DOCSLIB.ORG

The Sonata, Its Form and Meaning As Exemplified in the Piano Sonatas by Mozart

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Sonata, Its Form and Meaning As Exemplified in the Piano Sonatas by Mozart THE SONATA, ITS FORM AND MEANING AS EXEMPLIFIED IN THE PIANO SONATAS BY MOZART. MOZART. Portrait drawn by Dora Stock when Mozart visited Dresden in 1789. Original now in the possession of the Bibliothek Peters. THE SONATA ITS FORM AND MEANING AS EXEMPLIFIED IN THE PIANO SONATAS BY MOZART A DESCRIPTIVE ANALYSIS BY F. HELENA MARKS WITH MCSICAL EXAMPLES LONDON WILLIAM REEVES, 83 CHARING CROSS ROAD, W.C.2. Publisher of Works on Music. BROUDE BROS. Music NEW YORK Presented to the LIBRARY of the UNIVERSITY OF TORONTO from the Library of DR. ARTHUR PLETTNER AND ISA MCILWRAITH PLETTNER Crescent, London, S.W.16. Printed by The New Temple Press, Norbury PREFACE. undertaking the present work, the writer's intention originally was IN to offer to the student of musical form an analysis of the whole of Mozart's Pianoforte Sonatas, and to deal with the subject on lines some- what similar to those followed by Dr. Harding in his volume on Beet- hoven. A very little thought, however, convinced her that, though students would doubtless welcome such a book of reference, still, were the scope of the treatise thus limited, its sphere of usefulness would be somewhat circumscribed. " Mozart was gifted with an extraordinary and hitherto unsurpassed instinct for formal perfection, and his highest achievements lie not more in the tunes which have so captivated the world, than in the perfect sym- metry of his best works In his time these formal outlines were fresh enough to bear a great deal of use without losing their sweetness; arid Mozart used them with remarkable regularity."* The author quotes the above as an explanation of certain broad similarities of treatment which are to be found throughout Mozart's sonatas. But interwoven with these broad similarities there exists a variety of detail in the movements which is worthy of the closest, the most careful study, not only on account oi its diversity and its inherent beauty, but also on account of the diver- gent views held with respect to many of the passages by various well- known writers on musical form. As a teacher, the writer has found that in analysing the form and construction of a movement it is, whenever possible, of great value to the pupil to deal with a doubtful passage thus : * Sir C. Hubert H. Parry, Grove's Dictionary. v VI MOZART'S PIANOFORTE SONATAS. his (i) To bring to notice the varying views held by different authori- ties; (ii) To compare these views (of which occasionally the number is equal to that of the authorities expressing them), and to discuss the arguments both for and against each of the theories ad- vanced. The course recommended demonstrates the fact that there can be no such thing as dogmatism on this subject, and far from tending to make ihe student quibble, it trains him from the beginning to adopt broad methods in his musical analysis. He is taught to recognise that there are many passages which it is impossible to define with any degree of cer- tainty, and that there will be found a still larger number (more especially in modern music) merging gradually into each other, and making it there- tore impossible to determine the exact starting, or exact finishing, point, both of these being, in some instances, equally indefinite. The subject presented to him in this manner, the student learns important general principles upon which to base his method of work when he meets with cases of doubt. He learns that he should, first of all, in every instance, endeavour to determine for himself the various possible aspects in which the matter under consideration may be viewed. It is of no moment whether the " " question at issue refers to the form of a movement, to the analysis of any particular portions of it, or (when it is not a case of merging) to the point at which an important division, or a special passage, may be re- garded as starting or finishing. In cases such as the last-named, he should note each at carefully place which such start y or close, can con- ceivably be held to occur. So long as he can satisfy himself that he has done all this, so long as he can, not only state clearly what reasons might be urged in favour ot each view, but also give, when possible, some indication of the relative value of different arguments, it is as unnecessary for him to express a decided opinion, as it is often absolutely impossible for him to do so. To offer to students a work embodying the foregoing principles has been the author's aim throughout, and she