DOCSLIB.ORG

Jean-Michel Defaye's Á La Maniére De Debussy Pour Trombone Et Piano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jean-Michel Defaye's Á La Maniére De Debussy Pour Trombone Et Piano JEAN-MICHEL DEFAYE’S Á LA MANIÉRE DE DEBUSSY POUR TROMBONE ET PIANO: A COMPOSITIONAL COMPARISON TO CLAUDE DEBUSSY’S HARMONIC, MELODIC, AND RHYTHMIC PRACTICES Aaron Christian Rader, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2011 APPROVED: Vern Kagarice, Major Professor Steve Wiest, Minor Professor Tony Baker, Committee Member John Holt, Chair of the Division of Instrumental Studies Lynn Eustis, Director of Graduate Studies in the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Rader, Aaron Christian. Jean-Michel Defaye’s Á La Maniére de Debussy pour Trombone et Piano: A Compositional Comparison to Claude Debussy’s Harmonic, Melodic, and Rhythmic Practices. Doctor of Musical Arts (Performance), December 2011, 40 pp., 30 examples, references, 34 titles. Jean-Michel Defaye composed Á La Maniére de Debussy in 2001 as part of a series of trombone solos written to emulate the compositional styles of significant predecessors. This study compares Á La Maniére de Debussy to the harmonic, melodic, and rhythmic practices of Claude Debussy (1862–1918), an innovative French composer and recognized figure of musical Impressionism. At present, there is limited scholarship on Defaye’s Á La Maniére de Debussy and its compositionally imitative nature. The first section of this document presents a survey of historical information, current literature, and methods of examination. The second section provides biographical information on composers Jean-Michel Defaye and Claude Debussy. The third section exhibits a compositional comparison of Á La Maniére de Debussy to Debussy’s use of harmony, melody, and rhythm. The final section draws a conclusion to the piece’s importance to the trombone solo repertoire and includes an interview with French trombonist Jacques Mauger who collaborated with Defaye on Á La Maniére de Debussy. Although this document is not a performance guide, an informed performance of Á La Maniére de Debussy requires a trombonist to understand Debussy’s unique treatment of harmony, melody, and rhythm. Copyright 2011 by Aaron Christian Rader ii ACKNOWLEDGEMENTS I would like to thank Vern Kagarice, Tony Baker, and Steve Wiest for serving as members of my doctoral committee. Your guidance through this project has been deeply appreciated. Vern Kagarice encouraged me to perform Defaye’s Á La Maniére de Debussy almost five years ago, and it quickly became one of my favorite pieces for trombone and piano. I had never envisioned this document being the result. Jacques Mauger greatly broadened my research by speaking to me about Jean- Michel Defaye and Á La Maniére de Debussy. I hope to share his thoughts and sentiments with as many trombonists as possible. Etienne Stoupy translated my electronic interview with Jacques Mauger, and he also provided first-hand knowledge of his native France. Nataliya Sukhina accompanied me during my lecture recital and made the performance of a great piece even more enjoyable. My parents John and Carol Rader have encouraged my musical aspirations throughout the years, and I am forever grateful of their unconditional love and inspiration. To my wife Erin Rader, thank you for unknowingly giving me the motivation to finish my doctoral degree. Your faith in my potential is truly a gift. All images in this document are reproduced under Public Domain or Fair Use Provisions. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ............................................................................................... iii LIST OF TABLES ............................................................................................................ vi LIST OF EXAMPLES ..................................................................................................... vii INTRODUCTION ............................................................................................................. 1 Survey of Historical Information ............................................................................ 1 Current Literature ................................................................................................. 3 Methods of Examination ....................................................................................... 6 COMPOSER BIOGRAPHY ............................................................................................. 7 Jean-Michel Defaye .............................................................................................. 7 Achille-Claude Debussy ....................................................................................... 8 HARMONIC COMPARISON ......................................................................................... 11 Non-Functional Pedal Point ................................................................................ 11 Parallel Chord Succession.................................................................................. 15 Extended Tertian Chord Tones ........................................................................... 19 MELODIC COMPARISON ............................................................................................ 23 Medieval Church Modes ..................................................................................... 23 Pentatonic .......................................................................................................... 26 Whole-Tone ........................................................................................................ 