Summary of your 'study carrel' ============================== This is a summary of your Distant Reader 'study carrel'. The Distant Reader harvested & cached your content into a collection/corpus. It then applied sets of natural language processing and text mining against the collection. The results of this process was reduced to a database file -- a 'study carrel'. The study carrel can then be queried, thus bringing light specific characteristics for your collection. These characteristics can help you summarize the collection as well as enumerate things you might want to investigate more closely. This report is a terse narrative report, and when processing is complete you will be linked to a more complete narrative report. Eric Lease Morgan Number of items in the collection; 'How big is my corpus?' ---------------------------------------------------------- 47 Average length of all items measured in words; "More or less, how big is each item?" ------------------------------------------------------------------------------------ 51664 Average readability score of all items (0 = difficult; 100 = easy) ------------------------------------------------------------------ 73 Top 50 statistically significant keywords; "What is my collection about?" ------------------------------------------------------------------------- 20 music 17 illustration 14 tone 13 voice 12 work 12 Mr. 11 italian 10 Mozart 9 singer 9 Wagner 9 Beethoven 8 vocal 8 New 8 Bach 7 teacher 7 singing 7 Paris 6 great 6 german 6 french 6 York 6 London 6 English 6 Chopin 5 time 5 Symphony 5 Liszt 5 King 5 Haydn 5 Handel 5 Don 4 study 4 song 4 play 4 piano 4 note 4 musical 4 good 4 chapter 4 Voice 4 Verdi 4 Schumann 4 Queen 4 Opera 4 Metropolitan 4 God 4 Footnote 4 Faust 4 Count 4 CHAPTER Top 50 lemmatized nouns; "What is discussed?" --------------------------------------------- 7289 music 5820 voice 5212 tone 4174 time 4081 work 3537 part 2991 singer 2933 opera 2550 song 2273 note 2239 composer 2218 form 2195 word 2194 year 2082 way 2078 teacher 2032 scene 1859 movement 1835 art 1805 hand 1788 act 1777 day 1762 man 1740 instrument 1709 singing 1701 chorus 1614 theme 1579 melody 1554 life 1522 piano 1482 love 1478 student 1478 effect 1473 one 1456 phrase 1453 power 1448 thing 1442 measure 1413 study 1411 number 1404 illustration 1358 change 1354 piece 1308 composition 1296 place 1257 fact 1242 pupil 1239 character 1222 case 1207 expression Top 50 proper nouns; "What are the names of persons or places?" -------------------------------------------------------------- 56921 _ 1263 Beethoven 1117 Wagner 818 Mr. 739 New 732 Mozart 722 Don 658 Opera 631 King 629 Bach 607 Paris 593 York 501 London 497 Act 494 de 479 Music 476 La 464 Liszt 464 II 459 Symphony 456 America 451 Schumann 449 Footnote 446 Chopin 434 Voice 433 Motive 431 English 428 Hunt 425 Faust 420 C 418 Count 399 God 372 St. 369 | 368 pianoforte 360 Haydn 345 Queen 340 Siegfried 335 Dr. 332 Bass 329 Soprano 321 Wotan 320 Fig 319 Mendelssohn 317 Mme 316 Lord 306 MacDowell 302 Brahms 300 Berlioz 298 Ex Top 50 personal pronouns nouns; "To whom are things referred?" ------------------------------------------------------------- 21564 it 14300 he 10036 i 5935 they 5143 him 5052 we 4629 she 4317 you 3734 them 2647 her 2011 me 1622 himself 1438 us 891 one 865 itself 617 themselves 471 herself 272 myself 128 yourself 98 thee 95 ourselves 30 his 26 mine 24 yours 23 ye 19 theirs 18 oneself 17 thyself 16 ours 10 hers 6 je 5 ''em 3 eva 3 ''s 2 yourselves 2 ya 2 whosoever 2 tympanum 2 sà 2 pl 2 interest:-- 2 hey 2 ay 1 your 1 you,--mannered 1 whereof 1 thought,--as 1 there,--you 1 temps 1 s''ode Top 50 lemmatized verbs; "What do things do?" --------------------------------------------- 85205 be 20371 have 6456 do 5613 make 3833 give 3029 come 2962 say 2906 sing 2893 take 2589 find 2582 follow 2468 know 2419 play 2408 see 2289 go 2231 write 2078 hear 2008 use 1889 produce 1839 become 1742 call 1742 begin 1562 seem 1475 bring 1352 lead 1318 think 1245 learn 1192 appear 1179 tell 1179 let 1076 speak 1076 show 1008 feel 999 leave 978 study 973 open 879 hold 871 bear 869 work 868 singe 856 set 855 get 831 enter 830 consider 798 keep 779 mean 753 fall 735 teach 725 die 724 ask Top 50 lemmatized adjectives and adverbs; "How are things described?" --------------------------------------------------------------------- 12099 not 5542 first 4968 so 4798 more 4306 great 3709 only 3315 very 3276 most 3273 other 3124 well 2964 then 2726 musical 2561 good 2545 vocal 2387 as 2367 same 2353 also 2303 now 2275 much 2268 many 2259 out 2150 up 2102 second 2092 high 1967 even 1927 such 1820 little 1688 last 1657 long 1650 own 1616 too 1567 never 1526 always 1471 old 1448 however 1374 here 1319 new 1310 again 1291 full 1288 often 1286 whole 1253 still 1146 far 1141 down 1128 thus 1121 low 1117 few 1100 certain 1083 beautiful 1077 once Top 50 lemmatized superlative adjectives; "How are things described to the extreme?" ------------------------------------------------------------------------- 981 good 625 great 563 most 561 least 470 high 165 low 129 fine 82 early 72 Most 71 late 69 slight 64 simple 60 bad 54 small 49 deep 44 strong 43 farth 41 full 35 near 32 pure 30 noble 30 large 30 easy 27 soft 25 old 23 young 22 grand 20 wide 20 long 19 loud 18 lovely 16 rich 15 true 15 fair 15 broad 13 manif 13 lofty 13 close 13 clear 12 sweet 12 sure 11 short 11 quick 11 happy 11 free 11 eld 10 light 10 hard 10 dear 10 bright Top 50 lemmatized superlative adverbs; "How do things do to the extreme?" ------------------------------------------------------------------------ 2713 most 160 well 84 least 3 highest 2 greatest 1 worst 1 wendest 1 strongest 1 sittest 1 shortest 1 poles,--the 1 oldest 1 liest 1 hard 1 goethe 1 clearest 1 alberich_--the Top 50 Internet domains; "What Webbed places are alluded to in this corpus?" ---------------------------------------------------------------------------- 12 www.gutenberg.net 2 www.gutenberg.org 1 www.intac.com 1 www.classicalmidiconnection.com 1 en.wikipedia.org Top 50 URLs; "What is hyperlinked from this corpus?" ---------------------------------------------------- 1 http://www.intac.com/~rfrone/operas/Books/oper-books.htm> 1 http://www.gutenberg.org/files/39211/39211-h/39211-h.htm 1 