The Growth of Music a Study in Musical History for Schools volume 3
The Growth of Music a Study in Musical History for Schools volume 3
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In our eReader you can find the full English version of the book. Read The Growth of Music a Study in Musical History for Schools volume 3 Online - link to read the book on full screen. Our eReader also allows you to upload and read Pdf, Txt, ePub and fb2 books. In the Mini eReder on the page below you can quickly view all pages of the book - Read Book The Growth of Music a Study in Musical History for Schools volume 3
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23. | fe @ i 5 4 CHAMBER MUSIC AND THE SYMPHONY Here the whole form depends upon the opposition of two key centres, the tonic and dominant of the key of F. It moves round these, and the transition from one to the other is a main source of that feeling of balance which the whole tune gives. What is true of short measures of melody is equally true of their more extended forms. The reason that Brahms so constantly adheres to the outlines of sonata form is that the contrasts of key were always to h...im an essential part of design, and, as we saw at an early stage of our study, the sonata grew largely out of the need for such contrasts (see Part I, pp. 58 and 59). . Franck built up his larger forms chiefly by showing other re- lationships than those of key between his melodic ideas. He very constantly reintroduces the themes from one movement into a later one, sometimes altering their rhythm, as the writers of programme music of his time constantly did, but more often preserving their form very much as it first appeared but show- ing some new and subtle connexion between melodies freshly introduced and those from which he started.
What to read after The Growth of Music a Study in Musical History for Schools volume 3?
You can find similar books in the "Read Also" column, or choose other free books by H C Henry Cope Colles to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
23. | fe @ i 5 4 CHAMBER MUSIC AND THE SYMPHONY Here the whole form depends upon the opposition of two key centres, the tonic and dominant of the key of F. It moves round these, and the transition from one to the other is a main source of that feeling of balance which the whole tune gives. What is true of short measures of melody is equally true of their more extended forms. The reason that Brahms so constantly adheres to the outlines of sonata form is that the contrasts of key were always to h...im an essential part of design, and, as we saw at an early stage of our study, the sonata grew largely out of the need for such contrasts (see Part I, pp. 58 and 59). . Franck built up his larger forms chiefly by showing other re- lationships than those of key between his melodic ideas. He very constantly reintroduces the themes from one movement into a later one, sometimes altering their rhythm, as the writers of programme music of his time constantly did, but more often preserving their form very much as it first appeared but show- ing some new and subtle connexion between melodies freshly introduced and those from which he started.
What to read after The Growth of Music a Study in Musical History for Schools volume 3?
You can find similar books in the "Read Also" column, or choose other free books by H C Henry Cope Colles to read onlineMoreLess
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