The assistant professor of music at Carnegie Institute of
Technology writes learnedly for the trained musician, not for the
new vast audience for music. Musicological research this, into the
texture of meanings behind the score. Through history, through all
aspects of music (composition, singing, intrumental music, dance
types, orchestral music, opera,) he surveys the interpretation and
reinterpretation of the originator's meanings. His scope is immense
- from the early classic?? to the future of television, with jazz
and swing a passing phase. For technicians, workshop musicians, and
the few laymen highly versed in musical appreciation. He closes
with an analysis from his peak, of The Star Spangled Banner.
(Kirkus Reviews)
From the great scores that have made history, from the statements
of the composers about their work, from old treatises, scholarly
textbooks, and contemporary literature, the author has gathered an
engrossing array of evidence on the trends of interpretation. Here
the art of the performer is studied in all its aspects, spiritual,
technical, historical: the old Italian methods of singing, the
royal virginalists, Frescobaldi's organ playing, dance types from
galliard to waltz, phrasing and dynamics, acoustical conditions,
the story of the metronome, Beethoven's piano playing and Chopin's
rubato, the rise of virtuosity with Paganini and Liszt, the dream
orchestra of Berlioz, and the theoretical commentaries of Wagner.
Of special interest in these days of individualized expression by
performers is the discussion of revisions and "corrections" of
famous musical scores. The book closes with a consideration of
musical performance on records and in radio, moving pictures, and
television.
General
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