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id: 21957
type: ORG
entity:
  The Means of Empirical Observation of the Voice CHAPTER II Sympathetic Sensations of Vocal Tone CHAPTER


id: 21957
type: WORK_OF_ART
entity:
  The Materials of Rational Instruction in Singing CHAPTER IX Outlines of a Practical Method of Voice Culture Bibliography CHAPTER


id: 3770
type: WORK_OF_ART
entity:
  HERODIADE" Modern opera and ancient courtesans, Transformed morals in Massenet''s opera, A sea-change


id: 39211
type: ORG
entity:
  the Piano Touch 26 Organizing a Musical Club 150 Perfect Rubato the Result of Momentary Impulse 101 Personal Element and the Metronome


id: 40540
type: WORK_OF_ART
entity:
  The _Duke_ steps out of the tree''s shadow, motions to _Giovanna_ to retire and, throwing himself at _Gilda''s


# bib

id: 16488
title: Debussy''s Pelléas et Mélisande A Guide to the Opera with Musical Examples from the Score
author: Gilman, Lawrence
txt: ./txt/16488.txt
cache: ./cache/16488.txt
extension: .txt
mime: text/plain
summary:
  _Pelléas et Mélisande_, based on the play of Maeterlinck, the history of Arkël, says in _Pelléas et Mélisande_, like persons "whispering about a effectively insisted upon by Maeterlinck than in _Pelléas et Mélisande_. Debussy''s _Pelléas et Mélisande, drame lyrique en 5 actes et 12 "You look like a mere child," he says, and the _Mélisande_ theme is As the third scene opens (before the castle), the _Mélisande_ theme is of a fragment of the _Fate_ theme at Mélisande''s words, after Pelléas _Golaud_, _Mélisande_, and _Fate_ themes are heard. evolved from the _Mélisande_ theme (the _Pelléas_ motive forming a and a strange variant of the first _Mélisande_ theme (page 212, measure The ''cellos intone the _Mélisande_ theme as Pelléas tells her that he the _Mélisande_ theme noted on page 82 of the piano score. flute and clarinets) the _Pelléas_ theme (page 289, measure 2), the the _Mélisande_ theme (pages 290-292).


id: 16342
title: A Treatise on Simple Counterpoint in Forty Lessons
author: Lehmann, Friedrich J. (Friedrich Johann)
txt: ./txt/16342.txt
cache: ./cache/16342.txt
extension: .txt
mime: text/plain
summary:
  The cadences in Fig. 38 are good when writing second species in both parts. Writing the second species in both parts will, in this lesson, be confined To cantus firmus _b_ write counterpoints in the second species in the other To cantus firmus _b_ write counterpoints in the second species in the other To cantus firmus _b_ write second species in two parts, as previously To cantus firmus _a_ write second species in one part and fifth in the To cantus firmus _a_ write the second species in two parts and the first in To cantus firmus _a_ write the second species in two parts and the first in To the cantus firmus write the fifth species in all of the other parts. To the cantus firmus write the fifth species in all of the other parts. To the cantus firmus write the fifth species in all of the other parts.


id: 15604
title: Piano Mastery: Talks with Master Pianists and Teachers
author: Brower, Harriette
txt: ./txt/15604.txt
cache: ./cache/15604.txt
extension: .txt
mime: text/plain
summary:
  "The most vital thing in piano playing is to learn to think. Suppose, for instance, you are studying the Chopin Étude Op. 10, No. 12, with the left hand arpeggio work. "If a pupil comes to me who has played a great deal but with no idea of no idea of chord or scale playing, you can not make the piece sound like deal of music but with little idea of correct principles of piano study. Some schools of piano playing advise lifting the fingers high Principles of Piano Playing; Relaxation Studies; The Child''s First Steps in Piano Playing; The Principles of Fingering and Laws of Pedaling; if they play the piece a sufficient number of times they will know it; lives and works, dividing his time between teaching and concert playing. pupils who have been playing difficult music for years, and who consider


id: 14968
title: The Standard Operas: Their Plots, Their Music, and Their Composers (12th edition)
author: Upton, George P. (George Putnam)
txt: ./txt/14968.txt
cache: ./cache/14968.txt
extension: .txt
mime: text/plain
summary:
  The last act opens with a song by Carmen ("Though Love''s the greatest The opera opens with a charming, playful love-scene between Jacquino to life, and the opera closes with a beautiful terzetto in Love''s their duet dies away, the chorus of maidens brings the act to a close scene of the second act, which inevitably recalls the garden music in scene, the act closes with brilliant pageant music as De Nevers The scene of the opera is laid in Brittany, and when the first act most beautiful music of the opera,--Vasco''s opening aria, "O been poisoned, and the act closes with a scene of great power in which The second act, like the first, opens with a chorus, this time, appears, and in a scene of great power, accompanied by music which The first act opens with a spirited chorus of villagers, followed by a


id: 15446
author: Brower, Harriette
txt: ./txt/15446.txt
cache: ./cache/15446.txt
extension: .txt
mime: text/plain
summary:
  studied and worked, I would be able one day to sing in such a way as to Italian operas required little or no action, only beautiful singing. master vocal art, the singer must have so developed his voice that it is "Young singers ask me what vowels to use in vocal practice. how necessary it is for the singer to do daily work on the voice, I To ask such a natural born singer how she studies and works, is like singer with a good natural voice, who takes her tones correctly, who How many of our great singers began their musical studies of the voice." The singer illustrated the idea with a short musical think if they have a good natural voice and take singing lessons, that in the middle of her voice--always the best way--and sings a whole tone vocal art, the singer must have so developed his voice that it is under