29 RHYTHMIC COMPARISON .......................................................................................... 31 Horizontal Polyrhythms ....................................................................................... 31 Tempo Fluctuation .............................................................................................. 33 iv CONCLUSIONS ............................................................................................................ 36 Importance to Trombone Solo Repertoire .......................................................... 36 BIBLIOGRAPHY ........................................................................................................... 38 v LIST OF TABLES Page 1. Extensions in trombone part – Defaye, Á La Maniére de Debussy ........................... 22 2. Tempo Fluctuation – Debussy, Arabesque No. 1 ...................................................... 34 3. Tempo Fluctuation – Defaye, Á La Maniére de Debussy .......................................... 35 vi LIST OF EXAMPLES Page 1. Monet, Impression – Sunrise ....................................................................................... 2 2. Pedal Point – Defaye, Á La Maniére de Debussy, mm. 20–25 .................................. 12 3. Pedal Point – Defaye, Á La Maniére de Debussy, mm. 45–49 .................................. 12 4. Pedal Point – Defaye, Á La Maniére de Debussy, mm. 56–61 .................................. 13 5. Pedal Point – Debussy, La Cathedrale Engloutie, mm. 28–41 .................................. 14 6. Pedal Point – Debussy, La Cathedrale Engloutie, mm. 72–77 .................................. 15 7. Fauxbourdon – Binchois, Da Pacem Domine, line 3 ................................................. 15 8. Parallel Succession – Defaye, Á La Maniére de Debussy, mm. 29–30 ..................... 16 9. Parallel Succession – Defaye, Á La Maniére de Debussy, m. 40 .............................. 16 10. Parallel Succession – Defaye, Á La Maniére de Debussy, mm. 50–56 ................... 17 11. Parallel Succession – Debussy, Girl with the Flaxen Hair, mm. 33–35 ................... 18 12. Parallel Succession – Debussy, La Cathedrale Engloutie, mm. 62–67 ................... 19 13. 16 Partials of the Overtone Series........................................................................... 20 14. Extensions – Defaye, Á La Maniére de Debussy, m. 1 ........................................... 21 15. The Medieval Church Modes .................................................................................. 24 16. Church Modes – Defaye, Á La Maniére de Debussy, mm. 20–28 ........................... 25 17. Church Modes – Defaye, Á La Maniére de Debussy, mm. 35–49 ........................... 25 18. Church Modes – Defaye, Á La Maniére de Debussy, mm. 56–63 ........................... 26 19. Pentatonic Scale compared to Major Scale ............................................................. 26 20. Pentatonic – Defaye, Á La Maniére de Debussy, mm. 1–5 ..................................... 27 21. Pentatonic – Debussy, Printemps, mm. 1–5 ........................................................... 27 22. Pentatonic – Debussy, Arabesque No. 1, mm. 6–9 ................................................. 28 vii 23. Pentatonic – Debussy, Girl with the Flaxen Hair, mm. 1–7 ..................................... 28 24. Whole-Tone – Defaye, Á La Maniére de Debussy, mm. 50–56 .............................. 29 25. Whole-Tone – Debussy, Beau Soir, mm. 9–11 ....................................................... 30 26. Whole-Tone – Debussy, Clair de Lune, mm. 29–30 ................................................ 30 27. Rhythmic Outline – Guiraud, Cavatine de Marthe, mm. 55–58 ............................... 32 28. Horizontal Polyrhythms – Defaye, Á La Maniére de Debussy, mm. 12–13 ............. 32 29. Horizontal Polyrhythms – Defaye, Á La Maniére de Debussy, mm. 71–75 ............. 32 30. Horizontal Polyrhythms – Debussy, Clair de Lune, mm. 1–4 .................................
Load more

Recommended publications
  • The Role of Harmony and Timbre in Maurice Ravel's Cycle Gaspard De
    Miljana Tomić The role of harmony and timbre in Maurice Ravel’s cycle Gaspard de la Nuit in relation to form A thesis submitted to Music Theory Department at Norwegian Academy of Music in partial fulfilment of the requirements of the degree of Master’s in Applied Music Theory Spring 2020 Copyright © 2020 Miljana Tomić All rights reserved ii I dedicate this thesis to all my former, current, and future students. iii Gaspard has been a devil in coming, but that is only logical since it was he who is the author of the poems. My ambition is to say with notes what a poet expresses with words. Maurice Ravel iv Table of contents I Introduction ............................................................................................................ 1 1.1 Preface ........................................................................................................................... 1 1.2 Presentation of the research questions ..................................................................... 1 1.3 Context, relevance, and background for the project .............................................. 2 1.4 The State of the Art ..................................................................................................... 4 1.5 Methodology ................................................................................................................ 8 1.6 Thesis objectives ........................................................................................................ 10 1.7 Thesis outline ............................................................................................................