http://www.gutenberg.org/files/39211/39211-h.zip 1 http://www.gutenberg.net/dirs/2/8/0/2/28026/28026-h/28026-h.htm 1 http://www.gutenberg.net/dirs/2/8/0/2/28026/28026-h.zip 1 http://www.gutenberg.net/dirs/2/0/0/6/20069/20069-h/20069-h.htm 1 http://www.gutenberg.net/dirs/2/0/0/6/20069/20069-h.zip 1 http://www.gutenberg.net/dirs/1/9/4/9/19499/19499-h/19499-h.htm 1 http://www.gutenberg.net/dirs/1/9/4/9/19499/19499-h.zip 1 http://www.gutenberg.net/dirs/1/9/4/9/19493/19493-h/19493-h.htm 1 http://www.gutenberg.net/dirs/1/9/4/9/19493/19493-h.zip 1 http://www.gutenberg.net/dirs/1/5/6/0/15604/15604-h/15604-h.htm 1 http://www.gutenberg.net/dirs/1/5/6/0/15604/15604-h.zip 1 http://www.gutenberg.net/1/2/9/0/12903/12903-h/12903-h.htm 1 http://www.gutenberg.net/1/2/9/0/12903/12903-h.zip 1 http://www.classicalmidiconnection.com 1 http://en.wikipedia.org/wiki/Scientific_pitch_notation Top 50 email addresses; "Who are you gonna call?" ------------------------------------------------- Top 50 positive assertions; "What sentences are in the shape of noun-verb-noun?" ------------------------------------------------------------------------------- 25 _ is not 19 _ is _ 18 _ do not 15 _ does not 15 voice is not 14 _ is about 14 music is not 13 _ comes in 13 _ is also 12 _ do _ 11 _ tells _ 11 art is not 11 music is so 11 tone is not 10 _ sing _ 10 singers do not 9 _ write third 9 music does not 9 music was not 9 singer does not 9 voice is so 8 _ is often 8 voice does not 7 _ are _ 7 _ being _ 7 _ see _ 7 music is as 7 music is very 7 opera was first 6 _ has not 6 _ is usually 6 _ thought _ 6 _ write second 6 art does not 6 composers do not 6 music is full 6 singer is not 6 singing is not 6 work was first 5 _ comes back 5 _ is alone 5 _ is dead 5 _ is full 5 _ is more 5 _ is so 5 _ write fourth 5 act takes place 5 opera has not 5 opera is full 5 scene takes place Top 50 negative assertions; "What sentences are in the shape of noun-verb-no|not-noun?" --------------------------------------------------------------------------------------- 2 _ is not aware 2 composers do not always 2 music is not always 2 music was not well 2 singing has no meaning 2 tone is not so 2 voice is not so 2 voices do not at 2 works were no longer 1 _ are not able 1 _ are not immortal 1 _ brings no fatigue 1 _ do not yet 1 _ does not quite 1 _ finds no peace 1 _ has no counsel 1 _ has no immediate 1 _ has not yet 1 _ have no relation 1 _ have not power 1 _ hears no more 1 _ is no coward 1 _ is no guarantee 1 _ is no longer 1 _ is no tyrant 1 _ is not alone 1 _ is not brutal 1 _ is not easily 1 _ is not nearly 1 _ is not only 1 _ is not pleasing 1 _ is not satisfied 1 _ is not so 1 _ is not synonymous 1 _ is not wealthy 1 _ knows no fear 1 _ sees no joke 1 _ was not then 1 _ were not love 1 act is not important 1 art is not more 1 art is not sufficient 1 art is not yet 1 arts are not liable 1 chorus did not originally 1 chorus is not only 1 composer gives no indication 1 composer has no need 1 composer has not alone 1 composer is not perfectly A rudimentary bibliography -------------------------- id = 30889 author = Behnke, Emil title = The Mechanism of the Human Voice date = keywords = Behnke; Mr.; Mus; Price; Thick; Voice; illustration; ligament; muscle; musical; tone; vocal summary = tone-producing element as the "Vocal Ligaments." voice, because in inspiration the air strikes the vocal ligaments to the larynx, and the tone of the vocal ligaments will be intensified, sing a pure vocal tone, and the mirror will remain perfectly tone is produced by the vibrations of the vocal ligaments. When singing in what is called chest-voice the voicebox rises gradually As soon as we produce a tone, the pyramids, and with them the vocal Every time we take breath, the pyramids with the vocal ligaments recede, Formation of the Vowel-tones and the Registers of the Female Voice. male voice, the vocal ligaments alone act in forming the sound, and are but by the shield-pyramid muscles which press the vocal ligaments more [Illustration: musical notation] in the female voice, and in the male tones of the Upper Thick, when the tension of the vocal ligaments is vocal ligaments in producing voice, with especial reference to the id = 15446 author = Brower, Harriette title = Vocal Mastery Talks with Master Singers and Teachers, Comprising Interviews with Caruso, Farrar, Maurel, Lehmann, and Others date = keywords = America; English; Italy; Lehmann; Madame; Metropolitan; Mme; Mr.; New; York; italian; singer; tone; vocal; voice; work summary = studied and worked, I would be able one day to sing in such a way as to Italian operas required little or no action, only beautiful singing. master vocal art, the singer must have so developed his voice that it is "Young singers ask me what vowels to use in vocal practice. how necessary it is for the singer to do daily work on the voice, I To ask such a natural born singer how she studies and works, is like singer with a good natural voice, who takes her tones correctly, who How many of our great singers began their musical studies of the voice." The singer illustrated the idea with a short musical think if they have a good natural voice and take singing lessons, that in the middle of her voice--always the best way--and sings a whole tone vocal art, the singer must have so developed his voice that it is under id = 15604 author = Brower, Harriette title = Piano Mastery: Talks with Master Pianists and Teachers date = keywords = America; Bach; Bülow; Chopin; Leschetizky; Mr.; Paderewski; finger; hand; piano; play; study; teacher; tone; work summary = "The most vital thing in piano playing is to learn to think. Suppose, for instance, you are studying the Chopin Étude Op. 10, No. 12, with the left hand arpeggio work. "If a pupil comes to me who has played a great deal but with no idea of no idea of chord or scale playing, you can not make the piece sound like deal of music but with little idea of correct principles of piano study. Some schools of piano playing advise lifting the fingers high Principles of Piano Playing; Relaxation Studies; The Child''s First Steps in Piano Playing; The Principles of Fingering and Laws of Pedaling; if they play the piece a sufficient number of times they will know it; lives and works, dividing his time between