This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1905 edition. Excerpt: ...by the poetry. Now imagine that you hear the same song three I months later. You have forgotten the actual words point by point; but you still retain the recollection of the emotional moods they suggested; and so you are still responsive to each nuance of expression in the music. Listening to a song under ...
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1905 edition. Excerpt: ...by the poetry. Now imagine that you hear the same song three I months later. You have forgotten the actual words point by point; but you still retain the recollection of the emotional moods they suggested; and so you are still responsive to each nuance of expression in the music. Listening to a song under these conditions is precisely the same as listening to a symphonic poem. In Die Ideale, for example, Liszt divides Schiller's poem into sections of different intensity or different timbre of feeling, and places each of these in the score before the section of the music that illustrates it. Die Ideale is, in fact, an extension of the song-form, in which the words are not sung but are either suggested to us or supposed to be known to us. But it is folly to suppose that either in the Brahms song or Die Ideale the man who does not know the literary basis can get the same pleasure as the man who does. We have only to treat all other symphonic poems in the same way as we have just treated Tchaikovski's Romeo and Juliet--to ask ourselves what the composer meant us to hear, and how much of it we really do hear if we do not know his poetical scheme--to see the folly of holding up absolute music as the standard to which programme music ought to conform. Occasionally, however, the objection is put in the inverse way, and we are told that programme music is absurd because it does not speak intelligibly to us, does not carry its story written upon it so plainly that no one can mistake it. The charge of absurdity must be really laid at the door of the composer. The plain truth is that a composer has no right to put before us a symphonic poem without giving us the fullest guide to his literary plans. It would be ridiculous of Wagner or Schubert to think their...
Good. No dust jacket. 1910. 319 pages. No dust jacket. Green boards. Some internal hinge cracking. Light tanning to text pages with mild tanning and foxing to endpapers and text edges. Small bumps to corners. Few dog eared corners. Finger marks to page edges. Inscription to front paste-down. Softening to spine with mild bleaching, sunning to spine, boards and edges. Water marks to spine, boards and edges. A few marks, wear and bumps to spine ends, boards and edges. Bumps to boards and edges. World of Rare Books Item ref. 1508442533DPB (Use this ID when enquiring about this item. )
Very Good. Book An interesting work on music theory. In a prize binding by Sangorski and Sutcliffe for Berkhamsted School. The third edition of this text. With the preface of both prior editions as well asa new preface for this edition. This work discusses several aspects of music such as 'Berlioz, Romantic and Classic', 'Faust In Music', 'Programme Music', 'Maeterlink and Music', 'Herbert Spencer and the Origin of Music' as well as 'Richard Strauss and the Music of the Future'. Ernest Newman was an English music critic and musicologist. He has been described as one of 'the most celebrated British music critics' of the first half of the 20th century. Condition: In vellum effect paper covered boards. With crest for Berkenhamsted School to front board. Externally, smart with several handling marks to boards and spine. Minor patches of rubbing to the spine and joints. Binder's stamp to verso of front endpaper, Sangorski & Sutcliffe, London. Prize bookplate to front pastedown from Berkhamsted School. A Prize for violin awarded for C R Chronander June 1926. Internally, firmly bound. Pages are very slightly age toned and clean throughout. Overall: VERY GOOD.
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