Excerpt from Meanings of Music One of the papers I took with me to Europe, and had it criticized by a pupil of Leschetizky. It is on the ground of this double encouragement that I now present the collection to music-lovers, students and educators, trusting that the time may come when our Government will make an appropriation for Music Schools throughout the length and breadth of the land, so that, where there are now three or four there may be thousands upon thousands who can study and enjoy the glorious compositions which wing the thoughts and elevate the soul. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from The Meaning and the Mission of Music Nevertheless. Men have. At all times. And by various means. (ought sturdily against the capriciousness of life and the despair it engenders. All practical morality. To begin with, is one form of defence. The moral man. Facing the universe undaunted. Asserts his own power to develop in it at least his own personal particle of righteous teas. As much strength as he has shall be spent on the side of order. If the world be' unjust. At least he will love justice! About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from The Nature and Measurement of Musical Meanings The fifty excerpts were played for a group of ten musicians who were asked to indicate on the check-list, for each se lection played, all adjectives which were appropriate for describing the music. The adjective which best described the music 'was to be indicated by a I, the next by a 2, and all others selected were to be checked. If a selection could not be classified by any abstract meaning, it was to be checked as unclassified. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from Musical Definitions for Music Students The difficulty of finding certain definite musical infor mation in available form for the use of music students has prompted the compilation of this volume. Its aim is to furnish something more complete than the average Catechism of Music, and also something less extended in scope and material than is offered by the several excellent volumes on the various subjects. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Donald Francis Tovey Born in 1 875, Donald Francis Tovey was a British musicologist and composer. He took classical honors with his B. A. at Ox ford in 1898, and became a pianist of the first rank, though he never sought a virtuoso career. From 1914 to 1940 he was Reid Professor of Music at Edinburgh University. He died in 1 940. His other books include Normality and Freedom in Music, The Main Stream of Music, A Musician Talks, Essays in Musical Analysis, and Beethoven. ivx Meridian Books edition first published October 1956 First printing September 1956 Second printing June 1957 Third printing July 1958 Fourth printing April 1959 Fifth printing December 1959 Reprinted by arrangement with Oxford University Press Originally published 1944 as Musical Articles from the Encyclopaedia Britannica Library of Congress catalog card number 56-10015 Manufactured in the United States of America EDITORIAL PREFACE THE desire to set down upon paper a comprehensive system of musical education was present in the mind of Donald Tovey for the greater part of his life. In 1896, when he was 21, he wrote in a letter to a friend that he had begun a great work quot on the means of Expression in Music quot If ever I finish the thing, into print it shall go. Thirty years later, he was talking about a series of four text-books on music. But into print neither the one scheme nor the other went the final expression of his ideas on music was never written. It never could be written, because it was never final in the mind of that incessant discoverer in music. Nor was his method of writing that of finality. The nearest point to finality which Tovey ever reached in his expression of a formal philosophy in music is tobe found in the articles on technique and aesthetics of music as he called them himself in the list of his writings supplied to Who s Who which he contributed to the Encyclopaedia Britannica. Those articles, written from 1906 onwards for the eleventh edition of the Ency clopaedia, and revised again, almost rewritten, for the fourteenth edition in 1929, were necessarily cast in the imposed form of treatises under word-headings. Yet they coalesce very firmly into a clear and coherent testament, almost into a text-book of the art of music in its widest meaning. Like the Glossary to the Essays in Musical Analysis, the entries are unconnected, the whole comprehensive, and while not attempting completeness, afford the reader a wider range of musical thought and a fuller discussion of technical problems than most of the exhaustive and laborious theses now available. Tovey himself set great store by these articles. They formed for him the basis of his teaching at the University of Edinburgh. They are the background to those fuller considerations of musical compositions which are his Essays in Musical Analysis. It was his own proposal that these articles should be gathered together into one volume, an idea expressed to me as long ago as 1926. Means were then taken towards the end of publishing, and it was agreed that Tovey should in his own time make any alterations or correc tions necessary for the new method of presentation. But many other fresh and no doubt more important ideas and schemes came bubbling up into that wonderfully fertile brain, and nothing was done about the book of musical articles. I say more important because, though he was in life so fully occupied, it has now been foundpossible to publish these articles after the author s death. This book contains all the articles which Tovey wrote for the VI EDITORIAL PREFACE Encyclopaedia Britannica, as they now appear there, with the exception of one on Modern Music and the biographies. The book was set up from printed slips, and thus follows the text finally approved and corrected by the author. The very long musical examples are printed in full...