title:
  Vocal Mastery Talks with Master Singers and Teachers, Comprising Interviews with Caruso, Farrar, Maurel, Lehmann, and Others


id: 16225
title: Music as a Language: Lectures to Music Students
author: Home, Ethel
txt: ./txt/16225.txt
cache: ./cache/16225.txt
extension: .txt
mime: text/plain
summary:
  students who wish to teach ear-training on modern lines to classes of course of work necessary before being able to teach classes up to a fair singing at sight easy melodies in major keys, and in ear tests of two or ear-training work, to distinguish between the musical children and the is taking a song lesson with a large class of children, who have the musical children sing at sight alone from time to time. possible for children to sing fairly easy melodies in all keys, major a teacher attempts to train children in a sense of time and rhythm. In taking an exercise in sight-singing for the first time with a class By the time that children can sing at sight in the key of D major they time the children will have begun some of the practical work at the For class work with children it can be made a still


id: 19499
title: Music Notation and Terminology
author: Gehrkens, Karl Wilson
txt: ./txt/19499.txt
cache: ./cache/19499.txt
extension: .txt
mime: text/plain
summary:
  use such words as _note_, _tone_, et cetera with at least a fair degree tones are to be sung an octave lower than the notes would indicate. key a melody is one must note whether the tones are grouped about the placed on a staff indicates that a certain tone is to be sounded for a half-note on the second line of the treble staff indicates that a A _scale_ (from _scala_, a Latin word meaning _ladder_; Ger. _Ton-leiter_) is an ascending or descending series of tones, progressing tones of the key), and is applied to both major and minor scales of our four tones of any diatonic scale (major or minor) are often referred to _The original (or primitive) form_ of the minor scale has its tones whole-tone scale as a basis of music is, except upon a keyed "indicate.") "Sing what the note calls for" means, sing a tone


id: 19493
title: The Head Voice and Other Problems: Practical Talks on Singing
author: Clippinger, D. A. (David Alva)
txt: ./txt/19493.txt
cache: ./cache/19493.txt
extension: .txt
mime: text/plain
summary:
  tone quality, and the astounding thing about the human voice is that for moving appeal in the pure singing tone of the human voice that cannot singer must form the pitch, power, and quality of each tone as he uses tone throughout his vocal compass his voice is placed, and it is not the voice means the development of the musical mentality and at best is Again, the human voice can produce such a variety of tone qualities that voice production and disappear as the singer learns to produce his upper In preparing the head voice the student must begin with a tone that is voice teachers usually believe in direct control of the vocal organs. In voice production it means the perfect tone concept. same way the vocal student must hear mentally the pure singing tone an untrained voice and attempts to make it produce a musical tone.


id: 19354
author: Goetschius, Percy
txt: ./txt/19354.txt
cache: ./cache/19354.txt
extension: .txt
mime: text/plain
summary:
  TONE-RELATIONS, THE HOMOPHONIC FORMS OF MUSICAL COMPOSITION, MODELS OF In the second place, the tones and groups in a good melody are measured the 4th measure (preliminary tones of the following phrase) are following complete phrase appears at the beginning of a song: 16th-notes in the cadence-measure (of the preceding phrase) is "cadence-measure of the old phrase," as it is marked and as it appeals "cadence-measure of the old phrase" is unquestionably _at the same time At the end of this four-measure phrase there is a perfect cadence, continuation of rhythmic movement to the end of the cadence-measure). members) that these measures form part and parcel of the original phrase, a six-measure phrase, with perfect cadence, and is repeated, with fairly large Three-Part form; the subordinate theme (measure 47-69) is Principal theme; measures 26-30, final phrase. _Principal Theme_, Two-Part form (measures 1-24). four-measure phrases, each with a definite perfect cadence, and

title:
  Lessons in Music Form A Manual of Analysis of All the Structural Factors and Designs Employed in Musical Composition


id: 20069
title: Caruso and Tetrazzini on the Art of Singing
author: Caruso, Enrico
txt: ./txt/20069.txt
cache: ./cache/20069.txt
extension: .txt
mime: text/plain
summary:
  been written on breathing, tone production and what singers should eat Open the throat wide and start your note by the pressure breath. From the minute the singer starts to emit a tone the supply of breath pronounce the tones on a note in the easiest part of your voice. eventually the head voice will be joined to the breath, and a faint note singer with this voice production usually concentrates her entire If the singer''s health is good the voice should end only with life voice, first singing with the mouth closed and relying entirely on very In singing in public as well as when practicing the singer must stand so The "throaty" voice comes from singing with the throat insufficiently If the singer gives much of himself as well as of his voice to the sings with good breath support the more beautiful the voice becomes.


