Tonal Phrase Book: A Systematized Arrangement of Material for Reading Music Its Movement or Thought by Charles H Farnsworth

ISBN: 9781330113806

Published: September 27th 2015

Paperback

42 pages


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Tonal Phrase Book: A Systematized Arrangement of Material for Reading Music  by  Its Movement or Thought by Charles H Farnsworth

Tonal Phrase Book: A Systematized Arrangement of Material for Reading Music by Its Movement or Thought by Charles H Farnsworth
September 27th 2015 | Paperback | PDF, EPUB, FB2, DjVu, audiobook, mp3, ZIP | 42 pages | ISBN: 9781330113806 | 6.36 Mb

Excerpt from Tonal Phrase Book: A Systematized Arrangement of Material for Reading Music by Its Movement or ThoughtIt will, however, be admitted that the attractive power of music over a community will be in the degree that its members will be ableMoreExcerpt from Tonal Phrase Book: A Systematized Arrangement of Material for Reading Music by Its Movement or ThoughtIt will, however, be admitted that the attractive power of music over a community will be in the degree that its members will be able to supplement their instinctive feeling for harmony by at least a rudimentary knowledge of its notation.

The practical question then, is this, if we are to conserve the general musical stimulation that already had shown itself before the war started, and which has been so vigorously accelerated by it, we must present some method of learning the notation that will he more economical of time and effort and give quicker results to the student, whether the student is a member of a community chorus or studying music in the grades of the schools.

The speed work and phrase reading offered in the following books, is a contribution towards accomplishing this desired result. While the two types of work offered, speed exercises in notation, and tonal phrases, are here described together, they are independent of each other- each serving a separate end in teaching the reading of music.Separation of the Eye and Ear ProblemsReading music from notes is a combination of two distinct functions.

One is visual and the other is oral. The visual has to do with a knowledge of the notes on the staff- the oral, with tone differences in pitch and duration. The union of these two results is a complex problem for all but musical people. Guido Arezzo, in the eleventh century, solved this problem in pitch for Pope Silvester by using a system of nemonics, or memory syllables, that bridged the distances between what was seen and what was to be heard. He associated the notes with a tune for the protection of the throat of the singer. The syllables served two purposes, indicating the notes for the eye and at the same time suggesting the pitch relationships for the ear.

This educational device has, curiously enough, persisted through nearly nine centuries and appears now in our syllable names, or do, re, mis. There must he some vital necessity for such a device, or it would not have persisted for so long.The strenuous opposition which has been shown to the syllable names has grown out of the fact that the effort to learn them has either failed to accomplish its end or cost more than it was worth.

This has been due to the fact that the eye and ear problems, entirely different in their nature, have been attempted, generally, simultaneously, thus complicating the problem. The plan here suggested in the speed work is to treat the eye problem with the association of the syllable names as a purely intellectual process, entirely independent of the purpose for which we wish to use it later. Thus by eliminating the visual complications, by mastering them independently, we are left free to make the necessary tonal relationships when we come to this aspect of the work.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books.

Find more at www.forgottenbooks.comThis 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.



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