believes that the idea of a com- parative analysis as extended in scope as that offered in the present volume is quite new in a published work. To carry out her purpose she has made her collection of the opinions and views of well-known writers on musical form as exhaustive as prac- ticable, offering due acknowledgment. PREFACE. Vil The Thematic Schemes accompanying the sonatas are, for the most part, the result of independent analysis, but, in the few instances in which the writer has found that there is a preponderance of opinion not in agree- ment with her own views, the Schemes have been altered so as to be in accordance with those more generally accepted. In furnishing many of the minor details as to construction, etc., in repeatedly calling attention to particular chords, and to the different pro- gressions and passages in which they are found, the author's primary object has been to point out these features to the student who is studying the sonatas with the instrument. He thus very possibly makes his first acquaintance with some of these chords as they occur in actual use. In the case of the more rarely employed chords, his attention in cer- tain instances is also called to the conditions under which they occur : con- ditions to which, in the past, the particular chords in question were re- stricted by special rules which governed their employment and progres- sion.*! Clearly this is a most effective way of studying Harmony. Numerous quotations illustrative of the different points as they occur, have been made, with due acknowledgment, throughout the book, the writer hoping thereby to increase the interest and utility of the volume. From a like motive she has made constant use of equivalent terms to ex- press similar ideas. The author takes this opportunity of expressing her sincere thanks and deep appreciation to Sir W. H. Hadow, M.A., D.Mus., etc., and to Dr. H. H. L. Middleton, F.R.C.O., L.R.A.M., etc., for their valuable per- sonal help. The benefit of their views on various debatable points that have arisen during the preparation of the book has been invaluable. In the production of a text-book such as the present one the works of many writers have necessarily been consulted. The author gratefully acknowledges her indebtedness not only to the authors of these works, but also to their publishers, for, to the latter, in every instance, the copy- right of the works belongs. She sincerely thanks all for their courtesy ?,nd kind permission to make the necessary references and quotations. In * The student must realise that many of the laws which governed the methods of the great classical composers have gradually been relaxed, till to-day freedom is the keynote in composition, and to future generations must belong the task of form- ulating the laws if any which underlie some of the works of our modern composers. t For the rules' and recommendations, etc., which affect the more generally em- ployed chord progressions of which mention is made, the student should refer to one of the numerous text-books on Harmony. Viii MOZART'S PIANOFORTE SONATAS. order to give clearly, and in as concise a manner as possible, the names of the various books above referred to, together with those of their authors and publishers, the author has arranged the following bibliography. In it -will also be found full details of the use made of each individual work. F. HELENA MARKS. 10 MATHESON ROAD, LONDON, W.i4. 1921. BIBLIOGRAPHY. The first column, in all cases, gives the page number with that of the para- graph, or section (marked ) of the work from which the quotation or reference is the refers to of taken ; second column pages and paragraphs the present work. The symbols *, f, etc., refer to footnotes similarly marked. C. BANISTER, HENRY 360, footnote ; 36t; "Lectures on Musical Analysis." 366 956; 43f; 367 960; 11 (d), 14f ; Messrs. G. Sell and Sons } Ltd. 373-74 978 ; 58 (a), 58*, 58. 18-19 ; 127 ; 19 Mrs. Doc. ; 42 (c) ; FISHER, HENRY, 60 106 " ; (c) ; The Musical Examinee." 77 48* ; ; Messrs. J. Curwen and Sons, Ltd. 91-92 50* ; ; 141 719; 115 (c) ; 129 ; 107-108 (g) ; 142 749 ; 115 155; 119 (k), 151*; (c) ; 750-51; 117 (f) ; 209 76 ; ; (a) 143 755; 35*; 212 ; 67 (e) ; 774; 57f; 212-213 ; 108 ; 776 ; 58f ; 217 ; 108 ; 229 109* 777; 141; ; ; 144 779; 142; 23(5 ; 17 ; 784; 149 (a), 150*, 151 237 ; 165 (a) ; 240 791: (Table), 153 (ii, b) ; ; 110 (b) ; 794; 124; 241 111 : ; ( j) 60; 241-242 , 110* ; "The Pianist's Mentor." 242 ; 123 (c) ; 245 ; 146 (a) ; Messrs. J. Cruwen and Sons, Ltd. 105 273; (j): 116 128; 42*; 276; 30 (10, 45 ; (h) i 185, par. ; 152. 290; xxiiif. "Music." GOETSCHIUS, PERCY, Mus.Doc., ETC. " Messrs. G. Sell and Sons, Ltd.