id: 19116
title: How to Sing [Meine Gesangskunst]
author: Lehmann, Lilli
txt: ./txt/19116.txt
cache: ./cache/19116.txt
extension: .txt
mime: text/plain
summary:
  tongue, or palate, or in the organs that furnish the breath pressure. Red lines denote division of the breath in palatal resonance, lower for the highest tone, sing the figure to its end, toward the nose, large resonating chamber thus formed yields tones that are powerful the organs of breathing, the position of the larynx, of the tongue, sing in a high vocal range, I can plainly feel the larynx rise and In singing very high head tones I have certain position of the vocal organs--larynx, tongue, and palate. With every tone that the singer has to sing, he must always head and falsetto tones, which are without any palatal resonance and the breath,--except in the very highest head tones,--around which it By this exercise the form for the breath, tone, and word, in _ah-e-[=a]_, larynx, tongue, and palatal position on the lowest tone


id: 19138
title: Resonance in Singing and Speaking
author: Fillebrown, Thomas
txt: ./txt/19138.txt
cache: ./cache/19138.txt
extension: .txt
mime: text/plain
summary:
  Schubert, Schumann, Franz, Brahms, Grieg, Strauss, and Wolf, as well breath is necessary to produce the best results of which a voice is Full control of the breath insures success to a good voice; breath is needed to produce effective tones, the impression must exist the tone, lessen the resonance, and weaken the voice, rendering the 5. Ability to sing and sustain the voice on an _ordinary_ breath. improve her voice took vocal music lessons of a teacher of more than sing you will hear the tone sounding in the piano. of the tones are dependent upon _resonance_,--the vibration of the air As tone, or vocalized breath, issues from the larynx, it is divided to the vibrations and add to the tone normal nasal resonance. largely vowelization, and vocal tones are a complex of sound and develop and establish a good speaking and singing voice. POWER OF TONE, dependent on resonant cavities and breath control, 27.


id: 19880
author: Mills, Wesley
txt: ./txt/19880.txt
cache: ./cache/19880.txt
extension: .txt
mime: text/plain
summary:
  effect--Forms of general exercise for the voice-user--Summary 62 Vocal bands and resonance-chambers compared--Improvised mechanism to practice as related to ease--The registers of the speaking voice The vocal bands during the production of a high-pitched tone 138 voice-training essential, if artistic results are to follow; neither breath-control so essential to good singing and speaking. Like the nose the larynx, and especially the vocal bands, may The larynx is the most important organ in voice-production, and muscles most in use in ordinary speech and in singing the lower tones. The tone caused by the vibration of two such small bands as the vocal of quality in the voice, and change of mechanism in the vocal singing and speaking the student learn to begin his voice-production any singer of whatever voice; while for speakers high tones are really cases to the vocal organs, while good voice-production strengthens

title:
  Voice Production in Singing and Speaking Based on Scientific Principles (Fourth Edition, Revised and Enlarged)


id: 22793
title: The Standard Oratorios: Their Stories, Their Music, And Their Composers
author: Upton, George P. (George Putnam)
txt: ./txt/22793.txt
cache: ./cache/22793.txt
extension: .txt
mime: text/plain
summary:
  The oratorio in its modern form is a musical setting of a sacred story or the work, the chorus of Soldiers in march time ("We surely here shall The work is written for four solo voices, chorus, and orchestra. cantata." The work has seven numbers,--two baritone solos and chorus, followed by a very elaborate chorus ("Blessed be the Lord"), closing with final chorus ("Blessed be the Lord"), closing with a fugue on the word first written, the oratorio closed with the effective chorus and solo, number, "And He shall purify," a fugued chorus closing in simple harmony. This chorus is followed by a beautiful aria for alto ("The Lord music includes the following works: mass for four voices, Requiem Mass, solo and chorus ("God of all"), written in the church style, followed by The oratorio is written in three parts, for solo voices, chorus, and


id: 16658
title: Piano and Song How to Teach, How to Learn, and How to Form a Judgment of Musical Performances
author: Wieck, Friedrich
txt: ./txt/16658.txt
cache: ./cache/16658.txt
extension: .txt
mime: text/plain
summary:
  teach you a great deal of it in a different way, and every time I shall acquire a fine touch on the piano; that is, to make the tones sound as singing, as a necessary foundation for piano-playing. advance the age; have heard every thing great and fine in music, and sing when papa played the flute, said, "What ridiculous little things just as singing-teachers rely upon the culture of a fine tone, in order has been acquired, it is of no use to talk about a fine singing tone. musical culture, with special reference to piano-playing. music, to play this piece, even if it is done quite mechanically, two or chords, which allow time to bring out the singing tone, in which Three trifles are essential for a good piano or singing-teacher,-EXTRAVAGANCES IN SINGING AND PIANO-PLAYING. EXTRAVAGANCES IN SINGING AND PIANO-PLAYING. Where did he learn piano-playing?


id: 17474
title: How to Listen to Music, 7th ed. Hints and Suggestions to Untaught Lovers of the Art
author: Krehbiel, Henry Edward
txt: ./txt/17474.txt
cache: ./cache/17474.txt
extension: .txt
mime: text/plain
summary:
  music--Development of the instrument--The Pedal and its use--Liszt and [Sidenote: _Popular ignorance of music._] [Sidenote: _The nature of music._] [Sidenote: _Tones and musical material._] [Sidenote: _Origin of musical elements._] [Sidenote: _How composers hear music._] [Sidenote: _Beethoven''s Chamber music._] [Sidenote: _The characteristics of Chamber music._] [Sidenote: _Kinds of Programme music._] [Sidenote: _Music and movement._] instrumental because it is a mixed art; in it the purpose of music is [Sidenote: _Beethoven''s notes on descriptive music._] [Sidenote: _A definition of "Classical" in music._] conditioned the character of the music composed for the instrument, wind instruments, are obliged to form the musical tone--which, in the [Sidenote: _Periods in pianoforte music._] music composed for these instruments to a great extent. [Sidenote: _Music and emotion._] [Sidenote: _Words and music united._] [Sidenote: _Music and action._] [Sidenote: _Music and dramatic expression._] [Sidenote: _Five-part music._] [Sidenote: _Characteristics of his music._] [Sidenote: _Palestrina''s music not dramatic._]


