| Titre : |
Discovering music : a course in music appreciation |
| Type de document : |
texte imprimé |
| Auteurs : |
McKinney, Howard D. (Howard Decker), 1889-1980, Auteur ; W. R. Anderson (1891-1979), Auteur |
| Editeur : |
New York : American Book Co. |
| Année de publication : |
c1952 |
| Importance : |
xv, 576 p. |
| Présentation : |
illustrations |
| Format : |
23 cm |
| Note générale : |
Includes index |
| Langues : |
Anglais (eng) |
| Catégories : |
Music
Music -- Textbooks.
Music appreciation.
|
| Mots-clés : |
Music |
| Note de contenu : |
Art and life : Beauty in the life of today ; Lasting beauty in art --
1. The cooperating beginner : What is art? ; Music for its own sake ; How listeners develop ; The adventurer's conquests --
2. Why we like music : Morale: physical and spiritual ; From another world ; Music and play ; The attraction of rhythm ; An expression of emotion ; Music and intelligence ; The powers of suggestion --
3. How we like music : Various approaches to appreciation ; Goals. Music as an art : Music as a humanity ; Particular possibilities --
4. Getting behind the music : Enjoyment, emotional and intellectual ; Advantages and dangers today ; The listener's pitfalls ; Types of listeners --
5. The composer's materials : Building a background ; The raw materials of music ; The physical characteristics of tone ; Pitch ; Loudness ; Timbre ; Duration ; The spiritual factor in music --
6. Instruments: the means for making music : The interaction of growth: instruments and emotion ; The influence of politics ; The growth of the orchestra ; The orchestral families ; The ideal conductor ; Getting acquainted ; Instrumental characteristics ; Specific illustrations --
7. Means by which materials are made into music : Rhythm ; Music's meter ; Practice in meter ; Other aspects of rhythm --
8. Means by which materials are made into music : Melody ; Memory hints ; Practice in melody ; Harmony ; Tonality. How does the composer work? : The creator a unique figure ; Various composer types ; First, the idea ; Principles of design --
9. Our way of approach : Art and language ; Music's world of the spirit ; Program music ; Absolute music ; Here we take the romantic road --
10. Strauss' Till Eulenspiegel's Merry Pranks : A gay beginning for our journey ; An ideal program ; Till in the market place ; Till the priest ; Till in love ; Till and the Philistines ; To be or not to be himself ; Till's sad end ; Feeling before analysis --
11. Romanticism: Liszt's Les Preludes : A new spirit develops in music ; An art of revolt ; Romantic drama in song ; Les preludes, typical romantic art ; Feeling before analysis --
12. The question of form : Form in program music ; Form in absolute music ; Vocal forms ; Forms that are both vocal and instrumental ; Textures in music Homophonic and polyphonic music --
13. Instrumental forms : Various types ; Binary form ; Ternary form ; An important distinction ; Free forms ; The value of recognizing form --
14. Instrumental forms : Conjoint forms ; The sonata family --
15. Russian nationalism : The forces in nationalism ; The revolution of Russia --
16. Russian nationalism : Moussrgsky's masterpiece ; The age of Tchaikovsky --
17. Wagner's Siegfried Idyll : A masterpiece of form and feeling ; Some Wagner history ; A Christmas birthday gift ; Peculiarities of structure ; Scenes from operas --
18. Dvorak's New World Symphony : A symphonic nationalist ; The first movement ; The second movement ; The third movement, a typical scherzo ; The last movement --
19. Chamber music, The Music of Friends : Chamber music in the historical sense ; In the modern sense ; Types of chamber music ; Some examples of string quartet style --
20. A romantic quartet, and a classic one : Dvorak's American Quartet ; Haydn's Quartet in F Major --
21. Impressionism: Debussy its chief exponent in music : Symbolism, a parallel movement in literature ; A Faun inspires three arts ; Impressionism in painting ; Impressionism in music ; Debussy's nocturnes ; The later years. The piano : Ancestors ; The piano, boon and bane ; The resources of the piano --
22. Impressionism : Piano styles of Debussy and Ravel ; Ravel's orchestral mastery ; A symphony in three Spanish gardens --
