This
Volume
is
for
EFERENCE
USE ONLY
UNIVERSITY
MUSICAK



\v
UNIVERSITY
MUSICAL
ENCYCLOPEDIA
CHIEF
EDITOR
LOUIS
C.
ELSON
New
England
Conservatory
of Music
In
Ten
Volumes:
Vol.
I.
A

Music
of
the
World
Vol.
VI.
Vocal
Music
and
Musicians:
The
Vocal
Art;
Great
Vocalists;
Famous
Songs
Vol.
VII.
The
Opera:
History
and
Guide
Vol.
VIII.
The
Theory
of
Music;

Berlin
Photographic
Co.,
N. Y.
IN
ACCORD
From
the
Painting
by
G. von
Hoesslin

Copyright,
1912
By
THE UNIVERSITY SOCIETY
Inc.
Copyright,
1910
By
THE UNIVERSITY
SOCIETY
Inc.
CONTENTS
THE
THEORY OF
MUSIC
CHAPTER
I

CHAPTER
II
CLASSES,
CHARACTERS,,
AND KINDS
OF
Music.
8
Identity
of Class in
Sacred and
Secular
Tunes
Distinction of Character
Necessity
_for
Musical
Forms
Homophonic
and
Polyphonic
Composi
tion
Sacred
and Secular
Characters
Vocal,
In
strumental,
and

SIMPLE
SACRED
AND SECULAR
FORMS
25
Amen
Chant Versicles
and
Responses
Psalm-
tune
Hymn-tune Song
Duet
Trio
Quartet
Recitative*
Air,
or
Aria Chorus
Examples.
CHAPTER
V
COMPOUND
SACRED
FORMS
,
45
Anthem Service
Mass
Oratorio,

SIMPLE
INSTRUMENTAL
FORMS
59
Waltz
Polka
Quadrilles
Schottische
Reel
Strathspey
Hornpipe
Jig
Gavotte
Minuet
Other
Forms
Examples.
CHAPTER
VIII
MORE
EXTENDED
INSTRUMENTAL
FORMS
67
Capriccio
Fantasia
Extravaganza
Potpourri
Scherzo
Rondo

Simple
Har
mony
Of
Italian
Origin
Emancipation
of
Har
mony
Chopin's
Harmony
Grieg
Wagner
Mo
notony
and
Restlessness
Theories
of
Harmony-
Necessity
for
Rules.
CHAPTER
XI
THOROUGH-BASS
IOO
A
Species

Origin
Organum
and
Faburden
Bach
Trend
of"
Modern
Music
The
Obbligato
Bad
Effect
of
Too
Much
Complexity
Species
of
Counterpoint
Mod
ern
Exaup'es
of
Counterpoint
Old
Church
Com-
for
CONTENTS

Fugue Fugal
Style
and
Structure
Fugue
and
Cadences
Bach's Violin Sonatas
His
Organ
Fugues
Mozart's Wonderful
Skill
Modern
Oratorio
and
Fugue
The
Fugue
and Modern Ex
pression.
CHAPTER
XIV
CADENCES
134
Various
Ways
of
Ending
Harmonic

Development
of Orchestration
Why
"Addu^nal
Accompani
ments"
are
Irreverent
Variety
in Color
Results
from
Judicious
Blending
of
Contrasting
Elements
Wagner's
Intimate
Knowledge
of
the Orchestra.
CHAPTER
XVI
RHYTHMS
i55
Structure
and
Rhythms
Grammatical

Examples
The
Pastoral
Symphony
De
scriptive
Music
fa
Mendelssohn's
Overtures
Liszt
and
the
Symphonic
Poem
Culmination
of
this
Form
in
Richard
Strauss.
viii
CONTENTS
APPRECIATION
OF
MUSIC
PAGE
I.
How TO

Surroundings
Beneficial
Powers
of
Music.
II.
How
TO LISTEN
TO
OPERA
182
Feelings
of
Disappointment
Expectations
The
Language
Difficulty
Why
the
Story
is
Hard to
Fol
low
What We
Go
to the
Opera
to Hear