id: 18567
author: Stedman, Fabian
txt: ./txt/18567.txt
cache: ./cache/18567.txt
extension: .txt
mime: text/plain
summary:
  the _Extream_ Bells makes a _Change_ every time the _Hunt_ making the _Treble_ the _Hunt_, and the _Extream Changes_ _Extream_ Bells from the _half Hunt_, as in this _Change_.-Extream Bells from the half Hunt, and the other way is in making between the Extream Bells alone: The half Hunt in the Six-score, six, hunting the second Bell through it, makes four Changes; Bells to the quarter Hunt; but the Twelve-score Changes are extream change every time the half hunt comes before the way, is to make an extream change every time the half hunt every time the half hunt comes before the extream bells, extream bells from the half Hunt, as in the following changes. single changes in Grandsire bob on six bells, for the half The second bell is the half hunt in this following Peal, for hunt, and three extream bells, makes the Six-score changes of

title:
  Tintinnalogia, or, the Art of Ringing Wherein is laid down plain and easie Rules for Ringing all sorts of Plain Changes


id: 26477
title: Observations on the Florid Song; Or, Sentiments on the Ancient and Modern Singers
author: Tosi, Pier Francesco
txt: ./txt/26477.txt
cache: ./cache/26477.txt
extension: .txt
mime: text/plain
summary:
  attend him: Let a Singer have a Fund of Knowledge sufficient to perform Let the Master attend with great Care to the Voice of the Scholar, In the same Lessons, let him teach the Art to put forth the Voice, that they understand the Art of Singing better than the Singers. If the Master hastens insensibly the Time when the Scholar sings Let the Scholar not be suffered to sing _Divisions_ with Let the modern Master learn to make use of this Advice, for Action by the Singer, the Master is obliged to teach the Scholar a The most necessary Study for singing _Airs_ in Perfection, and Generally speaking, the Study of the Singers of the present Times I do not know if a perfect Singer can at the same time be a Where Knowledge with Study makes one a good Singer, Ignorance with


id: 28026
author: Cooke, James Francis
txt: ./txt/28026.txt
cache: ./cache/28026.txt
extension: .txt
mime: text/plain
summary:
  GREAT PIANISTS ON PIANO PLAYING Liszt is, of course, considered a great master for the piano, and I play technical exercises, and strive to play all the scales, in the different technic, but are really great works of musical art. 2. Should immediate musical results be sought in technical study? good teacher, he studied the individuality of each pupil and taught him that in music ''Art is long.'' The virtuoso comes to a great metropolis "The piano itself is of course a great help to the student in the study responsibilities of the teacher in the first years of music study. 3. Do great pianists devote much time to writing upon piano technic? great thing in all musical work. 3. What part should the study of phrasing play in modern music pupil to play all of the Czerny studies, any more than the student greatest possible means for saving time in music study.

title:
  Great Pianists on Piano Playing Study Talks with Foremost Virtuosos. A Series of Personal Educational Conferences with Renowned Masters of the Keyboard, Presenting the Most Modern Ideas upon the Subjects of Technic, Interpretation, Style and Expression


id: 30889
title: The Mechanism of the Human Voice
author: Behnke, Emil
txt: ./txt/30889.txt
cache: ./cache/30889.txt
extension: .txt
mime: text/plain
summary:
  tone-producing element as the "Vocal Ligaments." voice, because in inspiration the air strikes the vocal ligaments to the larynx, and the tone of the vocal ligaments will be intensified, sing a pure vocal tone, and the mirror will remain perfectly tone is produced by the vibrations of the vocal ligaments. When singing in what is called chest-voice the voicebox rises gradually As soon as we produce a tone, the pyramids, and with them the vocal Every time we take breath, the pyramids with the vocal ligaments recede, Formation of the Vowel-tones and the Registers of the Female Voice. male voice, the vocal ligaments alone act in forming the sound, and are but by the shield-pyramid muscles which press the vocal ligaments more [Illustration: musical notation] in the female voice, and in the male tones of the Upper Thick, when the tension of the vocal ligaments is vocal ligaments in producing voice, with especial reference to the


id: 30854
title: The Voice: Its Production, Care and Preservation
author: Miller, Frank E. (Frank Ebenezer)
txt: ./txt/30854.txt
cache: ./cache/30854.txt
extension: .txt
mime: text/plain
summary:
  singers the physical action of the vocal organs and of all the resonance singing involves complete physiological control of the voice-producing voice produced on breath that is under the singer''s control and that Every vocal tone is, in fact, a mental concept reproduced as voice by the physical organs of voice-production, so that every vocal tone is, voice) calls for an extraordinary change in the adjustment of the vocal vocal apparatus required for their production, and not by voice-quality. to produce the lower notes of one register with the vocal adjustment function of the vocal tract below and above the cords simply to voice male voice, especially in the lowest tones of the chest register, that register, however, produces in the alto voice a tone that is rich for alto voice; and when singing in chest or head register, an alto their natural singing range, is in the middle register, and the tones


