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A SERIES OF PRACTICAL ESSAYS ON MUSIC BY AUBERTINE WOODWARD MOORE

October 3, 2006

Preface                                                               

    How we can approach knowledge of music. Mistaken isolation of the  art. Those who belong to the privileged class. Music, as well as  religion, meant for all. Business of its ministers and teachers.  Promise of the twentieth century. Fruitage of our own free soil.   American world-view. Purpose of volume.
The Origin and Function of Music                                     

    Story of music affording knowledge of man’s inner life. Mythology and legendary lore. Emerson’s dualism. Music a mirror. Ruskin and art. Beethoven’s lofty revelation. The real thing of Schopenhauer. Views of Carlyle, Wagner and Mazzini. Raw materials. Craving for sympathy in artistic type. Evolution of tone-language. French writer of 1835. Prince of Waldthurn, in 1690. Spencer’s theory. Controversy and answer. Music of primeval man and early civilizations. The Vedas. Hebrew scriptures. Basis of scientific laws. Church ritual.  Folk-music. Influence of crusades. Modern music architect of its own   fortunes. Present musical vocabulary and literature. Counsel of  Pythagoras. What Plato taught. Euripides on song. Auerbach. Martin Luther. Napoleon Bonaparte. Bain and Dr. Marx. Shakespeare, in Merchant of Venice. Wagner’s unspoiled humanity. Tolstoi in art.
Blunders in Music Study                                              

    Voice from the unseen. Perverted soul. Normal instincts. Genius and talent. Ćsthetic tastes. Musical sound and rhythmic motion. Average child. Frequent blunders. Appeal to intellect. Teacher with strong  personality. Experimenting with beginners. Legal protection. Vienna  musician. Class instruction. French solfčge. English tonic sol-fa.  Mrs. John Spencer Curwen. Rev. John Curwen. Time a mental science.  Musical perception of the blind. Music in public schools. Phillips
    Brooks on school song. Compulsory study. Socrates. Mirabeau.    Schumann on brilliancy. Unrighteous mammon of technique. Soul of  music. Neglect of ensemble work. As to accompaniments. Underlying  principles. Hearing good music. Going abroad. Wagner’s hero. A  plumed knight wanted.
The Musical Education That Educates                                  

    Symmetrical development. Well-rounded musician. Well-balanced  individual. Profits proportionate to investment. Living force. What  Goethe said. Rich harvest. Aristotle on command over mind. Music  study many-sided. Madox-Brown on art. Mabie on beauty. Practical  forces in shaping character, purifying taste and elevating  standards. Master-works. Human voice as music teacher. Scientific  methods of study. Both art and science. Mental discipline. Stephen A. Emory. Huxley on education.
How to Interpret Music                                               

    College professors on criticism and interpretation. External and  technical forms. Distrusting impressions. Trampling on God-given  intuitions. Throb and thrill of great art. Insight requisite for  interpretation. Living with masterpieces. Three souls of Browning.  Dr. Corson. Every faculty alive. Vital knowledge. Musical imagination. Technical proficiency. Head, hand and physical forces.  In service of lofty ideal. Musical art work. Theme. Unfolding.  Climax. Labor of composition. Mind of genius. Elementary laws. Tonal  language. Karl Formes and operatic aspirant. Motto of Leschetitzky.  Marks of expression. Adolph Kullak. Hans von Bülow. Pulse of music.  Memory. Ruskin’s fatal faults.
How to Listen to Music                                               

    Listening an art. Painting completed whole. Music passing panorama.   Not translatable into words. To follow, even anticipate composer.   Bach’s absolute knowledge. Fire of Prometheus. Inner sanctuary of art. Science of acoustics. Prime elements. Dr. Marx and Helmholtz.   Motive. Beethoven’s fifth symphony. Phrase. Period. Simple melody.   “God Save the King.” Our “America.” Masters of counterpoint. Bach’s    fugues. Monophony and polyphony. Classical and romantic. Heretic and  hero. Hadow on musical laws. Form the manifestation of these. Good  music versus ragtime. Dr. Corson on spiritual appeal.
The Piano and Piano Players                                         

    Pythagoras and musical intervals. Pan pipes. Portable organs.  Monochords with keys. Guido d’Arezzo. Clavier type. Virginal in   Elizabethan age. Early clavier masters. First woman court clavier  player. Scarlatti and Bach. True art of clavier-playing. Sonata  form. Where Haydn gained much. Mozart and Clementi. Pianoforte and  improvements. Viennese school. Clementi school. Giant on lofty  heights. Oscar Bie on Beethoven. Golden age of pianoforte. Piano  composers and virtuosi, from Weber to the present time. Teachers and  performers often corrupters of music.
The Poetry and Leadership of Chopin                                 

