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Critical and Historical Essays Lectures delivered at Columbia University   By: (1860-1908)

Book cover

First Page:

TRANSCRIBER'S NOTES

Italic text is represented by underscores around the text.

Footnotes in the original text were all marked with asterisks: I have renumbered these and represented them as [01] through [15].

All other text enclosed between square brackets represents or describes the illustrations (for which see the HTML edition):

Pitches: [c, ... c ... a b c' (middle C) d' e' ... c'' ... c''']

Round brackets: when around a single note these represent a note in the extract which was bracketed or otherwise highlighted. When around two or more notes, they represent a slur or beam.

Braces: surround simultaneous notes in a chord {a c' e'}

Accidentals:

[f] = F double sharp [a] = A sharp [c=] = C natural [e ] = E flat [d ] = D double flat

In the main text, accidentals are written out in full, as [natural], A[flat], G[sharp]. One table uses [] for [sharp].

Accents and marcato: denoted by > and ^ before a note.

Time signatures: [4/4], [6/8], etc.

[C] or [C/4] = C shaped [4/4] time. [C] or [C/2] = C shaped [2/2] time. [O] = A circle [O.] = A circle with a dot in the center [C.] = A broken circle (C shaped) with a dot in the center

[G:] = Treble clef ([G8:] = Treble clef 8va bassa) [F:] = Bass clef ([F8:] = Bass clef 8va bassa)

Rhythms (A trailing . represents a dotted note):

[L] = Longa [B] = Brevis [S] = Semibrevis [1] = Whole note (Semibreve) [2] = Half note (Minim) [4] = Quarter note (Crotchet) [8] = Eighth note (Quaver) [16] = Sixteenth note (Semiquaver)

Lyrics and Labels: words aligned with the notes begin [W: ...]

Breves and macrons, used to denote short and long stresses in poetry are denoted ['] and [ ] respectively.

[] = Bar (Bar line) [<] = Crescendo hairpin [x] = small cross [\] = 45 degree downstroke [/] = 45 degree upstroke [/\] = large circumflex shape [O] = a circle bisected by a vertical line protruding both ways [Gamma] = The Greek capital gamma [mid dot] = a dot at the height of a hyphen [over dot] = a single dot over the following letter [Over slur] = a frown shaped curved line [Under slur] = a smile shaped curved line (breve) [reverse apostrophe] = the mirror image of a closing quote [Upper Mordent] = an upper mordent: /\/\/ with thick downstrokes [Crenellation] = horizontals, low, high, low, connected by verticals [Podium] = [Crenellation] with the third horizontal at half height [Step] = horizontal, vertical, horizontal, vertical, ascending [Turn] = a turn (~)

[Figure 01] = extract available as a MIDI file (figure01.mid). [Illustration] = all other illustrations.

For example, here's a D minor scale set to words:

[G: d' e' (f' g') a' b ' (c'' d'')] [W: One, two, three, four, five, six. ]

And a simple rhythmic example:

[3/4: 4 4 8 8 8. 16 2] = [ ' ' ' ]

CRITICAL AND HISTORICAL ESSAYS

Lectures delivered at Columbia University

BY EDWARD MACDOWELL

EDITED BY W.J. BALTZELL

LONDON

ELKIN & CO., LTD., 8 & 10 BEAK STREET, REGENT STREET, W.

CONSTABLE & CO., LTD., 10 ORANGE STREET, LEICESTER SQUARE, W.C.

BOSTON, U.S.A., ARTHUR P. SCHMIDT

COPYRIGHT, 1912, BY ARTHUR P. SCHMIDT

A.P.S. 9384

Stanhope Press

F.H. GILSON COMPANY BOSTON, U.S.A.

PREFACE

The present work places before the public a phase of the professional activity of Edward MacDowell quite different from that through which his name became a household word in musical circles, that is, his work as a composer. In the chapters that follow we become acquainted with him in the capacity of a writer on phases of the history and aesthetics of music.

It was in 1896 that the authorities of Columbia University offered to him the newly created Chair of Music, for which he had been strongly recommended as one of the leading composers of America. After much thought he accepted the position, and entered upon his duties with the hope of accomplishing much for his art in the favorable environment which he fully expected to find... Continue reading book >>




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