Load more

Recommended publications
  • Glossary of Musical Terms
    GLOSSARY OF MUSICAL TERMS A absolute music: instrumental music with no intended story (non-programmatic music) a cappella: choral music with no instrumental accompaniment accelerando: gradually speeding up the speed of the rhythmic beat accent: momentarily emphasizing a note with a dynamic attack accessible: music that is easy to listen to and understand adagio: a slow tempo alla breve / cut time: a meter with two half-note beats per measure. It’s often symbolized by the cut-time symbol allegro: a fast tempo; music should be played cheerfully / upbeat brisk alto: a low-ranged female voice; the second highest instrumental range alto instrument examples: alto flute, viola, French horn, natural horn, alto horn, alto saxophone, English horn andante: moderate tempo (a walking speed; "Andare" means to walk) aria: a beautiful manner of solo singing, accompanied by orchestra, with a steady metrical beat articulation marks: Normal: 100% Staccato: 50% > Accent: 75% ^ Marcato: 50% with more weight on the front - Tenuto: 100% art-music: a general term used to describe the "formal concert music" traditions of the West, as opposed to "popular" and "commercial music" styles art song: a musical setting of artistic poetry for solo voice accompanied by piano (or orchestra) atonal: music that is written and performed without regard to any specific key atonality: modern harmony that intentionally avoids a tonal center (has no apparent home key) augmentation: lengthening the rhythmic values of a fugal subject avant-garde: ("at the forefront") a French term that describes highly experimental modern musical styles B ballad: a work in dance form imitative of a folk song, with a narrative structure ballet: a programmatic theatrical work for dancers and orchestra bar: a common term for a musical measure barcarolle: a boating song, generally describing the songs sung by gondoliers in Venice.
    [Show full text]
  • Consistent Pitch Height Forms: a Commentary on Daniel Muzzulini's Contribution Isaac Newton's Microtonal Approach To
    Consistent Pitch Height Forms: A commentary on Daniel Muzzulini’s contribution Isaac Newton’s Microtonal Approach to Just Intonation THOMAS NOLL[1] Escola Superior de Música de Catalunya, Departament de Teoria, Composició i Direcció ABSTRACT: This text revisits selected aspects of Muzzulini’s article and reformulates them on the basis of a three-dimensional interval space E and its dual E*. The pitch height of just intonation is conceived as an element h of the dual space. From octave-fifth-third coordinates it becomes transformed into chromatic coordinates. The dual chromatic basis is spanned by the duals a* of a minor second a and the duals b* and c* of two kinds of augmented primes b and c. Then for every natural number n a modified pitch height form hn is derived from h by augmenting its coordinates with the factor n, followed by rounding to nearest integers. Of particular interest are the octave-consitent forms hn mapping the octave to the value n. The three forms hn for n = 612, 118, 53 (yielding smallest deviations from the respective values of n h) form the Muzzulini basis of E*. The respective transformation matrix T* between the coordinate representations of linear forms in the Muzzulini basis and the dual chromatic basis is unimodular and a Pisot matrix with the dominant eigen-co-vector very close to h. Certain selections of the linear forms hn are displayed in Muzzuli coordinates as ball-like point clouds within a suitable cuboid containing the origin. As an open problem remains the estimation of the musical relevance of Newton’s chromatic mode, and chromatic modes in general.