23. British nationalism : British music in the past ; Some samples: Elgar's Enigma Variations ; Delius the rhapsodist ; Contrasted types ; A Celtic tone poet ; Other composers --
Beauty : What is beauty? ; Two interpretations: design or ethics? ; What is the musician's solution? ; Music in its own terms --
24. Stravinksy's Petrouchka : Stravinksy, a born ballet composer ; Music for the Russian ballet ; The various episodes of Petrouchka ; Stravinsky's career and influence. The ballet : Early history ; The Russian reign ; Personalities --
25. Modern trends in art : Whither, and why? ; Twentieth-century changes ; A modern credo ; Contemporary parallels --
26. "This modern stuff" : Totality as foundation ; Chromatic unhinging ; Polytonality ; Atonality ; Other puzzling problems ; Paul Hindemith ; Bela Bartok ; Our attitude --
27. Music in the Americas, North and South : American music history ; Seeking a definition ; The individual American quality grows ; American folk music ; Popular music ; The sway of jazz ; Musical comedy --
28. Music in the Americas : American art music ; A second generation ; Men of the 1920s ; More recent composers ; The youngest generation ; Music in the Americas South of the United States ; In Mexico ; South American creators. Film, radio and television music : Early film music ; Sound and the cinema ; The recording process ; The role of radio ; Radio music --
29. Beethoven's Fifth Symphony : Beethoven's exciting background ; The C Minor Symphony: a drama in pure music ; Beethoven's shaping of form ; The first movement ; The second movement, a theme with variations ; The third movement ; The triumph of the last movement --
30. Brahm's First Symphony : Making the best of both worlds ; First movement ; Second movement ; Third movement ; Fourth movement --
31. Three later symphonies : Tchaikovsky's Fifth Symphony ; Sibelius' Second Symphony ; Shostakovich's Fifth Symphony --
32. The Rococo age : Classic and romantic ; The eighteenth century spirit ; Rococo art ; The viewpoints of two poets --
33. Mozart and Haydn : A mirror of the eighteenth century ; The classical composer at work ; Mozart's G Minor Symphony ; First movement ; Second movement ; Minuet ; Finale ; Piano Concerto in D Minor ; First movement ; Second movement ; Third movement ; Bernard Shaw on Mozart ; Haydn the pathfinder ; Haydn's Surprise symphony ; First movement ; Second movement ; Third movement ; Finale ; Haydn's humanism ; Haydn and Mozart compared. Opera: its various styles : Mozart's Don Giovanni an example ; The beginnings ; The early developments ; Early developments outside Italy ; Mozart's Don Giovanni ; A condensation of Don Giovanni ; Developments of the 18th and 19th centuries ; The operas of Richard Wagner ; The differences of operatic style ; French opera ; Operas of other countries ; Later operas --
34. Back to Bach : Bach's place in history ; The Baroque Bach ; Bach the church musician --
35. Bach : Bach's choral works ; A specific example ; St. Matthew Passion ; The Mass in B Minor --
36. Bach's instrumental style : The Well-Tempered Clavier ; Bach's healthy wholeness. The organ : The king of instruments ; A varied history ; The auditorium an important factor ; Rhythm and repertoire ; Mechanical problems ; The organ's true glory ; The Baroque organ of the twentieth century ; The electronic "Organ" --
37. The German-English Handel : Handel's career ; The concerti --
38. Pre-Bach : A golden age ; The earliest art music ; Madrigals and church music ; Mysticism in music ; Solo song emerges ; Summary of historical developments ; A list of composers. Song : Folk song ; The universal appeal of folk song ; A practical method of becoming acquainted with folk songs ; The art song ; Early secular songs ; The influence of the opera ; Later developments ; What is the voice and how does it work? ; The types of voices ; Vocal combinations ; The listener's repertoire of songs. |
Discovering music : a course in music appreciation [texte imprimé] / McKinney, Howard D. (Howard Decker), 1889-1980, Auteur ; W. R. Anderson (1891-1979), Auteur . - New York : American Book Co., c1952 . - xv, 576 p. : illustrations ; 23 cm. Includes index Langues : Anglais ( eng)
| Catégories : |
Music
Music -- Textbooks.