teaching and concert playing. pupils who have been playing difficult music for years, and who consider id = 20069 author = Caruso, Enrico title = Caruso and Tetrazzini on the Art of Singing date = keywords = Caruso; breath; great; note; singer; throat; tone; voice summary = been written on breathing, tone production and what singers should eat Open the throat wide and start your note by the pressure breath. From the minute the singer starts to emit a tone the supply of breath pronounce the tones on a note in the easiest part of your voice. eventually the head voice will be joined to the breath, and a faint note singer with this voice production usually concentrates her entire If the singer''s health is good the voice should end only with life voice, first singing with the mouth closed and relying entirely on very In singing in public as well as when practicing the singer must stand so The "throaty" voice comes from singing with the throat insufficiently If the singer gives much of himself as well as of his voice to the sings with good breath support the more beautiful the voice becomes. id = 19493 author = Clippinger, D. A. (David Alva) title = The Head Voice and Other Problems: Practical Talks on Singing date = keywords = art; exercise; illustration; quality; singer; singing; teacher; thing; tone; vocal; voice summary = tone quality, and the astounding thing about the human voice is that for moving appeal in the pure singing tone of the human voice that cannot singer must form the pitch, power, and quality of each tone as he uses tone throughout his vocal compass his voice is placed, and it is not the voice means the development of the musical mentality and at best is Again, the human voice can produce such a variety of tone qualities that voice production and disappear as the singer learns to produce his upper In preparing the head voice the student must begin with a tone that is voice teachers usually believe in direct control of the vocal organs. In voice production it means the perfect tone concept. same way the vocal student must hear mentally the pure singing tone an untrained voice and attempts to make it produce a musical tone. id = 28026 author = Cooke, James Francis title = Great Pianists on Piano Playing Study Talks with Foremost Virtuosos. A Series of Personal Educational Conferences with Renowned Masters of the Keyboard, Presenting the Most Modern Ideas upon the Subjects of Technic, Interpretation, Style and Expression date = keywords = America; Bach; Beethoven; Chopin; Europe; Liszt; Rubinstein; Russia; expression; great; illustration; interpretation; piano; play; playing; pupil; study; teacher; technic; work summary = GREAT PIANISTS ON PIANO PLAYING Liszt is, of course, considered a great master for the piano, and I play technical exercises, and strive to play all the scales, in the different technic, but are really great works of musical art. 2. Should immediate musical results be sought in technical study? good teacher, he studied the individuality of each pupil and taught him that in music ''Art is long.'' The virtuoso comes to a great metropolis "The piano itself is of course a great help to the student in the study responsibilities of the teacher in the first years of music study. 3. Do great pianists devote much time to writing upon piano technic? great thing in all musical work. 3. What part should the study of phrasing play in modern music pupil to play all of the Czerny studies, any more than the student greatest possible means for saving time in music study. id = 33358 author = Cooke, James Francis title = Great Singers on the Art of Singing Educational Conferences with Foremost Artists date = keywords = America; BIOGRAPHICAL; Gounod; House; Italy; MME; Metropolitan; New; Opera; Paris; Schumann; York; french; good; great; illustration; italian; singer; singing; time; vocal; voice; work summary = singers and, later, in teaching voice for many years, formed a machine company, a man whose acquaintance with great singers of the time famous singers in the great opera house with the minutest attention, My advice to the voice students of America is to hear great singers. The American student with a really good voice and a really fine vocal work that many native Italian singers with realty fine voices are when a new singer comes to me and wants to sing _Tosca_ or some rôle the case at one time in America that a singer with a great reputation Opera House in New York was so great that at the time I made my début opera singer in the great opera houses of the world rarely sings more The opera singer naturally gets tired of singing a few rôles the voice and trains the singer technically to do great things. id = 32023 author = Curwen, J. Spencer (John Spencer) title = The Boy''s Voice A Book of Practical Information on The Training of Boys'' Voices For Church Choirs, &c. date = keywords = Dr.; Mr.; Sol; Tonic; boy; illustration; voice summary = A BOOK OF PRACTICAL INFORMATION ON THE TRAINING OF BOYS'' VOICES FOR "Our best solo boy, who has a splendid voice and who sings beautifully, I try a new boy''s voice at the choir practice. boys, by singing quietly, to glide the chest voice into the upper the choir-boy, it is not worth while to teach him to sing by note. new lot of choir boys will be liable to sing flat, and to lower their obtain choir-boys, adult men learned to sing alto, and even low treble adult altos in my choir I should not think of using boys'' voices. indeed do I hear boy altos sing with sweet voices and true intonation, "In part-singing where there are boy trebles, the adult male alto voice I have trained boys to sing alto in is the custom in some choirs to make a boy sing alto as soon as his id = 31828 author = Everts, Katherine Jewell title = Vocal Expression: A Class-book of Voice Training and Interpretation date = keywords = Alice; Browning; English; God; Maggie; Mr.; Tom; american; day; expression; good; great; interpretation; like; little; love; man; mind; study; thought; tone; vocal; voice; word; work summary = Let your study of the thought in these sentences hold in Let us consider together the problem of vocally interpreting this speech try to vocally interpret, to _think aloud_ this thought. never lets it escape to words like these, save now and then