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Excerpt from Modern Music and Musicians, Vol. 1 It seems only a few years ago that the popular idea of standards in music education might be summed in the word "method," each so-called "method" supposed to possess some mysterious potency for the achieving of phenomenal progress. Just as in the acquirement of knowledge in other departments of learning it eventually has been realized that "there is no royal road to success," so in decent years it has been established in the realm of music education that no longer in "method" but in "methods" is there found the key to genuine accomplishment. In other words, the successful teacher is the one who draws upon many sources for the particular remedy required in each individual case, and only through a thorough comprehension of basic principles, both within and without the realm of music, can such a teacher hope to choose those tactics best calculated to achieve the desired results in each separate instance. It would be impossible in the space of one volume to sum up all of the various departments and sources of knowledge requisite to the well-equipped musician. However, it has been the endeavor of the editors to make of "The Pianist's Guide" an invaluable aid to this end. Even though it may not carry to completion the different subjects which it essays to treat, it is perhaps possible therein to open up added fields of thought and create interest in new paths of investigation, such as will lead the studious reader to further research in various important directions. Where there exist marked divergencies of opinion between acknowledged experts in the realm of technical procedure, it is evident that a considerable latitude of treatment is permissible, even in the judgment of the rank and file of teachers. Thus a portion of this volume has been devoted to a study of the methods of many of these exponents of special systems, enabling the reader to choose from all according to his own special requirements. The necessity for a broader equipment on the part of the piano teacher reaching far beyond his specialized realm into the realm of the orchestra, the chamber music literature, and to other fields covered by the available bibliography of music literature, cannot be too strongly urged upon every student of the piano, with the assurance that this will not only result in the making of a better pianist and a better musician, but also a stronger force for musical culture in the community within which these talents are given outlet. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from Modern Music and Musicians, Vol. 1: Compositions for Piano It is imperative, in this day of musical advance, that the pianist's education should not be bounded by the keyboard. The lives Of the masters, the birth and growth of different musical schools, the management of the orchestra in compositions that one hears frequently, the com prehension Of the plan or form Of the compositions which one executes, all these things are necessary to the fullest enjoyment and appreciation of Music. It has been my aim to gather as many as possible Of these topics into a single work, properly classified and accessible for constant reference. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from Modern Music and Musicians, Vol. 1 Times - Composers as Conductors - The Conductor's Equipments - Things to Avoid - Opportunities for Training Limited - Suggestions to Students. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Essays by a prominent contemporary composer explore a current trend in classical music away from atonal characteristics and toward more traditional forms. Topics include cultural identity, musical meaning, and the aesthetics of beauty.
The study of 'Celtic' culture has been locked within modern nationalist paradigms, shaped by contemporary media, tourism, and labor migration. Celtic Modern collects critical essays on the global circulation of Celtic music, and the place of music in the construction of Celtic 'Imaginaries'. It provides detailed case studies of the global dimensions of Celtic music in Scotland, Wales, Ireland, Brittany, and amongst Diasporas in Canada, the United States and Australia, with specific reference to pipe bands, traditional music education in Edinburgh, the politics of popular/traditional crossover in Ireland, and the Australian bush band phenomenon. Contributors include performer musicians as well as academic writers. Critique necessitates reflexivity, and all of the contributors, active and in many cases professional musicians as well as writers, reflect in their essays on their own contributions to these kind of encounters. Thus, this resource offers an opportunity to reflect critically on some of the insistent 'othering' that has accompanied much cultural production in and on the Celtic World, and that have prohibited serious critical engagement with what are sometimes described as the 'traditional' and 'folk' music of Europe.
Excerpt from The Music of the Modern World, Vol. 1 of 2: Illustrated in the Lives and Works of the Greatest Modern Musicians and in Reproductions of Famous Paintings, Etc Scheffer, Eugene Delacroix, and Paul Delaroche, members of circles where music held a supreme interest. Music is SO nearly allied to painting and sculpture that a picture is Often a better guide to the meaning of a piece than any words - even words Of poetry. The pictorial suggestions Offered in our music pages are only suggestions, but as such may prove stimulating to the imagination of the pianist and singer, especially when they express motion or grace in repose. They Should not be taken too seriously. It is hardly necessary to add that the music OF the modern world is in no sense an encyclopaedia. Quite as many great artists are unmentioned in its pages as find a place there, quite as many very great composers remain unquoted as are repre sented in its music pages. In the case Of Wagner and Berlioz, the narrow excerpt of a melody, or a Short transcription from works so massive, grand, and full of detail, affords no example Of the genius or style Of those immense contours, whereas the tuneful num bers of Rossini, Gounod, or even Meyerbeer are easily separated from their original environment because they are complete in themselves. Much of the music selected is cameo-like in its dimensions and finish, because only cameos could be contained in SO small a compass as the number of pages at our disposal. The editors have collected a group of melodies that will never become Old while civilization endures. Those culled from Russia, Bohemia, and Hungary are as yet scarcely known in America; they will sur prise as much by their congeniality to American temperament as by their exquisite fresh ness. The illustrations of Hunyady Laszlo, by Pennell, are the fruit Of a season's wan dering in Hungary in search of gipsy music. It is needless to say that the author of the great national opera Of Hungary was not a gipsy, and that the patriotic themes that form the context Of the opera are of the purest Hungarian character. Special acknowledgments are due to Gunther co. For the care with which they have type-set the piano music. We believe that such feats as the pedal phrasing in Vogel als Prophet have never before been accomplished with music type. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.