IQI
Necessity
for
Practice
Sources
of
Sound-produc
tion The Pianoforte
Preliminary
Preparation
Details of Pianoforte Practice
Suggested
Course
for
Piano
Accompaniments
Dance
Music
The
Organ
Hymn-playing
Violin,
etc.
Time-tables.
II. THE PIANO AND
How TO
PLAY
IT
204
A

Staccato
Position
and
At
tack m Each
Production of
the Octave
Staccato
Development
of
the
Muscles
Used in
Staccato
Play
ing.
IV.
THE
TWO-FINGER
EXERCISE
218
Symmetry
in
Technical
Practice
Value
of
Accent
Control
of

How
to
Acquire
a
Fine
Tone.
VI.
How TO
ACQUIRE
A
DELIGHTFUL
TOUCH
231
Difference
in
Players
Purpose
of This
Paper
In
dividual
Qualities
Forty
Daily
Exercises and
How
to
Play
Them.
VII.

Motions and
Down
Motions Bad
Results
of
Careless
Up
Motions Normal
Touch
Advantages
of
Quick
Motion
Preliminary
Exercises
for
Quick
Motions.
IX.
THE ART
OF
POLYPHONIC
PLAYING
247
The
Singing
Tone
Two
Fundamental
Touches,

and
Staccato Prac
tice
Two-finger
Exercises
Slow
and
Fast Prac
tice
Development
of the
Wrist
Trills
Joseffy's
Patience and
Care
What His
Pupils Study.
XL
How
TO
STIMULATE
THOUGHT
AND
IMAGINA
TION
260
Overdone
Technical
Study

THEODORE
LESCHETIZKY.
. .
273
XIV.
SCHUMANN'S
"VOGEL ALS
PROPHET"
277
BIBLIOGRAPHY
.
295

THE
THEORY
OF
MUSIC
MUSICAL
FORM
CHAPTER
I
NECESSITY
FOR
FORM IN
MUSIC
Conformity
in
Variety
Monotony
Scientific

sit
through
tile
performance
of an
opera,
an
oratorio,
or
a
symphony
without
noticing
that the
music
occasionally
changes
from
loud
to
soft
and
from
slow
to
fast. A
thousand
details
escape
him

varied
themes
or tunes
must
be familiar
to his
ear;
he
must
not
only
recognize
each tune
as it
appears,
but
he
must
also bear in
mind
the order in
which the
tunes
appear,
and
the
different
keys
in
which

a
remote hill
;
but
he who
studies
the details
of
a
fagade,
column,
and
ornament,
standing
in the shadow
of a
lofty
wall,
must
exert
himself
mentally
if
he wishes
his
imagination
to
build
up
for

our most
ignorant
and
inattentive
listener
be
comes
attentive,
he
will
notice
that
all
symphonies
are
more
or less alike
in their
structure,
however much
they
may
differ in
subject-matter
and
detail. He
will
not
believe that
this

a "Rondo"
symphony
of four
or
five
or more
rondos
?
Why
not an
"Adagio"
sym
phony
consisting
of
several
slow
movements?
Be
cause
the
result would
be
unbearably
monotonous,
and Horace
long
ago
told us
that

unity
in
variety.
Unity
without
variety
is monot
onous;
1
variety
without
unity
is
diffuse
and
vague.
"When
I
was a
boy," says
Huxley,
"I
had
abundant
opportunities
of
hearing [the
music
of]
that

me,
I
am
glad
to
THE
THEORY
OF
MUSIC
3
think;
but
of
late
years
I
have
tried
to
find
out
the
why
and
the
wherefore,
and
it has
often
occurred

purely
intellectual.
I
mean,
that
the
source
of
pleasure
is
exactly
the
same
as in
most
of
my problems
in
morphology
that
you
have
the
theme
in
one of
the
old
master's
works

scientific
value
of
musical
form
is
enough
to
make one
conclude
that
form
is
the
chief
source of
interest
in
a
musical
work.
That conclu
sion
is
erroneous.
Form
is
the servant
;
ideas