    [Show full text]
  • BOSTON UNIVERSITY COLLEGE of FINE ARTS Dissertation MERRI FRANQUIN and HIS CONTRIBUTION to the ART of TRUMPET PLAYING by GEOFFRE
    BOSTON UNIVERSITY COLLEGE OF FINE ARTS Dissertation MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING by GEOFFREY SHAMU A.B. cum laude, Harvard College, 1994 M.M., Boston University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2009 © Copyright by GEOFFREY SHAMU 2009 Approved by First Reader Thomas Peattie, Ph.D. Assistant Professor of Music Second Reader David Kopp, Ph.D. Associate Professor of Music Third Reader Terry Everson, M.M. Associate Professor of Music To the memory of Pierre Thibaud and Roger Voisin iv ACKNOWLEDGEMENTS Completion of this work would not have been possible without the support of my family and friends—particularly Laura; my parents; Margaret and Caroline; Howard and Ann; Jonathan and Françoise; Aaron, Catherine, and Caroline; Renaud; les Davids; Carine, Leeanna, John, Tyler, and Sara. I would also like to thank my Readers—Professor Peattie for his invaluable direction, patience, and close reading of the manuscript; Professor Kopp, especially for his advice to consider the method book and its organization carefully; and Professor Everson for his teaching, support and advocacy over the years, and encouraging me to write this dissertation. Finally, I would like to acknowledge the generosity of the Voisin family, who granted interviews, access to the documents of René Voisin, and the use of Roger Voisin’s antique Franquin-system C/D trumpet; Veronique Lavedan and Enoch & Compagnie; and Mme. Courtois, who opened her archive of Franquin family documents to me. v MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING (Order No.
    [Show full text]
  • Superimposed Subdivisions (Polyrhythm Hell) [Sallan Tarkistama]
    HEIKKI MALMBERG Superimposed Subdivisions (Polyrhythm Hell) Polyrhythms or Polymeters? Usually when musicians talk about polyrhythms, they refer to rhythmic structures that are made of two or more simultaneous time signatures, in which the secondary (superimposed) time signature basically revolves around the dominant time signature. I suggest that we use the term polymeter in such cases, and use the term polyrhythm solely in situations where there are two or more subdivisions happening in the same time interval (e.g. eight note triplets over sixteenth notes). Here’s a simple example of a polymeter where the bass drum plays in 5/16 while the hands keep common (4/4) time. 3 3 3 3 5 5 5 5 5 5 3 5 5 5 5 And here’s a not so simple example of polyrhythms using eight notes, eight/quarter note triplets and sixteenth note quintuplets. So What Should I Do? In order to learn to play any two subdivisions against each other, or rather superimpose them if you will, you should get a reference of how they sound played simultaneously on one instrument (A good teacher and a sequencer are of paramount help here), and learn to phonetically mimic the result. You can make up halfwitted sentences or just blabber away with any foolish sounds that you come up with. as long as you’re mimicking the rhythm, it doesn’t matter. 3 3 3 3 or cold cup of tea blah bla da blah Here’s two subdivisions Here they have Here’s their daily dialog after waiting to get married.
    [Show full text]
  • Ernest Guiraud: a Biography and Catalogue of Works
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 Ernest Guiraud: A Biography and Catalogue of Works. Daniel O. Weilbaecher Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Weilbaecher, Daniel O., "Ernest Guiraud: A Biography and Catalogue of Works." (1990). LSU Historical Dissertations and Theses. 4959. https://digitalcommons.lsu.edu/gradschool_disstheses/4959 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen's Mikrophonie I and Saariaho's Six Japanese Gardens Permalink https://escholarship.org/uc/item/9b10838z Author Keelaghan, Nikolaus Adrian Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Nikolaus Adrian Keelaghan 2016 © Copyright by Nikolaus Adrian Keelaghan 2016 ABSTRACT OF THE DISSERTATION Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens by Nikolaus Adrian Keelaghan Doctor of Musical Arts University of California, Los Angeles, 2016 Professor Robert Winter, Chair The origins of electroacoustic music are rooted in a long-standing tradition of non-human music making, dating back centuries to the inventions of automaton creators. The technological boom during and following the Second World War provided composers with a new wave of electronic devices that put a wealth of new, truly twentieth-century sounds at their disposal. Percussionists, by virtue of their longstanding relationship to new sounds and their ability to decipher complex parts for a bewildering variety of instruments, have been a favored recipient of what has become known as electroacoustic music.
