[Gutenberg 58458] • The Appreciation of Music - Vol. 1 (of 3) by Mason, Daniel Gregory -- Read -- Imperial Library of Trantor

Index

THE APPRECIATION OF MUSIC CHAPTER I. ELEMENTS OF MUSICAL FORM.

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.

CHAPTER II. FOLK-SONGS.

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.

CHAPTER III. THE POLYPHONIC MUSIC OF BACH.

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.

CHAPTER IV. THE DANCE AND ITS DEVELOPMENT.

I. MUSICAL CHARACTER OF DANCES. II. PRIMITIVE DANCES. EXAMPLE FOR ANALYSIS, No. 3. III. A BACH GAVOTTE. EXAMPLE FOR ANALYSIS, No. 4.

CHAPTER V. THE SUITE.

I. DERIVATION OF THE SUITE. II. THE SUITES OF BACH. EXAMPLE FOR ANALYSIS, No. 5. III. THE HISTORIC IMPORTANCE OF THE SUITE.

CHAPTER VI. THE RONDO.

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.

CHAPTER VII. THE VARIATION FORM—THE MINUET.

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.

CHAPTER VIII SONATA-FORM I.

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.

CHAPTER IX. SONATA-FORM II.

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.

CHAPTER X. THE SLOW MOVEMENT.

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.

CHAPTER XI. BEETHOVEN—I.

I. GENERAL CHARACTER OF BEETHOVEN'S WORK. II. ANALYSIS OF A BEETHOVEN SONATA. EXAMPLE FOR ANALYSIS, No. 17. EXAMPLE FOR ANALYSIS, No. 18. EXAMPLE FOR ANALYSIS, No. 19. III. SUMMARY.

CHAPTER XII. BEETHOVEN—II.

I. FORM AND CONTENT. II. BEETHOVEN'S STYLE. EXAMPLE FOR ANALYSIS, No. 20. III. THE DRAMATIC ELEMENT IN BEETHOVEN'S MUSIC. IV. THE SIGNIFICANCE OF THE FIRST MOVEMENT OF THE FIFTH SYMPHONY.

CHAPTER XIII. BEETHOVEN—III.

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.

CHAPTER XIV. BEETHOVEN—IV.

I. BEETHOVEN'S HUMOR. II. SCHERZOS FROM BEETHOVEN'S SONATAS. EXAMPLE FOR ANALYSIS, No. 22.[1] EXAMPLE FOR ANALYSIS, No. 23. III. THE SCHERZOS OF BEETHOVEN'S SYMPHONIES. EXAMPLE FOR ANALYSIS, No. 24. IV. GENERAL SUMMARY.