    [Show full text]
  • Computational Invention of Cadences and Chord Progressions by Conceptual Chord-Blending
    Proceedings of the Twenty-Fourth International Joint Conference on Artificial Intelligence (IJCAI 2015) Computational Invention of Cadences and Chord Progressions by Conceptual Chord-Blending Manfred Eppe16, Roberto Confalonieri1, Ewen Maclean2, Maximos Kaliakatsos3, Emilios Cambouropoulos3, Marco Schorlemmer1, Mihai Codescu4, Kai-Uwe Kuhnberger¨ 5 1IIIA-CSIC, Barcelona, Spain 2University of Edinburgh, UK 3University of Thessaloniki, Greece fmeppe,confalonieri,[email protected] [email protected] femilios,[email protected] 4University of Magdeburg, Germany 5 University of Osnabruck,¨ Germany 6 ICSI, Berkeley, USA [email protected] [email protected] [email protected] Abstract chord and moves to the tonic, and the seventh resolves down- wards by stepwise motion, whereas the fifth may be omitted. We present a computational framework for chord inven- In the Phrygian cadence, the bass note (third of the chord) is tion based on a cognitive-theoretic perspective on con- ceptual blending. The framework builds on algebraic the most important note as it plays the role of a downward specifications, and solves two musicological problems. leading note, and the second most important note is the root. It automatically finds transitions between chord progres- In such a setup, we propose two applications of chord blend- sions of different keys or idioms, and it substitutes chords ing, to give rise to new cadences and chord progressions. in a chord progression by other chords of a similar func- The first application is to generate a novel cadence as a ‘fu- tion, as a means to create novel variations. The approach sion’ of existing cadences by blending chords with a similar is demonstrated with several examples where jazz ca- function.
    [Show full text]
  • A LIGHTWEIGHT NOTATION for PLAYING PIANO for FUN by R.J.A
    A LIGHTWEIGHT NOTATION FOR PLAYING PIANO FOR FUN by R.J.A. Buhr 1. INTRODUCTION Music notation gets in the way of the joy of making music on the piano that can be had without first spending thousands of hours at the keyboard to develop piano “wizardry,” meaning a combination of keyboard skill and mastery of music notation. The message of this document is the joy can be had, without any loss of musical substance, with no more wizardry than is required to read and play single melody lines. The vehicle is a lightweight notation I call PKP (for Picturing Keyboard Patterns) for annotating the core flow of harmony in interval terms above the staff. I developed the notation as an adult beginner with no training in music theory after becoming frustrated with the way music notation obscures the keyboard simplicity of harmony. That the notation has substance in spite of this humble origin is indicated by the following opinion of PKP provided by a music theorist specializing in improvisational music (see supplementary pages): “The hook ... , at least in my opinion, is that it's possible to attain a deep understanding of chords (and their constituent intervals) without recourse to Western notation. This has direct consequences for physical patterning, fingerings, etc. Essentially, your method combines the utility of a play-by-ear approach with the depth of a mathematically-informed theory of music.” PKP follows from two observations that anyone can make. One is the piano keyboard supplies only 12 piano keys to play all the notes of an octave that music notation describes in many more than 12 ways by key signatures and accidentals (sharps, flats, naturals).
    [Show full text]
  • Boethius's Music
    / OTHER PUBLlSHED VOlUMES IN THE MUSIC THEORY nANSLATION SElUES: Fundamentals of Musiy The Praetieal Harm oni st at the Harpsiehord, 1708. by Francesco Gas parini, translated by Frank S, Stillings. edited by David L. Burrows. The An 01Couruerpoint, Pan Three of Le tstinaioni harmoniche, 1558, by AN ICIUS MANLIUS SEVERINUS BOETHIUS G ioseffo Zar lino, translated by Guy A , Marco and Claude V. Palisca . Hucbaìd, Guido, and Iohn 0 11 Music, Three Medieval ìreatises, translated by Warren Babb, edited with Introductions by Claude V. Patisca, The An 01 Stria Musical Composition, 1771-1 779, by Johann Philipp Kim­ berger, translated by David Beach and Jurgen Thym. Translaced, wùh Introduai on and Notes by lntroductory Essay on Composùion , 1782-1793 . by Heinrich Ch risto ph Koch , translated by Nancy Kovaleff Baker, Calvin M. Bower Aristides Qllintilianus 0 11 Music, in Three Books, translated with lnt ro­ duet ion , Commemery, and A nnotations, by Thomas J, Mathiesen . On ,!le Modes, Part Four of Le lstitutìoni harmoniche, 1558, by Gioseffo Edired by Za rlìno, translated by Vered Co hen, edited with an Introduction by Oaude V. Patisca. Claude V. Patisca The Fiorentine Camerata: Documentary Studies and Tm nsk uions by Claude V. Patisca. 1989 Yale University Press New Haven & London xii CONTENTS Ptolemy adap ts ratios te the dlvision of the enharmonic genus 182 23. Ptolemy's division of the soft chromatic genus 182 Preface by Series Editor 24. Ptole my's division of the sharp chromarìc genus 182 25. Disposition of Ptclemy's compaci gene ra with numbe rs and ratics 183 26.