    [Show full text]
  • The Pianissimo, "The Feast of Eight Hands"
    Kennesaw State University College of the Arts School of Music presents Guest Artists The Pianissimo The Musical Arts Association's Piano Ensemble Concert The Feast of Eight Hands Wednesday, February 26, 2014 8:00 p.m Audrey B. and Jack E. Morgan, Sr. Concert Hall Dr. Bobbie Bailey & Family Performance Center Seventy-sixth Concert of the 2013-14 Concert Season Program The Feast of Eight Hands LUDWIG VAN BEETHOVEN (1770-1827) arr. F. X. Chwatal Egmont Overture, Op. 84 for 2 pianos 8 hands KYUNG MEE CHOI (b. 1971) The Mind That Moves for 2 pianos 8 hands (2011)* ALBERT LAVIGNAC (1846-1916) Galop March for 1 piano 8 hands Intermission CHARLES CAMILLE SAINT-SAËNS (1835-1921) arr. E.Guiraud Danse Macabre, Op.40 for 2 pianos 8 hands SOONMEE KANG (b. 1948) Poongryu II for 2 pianos 8 hands (2014 revised) MIKHAIL IVANOVICH GLINKA (1804-1857) arr. J. Spindler Overture of Ruslan und Ludmila for 2 pianos 8 hands * It was commissioned and premiered in 2011 by The Pianissimo- The Musical Arts Association. * Pianissimo’s residency at Kennesaw State University is made possible in part by the Global Engagement Grants from the College of the Arts in KSU. * Special thanks to the support by the Asian Studies Program of the Interdisciplinary Studies department in Kennesaw State University. Program Notes Egmont Overture, Op.84 for 2 pianos 8 hands LUDWIG VAN BEETHOVEN / F. X. CHWATAL Egmont, Op. 84 is a set of incidental music pieces for the play of the same name by Johann Wolfgang von Goethe. Beethoven wrote it between October 1809 and June 1810, and it was premiered on June 15, 1810.
    [Show full text]
  • Impressionist Music 1 Impressionist Music
    Impressionist music 1 Impressionist music Impressionist music Stylistic origins Reaction to 19th century Romanticism Cultural origins Late 19th century in Paris, France Typical instruments woodwind, strings, harp, piano, small chamber ensembles Mainstream popularity ca. 1875 to 1925 The impressionist movement in music was a movement in European classical music, mainly in France which appeared in the late nineteenth century and continued into the middle of the twentieth century. Similarly to its precursor in the visual arts, musical Impressionism focuses on a suggestion and an atmosphere rather than on a strong emotion or the depiction of a story as in program music. Musical Impressionism occurred as a reaction to the excesses of the Romantic era. While this era was characterized by a dramatic use of the major and minor scale systems, Impressionist music was tending to make more use of dissonance. Rather uncommon scales such as whole tone scale are also typical for this movement. Romantic composers were using long forms of music, e.g. symphony and concerto, while Impressionist composers were favoring short forms such as nocturne, arabesque and prelude. Musical Impressionism was based in France by the French composer Claude Debussy. He and Maurice Ravel were generally considered to be the two "great" Impressionists. However, these days composers are generally not as accurately described by the term "Impressionism" as painters in the genre were. Debussy renounced it, saying: "I am trying to do 'something different' – in a way realities – what the imbeciles call 'impressionism' is a term which is as poorly used as possible, particularly by art critics."[1] Musical impressionism is closely related to the superior value of impressionist painting: placing the colour factor to the foreground strongly influenced the shaping of new sound effects.
    [Show full text]
  • TOCC0362DIGIBKLT.Pdf
    THÉODORE DUBOIS: CHAMBER MUSIC by William Melton (Clément-François) Théodore Dubois was born in Rosnay (Marne) on 24 August 1837 into an unmusical family. His father was in fact a basket-maker, but saw to it that a second-hand harmonium was purchased so that his son could receive his first music-lessons from the village cooper, M. Dissiry, an amateur organist. The pupil showed indications of strong musical talent and at the age of thirteen he was taken on by the maître de chapelle at Rheims Cathedral, Louis Fanart, a pupil of the noted composers Jean-François Lesueur and Alexandre-Étienne Choron (the boy made the ten-mile journey from home to Rheims and back each week on foot). When the Paris Conservatoire accepted Théodore as a student in 1853, it was the mayor of Rosnay, the Viscount de Breuil, who supplied the necessary funds (prompted by Théodore’s grandfather, a teacher who also served as secretary in the mayor’s office). While holding organ posts at Les Invalides and Sainte Clotilde, Dubois embraced studies with Antoine François Marmontel (piano), François Benoist (organ), François Bazin (harmony) and Ambroise Thomas (composition). Dubois graduated from the Conservatoire in 1861, having taken first prize in each of his classes. He also earned the Grand Prix de Rome with his cantata Atala, of which the Revue et Gazette musicale wrote: The cantata of M. Dubois is certainly one of the best we have heard. The poetic text of Roussy lacked strong dramatic situations but still furnished sufficient means for M. Dubois to display his real talent to advantage.
