Music and Life

About this eBook

Author

Surette, Thomas Whitney, 1861-1941

Title

Music and Life: A study of the relations between ourselves and music

Credits

Linda Cantoni, Charlene Taylor, Martin Pettit and the Online Distributed Proofreading Team at www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)

Language

English

LoC Class

ML: Music: Literature of music

Subject

Music -- History and criticism

Category

Text

Project Gutenberg

eBook-No. 65285

Release Date

May 8, 2021

Copyright

Public domain in the USA.

Contents

1. 1.MUSIC AND LIFE
2. 2.ACKNOWLEDGMENT
3. 3.CONTENTS
4. 4.INTRODUCTION
5. 5.CHAPTER I WHAT IS MUSIC? — I. DISTINCTION BETWEEN MUSIC AND THE OTHER ARTS — II. THE ELEMENTS OF MUSIC — III. THE SIGNIFICANCE OF MUSIC — IV. “BEAUTY IS TRUTH, TRUTH BEAUTY” — FOOTNOTES:
6. 6.CHAPTER II MUSIC FOR CHILDREN — I. TRAINING THE SENSE FOR BEAUTY — II. THE VALUE OF SINGING — III. CURRENT METHODS OF TEACHING — IV. WHAT SHOULD CHILDREN SING? — V. THE FALLACY OF THE INEVITABLE PIANOFORTE LESSON — VI. THE REAL GOAL — FOOTNOTE:
7. 7.CHAPTER III PUBLIC SCHOOL MUSIC — I. IDEALS OF PUBLIC SCHOOL EDUCATION — II. THE VALUE OF MUSIC IN PUBLIC SCHOOL EDUCATION — III. FALSE METHODS OF TEACHING — IV. GOOD OR BAD MUSIC? — V. ATTEMPTS AT REFORM — VI. OTHER ACTIVITIES IN SCHOOL MUSIC — FOOTNOTES:
8. 8.CHAPTER IV COMMUNITY MUSIC — I. MUSIC BY PROXY — II. OUR MUSICAL ACTIVITIES — III. WHAT WE MIGHT DO — IV. AN EXPERIMENT — V. MUSIC AS A SOCIAL FORCE
9. 9.CHAPTER V THE OPERA — I. WHAT IS OPERA? — II. OPERA IN THE OLD STYLE — III. WAGNER AND AFTER — IV. WHEN MUSIC AND DRAMA ARE FITLY JOINED — V. OPERA AS A HUMAN INSTITUTION
10. 10.CHAPTER VI THE SYMPHONY — I. WHAT IS A SYMPHONY? — II. HOW SHALL WE UNDERSTAND IT? — III. THE MATERIALS OF THE SYMPHONY — IV. TONE COLOR AND DESIGN — FOOTNOTES:
11. 11.CHAPTER VII THE SYMPHONY ( continued ) — I. THE UNITY OF THE SYMPHONY — II. STAGES OF ITS DEVELOPMENT — III. CHAMBER MUSIC AS AN INTRODUCTION TO SYMPHONIES — IV. THE PERFORMER AND THE PUBLIC — FOOTNOTE:
12. 12.CHAPTER VIII CONCLUSION — FOOTNOTE:

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