    [Show full text]
  • Sagittal a Microtonal Notation System
    Sagittal A Microtonal Notation System by George D. Secor and David C. Keenan Introduction George Secor began development of the Sagittal (pronounced “SAJ-i-tl”) notation system in August 2001. In January 2002 he presented what he had developed to the Yahoo group tuning and offered to consider suggestions for improvements. At that stage the system could notate the equal temperaments with 17, 19, 22, 29, 31, 41, and 72 divisions per octave. Little did he know that he had provided a unifying symbolic principle which would ultimately be developed into a system capable of notating almost any conceivable microtonal tuning. In the early stages of the discussion, one idea that surfaced repeatedly was that a set of symbols indicating prime-number commatic alterations to tones in a Pythagorean series might be used to notate both rational intervals (e.g. just intonation) and equal divisions of the octave. Similar ideas had previously been proposed by Hermann Helmholtz, Alexander Ellis, Carl Eitz, Paul Rapoport, Daniel Wolf, Joe Monzo, and others1, but these had never been implemented in a performance notation to such an extent as was being discussed. As a first step, Gene Ward Smith suggested that it would be desirable that there be no more than one comma symbol per prime number, and a selection of 19-limit commas was tentatively identified to define the semantics of the notation. David Keenan enthusiastically observed that these commas came in an assortment of sizes that made the objective theoretically feasible, but he also realized that devising a set of distinct and recognizable symbols suitable for a performance notation was not going to be a simple matter.
    [Show full text]
  • The Sonata, Its Form and Meaning As Exemplified in the Piano Sonatas by Mozart
    THE SONATA, ITS FORM AND MEANING AS EXEMPLIFIED IN THE PIANO SONATAS BY MOZART. MOZART. Portrait drawn by Dora Stock when Mozart visited Dresden in 1789. Original now in the possession of the Bibliothek Peters. THE SONATA ITS FORM AND MEANING AS EXEMPLIFIED IN THE PIANO SONATAS BY MOZART A DESCRIPTIVE ANALYSIS BY F. HELENA MARKS WITH MCSICAL EXAMPLES LONDON WILLIAM REEVES, 83 CHARING CROSS ROAD, W.C.2. Publisher of Works on Music. BROUDE BROS. Music NEW YORK Presented to the LIBRARY of the UNIVERSITY OF TORONTO from the Library of DR. ARTHUR PLETTNER AND ISA MCILWRAITH PLETTNER Crescent, London, S.W.16. Printed by The New Temple Press, Norbury PREFACE. undertaking the present work, the writer's intention originally was IN to offer to the student of musical form an analysis of the whole of Mozart's Pianoforte Sonatas, and to deal with the subject on lines some- what similar to those followed by Dr. Harding in his volume on Beet- hoven. A very little thought, however, convinced her that, though students would doubtless welcome such a book of reference, still, were the scope of the treatise thus limited, its sphere of usefulness would be somewhat circumscribed. " Mozart was gifted with an extraordinary and hitherto unsurpassed instinct for formal perfection, and his highest achievements lie not more in the tunes which have so captivated the world, than in the perfect sym- metry of his best works In his time these formal outlines were fresh enough to bear a great deal of use without losing their sweetness; arid Mozart used them with remarkable regularity."* The author quotes the above as an explanation of certain broad similarities of treatment which are to be found throughout Mozart's sonatas.
