The Theory and Practice of Tone-Relations: An Elementary Course of Harmony with Emphasis Upon the Element of Melody
(Subtitled "An Elementary Course of Harmony, with Emphasis...)
Subtitled "An Elementary Course of Harmony, with Emphasis on the Element of Melody". CONTENTS: Preface; Concord Harmonies, Discord Harmonies, Modulation, Inharmonic Tones. 174 pages.
Models of the Principal Musical Forms: Extract From Lectures Upon the "Evolution of Musical Forms" (Classic Reprint)
(Excerpt from Models of the Principal Musical Forms: Extra...)
Excerpt from Models of the Principal Musical Forms: Extract From Lectures Upon the "Evolution of Musical Forms"
Mendelssohn, Song Without Words, no. 46; See also Songs Without Words, nos. 40, 25. This example also illustrates the Introduction, Interlude.
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Lessons in Music Form: A Manual of Analysis of All the Structural Factors and Designs Employed in Musical Composition
(THE NECESSITY OF FORM IN MUSIC.—So much uncertainty and d...)
THE NECESSITY OF FORM IN MUSIC.—So much uncertainty and diversity of opinion exists among music lovers of every grade concerning the presence of Form in musical composition, and the necessity of its presence there, that a few general principles are submitted at the outset of our studies, as a guide to individual reflection and judgment on the subject. Certain apparently defensible prejudices that prevail in the minds of even advanced musical critics against the idea of Form in music, originate in a very manifest mistake on the part of the "formalists" themselves, who (I refer to unimpassioned theorists and advocates of rigid old scholastic rules) place too narrow a construction upon Form, and define it with such rigor as to leave no margin whatever for the exercise of free fancy and emotional sway. Both the dreamer, with his indifference to (or downright scorn of) Form; and the pedant, with his narrow conception of it; as well as the ordinary music lover, with his endeavor to discover some less debatable view to adopt for his own everyday use,—need to be reminded that Form in music means simply Order in music.
(A Series Of Articles Demonstrating In An Accurate, Though...)
A Series Of Articles Demonstrating In An Accurate, Though Popular, Manner The Origin And Employment Of The Fundamental Factors Of Music Structure And Composition, For The Student And General Music Lover.
The Larger Forms of Musical Composition: An Exhaustive Explanation of the Variations, Rondos, and Sonata Designs, for the General Student of Musical ... of Structural Composition (Classic Reprint)
(Excerpt from The Larger Forms of Musical Composition: An ...)
Excerpt from The Larger Forms of Musical Composition: An Exhaustive Explanation of the Variations, Rondos, and Sonata Designs, for the General Student of Musical Analysis, and for the Special Student of Structural Composition
"And the earth was without form and void; and darkness was upon the face of the deep."
- Genesis, I, 2.
"Order is heaven's first law."
- Alexander Pope.
"Passion, whether great or not, must never he expressed in an exaggerated manner; and music - even in the most ardent moment - ought never to offend the ear, hut should always remain music, whose object it is to give pleasure."
- Mozart.
"Inspiration without methods and means at its disposal will no more enable a man to write a symphony than to build a ship or a cathedral."
- C. Hubert H. Parry. "Evolution of the art of music."
"I have never believed it possible that any natural or improved ability can claim immunity from the companionship of the steady, plain, hardworking qualities, and hope to gain its end."
- Dickens. "David Copperfield."
The present volume is a sequel to the Homophonic Forms and Applied Counterpoint, and is similarly designed for the use both of the student of analysis, and the student of practical composition.
It claims to be no more than a guide for the student through the successive stages in the evolution of the larger and largest forms of music structure.
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The Homophonic Forms of Musical Composition: An Exhaustive Treatise on the Structure and Development of Musical Forms From the Simple Phrase to the Song-form with "Trio" for the Use of General and Special Students of Musical Structure
(The Author believed that composition , the organic associ...)
The Author believed that composition , the organic association of tones, rests upon a scientific foundation. It may become as emotional as Creation, but as bottom it is a scientific as Creation. The endeavor to define this scientific basis, and to formulate rules which, unlike the arbitrary, traditional rules of harmony, would admit of proof, and would in every case be supported by a reason, was the authors incentive. This book undertakes no more than the systematic enumeration and exhaustive explanation of all the formal designs and methods of structural treatment in the homophonic domain of musical composition, as revealed in classical or standard writings. The student who aims to acquire the Science of composition, is expected to imitate these designs and methods, and to look for additional illustrations and confirmations in general musical literature. This will develop skill and facility, will induce correct habits of musical thought, will enrich the mind with a fund of resources, and stimulate the imagination to increased responsiveness and activity.