Music appreciation.
|
| Mots-clés : |
Music |
| Note de contenu : |
Art and life : Beauty in the life of today ; Lasting beauty in art --
1. The cooperating beginner : What is art? ; Music for its own sake ; How listeners develop ; The adventurer's conquests --
2. Why we like music : Morale: physical and spiritual ; From another world ; Music and play ; The attraction of rhythm ; An expression of emotion ; Music and intelligence ; The powers of suggestion --
3. How we like music : Various approaches to appreciation ; Goals. Music as an art : Music as a humanity ; Particular possibilities --
4. Getting behind the music : Enjoyment, emotional and intellectual ; Advantages and dangers today ; The listener's pitfalls ; Types of listeners --
5. The composer's materials : Building a background ; The raw materials of music ; The physical characteristics of tone ; Pitch ; Loudness ; Timbre ; Duration ; The spiritual factor in music --
6. Instruments: the means for making music : The interaction of growth: instruments and emotion ; The influence of politics ; The growth of the orchestra ; The orchestral families ; The ideal conductor ; Getting acquainted ; Instrumental characteristics ; Specific illustrations --
7. Means by which materials are made into music : Rhythm ; Music's meter ; Practice in meter ; Other aspects of rhythm --
8. Means by which materials are made into music : Melody ; Memory hints ; Practice in melody ; Harmony ; Tonality. How does the composer work? : The creator a unique figure ; Various composer types ; First, the idea ; Principles of design --
9. Our way of approach : Art and language ; Music's world of the spirit ; Program music ; Absolute music ; Here we take the romantic road --
10. Strauss' Till Eulenspiegel's Merry Pranks : A gay beginning for our journey ; An ideal program ; Till in the market place ; Till the priest ; Till in love ; Till and the Philistines ; To be or not to be himself ; Till's sad end ; Feeling before analysis --
11. Romanticism: Liszt's Les Preludes : A new spirit develops in music ; An art of revolt ; Romantic drama in song ; Les preludes, typical romantic art ; Feeling before analysis --
12. The question of form : Form in program music ; Form in absolute music ; Vocal forms ; Forms that are both vocal and instrumental ; Textures in music Homophonic and polyphonic music --
13. Instrumental forms : Various types ; Binary form ; Ternary form ; An important distinction ; Free forms ; The value of recognizing form --
14. Instrumental forms : Conjoint forms ; The sonata family --
15. Russian nationalism : The forces in nationalism ; The revolution of Russia --
16. Russian nationalism : Moussrgsky's masterpiece ; The age of Tchaikovsky --
17. Wagner's Siegfried Idyll : A masterpiece of form and feeling ; Some Wagner history ; A Christmas birthday gift ; Peculiarities of structure ; Scenes from operas --
18. Dvorak's New World Symphony : A symphonic nationalist ; The first movement ; The second movement ; The third movement, a typical scherzo ; The last movement --
19. Chamber music, The Music of Friends : Chamber music in the historical sense ; In the modern sense ; Types of chamber music ; Some examples of string quartet style --
20. A romantic quartet, and a classic one : Dvorak's American Quartet ; Haydn's Quartet in F Major --
21. Impressionism: Debussy its chief exponent in music : Symbolism, a parallel movement in literature ; A Faun inspires three arts ; Impressionism in painting ; Impressionism in music ; Debussy's nocturnes ; The later years. The piano : Ancestors ; The piano, boon and bane ; The resources of the piano --
22. Impressionism : Piano styles of Debussy and Ravel ; Ravel's orchestral mastery ; A symphony in three Spanish gardens --
23. British nationalism : British music in the past ; Some samples: Elgar's Enigma Variations ; Delius the rhapsodist ; Contrasted types ; A Celtic tone poet ; Other composers --