on a is the art of voicing the words in a phrase so that they shall assume a interpretation, in the color of tone and in the inflection of the words? ninth verse, "like a high-born maiden." Let the pitch fall in the first With the fourth line let the tone settle down to work. Let us read from the chapter called "Tom Comes Home" in the life Looking back over these studies in interpretation, let us review in true thought and emotion with definite tones of the voice or movements of the condition and again voice the thought, noting the change in inflection. Let your tone, like a thing "half id = 19138 author = Fillebrown, Thomas title = Resonance in Singing and Speaking date = keywords = London; Piano; Voice; breath; exercise; illustration; music; nasal; resonance; singing; sound; tone; vocal summary = Schubert, Schumann, Franz, Brahms, Grieg, Strauss, and Wolf, as well breath is necessary to produce the best results of which a voice is Full control of the breath insures success to a good voice; breath is needed to produce effective tones, the impression must exist the tone, lessen the resonance, and weaken the voice, rendering the 5. Ability to sing and sustain the voice on an _ordinary_ breath. improve her voice took vocal music lessons of a teacher of more than sing you will hear the tone sounding in the piano. of the tones are dependent upon _resonance_,--the vibration of the air As tone, or vocalized breath, issues from the larynx, it is divided to the vibrations and add to the tone normal nasal resonance. largely vowelization, and vocal tones are a complex of sound and develop and establish a good speaking and singing voice. POWER OF TONE, dependent on resonant cavities and breath control, 27. id = 19499 author = Gehrkens, Karl Wilson title = Music Notation and Terminology date = keywords = Allegro; CHAPTER; Con; Crescendo; Fig; Footnote; Sec; Transcriber; form; illustration; measure; music; note; scale; staff; term; tone summary = use such words as _note_, _tone_, et cetera with at least a fair degree tones are to be sung an octave lower than the notes would indicate. key a melody is one must note whether the tones are grouped about the placed on a staff indicates that a certain tone is to be sounded for a half-note on the second line of the treble staff indicates that a A _scale_ (from _scala_, a Latin word meaning _ladder_; Ger. _Ton-leiter_) is an ascending or descending series of tones, progressing tones of the key), and is applied to both major and minor scales of our four tones of any diatonic scale (major or minor) are often referred to _The original (or primitive) form_ of the minor scale has its tones whole-tone scale as a basis of music is, except upon a keyed "indicate.") "Sing what the note calls for" means, sing a tone id = 22392 author = Gehrkens, Karl Wilson title = Essentials in Conducting date = keywords = Footnote; TEMPO; beat; boy; chapter; choir; conductor; illustration; measure; music; sidenote; singing; time; tone; voice; work summary = music performed at the correct tempo, with appropriate dynamic extensive study of piano, organ, singing, ear-training, music history, An instrumental performer makes a bad tone, and the conductor laughs selection of music to conduct; and second, in inspiring all conductors of the word applies to music as well, the conductor or performer function of the performer or conductor to so interpret the music that In order to interpret a musical work, then, the conductor himself must performance, see that your vocalists sing the music in such a way that and orchestral music the conductor must see to it that the performers matter than directing a chorus singing four-part music, and the boys singing high, beginning with the higher tones [music notation] performance, and in the case of both vocal and instrumental music, at difficult for the conductor and accompanist to do good musical work id = 16488 author = Gilman, Lawrence title = Debussy''s Pelléas et Mélisande A Guide to the Opera with Musical Examples from the Score date = keywords = Arkël; Debussy; Fate; Golaud; Maeterlinck; Mélisande; Pelléas; Yniold; illustration; music summary = _Pelléas et Mélisande_, based on the play of Maeterlinck, the history of Arkël, says in _Pelléas et Mélisande_, like persons "whispering about a effectively insisted upon by Maeterlinck than in _Pelléas et Mélisande_. Debussy''s _Pelléas et Mélisande, drame lyrique en 5 actes et 12 "You look like a mere child," he says, and the _Mélisande_ theme is As the third scene opens (before the castle), the _Mélisande_ theme is of a fragment of the _Fate_ theme at Mélisande''s words, after Pelléas _Golaud_, _Mélisande_, and _Fate_ themes are heard. evolved from the _Mélisande_ theme (the _Pelléas_ motive forming a and a strange variant of the first _Mélisande_ theme (page 212, measure The ''cellos intone the _Mélisande_ theme as Pelléas tells her that he the _Mélisande_ theme noted on page 82 of the piano score. flute and clarinets) the _Pelléas_ theme (page 289, measure 2), the the _Mélisande_ theme (pages 290-292). id = 12903 author = Goepp, Philip H. (Philip Henry) title = Symphonies and Their Meaning; Third Series, Modern Symphonies date = keywords = Adagio; Allegro; Andante; Bruckner; Finale; Footnote; Franck; Liszt; Scherzo; Symphony; Wagner; chapter; clarinet; french; horn; low; melody; music; new; oboe; phrase; song; string; theme; wood summary = horns and wood strikes the descending course of theme, while higher form in taking for the theme of our musical poem the motive with _Lento_ in basses of the strings a strain sounds like a basic motive, lighter phrase of the other, is the returning figure with a new song now A new mystic play of the quicker motto, answered by the second theme, following melody and in turn of the main Allegro theme. folk-manner, like primal music in the love or dance songs of savages. Follows a final tempest and climax of the phrase of second theme. harmonies in harp and strings the higher wood sing a new song in long [Music: (Wood, horns and strings) [Music: (Wood, horns and strings) [Music: (Wood, horns and strings) strings and harp, and buried in a rich chord whence rises a new song [Music: (Cello and harp with harmony of wood, horns and strings) id = 19354 author = Goetschius, Percy