The Material Used in Musical Composition: A System of Harmony Designed Originally for Use in the English Harmony Classes of the Conservatory of Music (Classic Reprint)
(Preface to the secondE dition. (P artly adopted from that...)
Preface to the secondE dition. (P artly adopted from that of the fiwt Edition). I he Author is not inclined to the sanguine belief, that such a subtle and imaginative Art as that of Composition can be acquired by those not possessed of the innate faculty, by simply studying from books. But it is certainly true, that even those who are born to compose are not exempt from the necessity of a careful training, systematic arrangement and studious development of their ideas. It is therefore essential that the musical student be guided in his studies by some Method in which the primitive laws of the Art (as instinctively recognized by Genius) and the subsequent experiences and inventions of distinguished minds (as transmitted through Classic productions) are comprehensively and truthfully recorded; and that Method which most lucidly, concisely and systematically imparts such information is the one from which the scholar will derive the greatest benefit. In opposition to the still popular impression that such books as these are only written for the use of Composers, and that only those who intend or hope to become Composers ever need to study Harmony, the Author avers his belief that none of the many branches of musical discipline is so indispensable aa that which treats of theS cience of Music; and he therefore wishes to be understood as having prepared this Treatise more particularly for tie Musician in general, than for the very small minority of composing Musicians. It is encouraging to observe, that, at the present time, when the Art of Music is becoming day by day more universal, and steadily advances to a higher rank than that of a mere accomplishment, its disciples are awakening to the conviction that something more is necessary than a mere knowledge of the names of the notes, and that it is presumptuous to profess to interpret what they, themselves, do not
(Typographical errors above are due to OCR software and don't occur in the book.)
The Homophonic Forms of Musical Composition: An Exhaustive Treatise on the Structure and Development of Musical Forms, From the Simple Phrase to the ... of Musical Structure (Classic Reprint)
(Excerpt from The Homophonic Forms of Musical Composition:...)
Excerpt from The Homophonic Forms of Musical Composition: An Exhaustive Treatise on the Structure and Development of Musical Forms, From the Simple Phrase to the Song-Form With "Trio", For the Use of General and Special Students of Musical Structure
This book undertakes no more than the systematic enumeration and exhaustive explanation of all the formal designs and methods of structural treatment in the homophonic domain of musical composition, as revealed in classical or standard writings. The student who aims to acquire the Science of composition, is expected to Imitate these designs and methods, and to look for additional illustrations and confirmations in general musical literature. This will develop skill and facility, will induce correct habits of musical thought, will enrich the mind with a fund of resources, and stimulate the imagination to increased responsiveness and activity.
But, further than this, the book lays no claim to furnishing clues to the subtle Art of composition. In converting his theoretical knowledge into successful practice, - into a means to an end, - the student can appeal to no other authority than that of his own fancy, good taste, and natural or acquired judgment.
The examples given for reference must be inspected, - if not totally, at least in great part. No student should hope to be entirely successful and efficient as a composer without possessing quite extensive acquaintance with the products and processes of successful writers. Therefore, the pupil must regard the conscientious examination of these carefully selected quotations, as a very significant and distinctly essential part of his study. This applies more especially to the works cited in Divisions I, II and III.
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(This is a pre-1923 historical reproduction that was curat...)
This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide. This text refers to the Bibliobazaar edition.
Exercises in melody-writing; a systematic course of melodic composition designed for the use of young music students, chiefly as a course of exercise collateral with the study of harmony
(Exercises in melody-writing; a systematic course of melod...)
Exercises in melody-writing; a systematic course of melodic composition designed for the use of young music students, chiefly as a course of exercise collateral with the study of harmony. 140 pages.
Goetschius was born on August 30, 1853 in Paterson, New Jersey, the only son of John Henry Goetschius, a civil engineer, and Mary Ann (Berry) Goetschius. Of Swiss ancestry, he was descended from John Henry Goetschius, a prominent Dutch Reformed clergyman in eighteenth-century America.
