The Appreciation of Music

About this eBook

Author

Mason, Daniel Gregory, 1873-1953

Title

The Appreciation of Music - Vol. 1 (of 3)

Credits

Produced by Andrés V. Galia, Jude Eylander and the Online Distributed Proofreading Team at www.pgdp.net (This file was produced from images generously made available by The Internet Archive)

Language

English

LoC Class

MT: Music: Musical instruction and study, Composition

Subject

Piano music, Arranged

Category

Text

Project Gutenberg

eBook-No. 58458

Release Date

December 12, 2018

Copyright

Public domain in the USA.

Contents

1. 1.Untitled
2. 2.THE APPRECIATION OF MUSIC
3. 3.Untitled
4. 4.Untitled
5. 5.Untitled
6. 6.Untitled
7. 7.CHAPTER I. ELEMENTS OF MUSICAL FORM. — I. INTRODUCTORY . — II. WHAT TO NOTICE FIRST. — III. MUSICAL MOTIVES. — IV. WHAT THE COMPOSER DOES WITH HIS MOTIVES. — V. THE FIRST STEPS AS REVEALED BY HISTORY. — VI. A SPANISH FOLK-SONG. — VII. BALANCE OF PHRASES. — VIII. SUMMARY.
8. 8.CHAPTER II. FOLK-SONGS. — I. FOLK-SONGS AND ART SONGS. — II. AN ENGLISH FOLK-SONG. — III. KEY AND MODULATION. — IV. BARBARA ALLEN. — V. NATIONAL CHARACTERISTICS IN FOLK-SONGS. — VI. AN IRISH FOLK-SONG . — VII. A GERMAN FOLK-SONG . — VIII. SUMMARY.
9. 9.Untitled
10. 10.CHAPTER III. THE POLYPHONIC MUSIC OF BACH. — I. WHAT IS "POLYPHONY ?" — II. AN INVENTION BY BACH . — E XAMPLE FOR A NALYSIS , No. 1. — III. A FUGUE BY BACH . — E XAMPLE FOR A NALYSIS , No. 2.
11. 11.IV. GENERAL QUALITIES OF BACH'S WORK.
12. 12.Untitled
13. 13.CHAPTER IV. THE DANCE AND ITS DEVELOPMENT. — I. MUSICAL CHARACTER OF DANCES. — II. PRIMITIVE DANCES. — E XAMPLE FOR A NALYSIS , No. 3. — III. A BACH GAVOTTE. — E XAMPLE FOR A NALYSIS , No. 4.
14. 14.Untitled
15. 15.CHAPTER V. THE SUITE. — I. DERIVATION OF THE SUITE. — II. THE SUITES OF BACH. — E XAMPLE FOR A NALYSIS , No. 5.
16. 16.III. THE HISTORIC IMPORTANCE OF THE SUITE.
17. 17.Untitled
18. 18.CHAPTER VI. THE RONDO. — I. DERIVATION OF THE RONDO. — II. A RONDO BY COUPERIN. — E XAMPLE FOR A NALYSIS , No. 8.
19. 19.III. FROM COUPERIN TO MOZART. — IV. A RONDO BY MOZART. — E XAMPLE FOR A NALYSIS , No. 9.
20. 20.Untitled
21. 21.Untitled
22. 22.CHAPTER VII. THE VARIATION FORM—THE MINUET. — I. VARIATIONS BY JOHN BULL. — II. A GAVOTTE AND VARIATIONS BY RAMEAU. — III. HANDEL'S "HARMONIOUS BLACKSMITH." — E XAMPLE FOR A NALYSIS , No. 10. — IV. HAYDN'S ANDANTE WITH VARIATIONS IN F-MINOR. — E XAMPLE FOR A NALYSIS , No. 11. — V. THE MINUET.
23. 23.Untitled
24. 24.CHAPTER VIII SONATA-FORM I. — I. COMPOSITE NATURE OF THE SONATA. — II. ESSENTIALS OF SONATA-FORM. — III. A SONATA BY PHILIP EMANUEL BACH. — E XAMPLE FOR A NALYSIS , No. 12.
25. 25.IV. HARMONY AS A PART OF DESIGN. — V. SUMMARY.
26. 26.Untitled
27. 27.CHAPTER IX. SONATA-FORM II. — I. HAYDN AND THE SONATA-FORM.
28. 28.E XAMPLE FOR A NALYSIS , No. 13. — II. MOZART AND THE SONATA-FORM. — E XAMPLE FOR A NALYSIS , No. 14.
29. 29.III. MOZART'S ARTISTIC SKILL.
30. 30.Untitled
31. 31.CHAPTER X. THE SLOW MOVEMENT. — I. VARIETIES OF FORM. — II. SLOW MOVEMENTS OF PIANOFORTE SONATAS. — III. THE STRING QUARTET. — E XAMPLE FOR A NALYSIS , No. 15. — IV. GENERAL CHARACTERISTICS. — V. FORM OF HAYDN'S ADAGIO.
32. 32.VI. MOZART AND THE CLASSIC STYLE. — E XAMPLE FOR A NALYSIS , No. 16. — VII. FORM OF MOZART'S ANDANTE.
33. 33.Untitled
34. 34.Untitled
35. 35.CHAPTER XI. BEETHOVEN—I . — I. GENERAL CHARACTER OF BEETHOVEN'S WORK. — II. A NALYSIS OF A B EETHOVEN S ONATA . E XAMPLE FOR A NALYSIS , No. 17.
36. 36.E XAMPLE FOR A NALYSIS , No. 18. — E XAMPLE FOR A NALYSIS , No. 19.
37. 37.III. SUMMARY.
38. 38.Untitled
39. 39.CHAPTER XII. BEETHOVEN—II. — I. FORM AND CONTENT. — II. BEETHOVEN'S STYLE. — E XAMPLE FOR A NALYSIS , No. 20.
40. 40.III. THE DRAMATIC ELEMENT IN BEETHOVEN'S MUSIC. — IV. THE SIGNIFICANCE OF THE FIRST MOVEMENT OF THE FIFTH SYMPHONY.
41. 41.Untitled
42. 42.CHAPTER XIII. BEETHOVEN—III. — I. THE SLOW MOVEMENT BEFORE BEETHOVEN. — II. THE SLOW MOVEMENTS OF BEETHOVEN'S EARLY SYMPHONIES. — E XAMPLE FOR A NALYSIS , No. 21.
43. 43.III. INDIVIDUALITY OF THE ANDANTE OF THE FIFTH SYMPHONY. — IV. THE HARMONIC PLAN. — V. THE UNIVERSALITY OF BEETHOVEN'S GENIUS.
44. 44.Untitled
45. 45.CHAPTER XIV. BEETHOVEN—IV. — I. BEETHOVEN'S HUMOR. — II. SCHERZOS FROM BEETHOVEN'S SONATAS. E XAMPLE FOR A NALYSIS , No. 22.[1] — E XAMPLE FOR A NALYSIS , No. 23. — III. THE SCHERZOS OF BEETHOVEN'S SYMPHONIES. — E XAMPLE FOR A NALYSIS , No. 24. — IV. GENERAL SUMMARY.
46. 46.Untitled
47. 47.Untitled
48. 48.Untitled

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