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This book is about how music "in a key" is composed. Further, it is about how such music was composed when it was no longer compulsory to do so, starting a few years before the First World War. In an eclectic journey through the history of compositional technique, Daniel Harrison contends that the tonal system did not simply die out with the dawn of twentieth century, but continued to supplement newer techniques as a compelling means of musical organization, even into current times. Well-known art music composers such as Bartok, Hindemith, Prokofiev, and Messiaen are represented alongside composers whose work moves outside the standard boundaries of art music: Leonard Bernstein, Murice Duruflé, Frank Martin, Xiaoyong Chen. Along the way, the book attends to military bugle calls, a trailer before a movie feature, a recomposition of a famous piece by Arnold Schoenberg, and the music of Neil Diamond, David Shire, and Brian Wilson. A celebration of the awesome variety of musical expressions encompassed in what is called tonal music, Pieces of Tradition is a book for composers seeking ideas and effects, music theorists interested in its innovations, and all those who practice the analysis of composition in all its modern and traditional variations.
Suitable for all admirers of the piano, this work brings together more than 3,000 works for piano and orchestra. It comes with a supplement containing over 200 new entries.
Vols. for 1911-13 contain the Proceedings of the Helminothological Society of Washington, ISSN 0018-0120, 1st-15th meeting.
Includes miscellaneous newsletters (Music at Michigan, Michigan Muse), bulletins, catalogs, programs, brochures, articles, calendars, histories, and posters.
This is Volume V in a series of seven on the Philosophy of Religion and General Philosophy. Originally published in 1924. The trained musician may have made a thorough study of technical methods in composition, but yet have no knowledge either of the physical basis of music or of the philosophical reasons underlying accepted technical principles. There are various questions which any person interested in music may reasonably ask, but to which no satisfactory answers have as yet been given. What does music mean? What is the composer trying to express? What does music express to the listener? Why is one kind of music considered good and another bad? This study looks at music which is, which of all the arts, the most universally practised, the most complex and elaborate in its technique, the most direct in its emotional appeal and at the same time the least understood.
Music: An Art and a Language is an in-depth textbook in the context of early 20th century New York all on the topic of music: different forms, artists, and composition. Contents: "Preliminary Considerations 1 II. The Folk-Song III. Polyphonic Music; Sebastian Bach, the Fugue IV. The Musical Sentence V. The Two-Part and Three-Part Forms VI. The Classical and the Modern Suite VII. The Rondo Form VIII. The Variation Form."