For Every Music Lover - A Series of Practical Essays on Music by Aubertine Woodward Moore
page 5 of 142 (03%)
page 5 of 142 (03%)
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Listening an art. Painting completed whole. Music passing panorama.
Not translatable into words. To follow, even anticipate composer. Bach's absolute knowledge. Fire of Prometheus. Inner sanctuary of art. Science of acoustics. Prime elements. Dr. Marx and Helmholtz. Motive. Beethoven's fifth symphony. Phrase. Period. Simple melody. "God Save the King." Our "America." Masters of counterpoint. Bach's fugues. Monophony and polyphony. Classical and romantic. Heretic and hero. Hadow on musical laws. Form the manifestation of these. Good music versus ragtime. Dr. Corson on spiritual appeal. The Piano and Piano Players 105 Pythagoras and musical intervals. Pan pipes. Portable organs. Monochords with keys. Guido d'Arezzo. Clavier type. Virginal in Elizabethan age. Early clavier masters. First woman court clavier player. Scarlatti and Bach. True art of clavier-playing. Sonata form. Where Haydn gained much. Mozart and Clementi. Pianoforte and improvements. Viennese school. Clementi school. Giant on lofty heights. Oscar Bie on Beethoven. Golden age of pianoforte. Piano composers and virtuosi, from Weber to the present time. Teachers and performers often corrupters of music. The Poetry and Leadership of Chopin 135 Rubinstein on Polish patriot and tone-poet who explored harmonic vastness of pianoforte. Like exquisitely constructed sounding-board. Enriched and spiritualized the pianoforte for all time. Universal rather than individual experiences. National tonality. Zwyny and |
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