of the keys. The second or legato form is induced by a slight lapse in the selfsupport of the arm. 'In other words: the whole arm must be released from the shoulder. . .but in this instance continuously, and only to the extent the key is 'felt' to resist depression at its softest.