The History of Music: A Handbook and Guide for StudentsG. Schirmer, 1907 - 683 pagina's |
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Veelvoorkomende woorden en zinsdelen
18th century aria artistic Bach became Beethoven began Berlin Bologna born cantatas cantor chamber music Chapel choir choirmaster choral church music clavichord composer composition concerts conductor conservatory contrapuntal counterpoint court-choirmaster dances dramatic Dresden early England especially famous France Francesco Franz French Friedrich fugue genius German Giovanni Gluck Hamburg Handel harmony Haydn Heinrich important influence instruments Italy Johann Joseph Karl keyboard later Leipsic Liszt London madrigals masses master mediæval melody Mendelssohn method Milan modern motets movement Mozart Munich musicians names Naples notable Opéra opéra comique opera-writer oratorios orchestral organ organ music organist original overtures Palestrina Paris part-songs period pianist piano player polyphony popular Prague pupil quartets romantic Rome Royal sacred music Schumann secular singer singspiel solo sonatas songs strings studied style success symphonies teacher tion tonal tones tours trained Venice Vienna violin violinist virtuoso vocal voices Wagner Weber Weimar writing wrote
Populaire passages
Pagina 81 - Sumer is icumen in, Lhude sing cuccu ! Groweth sed, and bloweth med, And springth the wude nu, Sing cuccu ! " Awe bleteth after lomb, Lhouth after calve cu ; Bulluc sterteth, bucke verteth, Murie sing cuccu ! "Cuccu, cuccu, well singes thu, cuccu, Ne swik thu naver nu ; Sing, cuccu, nu, sing, cuccu, Sing, cuccu, sing, cuccu, nu !
Pagina 7 - It is meant to be distinctly a book of reference for students rather than a literary or critical survey of a few salient aspects of the subject or a specialist's report of original research. Aiming at a certain degree of encyclopaedic fulness ... at every point an effort is made to emphasize the leading tendencies or movements of musical advance, referring to particular styles and composers as illustrations.
Pagina 77 - ... remained a somewhat peculiar specialty, representing the persistence for a particular purpose of a style which is essentially antique. Yet it must be confessed that in its ideal perfection, as it stood in the early Middle Ages, it was a remarkable example of melodic invention and beauty.1 ******** The positive achievements of the centuries following 1200 stand in striking contrast to the timid experiments of those before. From this point onward the art of music becomes interestingly interwoven...
Pagina 77 - ... the centuries following 1200 stand in striking contrast to the timid experiments of those before. From this point onward the art of music becomes interestingly interwoven with progress in other fields, being a phase of the general intellectual awakening of Europe that preceded the Renaissance. . . . The distinctive feature of the period in music was a profound alteration in the aim of composition. In Greek music and its successor, the Gregorian style, the one desire was for a single melodic outline...
Pagina 56 - Mese Lichanos meson Parhypate meson Hypate meson Lichanos hypaton Parhypate hypaton Hypate hypaton Proslambanomenos . IV.
Pagina 87 - Wherever this minstrelsy penetrated, it fixed a taste for styles quite diverse from that of the Church, one close to the feeling of the common people and apt for their use.
Pagina 295 - It is clear that he [Handel] occasionally adapted whole passages from other composers to his own uses, just as he transferred selections from one to another of his original works. But it was an age in which pasticcios or medleys abounded, strict creativeness being subordinated to concertistic success. We may doubt whether Handel's intent was deceptive, and surely there is no doubt about his capacity for origination. Many of the cases are merely those of borrowed subjects, which was and is an established...
Pagina 361 - ... brilliant illustration in music history of a genius that completely outgrew its original ambitions, so that it finally entered upon a creation of which at the start it did not dream. His historic significance lay, not so much in the new ideas . . . for these were not absent from some other minds ... but in his ability to bring them to tangible embodiment in works so beautiful and powerful as to arrest the attention of the musical world" (Waldo Selden Pratt in the History of Music).
Pagina 101 - Okeghem, we begin to feel the peculiar stimulus that the new century certainly gave to all music, so that in the works of these masters we catch the quality of enduring vitality and elevation by which the whole i6th century is characterized.