MUSIC and LITERATURE A Comparison of the Arts By CALVIN S. BROWN
THE UNIVERSITY OF GEORGIA PRESS Athens, Georgia Copyright 1948 THE
UNIVERSITY OF GEORGIA PRESS PRINTED IN THE UNITED STATES OF AMERICA
GG17532 Contents CHAPTER FAOE Acknowledgments ix Preface xi I.
Science and Art 1 II. The Fine Arts 7 III. Rhythm and Pitch IS IV.
Timbre, Harmony, and Counterpoint 31 V. Vocal Music General
Considerations 44 VI. The Literal Setting of Vocal Music 53 VII.
The Dramatic Setting of Vocal Music 62 VIII. The Dilemma of Opera
87 IX. Repetition and Variation 100 X. Balance and Contrast 114 XI.
Theme and Variations 127 XII. ABA Form and the Rondo 135 XIII. The
Fugue 149 XIV. Sonata Form 161 XV. The Musical Development of
Symbols Whitman 178 XVI. The Poetry of Conrad Aiken 195 XVII.
Fiction and the Leitmotiv 208 XVIII. Literary Types in Music 219
XIX. Program Music a Short Guide to the Battlefield 229 XX.
Descriptive Music 245 XXI. Narrative Music 257 XXII. Conclusion-268
Notes 272 Index 279 Tii Acknowledgments THE author wishes to
express his thanks to the University System of Georgia for their
grant in aid of research and to the General Research Fund of the
University of Georgia for a grant in aid of publication. The author
also wishes to express his thanks to the following per sons and
firms for their kind permission to quote material on which they own
copyrights To Mr. Conrad Aiken for passages from Ms Nocturne of
Remembered Spring, Selected Poems, Blue Voyage, Time in the Rock,
and The Coming Forth by Day of Osiris Jones and to Mr. Aiken and
the editors of Poetry for passages from his review of The Charnel
Rose. To A. C. Black, Ltd., London, and The Macmillan Co., New York
American publishers, for a passage from Albert Schweitzer s . S.
Bach. To Dodd, Mead Company, Inc., for three passages from quot
Lepanto, quot from The Collected Poems of G. K. Chesterton.
Reprinted by permission of Dodd, Mead Company, Inc. Copyright,
1911, by Dodd, Mead Company, Inc. Thanks are also due to A. P. Watt
and Son and the executrix of the Chesterton estate for the use of
this material. To Mr. John Gould Fletcher for passages from his
Goblins and Pagodas and Preludes and Symphonies. To Harper Brothers
for passages from Lawrence Oilman s Stories of Symphonic Music and
Aldous Huxley s Point Counter Point. To Alfred A. Knopf, Inc., for
passages from Ernest Newman s A Musical Motley and Thomas Mann s
Stories of Three Decades, translated by H. T. Lowe-Porter. To J. B.
Lippincott Co. for a passage from P. H. Goepp s Symphonies and
their Meaning reprinted as Great Works of Music, vol. III. To
Novello Co., Ltd., for a passage from F. Niecks Programme Music in
the Last Four Centuries. To the Oxford University Press for
passages from Collected Essays, Papers, Etc., of Robert Bridges,
Essay No. XXI from Tovey s Essays in Musical Analysis, Vol. IV and
for the rondeau quot In After Days, quot from Collected Poems of
Austin Dobson. To G. Schirmer, Inc., and the editors of the Musical
Quarterly for material reprinted from the author s articles, quot
The Musical Structure of De Quincey s Dream Fugue quot and quot The
Poetic Use of Musical Forms. quot x ACKNOWLEDGMENTS To Sir John
Squire for quot The Exquisite Sonnet, quot from his Collected
Parodies. To The Viking Press, Inc., New York, for two passages
from William Ellery Leonard s Two Lives. To Henry Holt Co., The
Macmillan Co., The Arthur P. Schmidt Co., andSimon Schuster for
material acknowledged on the pages where it is quoted. Preface THIS
book was written with the hope that it might open up a field of
thought which has not yet been systematically explored. Though vari
ous articles and books have dealt separately with many of the
problems here brought together, there has been no survey of the
entire field. This book attempts to supply such a survey. The
desire to make it both interesting to the amateur and useful to the
scholar has inevitably led to some compromises...
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