Understanding music; an introduction to music's elements, styles, and forms for both the layman and the practitioner.


2d ed., rev. and enl.. New York, Harper [1961] .

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George Washington
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MT 6 .N27 1961 Off-site
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Catholic
Mullen Library stacks Music
MT6 .N27 1961 Available Request
UDC
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MT 6 .N27 1961 Available Request
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MT 6 .N27 1961 Off-site
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Subjects Analyse musicale.
Music appreciation.
Description 330 pages illustrations 21 cm
Copyright Date [1961]
Notes "A preliminary, shorter version of this book appeared in 1952 as a syllabus entitled Toward an understanding of music."
Includes bibliographical references.
Contents I. Prelude : 1. Your road to musical understanding -- 2. A historical frame of reference : Historical viewpoints, past and present ; Western music viewed in historical cycles ; The style pendulum in art history.
II. The elements and styles of music : 3. The nature and instruments of musical sound : Some elementary acoustics -- pitch, intensity, timbre ; Orchestral instruments classified ; Stringed instruments ; Wind instruments ; Percussion instruments ; Piano, organ, and other keyboard types ; The human voice. -- 4. Rhythm: its notations, patterns, and tempos : Note values ; "Simple" meters ; Further values and meters ; Rhythmic patterns, new and familiar ; Time and tempo. -- 5. Melody: its notation and pitch organization : Keyboard concepts of pitch and scales ; Staff notation ; The tangibles and intangibles of melody. -- 6. Harmony and tonality : Intervals, both consonant and dissonant ; Constructing chords from intervals ; The prime directions of harmonic movement ; Keys and key relationships ; Tonality as an agent of larger organization ; New tonal vistas. -- 7. Texture and sonority as style clues : Monophony in exotic and western music ; Homophony, or melody qualified by accompaniment ; Polyphony and its appeal to the intellect ; Vocal groupings ; Instrumental groupings ; Sonority per se in recent music.
III. Forms based on inner laws of music : 8. What is musical form? (a problem in aesthetics) : "Variety within unity" as the starting point ; Structural aspects of a "time" art ; Progression by motivic play ; Progression by phrase grouping ; Standardized designs based on repetition and contrast ; Modern trends. -- 9. Forms woven out of motive play : The motet and the madrigal ; Fugal form ; Binary design in Baroque instrumental pieces. -- 10. Hierarchic designs based on phrase grouping : Binary design in homophonic music ; Ternary design (A-B-A) ; The rondo idea ; "Intuitive" arrangements of sections. -- 11. Variation, a compound process : Simultaneous repetition and contrast ; The recurring bass line ; The recurring harmonic pattern ; The recurring binary melody ; Optional principles in the theme-and-variations. -- 12. Instrumental cycles of the Baroque era : The grouping of contrasting movements ; Suites of dances ; Trio sonatas in church and at court ; The concert grosso. -- 13. The classic sonata, prototype of modern instrumental cycles : Symphony, concerto, quartet, and other mediums ; The choice and order of movements ; "Sonata-allegro" form.
IV. Forms influenced by extramusical factors : 14. Instrumental fantasy and description : Programme versus absolute music ; Free forms born of musical and technical fantasy ; Tone poems that reflect moods ; Tone poems that describe literalities. -- 15. Allegiance to text in song and opera : Cursive art-song ; The vicissitudes of opera ; Conflicts and compromises inherent in opera ; Opera's delights. -- 16. Sacred choral cycles governed by text : Office and mass in Gregorian chant ; The polyphonic mass and requiem ; Oratorio, passion, and cantata.
V. Postlude : 17. The pursuit of music : An important American industry! ; "De gustibus non est disputandum" ; The evaluation of music and performance ; In search of musical talent.
Network Numbers (OCoLC)614769
(OCoLC)ocm00614769
WorldCat Search OCLC WorldCat
WorldCat Identities Newman, William S.
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