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Excerpt from The History of Music, Vol. 4 Not even the excellent master Heinrich Schutz can be credited with so universal and intimate acquaintance with contemporary musical theory and practice. That he well-nigh succeeded in fusing the teachings of the two chief schools of his time is indeed remarkable, and singles him out from the crowd of his contemporaries; yet, put in juxtaposition with our six great masters, he cannot be said' to have reached their level either in the ideal world or in the creation of new forms, although what he did prepared the way for them in a very glorious manner. To us, each of this noble six is the discoverer of new lands in the world of tonal art, on which but few uncultivated portions remain for their successors to till and fructify. The style of Bach, Handel, Gluck, Haydn, Mozart, and Beethoven was grounded on the intensest objectivity, whilst that of their great, talented followers is of a subjective nature, united to a more or less interestingly developed musical manner. The great German tone-poets, dating from the beginning of the last century, fall naturally into two divisions, the first of which may fittingly be described as representing The epoch of German genius, and the second The epoch Of the great talents. 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 General History of the Science and Practice of Music, Vol. 4 France, on the death of the king her hutband; and with thefe, as Buchanan relates, Ricci ingratiated himfelf by (inging and playing among them, till he was taken notice of by the queen, foon after which he was retained in her fervice as a finger. From this fiation, by'means of flattery and the moft abjeét arts of infinuation. He tofe to the higheft degree of favour and confidence; and being appointed her fecretary for French affairs, bec'ame abforbed in the intrigues of the court, in the management whereof he behaved with foch arro gance and contempt, even of his fuperiors, as rendered him odious to all about him The reft of his hifiory is well known he grew rich, and his infolence drawing on him the hatred of the Scottith no bility, he was on the ninth day of March, in the year 1566, drag ged from the prefence of the queen into an outer chamber of the pa lace, and there (lain. 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 The Oxford History of Music, Vol. 4: The Age of Bach and Handel Both, however, may justly be regarded as the epitomes of the period in which they lived; it is true Of each, but in very widely different senses, that he embodied in himself the whole of the music Of his age. For Handel, the older composers and his own contemporaries existed as a treasure-house from which he might appropriate the ideas he was too busy to invent for himself; the circumstances of his career made him acquainted with the styles of all countries, and nearly all periods, and enabled him to form a style in which could be assimilated with equal success his own inventions and his adaptations from other men. Bach, with a far narrower range of musical literature at his command for purposes of study, entered far more deeply into the spirit of those he knew, and, grasping the essential principles upon which the Older masters had worked, rather than the external features of their work, be attained to a style entirely his own, a style which in some points has never been superseded in all the years that have passed since his death. 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 The Art of Music, Vol. 4 of 14: A Comprehensive Library of Information for Music Lovers and Musicians Prophecy, not history, is the most truly important concern of music in America. What a new world, with new processes and new ideals, will do with the tract able and still unformed art of music; what will arise from the contact of this art with our unprecedented democracy - these are the questions of deepest import in our musical life in the United States. The past has consisted chiefly of a tasting of the musical art and traditions of the old world. The present is divided between imitation of the old and searching for the new, both in quality and application. The fruitage of our national musical life is still for the future. Intense as are the activities of the present, they are still merely the preparation of the soil for a future growth the nature and extent of which we can only guess at to-day. The stream of musical evolution in America, in the present transitional period, is rapidly overflowing its wonted banks, and passing the bounda ries of the traditional musical world. The many are striving to obtain that which has been the exclusive possession of the few, and in this endeavor are not only extending, but also actually transforming the art. The paramount issues change with the passing of the sea sons. One imported European sensation gives way to another. The problem of the true basis of American music dissolves overnight, and gives way to the prob. 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 The History of Music, Vol. 2 Hitherto, in tracing the history of Church music, we have noticed how rigidly the melodic and rhythmical side only of the tonal art had been developed. Henceforth it was to be a free, self-existing art. The trammels of conventionality and clerical doctrines, by which it had been bound for so long, were now cast on one side, and in the development of polyphony, a new, independent, and unshackled existence was about to begin. 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 The History of Music, Vol. 1 An attack was made thirty years ago on the assertion that Handel was not only a sacred composer, but was especially the founder of the epic element in music. It is, therefore, very satisfactory to observe the extent to which the truth of that assertion is now generally admitted this can also be said of the admission of the proof that the invention of the opera at Florence was due to a Tuscan School. 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.
Author Chappell's intent with The History of Music (Art and Science): Volume One - From the Earliest Records to the Fall of the Roman Empire was to produce a complete history of music. Beginning with the earliest evidence of music, which largely comes from the Greeks, Chappel attempts to trace the development of the art through to modern day. Volume One, presented here, traces the history of music until the fifth century. The book actually opens where many works conclude, with a detailed glossary and explanatory index. From there, Chappel begins his historical examination in earnest. Opening chapters highlight the early Greek system of music, the three-stringed lyre of Egypt, the development of harmonies, and the earliest uses of music. Later chapters discuss early designs of instruments and the importance of music in the Roman Empire. The volume concludes with a brief section of notes and addendums. The History of Music is a noble effort at documenting the history of the art, Chappell is clearly a well-researched and knowledgeable writer. The work includes a fair amount of technical analysis, and thus is best read by an individual with some knowledge of the principals of music theory. Chappell's first volume in his series The History of Music is a well-written and worthy attempt at documenting the early history of the development of music. Students of history, particularly those interested in music history, will certainly find this to be a fascinating work. 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 A Narrative History of Music, Vol. 1: Book I, the Pre-Classic Periods So many and varied are the paths of musical enjoy ment and profit opened out in the following pages, so different and sometimes so conflicting are the types of art represented there, that the timid or inexperienced reader may well pause at the threshold, afraid of wholly losing his way in such a labyrinth. He may hesitate to trust himself in so unfamiliar a landscape without first seeing some sort of small-scale plan of the ground, which, omitting the confusing details, shows in bold relief only the larger and essential divisions - the 'lay of the land.' Such a plan it is the object of this introduction to furnish. 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 The History of Music, Vol. 3 At the third sitting of the Council of Trent in 1562, it was resolved that a stricter Church discipline was required, and that the bishops should rigorously punish offenders, who hitherto committed offences with the impunity sanctioned by long non-interference. 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.