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

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Critical and Historical Essays Lectures delivered at Columbia University by Edward MacDowell is a remarkable collection of scholarly discourses that explores various aspects of classical music and its rich history. Although published several decades ago, MacDowell's insights and analyses remain relevant and highly informative, making this book a valuable resource for music enthusiasts and scholars alike.

One of the key strengths of this book is MacDowell's ability to convey complex musical concepts in a clear and accessible manner. His lucid explanations and meticulous research make even the most intricate musical ideas comprehensible to readers who may not have a strong background in classical music. Moreover, MacDowell's unique perspective as a composer himself adds a layer of authenticity to his discussions, enabling readers to gain a deeper understanding of the creative processes behind some of history's greatest musical achievements.

The essays in this collection cover a wide range of topics, from the lives and works of renowned composers to the evolution of musical forms and styles over different periods. MacDowell's exploration of composers such as Bach, Beethoven, Mozart, and Chopin offers readers a comprehensive study of their contributions to the development of classical music. He skillfully blends historical context with musical analysis, providing readers with a holistic understanding of the socio-cultural influences that shaped these composers' artistic choices.

The lectures delivered at Columbia University highlight MacDowell's expertise as an instructor and his ability to engage students in thought-provoking discussions. His keen observations and critical examinations of musical compositions not only deepen readers' appreciation for the genre but also encourage them to perceive music through a more analytical lens. MacDowell's emphasis on the importance of interpretation and the significance of understanding a composer's intentions contributes to a greater understanding of musical performance as a whole.

While this collection of essays is undoubtedly thought-provoking and informative, it may not be suitable for those seeking a light or casual read. MacDowell's writing style is scholarly and at times quite dense, requiring readers to concentrate and actively engage with the material. Nevertheless, for individuals with a genuine interest in classical music and a desire to delve into its intricacies, this book undoubtedly offers an intellectually rewarding experience.

In conclusion, Critical and Historical Essays Lectures delivered at Columbia University by Edward MacDowell is an exceptional compilation that delves deep into the world of classical music. MacDowell's expertise as a composer and instructor shines through in his meticulous analysis and comprehensive exploration of musical history. This book is a must-read for anyone passionate about classical music, offering a profound appreciation for the genre and its enduring legacy.

First Page:


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'}


[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: ... Continue reading book >>

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