The Appreciation of Music - Vol. 1 (of 3)
THE APPRECIATION OF MUSIC
VOL. I.
THE APPRECIATION OF MUSIC CLOTH $1.50
By Thomas Whitney Surette and Daniel Gregory Mason
SUPPLEMENTARY VOLUME OF MUSICAL ILLUSTRATIONS $1.00
VOL. II.
GREAT MODERN COMPOSERS CLOTH $1.50
By Daniel Gregory Mason
VOL. III.
SHORT STUDIES IN GREAT MASTERPIECES
By Daniel Gregory Mason
OTHER WORKS
Thomas Whitney Surette
Daniel Gregory Mason
---
THE APPRECIATION OF MUSIC
I. INTRODUCTORY.
II. WHAT TO NOTICE FIRST.
III. MUSICAL MOTIVES.
IV. WHAT THE COMPOSER DOES WITH HIS MOTIVES.
V. THE FIRST STEPS AS REVEALED BY HISTORY.
VI. A SPANISH FOLK-SONG.
VII. BALANCE OF PHRASES.
VIII. SUMMARY.
I. FOLK-SONGS AND ART SONGS.
II. AN ENGLISH FOLK-SONG.
III. KEY AND MODULATION.
IV. BARBARA ALLEN.
V. NATIONAL CHARACTERISTICS IN FOLK-SONGS.
VI. AN IRISH FOLK-SONG.
VII. A GERMAN FOLK-SONG.
VIII. SUMMARY.
I. WHAT IS "POLYPHONY?"
II. AN INVENTION BY BACH.
EXAMPLE FOR ANALYSIS, No. 1.
III. A FUGUE BY BACH.
EXAMPLE FOR ANALYSIS, No. 2.
IV. GENERAL QUALITIES OF BACH'S WORK.
I. MUSICAL CHARACTER OF DANCES.
II. PRIMITIVE DANCES.
EXAMPLE FOR ANALYSIS, No. 3.
III. A BACH GAVOTTE.
EXAMPLE FOR ANALYSIS, No. 4.
I. DERIVATION OF THE SUITE.
II. THE SUITES OF BACH.
EXAMPLE FOR ANALYSIS, No. 5.
III. THE HISTORIC IMPORTANCE OF THE SUITE.
I. DERIVATION OF THE RONDO.
II. A RONDO BY COUPERIN.
EXAMPLE FOR ANALYSIS, No. 8.
III. FROM COUPERIN TO MOZART.
IV. A RONDO BY MOZART.
EXAMPLE FOR ANALYSIS, No. 9.
I. VARIATIONS BY JOHN BULL.
II. A GAVOTTE AND VARIATIONS BY RAMEAU.
III. HANDEL'S "HARMONIOUS BLACKSMITH."
EXAMPLE FOR ANALYSIS, No. 10.
IV. HAYDN'S ANDANTE WITH VARIATIONS IN F-MINOR.
EXAMPLE FOR ANALYSIS, No. 11.
V. THE MINUET.
I. COMPOSITE NATURE OF THE SONATA.
II. ESSENTIALS OF SONATA-FORM.
III. A SONATA BY PHILIP EMANUEL BACH.
EXAMPLE FOR ANALYSIS, No. 12.
IV. HARMONY AS A PART OF DESIGN.
V. SUMMARY.
I. HAYDN AND THE SONATA-FORM.
EXAMPLE FOR ANALYSIS, No. 13.
II. MOZART AND THE SONATA-FORM.
EXAMPLE FOR ANALYSIS, No. 14.
III. MOZART'S ARTISTIC SKILL.
I. VARIETIES OF FORM.
II. SLOW MOVEMENTS OF PIANOFORTE SONATAS.
III. THE STRING QUARTET.
EXAMPLE FOR ANALYSIS, No. 15.
IV. GENERAL CHARACTERISTICS.
V. FORM OF HAYDN'S ADAGIO.
VI. MOZART AND THE CLASSIC STYLE.
EXAMPLE FOR ANALYSIS, No. 16.
VII. FORM OF MOZART'S ANDANTE.
I. GENERAL CHARACTER OF BEETHOVEN'S WORK.
EXAMPLE FOR ANALYSIS, No. 18.
EXAMPLE FOR ANALYSIS, No. 19.
III. SUMMARY.
I. FORM AND CONTENT.
II. BEETHOVEN'S STYLE.
EXAMPLE FOR ANALYSIS, No. 20.
III. THE DRAMATIC ELEMENT IN BEETHOVEN'S MUSIC.
I. THE SLOW MOVEMENT BEFORE BEETHOVEN.
II. THE SLOW MOVEMENTS OF BEETHOVEN'S EARLY SYMPHONIES.
EXAMPLE FOR ANALYSIS, No. 21.
III. INDIVIDUALITY OF THE ANDANTE OF THE FIFTH SYMPHONY.
IV. THE HARMONIC PLAN.
V. THE UNIVERSALITY OF BEETHOVEN'S GENIUS.
I. BEETHOVEN'S HUMOR.
EXAMPLE FOR ANALYSIS, No. 23.
III. THE SCHERZOS OF BEETHOVEN'S SYMPHONIES.
EXAMPLE FOR ANALYSIS, No. 24.
IV. GENERAL SUMMARY.
