Author: Anton Friedrich Justus Thibaut
Publisher: London : J. Murray
ISBN:
Category : Church music
Languages : en
Pages : 272

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Author: Anton Friedrich Justus Thibaut
Publisher:
ISBN: 9781021216205
Category : History
Languages : en
Pages : 0

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Author: Anton Friedrich Justus Thibaut
Publisher: Forgotten Books
ISBN: 9781330154144
Category : Music
Languages : en
Pages : 216

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Excerpt from On Purity in Musical Art The fact that this Essay was first published more than half a century ago, might seem, at first sight, to render its translation now a work of doubtful utility. But, inasmuch as it is still in demand in Germany, as is proved by the publication of the Fifth Edition as recently as in 1875, and looking to the great extension of the study and practice of music in our own country, I am persuaded that it will be read both with interest and with profit in England. Anton Friedrich Justus Thibaut was first Professor of Jurisprudence at Heidelberg, and author of several important treatises on Roman and modern law, published between 1797 and 1818. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Author: Anton Thibaut
Publisher: CreateSpace
ISBN: 9781494321239
Category :
Languages : en
Pages : 214

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An excerpt from the beginning of the first chapter: ON THE CHORALE. It has perhaps never been so generally acknowledged as at the present time that the groundwork of all true knowledge must necessarily lie in the historical study and acquisition of standard works that have come down to us. It is only by thus profiting by the lessons of others that fresh energy can safely be applied towards the advancement of truth. Acquaintance with the older masterpieces may also have the great negative advantage of convincing worthless pretensions of their futility, and of diverting them from the business of production to the quiet enjoyment and diffusion of the model works we have inherited from past ages. Men of real genius, like Plato, Raphael, and Shakespeare, are phenomena of extremely rare occurrence; but it has been theirs to sway generation after generation, and to exert a beneficial influence for thousands of years. Hence it is of all conceits the most pitiable for anyone to dispense with the study of the classics from confidence in his own powers, and so, in effect, declare that he considers himself on a par with the great spirits of bygone time. All our young men of education make it almost a point of honour to revert to the model authors of antiquity; and any one who was setting up for a painter would assuredly no more venture to pronounce the study of the works of Raphael, Michael Angelo, Van Eyck, and Dürer, to be superfluous, than would a youthful poet venture to come out with a new Iliad, or a new King Lear, without acquainting himself with the immortal works of Homer or Shakespeare. Hence in poetry, painting, and architecture, we now have a freshness and life which cannot but please, though it happens often enough that a want of genius and power causes the best intentions to fall short of the complete fulfilment of their aim. It is in music alone that an arrogance, that disdains all history, is the order of the day, although the greatest masters of the period preceding our own showed us a better example. There was nothing on which Handel, Hasse, and Graun were more eagerly bent than on the thorough prosecution of musical study in Italy. They did not indeed follow the example of most of our professors, who take every opportunity of showing off with a few bravura pieces laboriously mastered, and think that classical taste is to be found among the audiences of the concert-room; but, whilst composing fine works, and offering them to the judgment of the public, they took care to study the standard works of others for themselves, and cultivated an intimate acquaintance with the most eminent masters. Sebastian Bach, again, who was prevented from travel ling, studied intently the works of other masters-Caldara, the immortal Venetian, being one of his especial favourites. Even Mozart, though his genius rendered him well nigh independent of others, yet held the chief works of his predecessors-those of Handel and Sebastian Bach in particular-in high esteem; and it is owing, primarily, to his edition of the " Messiah" that Handel's reputation has outlived an age of musical shallowness. But now, how utterly changed is all this! We see now an almost absolute reliance on individual powers, an unlimited amount of original composition, and, for the most part, a contemptuous disregard for what is called antiquated.