    [Show full text]
  • Spanish Local Color in Bizet's Carmen.Pdf
    !@14 QW Spanish Local Color in Bizet’s Carmen unexplored borrowings and transformations Ralph P. Locke Bizet’s greatest opera had a rough start in life. True, it was written and composed to meet many of the dramatic and musical expectations of opéra comique. It offered charming and colorful secondary characters that helped “place” the work in its cho- sen locale (such as the Spanish innkeeper Lillas Pastia and Carmen’s various Gypsy sidekicks, female and male), simple strophic forms in many musical numbers, and extensive spoken dialogue between the musical numbers.1 Despite all of this, the work I am grateful for many insightful suggestions from Philip Gossett and Roger Parker and from early readers of this paper—notably Steven Huebner, David Rosen, Lesley A. Wright, and Hervé Lacombe. I also benefi ted from the suggestions of three specialists in the music of Spain: Michael Christoforidis, Suzanne Rhodes Draayer (who kindly provided a photocopy of the sheet-music cover featuring Zélia Trebelli), and—for generously sharing his trove of Garciana, including photocopies of the autograph vocal and instrumental parts for “Cuerpo bueno” that survive in Madrid—James Radomski. The Bibliothèque nationale de France kindly provided microfi lms of their two manu- scripts of “Cuerpo bueno” (formerly in the library of the Paris Conservatoire). Certain points in the present paper were fi rst aired briefl y in one section of a wider-ranging essay, “Nineteenth-Century Music: Quantity, Quality, Qualities,” Nineteenth-Century Music Review 1 (2004): 3–41, at 30–37. In that essay I erroneously referred in passing to Bizet’s piano-vocal score as having been published by Heugel; the publisher was, of course, Choudens.
    [Show full text]
  • Music and Plastic Arts Our Near History. Points of Contact
    núm. 004 Revista de pensament musical any2009 Music and plastic arts (second part) Our near history. Points of contact > JUAN ANTONIO MURO www.juanantoniomuro.com Juan Antonio Muro Painting 1 - William Turner, 1775-1851, ”The Shipwreck”,1805, oil on canvas, 171 x 241 cm Tate Collection At the end of the 19th century and in the turn of the 19th and 20th centuries plastic art runs into a period of radical transformation. Pushed by the new appearing technologies it loses its informative and didactic role. www.webdemusica.org 1 núm. Sonograma 004 Revista de pensament musical any2009 The values that until then had been unquestionable and highly respected suffer from a serious crisis. Art reaches a point of deep tiredness. Common criteria breaks and something amazing and unexpected is about to begin. The century of the ”isms” starts with an unstoppable energy. The new aesthetics compete with each other in an atmosphere of unlimited freedom. They develop influencing strongly one another, competing and fighting for power. This aggressive break seems logical to us now when we think about the politics, economics and the social struggle of that time in our western civilization. The changes and the scientific achievements create new ways of thinking, new philosophies. Human being in the western world becomes more rational. The idea of God disturbs him. He wants to trust only in himself. But at the same time he feels unsure about his own origins and about his role in life. Nietsche declares the death of God. Darwin demonstrates that man kind descends from animals. Freud revels the secrets of the unconscious, etc.
    [Show full text]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]
  • Chopin: the Man and His Music 1 Chopin: the Man and His Music
    Chopin: The Man and His Music 1 Chopin: The Man and His Music Project Gutenberg's Chopin: The Man and His Music, by James Huneker Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: Chopin: The Man and His Music Author: James Huneker Release Date: Jan, 2004 [EBook #4939] [Yes, we are more than one year ahead of schedule] [This file was first posted on April 1, 2002] Edition: 10 Language: English Character set encoding: ASCII *** START OF THE PROJECT GUTENBERG EBOOK CHOPIN: THE MAN AND HIS MUSIC *** This ebook was produced by John Mamoun <[email protected]> with help from Charles Franks and the Online Distributed Proofreaders website. CHOPIN: THE MAN AND HIS MUSIC TABLE OF CONTENTS PART I.--THE MAN. I. POLAND:--YOUTHFUL IDEALS II.
    [Show full text]