id: 30412
title: On the Execution of Music, and Principally of Ancient Music
author: Saint-Saëns, Camille
txt: ./txt/30412.txt
cache: ./cache/30412.txt
extension: .txt
mime: text/plain
summary:
  his treatise on music, speaking of how Plain Song should be interpreted, the grievous practice of adapting popular songs to church music. century admirable music was written, though deprived of melody, properly attempts to execute the music of Palestrina were made in the time of me, differs completely from our musical conceptions; and it is a great Such a way of playing this music is simply out of the question. It was decided that in piano playing unless indicated to the Finally, in ancient times notes were not defined as they are to-day and written note indicating a long or short duration. A great obstacle to executing ancient works from the eighteenth century revolutionized the performance of music on the piano, but also the way A question of the greatest importance in playing the music of Chopin is Another plague in the modern execution of music is the abuse of the


id: 31828
title: Vocal Expression: A Class-book of Voice Training and Interpretation
author: Everts, Katherine Jewell
txt: ./txt/31828.txt
cache: ./cache/31828.txt
extension: .txt
mime: text/plain
summary:
  Let your study of the thought in these sentences hold in Let us consider together the problem of vocally interpreting this speech try to vocally interpret, to _think aloud_ this thought. never lets it escape to words like these, save now and then on a is the art of voicing the words in a phrase so that they shall assume a interpretation, in the color of tone and in the inflection of the words? ninth verse, "like a high-born maiden." Let the pitch fall in the first With the fourth line let the tone settle down to work. Let us read from the chapter called "Tom Comes Home" in the life Looking back over these studies in interpretation, let us review in true thought and emotion with definite tones of the voice or movements of the condition and again voice the thought, noting the change in inflection. Let your tone, like a thing "half


id: 21957
author: Taylor, David C. (David Clark)
txt: ./txt/21957.txt
cache: ./cache/21957.txt
extension: .txt
mime: text/plain
summary:
  instruction in singing and the actual methods of vocal teachers. the vocal action is obtained by attentive listening to voices, and in no the voice separately;--when the correct vocal cord action had been of tone; they instruct their pupils to sing low notes in one quality, empirical precept, "Sing with open throat." Several vocal theorists take MECHANICAL VOCAL MANAGEMENT AS THE BASIS OF VOICE CULTURE MECHANICAL VOCAL MANAGEMENT AS THE BASIS OF VOICE CULTURE vocal-cord action, for forward emission of tone, and for control of the Voice Culture must be turned from the idea of mechanical vocal classes of muscular sensation of vocal tone, direct and sympathetic, are vocal mechanism, obtained through the attentive listening to voices. throughout all vocal training the teacher listens to the pupil''s voice. correct vocal action and any other manner of tone-production. the vocal organs and to the mechanical operations of the voice.

title:
  The Psychology of Singing A Rational Method of Voice Culture Based on a Scientific Analysis of All Systems, Ancient and Modern


id: 21400
title: Style in Singing
author: Haslam, W. E.
txt: ./txt/21400.txt
cache: ./cache/21400.txt
extension: .txt
mime: text/plain
summary:
  basic principles of Style to the vocal music of the German, French, successfully the music of Falstaff, in Verdi''s opera, as is necessary if the musical phrasing be judiciously combined with a change in phrasing is good and effective, especially if the artist changes at of the classics confined to the vocal parts of the music composed by [Music: (Original Italian version, as written for Vienna.) accuse artists of introducing changes, of not performing the music as the composers'' music listen to the following phrase, sung as it is Composers and dramatic authors, in fact, _create_ their art-works; but (Italian), and means the changing of the notes or contour of a musical word "His," to which it belongs, while the composer''s music remains gifted artist, possessing a voice of very great compass, was enabled musical phrases or ideas to the work; but that his practical knowledge


id: 21653
title: The Eurhythmics of Jaques-Dalcroze
author: Jaques-Dalcroze, Émile
txt: ./txt/21653.txt
cache: ./cache/21653.txt
extension: .txt
mime: text/plain
summary:
  vocal music, the course of training failed to make use of the educative exercise; while at the same time it trains the sense of form and rhythm, experiments in rhythm, and the complete study of movements simple and In the same way, plastic music will picture human feelings expressed by The effect of rhythmic training on the time-table and life of a school is far; so in music--one who has mastered notes, chords and rhythms can The pupil learns a series of movements which together form a rhythm, movements required in the physical expression of a rhythm can be learnt, rhythm expressed by the series of movements in question. developing feeling for rhythm by giving training in the physical the rhythm of the music played, but also to its feeling; they allow free rhythm, the pupils still realizing the first one, but at the same time musical training, or its value to physical development.


id: 22392
title: Essentials in Conducting
author: Gehrkens, Karl Wilson
txt: ./txt/22392.txt
cache: ./cache/22392.txt
extension: .txt
mime: text/plain
summary:
  music performed at the correct tempo, with appropriate dynamic extensive study of piano, organ, singing, ear-training, music history, An instrumental performer makes a bad tone, and the conductor laughs selection of music to conduct; and second, in inspiring all conductors of the word applies to music as well, the conductor or performer function of the performer or conductor to so interpret the music that In order to interpret a musical work, then, the conductor himself must performance, see that your vocalists sing the music in such a way that and orchestral music the conductor must see to it that the performers matter than directing a chorus singing four-part music, and the boys singing high, beginning with the higher tones [music notation] performance, and in the case of both vocal and instrumental music, at difficult for the conductor and accompanist to do good musical work


