Norwood Press:
Berwick & Smith Co., Norwood, Mass., U.S.A.
CONTENTS
| PAGE | ||
| I | THE PERIODS OF MUSICAL HISTORY | [1] |
| II | PALESTRINA AND THE MUSIC OF MYSTICISM | [43] |
| III | THE MODERN SPIRIT | [79] |
| IV | THE PRINCIPLES OF PURE MUSIC | [123] |
| V | HAYDN | [173] |
| VI | MOZART | [211] |
| VII | BEETHOVEN | [249] |
| VIII | BEETHOVEN (CONTINUED) | [289] |
| IX | CONCLUSION | [333] |
CHAPTER I
THE PERIODS OF MUSICAL HISTORY
CHAPTER I
THE PERIODS OF MUSICAL HISTORY
The modern view of history is vivified by a principle scarcely dreamed of before the middle of the last century; the conception which permeates all our interpretations of the story of the world, which illuminates our study of all its phases, was by our grandfathers apprehended either vaguely or not at all. For them, history dealt with a more or less random series of happenings, succeeding each other accidentally, unaccountably, and at haphazard; each single event, determined by causes peculiar to itself, was without relation to all the others. Political and social history, for example, was an account of battles, sieges, revolutions, governments; of kings, warriors, and statesmen. Its salient features were special occasions and individual men: Marathon and Waterloo, Alexander, Cæsar, Alfred, Napoleon. Of pervasive social movements, tendencies of human feeling and thought, developments of industries, institutions, laws, and customs by a gradual process in which great numbers of personally insignificant men played their part, little account was taken. Facts were facts, and had no hidden significance, no mutual interaction, no cumulative force, momentum, or direction.