Too much stress cannot be laid on the fact that the music itself is the central point of the scheme of study, to which the reader must return over and over again. Carefully attentive, concentrated listening to the typical pieces presented in the supplement is the essence of the work, to which the reading of the text is to be considered merely as an aid. These pieces are for the most part not beyond the reach of a pianist of moderate ability.
At the same time, the authors have realized that some readers who might profit much by such study will not be able to play, or have played for them, even these pieces. For them, however, the music will still be accessible through mechanical instruments.
In view of the fact that one of the chief difficulties in the study of musical appreciation is the unfamiliarity of classical music to the ordinary student, the use of an instrument by the students themselves should form an important part of the work in classes where this book is used as a text-book. It is hoped that with such practical laboratory work by all members of the class, and with the help of collateral reading done outside the class under the direction of the teacher, and tested by written papers on assigned topics, the course of study outlined here will be found well-suited to the needs of schools and colleges, as well as of general readers.
CONTENTS.
| CHAPTER I. | ||
| PAGE | ||
| ELEMENTS OF MUSICAL FORM. | [1] | |
| I. | INTRODUCTORY | [1] |
| II. | WHAT TO NOTICE FIRST | [3] |
| III. | MUSICAL MOTIVES | [4] |
| IV. | WHAT THE COMPOSER DOES WITH HIS MOTIVES | [6] |
| V. | THE FIRST STEPS AS REVEALED BY HISTORY | [10] |
| VI. | A SPANISH FOLK-SONG | [12] |
| VII. | BALANCE OF PHRASES | [13] |
| VIII. | SUMMARY | [14] |
| CHAPTER II. | ||
| FOLK-SONGS. | [16] | |
| I. | FOLK-SONGS AND ART SONGS | [17] |
| II. | AN ENGLISH FOLK-SONG | [20] |
| III. | KEY AND MODULATION | [21] |
| IV. | BARBARA ALLEN | [22] |
| V. | NATIONAL CHARACTERISTICS IN FOLK-SONGS | [25] |
| VI. | AN IRISH FOLK-SONG | [26] |
| VII. | A GERMAN FOLK-SONG | [28] |
| VIII. | SUMMARY | [30] |
| CHAPTER III. | ||
| THE POLYPHONIC MUSIC OF BACH. | [31] | |
| I. | WHAT IS POLYPHONY | [32] |
| II. | AN INVENTION BY BACH | [33] |
| EXAMPLE FOR ANALYSIS, No. 1. | ||
| Bach: Two-voice, Invention. No, VIII, in F-major | [34] | |
| III. | A FUGUE BY BACH | [37] |
| EXAMPLE FOR ANALYSIS, No. 2. | ||
| | Bach: Fugue No. 2, in C-minor, in three voices. "Well-tempered Clavichord," Book I | [38] |
| IV. | GENERAL QUALITIES OF BACH'S WORK | [43] |
| CHAPTER IV. | ||
| THE DANCE AND ITS DEVELOPMENT. | [48] | |
| I. | MUSICAL CHARACTER OF DANCES | [48] |
| II. | PRIMITIVE DANCES | [52] |
| EXAMPLE FOR ANALYSIS, No. 3. | ||
| Corelli: Gavotte in F-major | [56] | |
| III. | A BACH GAVOTTE | [57] |
| EXAMPLE FOR ANALYSIS, No. 4. | ||
| Bach: Gavotte in D-minor, from the Sixth English Suite | [57] | |
| CHAPTER V. | ||
| THE SUITE. | [62] | |
| I. | DERIVATION OF THE SUITE | [62] |
| II. | THE SUITES OF BACH | [65] |
| EXAMPLE FOR ANALYSIS, No. 5. | ||
| Bach: Prelude to English Suite, No. 3, in G-minor | [65] | |
| EXAMPLE FOR ANALYSIS, No. 6. | ||
| Bach: Sarabande in A-minor, from English Suite, No. 2 | [68] | |
| EXAMPLE FOR ANALYSIS, No. 7. | ||
| Bach: Gigue, from French Suite, No. 4, in E-flat | [71] | |
| III. | THE HISTORIC IMPORTANCE OF THE SUITE | [72] |
| CHAPTER VI. | ||
| THE RONDO. | [74] | |
| I. | DERIVATION OF THE RONDO | [75] |
| II. | A RONDO BY COUPERIN | [79] |
| EXAMPLE FOR ANALYSIS, No. 8. | ||
| Couperin: "Les Moissonneurs" ("The Harvesters") | [80] | |
| III. | FROM COUPERIN TO MOZART | [83] |
| IV. | A RONDO BY MOZART | [86] |
| EXAMPLE FOR ANALYSIS, No. 9. | ||