id: 14185
title: Edward MacDowell: A Great American Tone Poet, His Life and Music
author: Porte, John Fielder
txt: ./txt/14185.txt
cache: ./cache/14185.txt
extension: .txt
mime: text/plain
summary:
  _I do like the works of the American composer MacDowell! the analysis of MacDowell''s "Indian" Suite for Orchestra, _Op. 48_, this being a work less accessible to the general reader than music at Columbia University, New York, and MacDowell, described The last music that MacDowell published appeared in 1902, and his music and in the wonderful MacDowell Colony at Peterboro, New Macdowell''s position to-day in creative musical art remains the MacDowell''s finest pianoforte pieces bear verses in addition to composer along lines of MacDowell''s own suggestion. MacDowell''s pianoforte pieces and songs published in America by beauty of expression found in the composer''s later song groups. is as strong and impressive a piece as MacDowell ever composed music as tender and serene as anything MacDowell ever composed. are, they are equalled in expression by the music of MacDowell''s A number of well-known MacDowell pianoforte pieces have been The following pieces were published by MacDowell under the


id: 1487
title: The Perfect Wagnerite: A Commentary on the Niblung''s Ring
author: Shaw, Bernard
txt: ./txt/1487.txt
cache: ./cache/1487.txt
extension: .txt
mime: text/plain
summary:
  The Niblung''s Ring by Wagner to the long-delayed completion of Night when the music of Night Falls On The Gods was added, was an attempt to three), The Valkyries, Siegfried, and Night Falls On The Gods; or, in were no higher power in the world to work against Alberic, the end of it Wotan wrests the ring from Alberic, the dwarf delivers a lurid and But from Brynhild no hero can spring until there is a man of Wotan''s the gods and ruling the world through the ring, Wotan is no longer Wagner had to create Wotan as the anvil for Siegfried''s hammer; and work of Jupiter, just as Siegfried does of Fafnir, Mime, and Wotan; and the blow by which Siegfried breaks the god''s spear is the end of Wotan theme is introduced at the end of The Rhine Gold to express Wotan''s hero


id: 3770
title: A Second Book of Operas
author: Krehbiel, Henry Edward
txt: ./txt/3770.txt
cache: ./cache/3770.txt
extension: .txt
mime: text/plain
summary:
  First performances, As oratorio and opera in New York, An inquiry into opera, Scenic and musical adornments, Performances in New York, ladies, First performance in New York, American history of the opera, The song of the sun, Allegory and drama, Story of the opera, et Maria Theresa, First performance of the opera at New York, "Der First performance of Moussorgsky''s opera in New York, Participation of works were of the kind called sacred operas in the books and are spoken the Academy of Music by the National Opera Company, then in its death in New York by the American Opera Company, at the Academy of Music, on took the work of making the opera book in hand. of New York in the book and play and a prince in the opera, but in all composer if not more, set him to music, but the opera was never


id: 5724
title: A Book of Operas: Their Histories, Their Plots, and Their Music
author: Krehbiel, Henry Edward
txt: ./txt/5724.txt
cache: ./cache/5724.txt
extension: .txt
mime: text/plain
summary:
  --The plot of the opera--Gounod on the beautiful in Mozart''s music The love story in Gounod''s opera--Ancient bondsmen of the devil-Music in the mediaeval Faust plays--Early operas on the subject-Meyerbeer and Goethe''s poem--Composers of Faust music--Beethoven-into an opera by Raoul Gunsbourg--The composer''s "Scenes from Faust" opera troupe to visit the New World, performed it in Italian on The opera, like all the old works of the lyrical stage, precede the story of the opera as it came from Mozart''s hand. Mozart composed "Don Giovanni" for the Italian Opera at Prague, opera "Faust," went for their subject to Goethe''s dramatic poem. The opera begins, like Goethe''s dramatic poem, after the prologue, he called his opera "Mefistofele," not "Faust," he drew its scenes, drawn from the music of the opera; but, like the prelude to Wagner''s German opera at Prague, and when he was called to be Court Music


id: 12903
title: Symphonies and Their Meaning; Third Series, Modern Symphonies
author: Goepp, Philip H. (Philip Henry)
txt: ./txt/12903.txt
cache: ./cache/12903.txt
extension: .txt
mime: text/plain
summary:
  horns and wood strikes the descending course of theme, while higher form in taking for the theme of our musical poem the motive with _Lento_ in basses of the strings a strain sounds like a basic motive, lighter phrase of the other, is the returning figure with a new song now A new mystic play of the quicker motto, answered by the second theme, following melody and in turn of the main Allegro theme. folk-manner, like primal music in the love or dance songs of savages. Follows a final tempest and climax of the phrase of second theme. harmonies in harp and strings the higher wood sing a new song in long [Music: (Wood, horns and strings) [Music: (Wood, horns and strings) [Music: (Wood, horns and strings) strings and harp, and buried in a rich chord whence rises a new song [Music: (Cello and harp with harmony of wood, horns and strings)


id: 12856
author: Myer, Edmund J. (Edmund John)
txt: ./txt/12856.txt
cache: ./cache/12856.txt
extension: .txt
mime: text/plain
summary:
  Practical Stand-Point," "Voice-Training Exercises" (a study of the natural movements of the voice), "Vocal Reinforcement," "Position and Action in singing, which are freedom of form and action, spontaneity and naturalness. true art of voice is to study the conditions which allow these phenomena to devices used to study natural laws, to develop the God-given powers of the conditions of tone; movements which allow the voice to sing spontaneously. These movements develop in a common-sense way the power of natural forces, to be the level of the tone let the voice sing. which secure the true conditions of tone and automatic breath-control. is the great movement for developing the low tones of all voices. way all true conditions are secured, and the voice is allowed to sing as a rule, upon freedom of voice and the true conditions of tone as before Sing a tone, about the middle of the voice, without other thought than that

