Masterworks of the Orchestral Repertoire was first published in 1968. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. The fullest enjoyment of an orchestral performance or a record concert comes with a background of knowledge about the music itself. This handbook is designed to help music lovers get the ultimate pleasure from their listening by providing them with that background about a large portion of the orchestral repertoire. Professor Ferguson analyzes and interprets the most important classical symphonies, overtures, and concertos, as well as selected orchestral works of modern composers. He goes beyond a conventional analysis of structure since he believes (with a majority of the music-loving public) that great music is actually a communication -- that it expresses significant emotions. The great composers, on their own testimony, have striven not merely to create perfect forms but to interpret human experience. Mingled with the analyses, then, the reader will find comments on the expressive purport of the music. For twenty-five years Professor Ferguson has supplied the program notes for the subscription concerts of the Minneapolis Symphony Orchestra, and this volume is an outgrowth of that activity. In preparing the material for book publication, however, he studied the musical compositions anew, and the resulting chapters provide a much deeper exploration of the musical subjects than did the program notes. The themes of important works are illustrated by musical notations, and a brief glossary explains technical terms.

The Why of Music was first published in 1969. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.In his many tears of teaching and writing about music Professor Ferguson has given much thought to the question of the why of music -- why does music affect us as it does, why are we deeply moved by some music by not by other music, what is it about music that sends us, and where does it send us? In this book he explores such questions in depth and provides intriguing answers. The discussions are presented in the form of dialogues between the author and several friends.As Professor Ferguson explains, the book is intended to take the reader on a guided tour, a tour which follows, in part, the familiar roads of formal music appreciation but which leads more often into byways where, almost hidden by the brilliant Hows that line the more familiar roads, lurks the essential Why of music. He describes this Why as the fertilizing commerce between music and human experience--a portrayal, not of the tangible facts of experience, but of the concern aroused by our encounter with those facts. He explains that while avant-garde abstractionism is concerned only with music as art--a concern too specialized for the general music lover to grasp and too narrow to sustain interest--the Why of enduring music lies in its endeavor to portray experience as it lives in Everyman's mind.

"Image and Structure in Chamber Music " was first published in 1964. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

The major portion of this book is devoted to descriptions of the most important chamber music works, taken up in separate chapters by composer in broadly chronological order--Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Schumann, and Brahms. There are also chapters on the intimacy of chamber music, on the antecedents of the above-named composers, on nationalistic chamber music, on twentieth-century chamber music, and on chamber music in the United States.

"Music as Metaphor "was first published in 1960. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

A professor of music for many years, Mr. Ferguson here sets forth his theories on how music conveys meaning to its listeners. He identifies and discusses the elements of musical expression - tonal stress and rhythm - and correlates them with the nervous tensions and motor impulses which characterize human emotion. Through this correlation, he shows how music portrays universally understood emotional states and ideas. He relates these principles to music criticism, proposing a new system for such criticism.