    Rubinstein on Polish patriot and tone-poet who explored harmonic  vastness of pianoforte. Like exquisitely constructed sounding-board.  Enriched and spiritualized the pianoforte for all time. Universal  rather than individual experiences. National tonality. Zwyny and Elsner. Intimate acquaintance with Bach. Prince Charming of the  piano. Liszt on Chopin. Raphael of music. Playing and teaching. Tempo rubato. Compositions. Schumann’s words. Oscar Bie.
Violins and Violinists–Fact and Fable                              

    Volker the fiddler. Nibelungen lay. Videl of days of chivalry. Bow fashioned like sword. Hagen of Tronje. Wilhelm Jordan, in  “Sigfridsage.” Henrietta Sontag and the coming Paganini. Wagner’s Volker-Wilhelmj at Bayreuth. Magic fiddles and wonderworking  fiddlers. Grimm’s Fairy Tales. Norse folk-lore. English nursery rhymes. Crickets as fiddlers. Progenitors of violin. The violin of Queen Elizabeth and her age. Shakespeare in Twelfth Night. Household  of Charles II. Butler, in Hudibras. Viola d’amore in Milwaukee, Wis.  Brescian and Cremonese violin-makers. Early violinists. Value and
    history of some violins. Strings and bow. Violin virtuosi from  Corelli to our day. Mad rush for technique.
Queens of Song                                                      

    Florentine lady, Vittoria Archilei. Embryo opera of Cavalieri.  Peri’s “Eurydice.” Euterpe. Marthe le Rochois and Lully’s operas.  Rival queens in London. Steele, in “Tattler.” Second pair of rivals, Cuzzoni and Faustina. Master Handel. Germany’s earliest queen of    song. Frederick the Great and German singers. Mrs. Billington. Haydn  and Sir Joshua Reynold’s St. Cecilia. Mozart’s operas introduced  into England. Catalani. Pasta. Sontag. Schröder-Devrient and Goethe’s “Erl King.” Malibran a dazzling Meteor. Another daughter of Manuel del Popolo Garcia. Marchesi, Grisi and Mario. Manuel Garcia
    and the Swedish Nightingale. Other Swedish songstresses. Patti.  Queens of song pass in review. Two Wagner interpreters. A Valkyrie’s  horse. A word for American girls.

The Opera and Its Reformers                                         

    Evolution of drama. At the altar of Dionysus. Greek poetry and   music. Aristotle on Greek stage-plays. Ćschylus and Sophocles.  Euripides. Words, music and scenic effect. Lenćan theatre  exhibitions. More costly than Peloponnesian war. Roman dominion. Primitive Christian church. St. Augustine. Mystery, miracle,  morality and passion plays. Strolling histriones, etc. Florence  “Academy.” Vincenzo Galilei. Monody. Polyphonic music. Emilio del Cavalieri. Vittorio Archilei. Music of Greeks recovered. Peri.  Monteverde and his work. First opera house. Alessandro Scarlatti.  Troubadours. Lully, Rameau and French opera. Purcell, Handel and music in England. Gluck, the regenerator. German opera. Mozart,  Beethoven, Weber and Wagner. What came from Bach, Chopin and   Berlioz. Rossini’s melodies. Wagner’s influence. Verdi, the grand   old man.
Certain Famous Oratorios                                             

    Neri’s oratory. Dramatized versions of biblical stories. Palestrina    and harmonies of celestial Jerusalem. Religious dramas of Roswitha.    Laura Guidiccioni’s first oratorio text. Music by Cavalieri. At   Santa Maria della Vallicella. Orchestra behind the scene.    Description. Carissimi, “father of oratorio and cantata.”   Alessandro Scarlatti. Another Alessandro. Dr. Parry’s opinion. “San   Giovanni Battista” and famous air. Tradition about Stradella. What   recent writers say. Handel and the “Messiah.” Bach and the “Passion  Music.” “The Creation” and Haydn. Beethoven’s “Mount of Olives.”  Mendelssohn, in “St. Paul” and “Elijah.” Oratorios of Liszt and  Gounod. Next step in the evolution.
Symphony and Symphonic Poem                                         

    That adventurous spirit, Monteverde. Charm in exploring resources of  instrumentation. Operatic overture. Forge of genius. Dance of  obscure origin. Craving for individual expression. Touch of  authority by Corelli. Cardinal Ottoboni’s palace. Symphony, a sonata  for orchestra. Purcell, Scarlatti, Sammartini and the Bachs.  Monophonic style. Contrasting movements. German critic on early sonata. Further explanation. Meaning of symphony. Haydn with  Esterhazy orchestra. Father of the symphony. Mozart. Beethoven.  Schubert. Schumann. Mendelssohn. Berlioz, the musical heretic. His
    “fixed idea” and programme music. Liszt and symphonic poem.  Saint-Saëns. Tschaikowsky and Russian spirit. Sinding. Grieg. Gade.   Brahms and absolute music.

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