musical ideas
expressed
in
Bach's
fugue
form
than
he
imagined.
It
was
form,
however,
which
made
the
musical ideas
clear to
him.
Omitting
musical
ideas,
it
is
not
difficult
to
construct a
fugue
more

a
mass
of shrubs
in
the
foreground,
and a
hedge
around
the orchard
all
conforming
to
a well-
designed
and balanced
scheme. Considered
as a
de
sign,
and
without
atmospheric
effects,
our
trees,
paths,
shrubs,
and
hedges

themselves
in
dusky
distance.
Return
to it
when
the
summer
stars
sparkle
above
you
and
the
moon
"tips
with
silver
all
these
fruit-tree
tops
77
;
wander
through
it
in
Octo

in
springtime,
after the
warm
rain of
April
has
awakened
the
buds and
blos
soms from
their
winter
sleep.
Are
there
not
an
indescribable
beauty
and
a
variety
of
beauty
that
are
independent
of

to
get
an
impression
as
best it
could
through
a
narrow
slit
moving
across
the
line
of
vision,
only
allowing
a
small
section
of
the
landscape
to
be
seen at
a
time,

intervals
those
pictures
he
wished
the
mind
of
the
observer to
retain.
Now,
it is
plainly
impossible
to
get
a
bird's-eye
view
of
a
symphony
as
of
a
landscape
or
a
cathedral.

for
design
and
balance
is
nowhere
more
imperative
than
in
music,
where
all
is
so
fleeting
and
impalpable
mere
vibra
tions
of
the
tympanic
membrane.
Imagine
the
impression
of
chaos

hour
and
five
minutes.
Form and structural
ingenuity
alone
shape
such
a vast
conglomeration
of
sound into
a
musical whole.
Without
form,
Beethoven's
chords
and
phrases
would
no
more
resemble
a
symphony
than
a
mound

you
have
passed.
In
early days
a
sym
phony
was
a
mystery
;
and
you
were
somewhat
puzzled
to
find others
applauding
it.
An
unfolding
of
musical
faculty
that
went on
slowly
through

indifference
to certain still
more
involved
musical combinations
may
arise
from
incapacity
in
you,
and
not from
faults
in
them/'
"Unfolding
of
musical
faculty"
means
that
the
listener more and more
understands
the
thought
and
feeling
of

composition
in
a
few
hours
;
but
Plato's
assertion that
there is a
deeper
harmony
as there
is
a
deeper
astronomy
a
harmony
not
for
the ear
is as
true
to-day
as
it
was
twenty-four
centuries

called
intellect
on
a
higher
plane
than
that
which is
commonly
called
feeling;
but
feeling,
in
the
most
comprehensive
sense
of
the
word,
has
always reigned
supreme.
No
change
of
dynasty
can

heart
since
time immemorial.
It
is
wrong
to
approach
a
work
of
art
in
the
spirit
of an
anatomist about
to
dissect.
Morphology,
the science
of
forms in
organisms,
is
of
little
value
in
the

be
deeply
interested
in
a
performance
of
"Richard
III"
;
but when
asked for an
opinion
on
the
play,
he
replied
by
giving
the
number
of
words
that
Garrick,
acting
in
it,
had

number
of
bars
in
any
division
or
in
any
theme in
the
movement.
The
composer's
only
care
is that
the
transition
from
one
emotion
to
another
shall
be
natural
and
in
a

MUSIC
7
late the
thought-centers,
and
the
mingled
emotions and
thoughts
which
music
quickens
will
differ
in
each
hearer
in
so much
as his
intellect and
temperament
differ
from those
of
the
composer.
As the
proportion
ate amount

longing,
awe,
fear,
dread,
devotion,
anger,
hate,
scorn,
love,
tender
ness,
pity,
surprise,
amazement, content,
gaiety,
mirth
are
at
least as old as
humanity
the
same
through
all
generations.
The
value of
a musical work
is
not

forcible
expression
of the
ideas contained
in
the
work.
Each
composer
goes
his
own
way
a
sailor on
the
restless
tide of
passion.
They
all learn
naviga
tion;
and one sails
west,
another
to the
Orient;
one
explores

form.