title:
  The Renaissance of the Vocal Art A Practical Study of Vitality, Vitalized Energy, of the Physical, Mental and Emotional Powers of the Singer, through Flexible, Elastic Bodily Movements


id: 34610
title: How to Appreciate Music
author: Kobbé, Gustav
txt: ./txt/34610.txt
cache: ./cache/34610.txt
extension: .txt
mime: text/plain
summary:
  epoch--A Bach fugue more elaborate than a music-drama or tone modern music--Wagner unites the harmony of Beethoven with the music--Wagner, greatest of orchestral composers--Employs large the Mozart opera and the Beethoven symphony in the evolution of music, his baton as a pianoforte is to the fingers of a musical poet like go through the pianoforte score of a Wagner music-drama and, as you of the composer and the woman who inspired his great music-drama, to A Wagner music-drama, a Richard Strauss tone poem, seem form as developed by Haydn, Mozart and Beethoven), Bach composed pianoforte scores of the Wagner music-dramas, which actually sound this day in orchestra, opera and music-drama as well as in pianoforte this greater genius, and he said of Chopin that he composed music for of instrumental music in the tone poem of Richard Strauss. Strauss''s works form the latest great utterance in music.


id: 32023
author: Curwen, J. Spencer (John Spencer)
txt: ./txt/32023.txt
cache: ./cache/32023.txt
extension: .txt
mime: text/plain
summary:
  A BOOK OF PRACTICAL INFORMATION ON THE TRAINING OF BOYS'' VOICES FOR "Our best solo boy, who has a splendid voice and who sings beautifully, I try a new boy''s voice at the choir practice. boys, by singing quietly, to glide the chest voice into the upper the choir-boy, it is not worth while to teach him to sing by note. new lot of choir boys will be liable to sing flat, and to lower their obtain choir-boys, adult men learned to sing alto, and even low treble adult altos in my choir I should not think of using boys'' voices. indeed do I hear boy altos sing with sweet voices and true intonation, "In part-singing where there are boy trebles, the adult male alto voice I have trained boys to sing alto in is the custom in some choirs to make a boy sing alto as soon as his

title:
  The Boy''s Voice A Book of Practical Information on The Training of Boys'' Voices For Church Choirs, &c.


id: 33900
title: Principles of Orchestration, with Musical Examples Drawn from His Own Works
author: Rimsky-Korsakov, Nikolay
txt: ./txt/33900.txt
cache: ./cache/33900.txt
extension: .txt
mime: text/plain
summary:
  _Note._ In quick passages for stringed instruments long form a kind of link between string and wood-wind instruments. of wood-wind instruments varies both as regards number of parts and (Eng. horn and double bassoon); and b) instruments of "chest-voice" _piano_ passages, all wind-instruments, wood or brass are of fairly basses + 1 Fag. Muted strings do not combine so well with wood-wind, as the two tone The combination of two different wood-wind instruments in unison Tuba + Fag. Combining the Eng. horn, bass clarinet and double bassoon To double a trumpet in the upper octave three or four wind instruments instrument in the string group may be provided with double notes or The combination of strings, wood-wind and brass instruments, set side * The case of a solo stringed instrument doubled by the wood-wind in Melodic doubling of voices by orchestral instruments (in unison or


id: 33358
title: Great Singers on the Art of Singing Educational Conferences with Foremost Artists
author: Cooke, James Francis
txt: ./txt/33358.txt
cache: ./cache/33358.txt
extension: .txt
mime: text/plain
summary:
  singers and, later, in teaching voice for many years, formed a machine company, a man whose acquaintance with great singers of the time famous singers in the great opera house with the minutest attention, My advice to the voice students of America is to hear great singers. The American student with a really good voice and a really fine vocal work that many native Italian singers with realty fine voices are when a new singer comes to me and wants to sing _Tosca_ or some rôle the case at one time in America that a singer with a great reputation Opera House in New York was so great that at the time I made my début opera singer in the great opera houses of the world rarely sings more The opera singer naturally gets tired of singing a few rôles the voice and trains the singer technically to do great things.


id: 37662
title: Seed Thoughts for Singers
author: Tubbs, Frank Herbert
txt: ./txt/37662.txt
cache: ./cache/37662.txt
extension: .txt
mime: text/plain
summary:
  Heart and Intellect, 54; Time Ends Not, 55; Power of Thought, 56; Nature Good, 84; Little Things Affect, 85; Musical Library, 86; Change of A singing teacher, passing along, noticed the rich voice of the line of development to follow in bringing into use the singing voice. had in mind the opportunity which the music teacher has to do good. A teacher of voice and singing who does not believe his way is the best into voice and music, thus making better their ability. teacher feels every little while as if his good way were slipping from long time, much longer than it takes to sing any phrase in music which It will come to any man who is doing good work and living a teacher''s mind can be made upon the pupil in two seasons of study if it body enter into voice culture, where they are and how they work.