Author: Anton Friedrich Justus Thibaut
Publisher: Trieste Publishing
ISBN: 9780649662845
Category : History
Languages : en
Pages : 224

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Trieste Publishing has a massive catalogue of classic book titles. Our aim is to provide readers with the highest quality reproductions of fiction and non-fiction literature that has stood the test of time. The many thousands of books in our collection have been sourced from libraries and private collections around the world.The titles that Trieste Publishing has chosen to be part of the collection have been scanned to simulate the original. Our readers see the books the same way that their first readers did decades or a hundred or more years ago. Books from that period are often spoiled by imperfections that did not exist in the original. Imperfections could be in the form of blurred text, photographs, or missing pages. It is highly unlikely that this would occur with one of our books. Our extensive quality control ensures that the readers of Trieste Publishing's books will be delighted with their purchase. Our staff has thoroughly reviewed every page of all the books in the collection, repairing, or if necessary, rejecting titles that are not of the highest quality. This process ensures that the reader of one of Trieste Publishing's titles receives a volume that faithfully reproduces the original, and to the maximum degree possible, gives them the experience of owning the original work.We pride ourselves on not only creating a pathway to an extensive reservoir of books of the finest quality, but also providing value to every one of our readers. Generally, Trieste books are purchased singly - on demand, however they may also be purchased in bulk. Readers interested in bulk purchases are invited to contact us directly to enquire about our tailored bulk rates.

Author: Anton Friedrich Justus THIBAUT
Publisher:
ISBN:
Category :
Languages : en
Pages : 17

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Author: William Robin
Publisher: Oxford University Press
ISBN: 0190068671
Category : Music
Languages : en
Pages : 288

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Amidst the heated fray of the Culture Wars emerged a scrappy festival in downtown New York City called Bang on a Can. Presenting eclectic, irreverent marathons of experimental music in crumbling venues on the Lower East Side, Bang on a Can sold out concerts for a genre that had been long considered box office poison. Through the 1980s and 1990s, three young, visionary composers--David Lang, Michael Gordon, and Julia Wolfe--nurtured Bang on a Can into a multifaceted organization with a major record deal, a virtuosic in-house ensemble, and a seat at the table at Lincoln Center, and in the process changed the landscape of avant-garde music in the United States. Bang on a Can captured a new public for new music. But they did not do so alone. As the twentieth century came to a close, the world of American composition pivoted away from the insular academy and towards the broader marketplace. In the wake of the unexpected popularity of Steve Reich and Philip Glass, classical presenters looked to contemporary music for relevance and record labels scrambled to reap its potential profits, all while government funding was imperilled by the evangelical right. Other institutions faltered amidst the vagaries of late capitalism, but the renegade Bang on a Can survived--and thrived--in a tumultuous and idealistic moment that made new music what it is today.

Author: Jan Swafford
Publisher: Basic Books
ISBN: 9780465097548
Category : Music
Languages : en
Pages : 0

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A preeminent composer, music scholar, and biographer presents an engaging and accessible introduction to classical music For many of us, classical music is something serious--something we study in school, something played by cultivated musicians at fancy gatherings. In Language of the Spirit, renowned music scholar Jan Swafford argues that we have it all wrong: classical music has something for everyone and is accessible to all. Ranging from Gregorian chant to Handel's Messiah, from Vivaldi's The Four Seasons to the postmodern work of Philip Glass, Swafford is an affable and expert guide to the genre. He traces the history of Western music, introduces readers to the most important composers and compositions, and explains the underlying structure and logic of their music. Language of the Spirit is essential reading for anyone who has ever wished to know more about this sublime art.

Author: Oscar Thompson
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 2506

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Author: James O. Young
Publisher: OUP Oxford
ISBN: 0191505188
Category : Philosophy
Languages : en
Pages : 226

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Why do we value music? Many people report that listening to music is one of life's most rewarding activities. In Critique of Pure Music, James O. Young seeks to explain why this is so. Formalists tell us that music is appreciated as pure, contentless form. On this view, listeners receive pleasure, or a pleasurable 'musical' emotion, when they explore the abstract patterns found in music. Music, formalists believe, does not arouse ordinary emotions such as joy, melancholy or fear, nor can it represent emotion or provide psychological insight. Young holds that formalists are wrong on all counts. Drawing upon the latest psychological research, he argues that music is expressive of emotion by resembling human expressive behaviour. By resembling human expressive behaviour, music is able to arouse ordinary emotions in listeners. This, in turn, makes possible the representation of emotion by music. The representation of emotion in music gives music the capacity to provide psychological insight-into the emotional lives of composers, and the emotional lives of individuals from a variety of times and places. And it is this capacity of music to provide psychological insight which explains a good deal of the value of music, both vocal and purely instrumental. Without it, music could not be experienced as profound. Philosophers, psychologists, musicians, musicologists, and music lovers will all find something of interest in this book.