The Art of Music: A Comprehensive Library of Information for Music Lovers and Musicians, Bind 1Daniel Gregory Mason National Society of Music, 1915 |
Andre udgaver - Se alle
Almindelige termer og sætninger
accompaniment æsthetic ancient art of music artistic Assyrian beauty became called canon cantus cantus firmus century ceremonial chansons chant character Chinese choir choral chords chorus Christian church color composers composition contrapuntal culture dance definite Dorian mode dramatic drums Dufay early Egyptian music element expression fact famous figured bass flute German Greek harmony harp Hebrews hexachord Hindoo hymns imitation influence instru intervals invention Italian Italy Josquin kithara later lyre madrigals mass master measured music melody ments Minnesinger modern modes Mohammedan motets movement musicians natural Netherland notation notes octave Okeghem opera orchestra organization organum Orient origin Palestrina perfect performance pieces pipes pitch plain-song played polyphony popular primitive music religious represented rhythm rhythmic Rome sacred sang savage scale secular singers singing solo sonata songs sound stringed instruments strings style sung Terpander tetrachords tion tones Troubadours Trouvères tunes verses vocal voice writing
Populære passager
Side 415 - At present our notions of music are so very uncertain, that we do not know what it is we like; only, in general, we are transported with any thing that is not English : so it be of a foreign growth, let it be Italian, French, or High Dutch, it is the same thing. In short, our English music is quite rooted out, and nothing yet planted in its stead.
Side 17 - ... sort ; to counteract which, a person kept striking quickly, and with two sticks, a piece of the same substance, split, and laid along the ground, and by that means furnishing a tone as acute as those produced by the others were grave. The rest of the band, as well as those who performed upon the bamboos, sung a slow and soft air, which so tempered the harsher notes of the above instruments, that no bystander, however accustomed to hear the most perfect and varied modulation of sweet sounds, could...
Side 4 - The muscles that move the chest, larynx, and vocal chords, contracting like other muscles in proportion to the intensity of the feelings; every different contraction of these muscles involving, as it does, a different adjustment of the vocal organs; every different adjustment of the vocal organs causing a change in the sound emitted;—it follows that variations of voice are the physiological results of variations of feeling.
Side 75 - The plan we have been laying down for the education of youth was known long ago to the Egyptians, that nothing but beautiful forms and fine music should be permitted to enter into the assemblies of young people. Having settled what those forms and what that music should be, they exhibited them in their temples ; nor was it allowable for painters, or other imitative artists, to innovate or invent any forms different from what were established ; nor lawful, either in painting, statuary, or any branches...
Side 75 - ... the Egyptians, that nothing but beautiful forms and fine music should be permitted to enter into the assemblies of young people. Having settled what those forms and what that music should be, they exhibited them in their temples ; nor was it allowable for painters or other imitative artists to innovate or invent any forms different from what were established ; nor is it now lawful, either in painting, statuary, or any of the branches of music, to make any alteration.
Side 17 - Four or five of this band had pieces of large bamboo, from three to five or six feet long, each managed by one man, who held it nearly in a vertical position, the upper end open, but the other end closed by one of the joints. With this...
Side 17 - ... an idea of different notes being useful in harmony; and also, that they rehearsed their compositions in private, and threw out the inferior voices before they ventured to appear before those who were supposed to be judges of their skill in music. " In their regular concerts each man had a bamboo, which was of a different length, and gave a different tone: these they beat against the ground, and each performer, assisted by the note given by...
Side 365 - ... six great flutes, six minstrels playing on Turkish instruments, six others on octave flutes, six pages, three Serjeants, six cymbalists, twelve huntsmen, twelve grooms, six coachmen for the triumph, six others for the procession, two lions led by two Turks, two elephants by two others, Berenice's triumphal car drawn by four horses, six other cars with prisoners and spoils drawn by twelve horses, six coaches for the procession.
Side 84 - The net result of Oriental research," says Professor Sayce, "in its bearing upon Herodotus is to show that the greater part of what he professes to tell us of the history of Egypt, Babylonia, and Persia is really a collection of ' marchen,' or popular stories, current among the Greek loungers and half-caste dragomen on the skirts of the Persian empire. . . . After all, ... it may be questioned whether they are not of higher value for the history of the human mind than the most accurate descriptions...
Side 415 - The king or hero of the play generally spoke in Italian, and his slaves answered him in English ; the lover frequently made his court, and gained the heart of his princess, in a language which she did not understand. One would have thought it very difficult to have carried on dialogues after this manner without an interpreter between the persons that conversed together; but this was the state of the English stage for about three years.