Familiar Talks on the History of MusicG. Schirmer, 1913 - 285 páginas |
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Palavras e frases frequentes
accompaniment aria artistic Bach bass beautiful became Beethoven began called cantus firmus Catholic Church music century chant character choir choral chorus Chri Christian church modes composers compositions contrapuntal discant dramatic early efforts emotional Europe expression flutes folk-songs France French opera Gabrieli genius German opera Gluck greatest Greek Gregorian Gregorian chant Händel harmony harp Haydn Heinrich Schütz honor hymns idea ideals influence instrumental music Italian Italian opera Italy Josquin Lassus later learned Mass master melody ments modes Monteverde Motet Mozart musical art musical instruments musicians nations Netherland school octave opera Opéra-Comique Oratorio orchestra organist ORLANDUS LASSUS Orpheus Palestrina Passion performance piano played players poetry poets polyphonic popular Protestant church Psalms pupils recitative religious Renaissance result rhythm romantic Rome sacred scale secular singers singing solo song soprano spirit strings style sung symphony TENOR Tetrachord tion tone utterance Venice Vienna violin vocal voices Willaert written wrote
Passagens conhecidas
Página 186 - The Whole Booke of Psalmes : with their wonted tunes, as they are song in Churches, composed into four parts : All which are so placed that foure may sing ech one a seueral part in this booke. Wherein the Church tunes are carefully corrected, and thereunto added other short tunes vsually song in London, and other places of this Realme.
Página 13 - Wherefore didst thou flee away secretly, and steal away from me ; and didst not tell me, that I might have sent thee away with mirth, and with congs, with tabret, and with harp ? 28 And hast not suffered me to kiss my sons and my daughters?
Página 231 - I give forth what is in me. When I think of the Divine Being, my heart is so full of joy that the notes fly off as from a spindle. And as I have a cheerful heart, He will pardon me if I serve Him cheerfully!
Página 210 - Some say, compar'd to Bononcini, That Mynheer Handel's but a ninny ; Others aver that he to Handel Is scarcely fit to hold a candle.' Strange all this difference should be Twixt Tweedledum and Tweedledee.
Página 69 - And hope within me seem'd to live Until the moment when I thought That they who injure ne'er forgive. Be pardon ready !— oft one sees A wound inflicted ne'er intended, And oftener by carelessness Than by design are men offended. I hoped in vain— when hope had brought Her dreams so fond, so fugitive ; I hoped— but sunk beneath the thought That they who injure ne'er forgive.
Página 69 - I WOULD not any man should hear The birds that sweetly sing above, Save he who knows the power of love : For naught beside can soothe or cheer My soul, like that sweet harmony ; Or like herself, who, yet more dear, Hath greater power my soul to move Than songs or lays of Brittany.
Página 26 - Christians upon the vigils of saints, says, " After supper their sacred songs began. When all were arisen, they selected from the rest two choirs — one of men, and one of women — in order to celebrate some festival; and from each of these a person of a majestic form, and well skilled in music, was chosen to lead the band.
Página 166 - I seek to put music to its true purpose ; that is, to support the poem, and thus to strengthen the expression of the feelings and the interest of the situation without interrupting the action.
Página 240 - Begin with capitals the names of the days of the week and the months of the year.
Página 23 - Calliope the deeds of heroes sings ; Great Clio sweeps to history the strings ; Euterpe teaches mimes their silent show ; Melpomene presides o'er scenes of woe ; BDTSE8— continued.