title = Lessons in Music Form A Manual of Analysis of All the Structural Factors and Designs Employed in Musical Composition date = keywords = Beethoven; Mendelssohn; Rondo; Trio; example; form; illustration; principal; song summary = TONE-RELATIONS, THE HOMOPHONIC FORMS OF MUSICAL COMPOSITION, MODELS OF In the second place, the tones and groups in a good melody are measured the 4th measure (preliminary tones of the following phrase) are following complete phrase appears at the beginning of a song: 16th-notes in the cadence-measure (of the preceding phrase) is "cadence-measure of the old phrase," as it is marked and as it appeals "cadence-measure of the old phrase" is unquestionably _at the same time At the end of this four-measure phrase there is a perfect cadence, continuation of rhythmic movement to the end of the cadence-measure). members) that these measures form part and parcel of the original phrase, a six-measure phrase, with perfect cadence, and is repeated, with fairly large Three-Part form; the subordinate theme (measure 47-69) is Principal theme; measures 26-30, final phrase. _Principal Theme_, Two-Part form (measures 1-24). four-measure phrases, each with a definite perfect cadence, and id = 21400 author = Haslam, W. E. title = Style in Singing date = keywords = Act; Gluck; Handel; Paris; Verdi; composer; italian; music; musical; phrase; singer; voice summary = basic principles of Style to the vocal music of the German, French, successfully the music of Falstaff, in Verdi''s opera, as is necessary if the musical phrasing be judiciously combined with a change in phrasing is good and effective, especially if the artist changes at of the classics confined to the vocal parts of the music composed by [Music: (Original Italian version, as written for Vienna.) accuse artists of introducing changes, of not performing the music as the composers'' music listen to the following phrase, sung as it is Composers and dramatic authors, in fact, _create_ their art-works; but (Italian), and means the changing of the notes or contour of a musical word "His," to which it belongs, while the composer''s music remains gifted artist, possessing a voice of very great compass, was enabled musical phrases or ideas to the work; but that his practical knowledge id = 39211 author = Hofmann, Josef title = Piano Playing, with Piano Questions Answered date = keywords = Bach; Beethoven; Chopin; Playing; Rubinstein; finger; good; hand; illustration; music; piano; piece; play; sidenote; study; teacher; work summary = Play the piece a number of times very exactly with the music piano--after several hours, remember--try to play the piece. _With Regard to Technical Work_: Play good compositions and construe out in your memory and in good technical condition, play them a few times playing single notes with one finger of each hand. [Sidenote: _Don''t Stiffen the Hands in Playing Scales_] [Sidenote: _Organ-Playing and the Piano Touch_] [Sidenote: _The Fingers Needed to Play a Mordent_] In playing glissando in the right hand use the index finger when going [Sidenote: _Use Pedal With Caution in Playing Bach_] There is no piano-music that forbids in playing the use of the pedal. [Sidenote: _Four Ways to Study a Piano Piece_] [Sidenote: _The Two Hands Playing Different Rhythms_] play the piano well a good hand and so many hours of practice are not [Sidenote: _The Student Who Cannot Play Fast Music_] id = 16225 author = Home, Ethel title = Music as a Language: Lectures to Music Students date = keywords = Sol; child; class; teaching; time; work summary = students who wish to teach ear-training on modern lines to classes of course of work necessary before being able to teach classes up to a fair singing at sight easy melodies in major keys, and in ear tests of two or ear-training work, to distinguish between the musical children and the is taking a song lesson with a large class of children, who have the musical children sing at sight alone from time to time. possible for children to sing fairly easy melodies in all keys, major a teacher attempts to train children in a sense of time and rhythm. In taking an exercise in sight-singing for the first time with a class By the time that children can sing at sight in the key of D major they time the children will have begun some of the practical work at the For class work with children it can be made a still id = 21653 author = Jaques-Dalcroze, Émile title = The Eurhythmics of Jaques-Dalcroze date = keywords = College; Dalcroze; Jaques; illustration; movement; music; rhythm summary = vocal music, the course of training failed to make use of the educative exercise; while at the same time it trains the sense of form and rhythm, experiments in rhythm, and the complete study of movements simple and In the same way, plastic music will picture human feelings expressed by The effect of rhythmic training on the time-table and life of a school is far; so in music--one who has mastered notes, chords and rhythms can The pupil learns a series of movements which together form a rhythm, movements required in the physical expression of a rhythm can be learnt, rhythm expressed by the series of movements in question. developing feeling for rhythm by giving training in the physical the rhythm of the music played, but also to its feeling; they allow free rhythm, the pupils still realizing the first one, but at the same time musical training, or its value to physical development. id = 34610 author = Kobbé, Gustav title = How to Appreciate Music date = keywords = Bach; Beethoven; Berlioz; Bülow; Chopin; Haydn; Liszt; Mozart; Mr.; Paderewski; Richard; Schubert; Schumann; Sonata; Strauss; Symphony; Wagner; composer; great; instrument; italian; music; pianoforte; work summary = epoch--A Bach fugue more elaborate than a music-drama or tone modern music--Wagner unites the harmony of Beethoven with the music--Wagner, greatest of orchestral composers--Employs large the Mozart opera and the Beethoven symphony in the evolution of music, his baton as a pianoforte is to the fingers of a musical poet like go through the pianoforte score of a Wagner music-drama and, as you of the composer and the woman who inspired his great music-drama, to A Wagner music-drama, a Richard Strauss tone poem, seem form as developed by