Education
Percy attended the local schools until he was twelve; then, because of poor health, he left to seek the benefits of outdoor life as a surveyor's assistant, and within a few years joined his father's engineering business. As a boy he had taught himself to play the piano and the flute. His interests were encouraged by one of his father's clients, the violinist Ureli C. Hill, who gave him a copy of Bach's Well-Tempered Clavichord and arranged for him to attend public rehearsals of the Philharmonic Society of New York. These experiences made him determine on music as a career. In 1873, despite his father's strong opposition, Goetschius went to Germany to enter the Stuttgart Royal Conservatory, where he studied piano with Sigmund Lebert and Dionys Pruckner and composition and theory with Immanuel Faisst, who exercised a major influence on his development.
Career
In his teens Goetschius served as organist and choir director at a local church. During his student years he taught the English-language harmony classes, and after graduating in 1876 he became a member of the Stuttgart faculty, teaching harmony, composition, and music history. He also wrote for two Stuttgart newspapers, reviewing concerts for the Schwäbischer Merkur and operas for the Neues Tageblatt, and was a correspondent for German musical periodicals. In 1885 the King of Württemberg conferred on him the title of Royal Professor, an honor Goetschius always valued highly. In 1890, after seventeen years in Germany, he returned to the United States to take the chair of musical theory, history, and advanced pianoforte at Syracuse University. He resigned two years later to join the faculty of the New England Conservatory of Music in Boston, as professor of harmony, counterpoint, composition, and music history. In spite of his great popularity as a teacher, his relations with the director of the Conservatory, Carl Faelten, were not happy, and in 1896 Goetschius resigned and set up his own private studio in Boston. In 1897 he added to his duties the post of organist and choir director of the First Parish Church in Brookline, Massachusetts. In 1905 Frank Damrosch selected Goetschius as head of the department of theory and composition of the newly formed Institute of Musical Art in New York City (later amalgamated with the Juilliard School of Music), where he remained until his retirement in 1925. His presence attracted hundreds of the country's most gifted musicians, and he thus exerted a wide influence upon musical composition and music education in the United States. He took a deep and sympathetic interest in the aesthetic problems of his student composers. Besides his work in the classroom, Goetschius wrote more than fifteen textbooks. The first, The Material Used in Musical Composition, was published in Stuttgart in 1882 for the English-speaking students of the Conservatory. Later reprinted in the United States, it has gone through at least twenty-six editions and has probably had greater influence on the teaching of music theory in the United States than any other single text. Only slightly less influential was his The Theory and Practice of Tone-Relations (1892), a somewhat simpler and more readable exposition of the Goetschius theories of harmonic and melodic relationship. Among his other books are the very popular The Homophonic Forms of Musical Composition (1898), Lessons in Music Form (1904), and The Larger Forms of Musical Composition (1915). Although Goetschius did some composing, particularly in his early years in Stuttgart, few of his works were published. After Goetschius retired from the Institute of Musical Art in 1925, he settled in Manchester, New Hampshire, where his son was in practice, and undertook the most important editorial work of his career, the mammoth Analytic Symphony Series. Published by the Oliver Ditson Company in forty-three volumes during the years 1925-1931, the series comprises detailed analyses of symphonies, from Haydn to d'Indy and Sibelius, arranged for piano, two hands. Living on to the age of 90, Goetschius died of a cerebral hemorrhage at his home in Manchester on October 29, 1943. His ashes were placed in Harmony Grove Cemetery, Salem, New Hampshire.
(Preface to the secondE dition. (P artly adopted from that...)
Personality
As a teacher Goetschius was a strict disciplinarian, and his "bespectacled visage, " "intellectual brow, " and "closely cropped beard" gave an initial impression of austerity. He possessed, however, a delightful sense of humor, and his gracefully phrased lectures and agile piano demonstrations of musical structure and harmony made him a skilled pedagogue.
Interests
Music & Bands
Goetschius' musical gods were Bach, Mendelssohn, and Brahms. Although his musical knowledge was encyclopedic, he had little interest in "strict" counterpoint or the music of the seventeenth century. Nor did he approve of the direction taken by such composers as Ravel, Debussy, and Richard Strauss; and he described Wagner's harmonic technique as one of "wandering harmonies. "
Connections
Goetschius married a former pupil, Marie C. C. Stéphany, of Metz, Germany, in 1889. They had a daughter and a son, Percy Berry, who became a physician.