    [Show full text]
  • Music Theory Contents
    Music theory Contents 1 Music theory 1 1.1 History of music theory ........................................ 1 1.2 Fundamentals of music ........................................ 3 1.2.1 Pitch ............................................. 3 1.2.2 Scales and modes ....................................... 4 1.2.3 Consonance and dissonance .................................. 4 1.2.4 Rhythm ............................................ 5 1.2.5 Chord ............................................. 5 1.2.6 Melody ............................................ 5 1.2.7 Harmony ........................................... 6 1.2.8 Texture ............................................ 6 1.2.9 Timbre ............................................ 6 1.2.10 Expression .......................................... 7 1.2.11 Form or structure ....................................... 7 1.2.12 Performance and style ..................................... 8 1.2.13 Music perception and cognition ................................ 8 1.2.14 Serial composition and set theory ............................... 8 1.2.15 Musical semiotics ....................................... 8 1.3 Music subjects ............................................. 8 1.3.1 Notation ............................................ 8 1.3.2 Mathematics ......................................... 8 1.3.3 Analysis ............................................ 9 1.3.4 Ear training .......................................... 9 1.4 See also ................................................ 9 1.5 Notes ................................................
    [Show full text]
  • The Correlation Between the Rimsky-Korsakov False Progression and the Coltrane Cycle
    City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-15-2020 The Correlation Between the Rimsky-Korsakov False Progression and the Coltrane Cycle Vincent Guarna CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/582 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Correlation Between the Rimsky-Korsakov False Progression and the Coltrane Cycle by Vincent Guarna Submitted in partial fulfillment of the requirements for the degree of Master of Arts, Music, Hunter College The City University of New York 2020 5/21/2020 Philip Ewell Date Thesis Sponsor 5/21/2020 Ryan Keberle Date Second Reader Abstract The goal of my research is to illustrate several shared harmonic devices used by Nikolai Rimsky-Korsakov and John Coltrane. I also seek to offer new analyses of these devices as used by John Coltrane in his compositions between1958 and 1961. They are analyzed as singular harmonic devices first codified by Rimsky-Korsakov. Jazz pedagogy may benefit from viewing these devices which are found within the “Coltrane Cycle,” in this new light. Extensive research has been done on the music of John Coltrane. However, the music of Rimsky-Korsakov, and the modulatory schemes governing his compositions, have been largely overlooked in the world of jazz. Several harmonic devices that he first codified in his Practical Manual of Harmony have also been overlooked.
    [Show full text]
  • Counterpoint and Polyphony in Recent Instrumental Works of John Adams Alexander Sanchez-Behar
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Counterpoint and Polyphony in Recent Instrumental Works of John Adams Alexander Sanchez-Behar Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC COUNTERPOINT AND POLYPHONY IN RECENT INSTRUMENTAL WORKS OF JOHN ADAMS By ALEXANDER SANCHEZ-BEHAR A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2008 The members of the Committee approve the dissertation of Alexander Sanchez- Behar defended on November 6, 2007. Michael Buchler Professor Directing Dissertation Charles E. Brewer Outside Committee Member Jane Piper Clendinning Committee Member Nancy Rogers Committee Member Matthew R. Shaftel Committee Member The Office of Graduate Studies has verified and approved the above named committee members ii Dedicated to my parents iii ACKNOWLEDGMENTS I would like to express my sincere gratitude first and foremost to my advisor, Michael Buchler, for his constant support on all aspects of my dissertation. His inspiring approach to music theory stimulated much of my own work. I am indebted to the rest of my dissertation committee, Charles E. Brewer, Jane Piper Clendinning, Nancy Rogers, and Matthew Shaftel, for their encouragement. I also wish to convey my appreciation to Professors Evan Jones, James Mathes, and Peter Spencer. I would also like to acknowledge former music professors who influenced me during my years as a student: Candace Brower (my master’s thesis advisor), Robert Gjerdingen, Richard Ashley, Mary Ann Smart, John Thow, Michael Orland, Martha Wasley, Kirill Gliadkovsky, James Nalley, and David Goodman.