Beauty : What is beauty? ; Two interpretations: design or ethics? ; What is the musician's solution? ; Music in its own terms --
24. Stravinksy's Petrouchka : Stravinksy, a born ballet composer ; Music for the Russian ballet ; The various episodes of Petrouchka ; Stravinsky's career and influence. The ballet : Early history ; The Russian reign ; Personalities --
25. Modern trends in art : Whither, and why? ; Twentieth-century changes ; A modern credo ; Contemporary parallels --
26. "This modern stuff" : Totality as foundation ; Chromatic unhinging ; Polytonality ; Atonality ; Other puzzling problems ; Paul Hindemith ; Bela Bartok ; Our attitude --
27. Music in the Americas, North and South : American music history ; Seeking a definition ; The individual American quality grows ; American folk music ; Popular music ; The sway of jazz ; Musical comedy --
28. Music in the Americas : American art music ; A second generation ; Men of the 1920s ; More recent composers ; The youngest generation ; Music in the Americas South of the United States ; In Mexico ; South American creators. Film, radio and television music : Early film music ; Sound and the cinema ; The recording process ; The role of radio ; Radio music --
29. Beethoven's Fifth Symphony : Beethoven's exciting background ; The C Minor Symphony: a drama in pure music ; Beethoven's shaping of form ; The first movement ; The second movement, a theme with variations ; The third movement ; The triumph of the last movement --
30. Brahm's First Symphony : Making the best of both worlds ; First movement ; Second movement ; Third movement ; Fourth movement --
31. Three later symphonies : Tchaikovsky's Fifth Symphony ; Sibelius' Second Symphony ; Shostakovich's Fifth Symphony --
32. The Rococo age : Classic and romantic ; The eighteenth century spirit ; Rococo art ; The viewpoints of two poets --
33. Mozart and Haydn : A mirror of the eighteenth century ; The classical composer at work ; Mozart's G Minor Symphony ; First movement ; Second movement ; Minuet ; Finale ; Piano Concerto in D Minor ; First movement ; Second movement ; Third movement ; Bernard Shaw on Mozart ; Haydn the pathfinder ; Haydn's Surprise symphony ; First movement ; Second movement ; Third movement ; Finale ; Haydn's humanism ; Haydn and Mozart compared. Opera: its various styles : Mozart's Don Giovanni an example ; The beginnings ; The early developments ; Early developments outside Italy ; Mozart's Don Giovanni ; A condensation of Don Giovanni ; Developments of the 18th and 19th centuries ; The operas of Richard Wagner ; The differences of operatic style ; French opera ; Operas of other countries ; Later operas --
34. Back to Bach : Bach's place in history ; The Baroque Bach ; Bach the church musician --
35. Bach : Bach's choral works ; A specific example ; St. Matthew Passion ; The Mass in B Minor --
36. Bach's instrumental style : The Well-Tempered Clavier ; Bach's healthy wholeness. The organ : The king of instruments ; A varied history ; The auditorium an important factor ; Rhythm and repertoire ; Mechanical problems ; The organ's true glory ; The Baroque organ of the twentieth century ; The electronic "Organ" --
37. The German-English Handel : Handel's career ; The concerti --
38. Pre-Bach : A golden age ; The earliest art music ; Madrigals and church music ; Mysticism in music ; Solo song emerges ; Summary of historical developments ; A list of composers. Song : Folk song ; The universal appeal of folk song ; A practical method of becoming acquainted with folk songs ; The art song ; Early secular songs ; The influence of the opera ; Later developments ; What is the voice and how does it work? ; The types of voices ; Vocal combinations ; The listener's repertoire of songs. |
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