| Mozart: Rondo from Piano Sonata in B-flat major | [87] | |
| CHAPTER VII. | ||
| THE VARIATION FORM—THE MINUET. | [93] | |
| I. | VARIATIONS BY JOHN BULL | [94] |
| II. | A GAVOTTE AND VARIATIONS BY RAMEAU | [97] |
| III. | HANDEL'S "HARMONIOUS BLACKSMITH" | [100] |
| EXAMPLE FOR ANALYSIS, No. 10. | ||
| Handel: "The Harmonious Blacksmith," from the Fifth Suite for Clavichord | [101] | |
| IV. | HAYDN'S ANDANTE WITH VARIATIONS, IN F-MINOR | [103] |
| EXAMPLE FOR ANALYSIS, No. 11. | ||
| Haydn: Andante with Variations, in F-minor | [104] | |
| V. | THE MINUET | [108] |
| CHAPTER VIII. | ||
| SONATA-FORM, I. | [110] | |
| I. | COMPOSITE NATURE OF THE SONATA | [110] |
| II. | ESSENTIALS OF SONATA-FORM | [111] |
| III. | A SONATA BY PHILIP EMANUEL BACH | [114] |
| EXAMPLE FOR ANALYSIS, No. 12. | ||
| Philip Emanuel Bach: Piano Sonata in F-minor, first movement | [115] | |
| IV. | HARMONY AS A PART OF DESIGN | [125] |
| V. | SUMMARY | [126] |
| CHAPTER IX. | ||
| SONATA-FORM, II. | [128] | |
| I. | HAYDN AND THE SONATA-FORM | [128] |
| EXAMPLE FOR ANALYSIS, No. 13. | ||
| Haydn: "Surprise Symphony," first movement | [131] | |
| II. | MOZART AND THE SONATA-FORM | [134] |
| EXAMPLE FOR ANALYSIS, No. 14. | ||
| Mozart: Symphony in G-minor, first movement | [136] | |
| III. | MOZART'S ARTISTIC SKILL | [138] |
| CHAPTER X. | ||
| THE SLOW MOVEMENT. | [143] | |
| I. | VARIETIES OF FORM | [143] |
| II. | SLOW MOVEMENTS OF PIANO SONATAS | [145] |
| III. | THE STRING QUARTET | [148] |
| EXAMPLE FOR ANALYSIS, No. 15. | ||
| | Haydn: Adagio in E-flat major, from the String Quartet in G-major, op. 77, No. 1 | [149] |
| IV. | GENERAL CHARACTERISTICS | [151] |
| V. | FORM OF HAYDN'S ADAGIO | [152] |
| VI. | MOZART AND THE CLASSIC STYLE | [153] |
| EXAMPLE FOR ANALYSIS, No. 16. | ||
| Mozart: Andante from String Quartet in C-major | [156] | |
| VII. | FORM OF MOZART'S ANDANTE | [159] |
| CHAPTER XI. | ||
| BEETHOVEN—I. | [161] | |
| I. | GENERAL CHARACTER OF BEETHOVEN'S WORK | [161] |
| II. | ANALYSIS OF A BEETHOVEN SONATA | [166] |
| EXAMPLE FOR ANALYSIS, No. 17. | ||
| Beethoven: Path?ique Sonata, first movement | [166] | |
| EXAMPLE FOR ANALYSIS, No. 18. | ||
| Beethoven: Path?ique Sonata, second movement | [170] | |
| EXAMPLE FOR ANALYSIS, No. 19. | ||
| Beethoven: Path?ique Sonata, third movement | [171] | |
| III. | SUMMARY | [174] |
| CHAPTER XII. | ||
| BEETHOVEN—II. | [176] | |
| I. | FORM AND CONTENT | [176] |
| II. | BEETHOVEN'S STYLE | [178] |
| EXAMPLE FOR ANALYSIS, No. 20. | ||
| Beethoven: The Fifth Symphony, first movement | [181] | |
| III. | THE DRAMATIC ELEMENT IN BEETHOVEN'S MUSIC | [185] |
| IV. | THE SIGNIFICANCE OF THE FIRST MOVEMENT OF THE FIFTH SYMPHONY | [187] |
| CHAPTER XIII. | ||
| BEETHOVEN—III. | [191] | |
| I. THE SLOW MOVEMENT BEFORE BEETHOVEN | [191] | |
| II. | THE SLOW MOVEMENTS OF BEETHOVEN'S EARLY SYMPHONIES | [192] |
| EXAMPLE FOR ANALYSIS, No. 21. | ||
| Beethoven: The Fifth Symphony. Slow movement | [195] | |
| III. | INDIVIDUALITY OF THE ANDANTE OF THE FIFTH SYMPHONY | [198] |
| IV. | THE HARMONIC PLAN | [201] |
| V. | THE UNIVERSALITY OF BEETHOVEN'S GENIUS | [203] |
| CHAPTER XIV. | ||
| BEETHOVEN—IV. | [205] | |
| I. | BEETHOVEN'S HUMOR | [205] |
| II. | SCHERZOS FROM BEETHOVEN'S SONATAS | [209] |
| EXAMPLE FOR ANALYSIS, No. 22. | ||
| Beethoven: Scherzo from the Twelfth Sonata | [209] | |
| EXAMPLE FOR ANALYSIS, No. 23. | ||
| Beethoven: Scherzo from the Fifteenth Sonata | [210] | |
| III. | THE SCHERZOS OF BEETHOVEN'S SYMPHONIES | [211] |
| EXAMPLE FOR ANALYSIS, No. 24. | ||
| Beethoven: Scherzo from the Fifth Symphony | [218] | |
| IV. | GENERAL SUMMARY | [221] |
THE APPRECIATION OF MUSIC