How To Listen To Music - The Original Classic Edition【電子書籍】[ Krehbiel Henry ]

＜p＞Finally available, a high quality book of the original classic edition of How To Listen To Music.＜/p＞ ＜p＞This is a new and freshly published edition of this culturally important work by Henry Edward Krehbiel, which is now, at last, again available to you.＜/p＞ ＜p＞Enjoy this classic work today. These selected paragraphs distill the contents and give you a quick look inside How To Listen To Music:＜/p＞ ＜p＞Purpose and scope of this book-Not written for professional musicians, but for untaught lovers of the art-neither for careless seekers after diversion unless they be willing to accept a higher conception of what entertainment means-The capacity properly to listen to music as a touchstone of musical talent-It is rarely found in popular concert-rooms-Travellers who do not see and listeners who do not hear-Music is of all the arts that which is practised most and thought about least-Popular ignorance of the art caused by the lack of an object for comparison-How simple terms are confounded by literary men-Blunders by Tennyson, Lamb, Coleridge, Mrs.＜/p＞ ＜p＞...The dual nature of music-Sense-perception, fancy, and imagination-Recognition of Design as Form in its primary stages-The crude materials of music-The co-ordination of tones-Rudimentary analysis of Form-Comparison, as in other arts, not possible-Recognition of the fundamental elements-Melody, Harmony, and [Pg x]Rhythm-The value of memory-The need of an intermediary-Familiar music best liked-Interrelation of the elements-Repetition the fundamental principle of Form-Motives, Phrases, and Periods-A Creole folk-tune analyzed-Repetition at the base of poetic forms-Refrain and Parallelism-Key-relationship as a bond of union-Symphonic unity illustrated in examples from Beethoven-The C minor symphony and Appassionata sonata-The Concerto in G major-The Seventh and Ninth symphonies.＜/p＞ ＜p＞...How far it is necessary for the listener to go into musical philosophy-Intelligent hearing not conditioned upon it-Mans individual relationship to the art-Musicians proceed on the theory that feelings are the content of music-The search for pictures and stories condemned-How composers hear and judge-Definitions of the capacity of music by Wagner, Hauptmann, and Mendelssohn-An utterance by Herbert Spencer-Music as a language-Absolute music and Programme music-The content of all true art works-Chamber music-Meaning and origin of the term-Haydn the servant of a Prince-The characteristics of Chamber music-Pure thought, lofty imagination, and deep learning-Its chastity-Sympathy between performers and listeners essential to its enjoyment-A correct definition of Programme music-Programme music defended-The value of titles and superscriptions-Judgment upon it must, however, go to the music, not the commentary-Subjects that are unfit for music-Kinds of Programme music-Imitative music-How the music of birds has been utilized-The cuckoo of nature and Beethovens cuckoo-Cock and hen in a seventeenth century composition-Rameaus pullet-The German quail-Music that is descriptive by suggestion-External and internal attributes-Fancy and Imagination-Harmony and the major [Pg xi]and minor mode-Association of ideas-Movement delineated-Handels frogs-Water in the Hebrides overture and Ocean symphony-Height and depth illustrated by acute and grave tones-Beethovens illustration of distance-His rule enforced-Classical and Romantic music-Genesis of the terms-What they mean in literature-Archbishop Trench on classical books-The authors definitions of both terms in music-Classicism as the conservative principle, Romanticism as the progressive, regenerative, and creative-A contest which stimulates life.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。

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