The Larger Forms of Musical Composition (1915) (平装)
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品牌: Percy Goetschius
基本信息出版社:KESSINGER PUB LLC (2007年11月1日)平装:244页ISBN:0548746001条形码:9780548746004产品尺寸及重量:22.9 x 15.2 x 1.4 cm ; 363 gASIN:0548746001商品描述内容简介TO MY DEAR FRIEND AND FELLOW-STUDENT EDGAR STILLMAN KELLEY PREFACE. And the earth was without form and void and darkness was upon the face of the deep. Genesis, I, 2. Order is heaven s first law . ALEXANDER POPE. Passion, whether great or not, must never be expressed in an ex aggerated manner and music even in the most ardent moment ought never to offend the ear, but should always remain music, whose object it is to give pleasure. MOZART. 14 Inspiration without methods and means at its disposal will no more enable a man to write a symphony than to build a ship or a cathedral C. HUBERT H. PARRY. Evolution of the art of music. I have never believed it possible that any natural or improved ability can claim immunity from the companionship of the steady plain hard working qualities, and hope to gain its end. DICKENS. David Copperfield. The present volume is a sequel to the Homophonic Forms and Ap plied Counterpoint, and is similarly designed for the use both of the student of analysis, and the student of practical composition. It claims to be no more than a guide for the student through the successive stages in the evolution of the larger and largest forms of music structure. Therefore the classic point of view has been adopted Vi PREFACE. and illustrated, not only because that would appear to provide the most reliable basis of technical habit, but also because the thorough knowledge of these older forms must precede the inevitable and desir able advance into the modern ones. Without attempting any direct defence of conservatism, the author earnestly advises the young composer to master these classic forms by conscientious solution of each successive task given in the book. This willfurnish him with a basis, both technical and conceptive, upon which h. e can most safely and most fully realize his personal artistic impres sions and convictions. The classic designs are not lightly to be over thrown, for they are the cumulative product of a gradually dawning recognition of natures musical laws, steadily progressing and crystaliz ing through the gathering and eliminating experiences of master-minds during many past centuries. It seems reasonable, therefore, to assume that true structural progress cannot be achieved by abandoning these, but rather by building upon them. The student who desires to obtain a general view of this, structural territory, or to proceed more quickly, may limit himself to the paragraphs in larger type, which are continuous and complete. The additional elucidations in smaller type, and the references, are so ample that they, also, maybe partly omitted by those who prefer a shorter, though some what superficial, course. The analytic student will omit the given Ex ercises. The practical student must make faithful use of them. It is narrow-minded to assume that these exercises, and the persist ent application of rules, will hamper genius. They need not be executed coldly and mechanically. Subjective, personal, enthusiasm may course just as hotly here as in the pursuit of any other occupation and the student is nowhere invited to check this enthusiasm only to control and guide it Properly applied by the student, these exercises can thus only increase the power of his genius. PERCY GOETSCHIUS. YORK CITY, September, 191 5. TABLE OF CONTENTS. The numbers in parenthesis refer to the paragraphs J Introduction DIVISION ONE. THE VARIATION-FORMS. ComparativeTable Chapter I. THE GROUND-MOTIVE. ....... 3 Definition 5. Upper parts 8. Design 9. Licences 10. Methods of variation 12. Ground-motive In inner or upper part 13. Exercise i ....................... l8 Chapter II. THE GROUND-BASS, OR BASSO OSTINATO., . . . 18 Definition 14. Treatment 15-21. In inner or upper part 22. Exercise a ....................... 2 Chapter HI. THE PASSACAGLIA. ....... 29 Original Dance 23. Idealized form 24. Treatment 25-28, Thematic motive 29. Interludes 30. Codetta or Coda 31. Exercise 3 ....................... 39 Chapter IV...