Haydn, Mozart and Beethoven), Bach composed pianoforte scores of the Wagner music-dramas, which actually sound this day in orchestra, opera and music-drama as well as in pianoforte this greater genius, and he said of Chopin that he composed music for of instrumental music in the tone poem of Richard Strauss. Strauss''s works form the latest great utterance in music. id = 40540 author = Kobbé, Gustav title = The Complete Opera Book The Stories of the Operas, together with 400 of the Leading Airs and Motives in Musical Notation date = keywords = Act; Alberich; Aïda; Baritone; Bass; Brünnhilde; Carmen; Caruso; Count; December; Don; Duke; Dutchman; Elsa; Elvira; English; Eva; Falstaff; Faust; February; Figaro; Garden; Giovanni; Grail; Gunther; Hagen; House; Hunding; Isolde; January; John; King; Leonora; Librettist; Lohengrin; London; Love; Manon; March; Marguerite; Metropolitan; Mezzo; Mime; Motive; Mozart; New; November; Opera; Paris; Princess; Queen; Richard; Rigoletto; Rossini; Sachs; Siegfried; Sieglinde; Siegmund; Soprano; Tannhäuser; Tenor; Theatre; Tristan; Verdi; Wagner; Walther; Wotan; York; character; illustration; italian; music summary = In the modern opera house the final curtain falls upon this scene. the Siegfried Motive combine to place the music of the scene with the hero''s growing ecstasy finds expression in the Motive of Love''s Joy. At last it awakens a responsive note of purely human passion in Opera in three acts, words and music by Richard Wagner. Opera in three acts, words and music by Richard Wagner. Opera in three acts, words and music by Richard Wagner. In the music lesson scene in the second act the original score is work by him, was given for the opening of two New York opera houses, Opera-goers of the old Academy of Music days will recall the bell-like chorus from the previous act of the same opera, or passionate love as Opera in five acts (12 scenes). Opera in five acts (12 scenes). Opera in four acts and eight scenes; libretto taken from the id = 17474 author = Krehbiel, Henry Edward title = How to Listen to Music, 7th ed. Hints and Suggestions to Untaught Lovers of the Art date = keywords = Bach; Beethoven; Berlioz; Church; English; Handel; Haydn; Liszt; Mozart; Mr.; New; Opera; Schumann; Symphony; Wagner; York; form; french; german; illustration; instrument; italian; music; musical; romantic; sidenote summary = music--Development of the instrument--The Pedal and its use--Liszt and [Sidenote: _Popular ignorance of music._] [Sidenote: _The nature of music._] [Sidenote: _Tones and musical material._] [Sidenote: _Origin of musical elements._] [Sidenote: _How composers hear music._] [Sidenote: _Beethoven''s Chamber music._] [Sidenote: _The characteristics of Chamber music._] [Sidenote: _Kinds of Programme music._] [Sidenote: _Music and movement._] instrumental because it is a mixed art; in it the purpose of music is [Sidenote: _Beethoven''s notes on descriptive music._] [Sidenote: _A definition of "Classical" in music._] conditioned the character of the music composed for the instrument, wind instruments, are obliged to form the musical tone--which, in the [Sidenote: _Periods in pianoforte music._] music composed for these instruments to a great extent. [Sidenote: _Music and emotion._] [Sidenote: _Words and music united._] [Sidenote: _Music and action._] [Sidenote: _Music and dramatic expression._] [Sidenote: _Five-part music._] [Sidenote: _Characteristics of his music._] [Sidenote: _Palestrina''s music not dramatic._] id = 3770 author = Krehbiel, Henry Edward title = A Second Book of Operas date = keywords = Butterfly; Cavalleria; Dalila; House; Leoncavallo; Lola; Madame; Mascagni; Metropolitan; Moses; Mr.; New; Opera; Pagliacci; Rossini; Rubinstein; Samson; Signor; Turiddu; Wagner; York; american; biblical; chapter; french; german; italian; russian summary = First performances, As oratorio and opera in New York, An inquiry into opera, Scenic and musical adornments, Performances in New York, ladies, First performance in New York, American history of the opera, The song of the sun, Allegory and drama, Story of the opera, et Maria Theresa, First performance of the opera at New York, "Der First performance of Moussorgsky''s opera in New York, Participation of works were of the kind called sacred operas in the books and are spoken the Academy of Music by the National Opera Company, then in its death in New York by the American Opera Company, at the Academy of Music, on took the work of making the opera book in hand. of New York in the book and play and a prince in the opera, but in all composer if not more, set him to music, but the opera was never id = 5724 author = Krehbiel, Henry Edward title = A Book of Operas: Their Histories, Their Plots, and Their Music date = keywords = Beethoven; Boito; Count; Countess; Don; Faust; Figaro; Giovanni; Goethe; Gounod; Grail; Isolde; King; Lohengrin; Marguerite; Max; Mefistofele; Mozart; New; Paris; Rosina; Rossini; Sachs; Susanna; Tannhäuser; Tristan; Venus; Verdi; Wagner; York; french; german; italian; musical; opera summary = --The plot of the opera--Gounod on the beautiful in Mozart''s music The love story in Gounod''s opera--Ancient bondsmen of the devil-Music in the mediaeval Faust plays--Early operas on the subject-Meyerbeer and Goethe''s poem--Composers of Faust music--Beethoven-into an opera by Raoul Gunsbourg--The composer''s "Scenes from Faust" opera troupe to visit the New World, performed it in Italian on The opera, like all the old works of the lyrical stage, precede the story of the opera as it came from Mozart''s hand. Mozart composed "Don Giovanni" for the Italian Opera at Prague, opera "Faust," went for their subject to Goethe''s dramatic poem. The opera begins, like Goethe''s dramatic poem, after the prologue, he called his opera "Mefistofele," not "Faust," he drew its scenes, drawn from the music of the opera; but, like the prelude to Wagner''s German opera at Prague, and when he was called to be Court Music id = 16342 author = Lehmann, Friedrich J. (Friedrich Johann) title = A Treatise on Simple Counterpoint in Forty Lessons date = keywords = fig; illustration summary = The cadences in Fig. 38 are good when writing second species in both parts. Writing the second species in both parts will, in this lesson, be