    [Show full text]
  • The Elements of Musical Analysis
    THOMAS LAURIE, EDUCATIONAL PUBLISHER, i The following Works can be confidently recommended; they have been constructed on the most advanced Educational Principles, by Writers of distinguished ability and lengthened practical experience. NEW SERIES OF READING BOOKS, BY J. W. LAURIE. Pronounced by all who have used them to be "the very best Series yet published." THE. KENSINGTON SERIES III Including Reading, Writing, ftEATHNOJOOKS Arithmetic, Dictation, Composition, Spelling, Derivations. Illustrated. primer, part i. id. Book v. doth Is. Od. „ II. 2d. „ VI., „ 13.3d. Prospectus and Specimens on application. ENGLISH GRAMMAR. The New Practical English Grammar, with Exercises. By Wil- liam Francis Collier, LL.D. Pp. 128. Cloth, Is. ; Superior Edition, Is. 6d. First Lessons in English Grammar. By the same Author. Pp. 64. Cloth, price 6d. An Easy English Grammar for Beginners. Stiff cover, price 3d. A Grammar of the English Language, with a Sketch of its History. By William Francis Collier, Esq., LL.D. Pp. 128, Is. 6d. Lennie's English Grammar, New Edition, with Scheme of Analysis. Is. Practical Text-Book of Grammatical Analysis. By W. S. Ross, Author of "A System of Elocution." Pp. 64, cloth, 6d. ENGLISH COMPOSITION. First Steps in English Composition. Pp. 60, 6d. Practical Text-Book of English Composition. By the same Author. Pp. 96, cloth, Is. ELOCUTION, POETRY, AND ENGLISH LITERATURE. Poetical Readings and Recitations ; with Introductory Exercises in Modulation. By R. and T. Armstrong. Pp. 160, cloth. Is. Elements of Elocution and Correct Reading. By Canon Richson, of Manchester. Is. 6d. A System of Elocution. By W. S. Ross, late of Clare College, Scorton.
    [Show full text]
  • T Have Been Timotheus’ Pherecrates’ Twelve Strings, the Strobilos and the Harmonic Paranomia of the New Music
    Greek and Roman Musical Studies 6 (2018) 290-327 brill.com/grms ‘Without Timotheus, Much of Our Melopoiia Would not Exist; But without Phrynis, There Wouldn’t Have Been Timotheus’ Pherecrates’ Twelve Strings, the Strobilos and the Harmonic Paranomia of the New Music Tosca Lynch Jesus College, University of Oxford, Turl Street, Oxford, OX1 3DW [email protected] Abstract In this paper, I offer a close discussion of the musical innovations attributed to Phrynis, Timotheus and other ‘New Musicians’ mentioned in a famous fragment of Pherecrates’ Chiron, interpreting this fascinating passage in the light of the extant evidence about ancient harmonic theory and practice, as well as the latest research findings. More specifically, I shall advance a new hypothesis concerning the nature of Phrynis’ in- novative ‘twister’ (strobilos): producing a special bending (kampē) of a semitone, this gadget allowed Phrynis to combine five different harmoniai (Dorian, Phrygian, Lydian, Iastian and ‘Loose Lydian’) in one and the same twelve-string tuning. Making a sub- tle modification to this device, Timotheus further expanded the harmonic palette of his twelve-string kithara, introducing the lamenting aulos-mode par excellence, the Mixolydian, into the realm of lyre music. Philoxenus increased this system by adding an extra string, reaching the 13-step arrangement that is at the heart of Aristoxenian harmonic theory. Keywords New Music – Timotheus – Phrynis – polychordia – strobilos – modulations – harmonic theory – Aristoxenus – Ptolemy ‘Without
    [Show full text]