id: 39211
title: Piano Playing, with Piano Questions Answered
author: Hofmann, Josef
txt: ./txt/39211.txt
cache: ./cache/39211.txt
extension: .txt
mime: text/plain
summary:
  Play the piece a number of times very exactly with the music piano--after several hours, remember--try to play the piece. _With Regard to Technical Work_: Play good compositions and construe out in your memory and in good technical condition, play them a few times playing single notes with one finger of each hand. [Sidenote: _Don''t Stiffen the Hands in Playing Scales_] [Sidenote: _Organ-Playing and the Piano Touch_] [Sidenote: _The Fingers Needed to Play a Mordent_] In playing glissando in the right hand use the index finger when going [Sidenote: _Use Pedal With Caution in Playing Bach_] There is no piano-music that forbids in playing the use of the pedal. [Sidenote: _Four Ways to Study a Piano Piece_] [Sidenote: _The Two Hands Playing Different Rhythms_] play the piano well a good hand and so many hours of practice are not [Sidenote: _The Student Who Cannot Play Fast Music_]


id: 40849
title: Beethoven''s Symphonies Critically Discussed
author: Teetgen, Alexander
txt: ./txt/40849.txt
cache: ./cache/40849.txt
extension: .txt
mime: text/plain
summary:
  attempt to explain Beethoven''s music (his soul, _id est_) would involved beauty of Beethoven''s symphonies is not to be dreamt of in Shakespeare''s is that of a god-like man; Mozart''s that of that Beethoven, like the rest, does not equal Shakespeare. "Opus 21."--So, when Beethoven came of age, musically speaking, he Beethoven sitting down to write his first symphony; _fuller_ feelings some sort a Faust); and, before this symphony, we feel Beethoven was great text, like music in general, and more so with Beethoven, has Beethoven might well write an Heroic Symphony, for the very soul of favourite, Beethoven the Father''s; o''er Mozart''s music one would this symphony, Beethoven summoned up all his then powers to pour forth soul of music, at least Beethoven makes us think so; but the works--whose soul is as great, but substance less--we see Beethoven, Beethoven distinguished by his great power, 28 Fifth Symphony paints Beethoven''s life, 62


id: 40540
author: Kobbé, Gustav
txt: ./txt/40540.txt
cache: ./cache/40540.txt
extension: .txt
mime: text/plain
summary:
  In the modern opera house the final curtain falls upon this scene. the Siegfried Motive combine to place the music of the scene with the hero''s growing ecstasy finds expression in the Motive of Love''s Joy. At last it awakens a responsive note of purely human passion in Opera in three acts, words and music by Richard Wagner. Opera in three acts, words and music by Richard Wagner. Opera in three acts, words and music by Richard Wagner. In the music lesson scene in the second act the original score is work by him, was given for the opening of two New York opera houses, Opera-goers of the old Academy of Music days will recall the bell-like chorus from the previous act of the same opera, or passionate love as Opera in five acts (12 scenes). Opera in five acts (12 scenes). Opera in four acts and eight scenes; libretto taken from the

title:
  The Complete Opera Book The Stories of the Operas, together with 400 of the Leading Airs and Motives in Musical Notation


id: 42918
title: The Standard Light Operas, Their Plots and Their Music
author: Upton, George P. (George Putnam)
txt: ./txt/42918.txt
cache: ./cache/42918.txt
extension: .txt
mime: text/plain
summary:
  In the first act the principal numbers are the opening song of George, The second act opens with a charming chorus, "Tap, tap," sung by the The principal numbers in the second act are Janet''s joyous song, "There are a graceful carnival scene with chorus opening the act; the serenade Hector''s song, "Young appearing," in the second act; and the lively The second act opens with a love scene between Werner and Margaretha, principal numbers of the third act are Margaretha''s song, "My Love rode finale to the first act beginning with a mock serious aria in which Mrs. Ford bewails her husband''s jealousy, followed by a sextette and chorus, "The Sorcerer." The second act opens with a chorus of the daughters and The leading numbers of the second act are the opening duet first scene of the second act is a mine of charming songs, including


id: 30560
title: Music: An Art and a Language
author: Spalding, Walter Raymond
txt: ./txt/30560.txt
cache: ./cache/30560.txt
extension: .txt
mime: text/plain
summary:
  foundation of any large work of music, be it symphony, symphonic poem part in the music of Haydn, Schubert, Chopin, Liszt, Brahms, Grieg, movement of Brahms''s _C minor Symphony_, the second phrase of which is theme of the Slow movement of Schumann''s Second Symphony (measures instrumental music gradually worked out a structure of its own,[64] Invention, the Two and Three-part forms, the Rondo and the Varied Air. Through the perfecting of these means of expression music became a two living musical personalities, the first and second themes. For actual musical examples it seems best to begin with the works of invent pure instrumental melody, _i.e._, musical expression suited to Bach''s work, we feel that his musical sense operated abstractly like a than the mere development of musical themes. working principles of musical composition, they are as much subject to use made of themes in modern music, in the works of Strauss,


id: 32248
title: The Standard Cantatas: Their Stories, Their Music, and Their Composers A Handbook
author: Upton, George P. (George Putnam)
txt: ./txt/32248.txt
cache: ./cache/32248.txt
extension: .txt
mime: text/plain
summary:
  occasions an ode was written and set to music.[13] In the latter year the music, including an obligato soprano solo with chorus of angels ("Praise scene the music changes to a bright and tripping strain, the chorus of worlds and of music, as the song of stars unites with the angel chorus in The "Song of Victory," a cantata for soprano solo, chorus, and orchestra, Time shall come"), the number closing with double chorus in full rich beautiful cantatas, for four solo voices, chorus, and orchestra. The cantata is written for tenor solo, male chorus, and orchestra, and "King Trojan," composed for chorus, solos, and orchestra, was written in soprano solo, chorus, orchestra, and organ (1872); cantata, "Fridolin" The work is for soprano solo and chorus, the words by the poet The cantata is written for the four solo voices, chorus, and orchestra. The cantata is written for the four solo voices, chorus of sopranos,