confined To cantus firmus _b_ write counterpoints in the second species in the other To cantus firmus _b_ write counterpoints in the second species in the other To cantus firmus _b_ write second species in two parts, as previously To cantus firmus _a_ write second species in one part and fifth in the To cantus firmus _a_ write the second species in two parts and the first in To cantus firmus _a_ write the second species in two parts and the first in To the cantus firmus write the fifth species in all of the other parts. To the cantus firmus write the fifth species in all of the other parts. To the cantus firmus write the fifth species in all of the other parts. id = 19116 author = Lehmann, Lilli title = How to Sing [Meine Gesangskunst] date = keywords = breath; head; high; illustration; resonance; section; singer; tone; voice summary = tongue, or palate, or in the organs that furnish the breath pressure. Red lines denote division of the breath in palatal resonance, lower for the highest tone, sing the figure to its end, toward the nose, large resonating chamber thus formed yields tones that are powerful the organs of breathing, the position of the larynx, of the tongue, sing in a high vocal range, I can plainly feel the larynx rise and In singing very high head tones I have certain position of the vocal organs--larynx, tongue, and palate. With every tone that the singer has to sing, he must always head and falsetto tones, which are without any palatal resonance and the breath,--except in the very highest head tones,--around which it By this exercise the form for the breath, tone, and word, in _ah-e-[=a]_, larynx, tongue, and palatal position on the lowest tone id = 30854 author = Miller, Frank E. (Frank Ebenezer) title = The Voice: Its Production, Care and Preservation date = keywords = CHAPTER; Dr.; breathing; cord; italian; larynx; method; music; note; register; singer; tone; vocal; voice summary = singers the physical action of the vocal organs and of all the resonance singing involves complete physiological control of the voice-producing voice produced on breath that is under the singer''s control and that Every vocal tone is, in fact, a mental concept reproduced as voice by the physical organs of voice-production, so that every vocal tone is, voice) calls for an extraordinary change in the adjustment of the vocal vocal apparatus required for their production, and not by voice-quality. to produce the lower notes of one register with the vocal adjustment function of the vocal tract below and above the cords simply to voice male voice, especially in the lowest tones of the chest register, that register, however, produces in the alto voice a tone that is rich for alto voice; and when singing in chest or head register, an alto their natural singing range, is in the middle register, and the tones id = 19880 author = Mills, Wesley title = Voice Production in Singing and Speaking Based on Scientific Principles (Fourth Edition, Revised and Enlarged) date = keywords = CHAPTER; FIG; Madame; Seiler; band; illustration; larynx; muscle; production; register; singer; sound; tone; vocal; voice summary = effect--Forms of general exercise for the voice-user--Summary 62 Vocal bands and resonance-chambers compared--Improvised mechanism to practice as related to ease--The registers of the speaking voice The vocal bands during the production of a high-pitched tone 138 voice-training essential, if artistic results are to follow; neither breath-control so essential to good singing and speaking. Like the nose the larynx, and especially the vocal bands, may The larynx is the most important organ in voice-production, and muscles most in use in ordinary speech and in singing the lower tones. The tone caused by the vibration of two such small bands as the vocal of quality in the voice, and change of mechanism in the vocal singing and speaking the student learn to begin his voice-production any singer of whatever voice; while for speakers high tones are really cases to the vocal organs, while good voice-production strengthens id = 12856 author = Myer, Edmund J. (Edmund John) title = The Renaissance of the Vocal Art A Practical Study of Vitality, Vitalized Energy, of the Physical, Mental and Emotional Powers of the Singer, through Flexible, Elastic Bodily Movements date = keywords = artistic; movement; nature; singing; tone; voice summary = Practical Stand-Point," "Voice-Training Exercises" (a study of the natural movements of the voice), "Vocal Reinforcement," "Position and Action in singing, which are freedom of form and action, spontaneity and naturalness. true art of voice is to study the conditions which allow these phenomena to devices used to study natural laws, to develop the God-given powers of the conditions of tone; movements which allow the voice to sing spontaneously. These movements develop in a common-sense way the power of natural forces, to be the level of the tone let the voice sing. which secure the true conditions of tone and automatic breath-control. is the great movement for developing the low tones of all voices. way all true conditions are secured, and the voice is allowed to sing as a rule, upon freedom of voice and the true conditions of tone as before Sing a tone, about the middle of the voice, without other thought than that id = 14185 author = Porte, John Fielder title = Edward MacDowell: A Great American Tone Poet, His Life and Music date = keywords = Arthur; Colony; Composed; Love; MacDowell; New; OPUS; PIANOFORTE; Schmidt; Song; Suite; american; music; piece summary = _I do like the works of the American composer MacDowell! the analysis of MacDowell''s "Indian" Suite for Orchestra, _Op. 48_, this being a work less accessible to the general reader than music at Columbia University, New York, and MacDowell, described The last music that MacDowell published appeared in 1902, and his music and in the wonderful MacDowell Colony at Peterboro, New Macdowell''s position to-day in creative musical art remains the MacDowell''s finest pianoforte pieces bear verses in addition to composer along lines of MacDowell''s own suggestion. MacDowell''s pianoforte pieces and songs published in America by beauty of expression found in the composer''s later song groups. is as strong and impressive a piece