Excerpt from Symphonies and Their Meaning Tm: plan of this book is very simple It is really the reverse of the traditional. Little is here told of the lives of the masters; of a composer's ancestry, of the painful scale of his career, even of the date of his works. Con crete events have, in themselves, no place. And yet, it is believed, instead of a loss, there is in this very omission a great gain of per sonal interest, of insight into the essence of a master's individual quality, of his poetic character. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from The Enjoyment of Music What then is meant by listening? Something m more than the mere reception of sounds by the ears. Listen is to attend, to stretch and bend the mind with sense of hearing to what is offered. It means, theref the effort to exclude other things the what he desires to hear and tries not to hear other sounds. He gives himself to this and for the time takes himself away from the rest of the world. If we are to listen to music we shall repeat this double process of attention of reservation over and over again for the same sounds, the same groups and sequences of sounds, the same piece or work. From this repetition two results must follow first, we get into the habit of listening to this work as a whole, and second, within the work as a whole we learn to distinguish various parts we learn, in fact, what to listen for, and we listen for that. But we shall not always listen to the same work, when we are listening to music; we: shall hear various works by various writers. To all of them we shall come with the determination to attend, with the willingness to yield ourselves to them, and yet with the sturdy purpose of retaining our judgment and our self respect. We shall listen for what they have to say. As in listening to an orator we are not content to have our ears delighted with the notes of his voice, but also insist on knowing what he means, so in listening to music we are not, or ought not to be content with sounds, but must know what the musician means by them. Yet here a danger threatens us. The musician means what he says in sound, that and nothing else music must be musically received. It is not to be translated into the language of words. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from The American History and Encyclopedia of Music A dictionary of any language is properly supposed to contain all words in use in that language and also words which have been used in time past, but which have become obsolete. These Obsolete words are included in order that the development and history of the language may be studied, and, for this reason, they are a very important part of such a work. This should also be true of a musical dictionary, as many terms which are not in use at the present time are of great value in the study Of the history Of music and also for a thorough understanding of Old musical manuscripts. With this idea in mind, the list of terms given in this dictionary have been compiled, including not only obsolete terms but also as far as possible equivalents in the various languages. For this reason, the number of terms given in this dictionary is greater than that found in any other musical dictionary extant, numbering as it does, about fourteen thousand definitions. In all definitions, the aim has been to use only the simplest and clearest English, so that the definitions would be readily understood by the ordinary reader, as well as the most finished musician. This plan has been carried out, even in the definitions of terms related to such difficult subjects as Theory and Composition. The work contains a number of special features not covered in any other musical dictionary. Among them being, Dances, National Songs, Poetic Meters, Modes and the Parts of the Mass. Each of these has been defined under the general term and also each Specific dance, song, meter, etc., has been included in its alphabetical place. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from The Imperial History and Encyclopedia of Music A dictionary of any language is properly supposed to contain all words in use in that language and also words which have been used in time past, but which have become obsolete. These obsolete words are 4included in order that the development and history of the language may be studied, and, for this reason, they are a very important part of such a work. This should also be true of a musical dictionary, as many terms which are not in use at the present time are of great value in the study of the history of music and also for a thorough understanding of old musical manuscripts. With this idea in mind, the list of terms given in this dictionary have been compiled, including not only obsolete terms but also as far as possible equivalents in the various languages. For this reason, the number of terms given in this dictionary is greater than that found in any other musical dictionary extant, numbering as it does, about fourteen thousand definitions. In all definitions, the aim has been to use only the simplest and clearest English, so that the definitions would be readily understood by the ordinary reader, as well as the most finished musician. This plan has been carried out, even in the definitions of terms related to such difficult subjects as Theory and Composition. The work contains a number of special features not covered in any other musical dictionary. Among them being, Dances, National Songs, Poetic Meters, Modes and the Parts of the Mass. Each of these has been defined under the general term and also each specific dance, song, meter, etc., has been included in its alphabetical place. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from A Musical Dictionary: Comprising the Etymology and Different Meanings of All the Terms That Most Frequently Occur in Modern Composition A battuta', (ital.) by beating. An expression generally employed after a break in the time of any piece by a recitative, cantabile ad libitum, &c. To apprise the performer that the measure isi'to be resumed, and the time beaten as before. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
