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Theory Of Music
Chamber Music
Chamber music includes compositions which are written for limited groups of instruments suitable for performance in small rooms only. It originated during the Middle Ages when music was used as a means of entertainment to add to the further pleasure of banqueters.
Theory Of Music
Chorus and Choral Music
The range of choral music is very wide, including within its scope the different kinds of vocal societies from the church choir to the enormous chorus of hundreds of voices, such as characterized our large May festivals.
Theory Of Music
Counterpoint
It is the well-founded supposition that all music was originally vocal. Probably in the very beginning one voice was allowed to sustain in succession tones of various pitches after the manner of uncivilized people at the present time.
Theory Of Music
Development Of Musical Instruments
Science teaches that the air which we breathe, and which surrounds us in such apparent quietude, is constantly disturbed by waves or vibrations, which convey to us the impressions of the natural phenomena such as sound, light and heat.
Theory Of Music
Development Of Pianoforte Technique
In 1710 and 1729 Cristofori and Schröter produced pianos which to all intents and purposes represented our modern instruments in form and construction and at the end of the same century the Silbermanns of Freiberg and Strassburg, and Stein of Augsburg built excellent examples of the art.
Theory Of Music
Development Of The Orchestra
As has frequently been pointed out, no other art can show such an absolutely logical and plainly traceable gradual development as can the art of music. And when the development of orchestral music in general, and of the orchestra in particular is considered, a veritable mine of interesting facts is revealed.
Theory Of Music
Form
As a knowledge of any branch of human endeavor tends to increase our interest and pleasure in life, so an under-standing of the basic principles of musical composition will aid the music lover, who is without technical knowledge of the subject, to a larger and more thorough enjoyment of music.
Theory Of Music
Fugue
Fugue is in a sense the culmination of all the contrapuntal art of centuries, and holds a most important place among musical forms, whether considered historically or from the standpoint only of a finished product of art.
Theory Of Music
Fugue - Answer
As all other parts are an elaboration or outgrowth of the subject we must look to its treatment in considering the reply or answer.
Theory Of Music
Fugue - Coda
Often an independent passage or coda is added after the climax for the purpose of giving a more determined or elaborate close. It sometimes contains a pedal on the dominant, sometimes also on the tonic.
Theory Of Music
Fugue - Counter Subject
In considering the episodes in the early part of this chapter we said that they depended for their material upon the subject or counter-subject. As the range of variety throughout the fugue is largely determined by the development of the episodes, one can readily understand why the composer seeks for individuality of and contrast between the subject and counter-subject.
Theory Of Music
Fugue - Episode
The purpose of the episode, or digression as it is often called, as previously stated, is for the sake of contrast and relief to the essential parts of a fugue. It is frequently through its use that the modulations of a fugue are made.
Theory Of Music
Fugue - Exposition
After our study of the various parts we are now ready to deal with the exposition as a whole. The order of the entry of parts first concerns us, just what we may expect in the matter of sequence of the parts we have been considering.
Theory Of Music
Fugue - Stretto
We find the term stretto in many forms of music used in the sense of increasing the time or a hurrying of parts. The word is derived from the Italian verb stringere, to draw close, and in fugue it signifies the part in which subject and answer follow each other at shortened intervals.
Theory Of Music
Fugue - Subject
In considering separately the essential parts of the fugue we shall begin with the all important subject or theme. On this the entire composition depends ; it is the central or leading idea and all other parts are subservient to it.
Theory Of Music
Harmony
Melody, which is a succession of single sounds, is the basis of harmony, although it is essentially distinct from it. Music to be performed by one voice or by an instrument which is capable of giving but one tone at a time is written as a melody.
Theory Of Music
History Of Vocal Music
Artistic singing originated in the search after the best method of delivering the chants used in the early Christian church. These chants developed from the materials used in the worship of the first followers of the new religion.
Theory Of Music
Music Appreciation
All art is but an outward expression of the inner man; from the crudest, simplest relics in stone, metal and wood to the loftiest ideals expressed in sculpture or on canvas in our present time, we have but a reflection of the thoughts and emotions of the creator.
Theory Of Music
Music For Children - Current Methods Of Teaching
The most common fallacy in our teaching consists in putting knowledge before experience, or theory before practice. Children are taught about music before they have had sufficient experience of it.
Theory Of Music
Opera
The genius of poet, of musical composer, of instrumental performer, of impersonator, who is both actor and singer, of costumer and scene-maker, are all combined to produce an opera, and while the work of each is not equally important, each is quite necessary to a successful performance.
Theory Of Music
Orchestra
Because the modern orchestra is perhaps the most potent and the greatest of all instruments we consider it first. As it is intended to perform the most complex music it must necessarily contain a great compass, wide range of timbre or tone color, the greatest flexibility, and a solid sonority which can be maintained from the finest pianissimo to the heaviest forte.
Theory Of Music
Organ
The organ has been called the king of instruments, and it justly deserves this title. Large and majestic in form, complicated in construction, its very presence inspires awe. The peculiar pitch and quality of its tones thrill you through and through, and its voice predominates over that of all other instruments, and in its full strength it overtones even the largest full orchestra.
Theory Of Music
Piano
Piano technique includes not only skill and rapidity in striking the correct key but includes with this the manner of tone production. The player may play the most intricate passages without a flaw, striking no false notes, playing with exact time and perfect rhythm, but if in touching the keys he fails to produce a warmth of tone his performance leaves you cold and untouched.
Theory Of Music
Practical Value of Music
Man is a social animal, he cannot hope to develop without help from his fellow men, and his right relations with them prove his right to citizenship. What other art is so available and attractive to all men as that of music? No one will deny its great socializing power.
Theory Of Music
Solo Singing
Solo singing is perhaps the most difficult form of music to judge fairly, for often the personality of the singer prejudices the critic, but, as was said in the beginning of this chapter, a true critic who understands musical technics and expression can distinguish between good and bad singing.
Theory Of Music
Sonata Appasionata, OP. 57 Beethoven
A sonata in three movements. The first one, Assai Allegro, or very rapid; the second Andante con moto, slowly but with motion; third and last movement, Allegro ma non troppo, fast but not too much so.
Theory Of Music
Sonata Pathetique, OP. 13 Beethoven
This sonata is in a minor key (C minor), with a very slow, deliberate movement, of ten measures, Grave, as Beethoven describes it.
Theory Of Music
Sonata Quasi Una Fantasi, OP. NO. 2 Beethoven
This is sometimes called the Moonlight Sonata. Its form, as its title suggests, is free, like a fantasie. The first movement of the regular sonata form, the opening allegro, is omitted entirely.
Theory Of Music
Tonality
All sound is the result of vibrations in the air occasioned by the vibrations of some substance as the vocal cords, strings of instruments, columns of air, membranes, or sonorous bodies.
Theory Of Music
Violin
Next to the piano no instrument is more popular nor more generally abused than is the soulful violin. It is the most beautiful of all musical instruments, its tones most nearly resemble the human voice, and in the hands of a master it speaks with an honest human tongue.
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