as MacDowell ever composed music as tender and serene as anything MacDowell ever composed. are, they are equalled in expression by the music of MacDowell''s A number of well-known MacDowell pianoforte pieces have been The following pieces were published by MacDowell under the id = 33900 author = Rimsky-Korsakov, Nikolay title = Principles of Orchestration, with Musical Examples Drawn from His Own Works date = keywords = Act; Examples; Fag; III; Kitesh; Legend; Sadko; Snegourotchka; Tsar; music summary = _Note._ In quick passages for stringed instruments long form a kind of link between string and wood-wind instruments. of wood-wind instruments varies both as regards number of parts and (Eng. horn and double bassoon); and b) instruments of "chest-voice" _piano_ passages, all wind-instruments, wood or brass are of fairly basses + 1 Fag. Muted strings do not combine so well with wood-wind, as the two tone The combination of two different wood-wind instruments in unison Tuba + Fag. Combining the Eng. horn, bass clarinet and double bassoon To double a trumpet in the upper octave three or four wind instruments instrument in the string group may be provided with double notes or The combination of strings, wood-wind and brass instruments, set side * The case of a solo stringed instrument doubled by the wood-wind in Melodic doubling of voices by orchestral instruments (in unison or id = 30412 author = Saint-Saëns, Camille title = On the Execution of Music, and Principally of Ancient Music date = keywords = Mozart; Palestrina; Plain; music summary = his treatise on music, speaking of how Plain Song should be interpreted, the grievous practice of adapting popular songs to church music. century admirable music was written, though deprived of melody, properly attempts to execute the music of Palestrina were made in the time of me, differs completely from our musical conceptions; and it is a great Such a way of playing this music is simply out of the question. It was decided that in piano playing unless indicated to the Finally, in ancient times notes were not defined as they are to-day and written note indicating a long or short duration. A great obstacle to executing ancient works from the eighteenth century revolutionized the performance of music on the piano, but also the way A question of the greatest importance in playing the music of Chopin is Another plague in the modern execution of music is the abuse of the id = 1487 author = Shaw, Bernard title = The Perfect Wagnerite: A Commentary on the Niblung''s Ring date = keywords = Alberic; Bayreuth; Brynhild; Fafnir; Fricka; Godhead; Gods; Gold; Gunther; Hagen; Loki; Mimmy; Night; Rhine; Ring; Siegfried; Wagner; Wotan; fall; german summary = The Niblung''s Ring by Wagner to the long-delayed completion of Night when the music of Night Falls On The Gods was added, was an attempt to three), The Valkyries, Siegfried, and Night Falls On The Gods; or, in were no higher power in the world to work against Alberic, the end of it Wotan wrests the ring from Alberic, the dwarf delivers a lurid and But from Brynhild no hero can spring until there is a man of Wotan''s the gods and ruling the world through the ring, Wotan is no longer Wagner had to create Wotan as the anvil for Siegfried''s hammer; and work of Jupiter, just as Siegfried does of Fafnir, Mime, and Wotan; and the blow by which Siegfried breaks the god''s spear is the end of Wotan theme is introduced at the end of The Rhine Gold to express Wotan''s hero id = 30560 author = Spalding, Walter Raymond title = Music: An Art and a Language date = keywords = Bach; Beethoven; Berlioz; Brahms; Chopin; Coda; Debussy; English; Fifth; Finale; Footnote; Form; Franck; Haydn; Liszt; Mozart; Overture; Pianoforte; Scherzo; Schubert; Schumann; Sonata; Suite; Supplement; Symphony; Tchaikowsky; Wagner; french; music; russian; theme; work summary = foundation of any large work of music, be it symphony, symphonic poem part in the music of Haydn, Schubert, Chopin, Liszt, Brahms, Grieg, movement of Brahms''s _C minor Symphony_, the second phrase of which is theme of the Slow movement of Schumann''s Second Symphony (measures instrumental music gradually worked out a structure of its own,[64] Invention, the Two and Three-part forms, the Rondo and the Varied Air. Through the perfecting of these means of expression music became a two living musical personalities, the first and second themes. For actual musical examples it seems best to begin with the works of invent pure instrumental melody, _i.e._, musical expression suited to Bach''s work, we feel that his musical sense operated abstractly like a than the mere development of musical themes. working principles of musical composition, they are as much subject to use made of themes in modern music, in the works of Strauss, id = 18567 author = Stedman, Fabian title = Tintinnalogia, or, the Art of Ringing Wherein is laid down plain and easie Rules for Ringing all sorts of Plain Changes date = keywords = Extream; Hunt; Peal summary = the _Extream_ Bells makes a _Change_ every time the _Hunt_ making the _Treble_ the _Hunt_, and the _Extream Changes_ _Extream_ Bells from the _half Hunt_, as in this _Change_.-Extream Bells from the half Hunt, and the other way is in making between the Extream Bells alone: The half Hunt in the Six-score, six, hunting the second Bell through it, makes four Changes; Bells to the quarter Hunt; but the Twelve-score Changes are extream change every time the half hunt comes before the way, is to make an extream change every time the half hunt every time the half hunt comes before the extream bells, extream bells from the half Hunt, as in the following changes. single changes in Grandsire bob on six bells, for the half The second bell is the half hunt in this following Peal, for hunt, and three extream bells, makes the Six-score changes of id = 21957 author = Taylor, David C. (David Clark) title = The Psychology of Singing A Rational Method of Voice Culture Based on a Scientific Analysis of All Systems, Ancient and Modern date = keywords = Culture; Garcia; Science; Vocal; Voice; action; chapter; italian; method; singing; teacher; throat; tone summary = instruction in singing and the actual methods of vocal teachers. the vocal action is obtained by attentive listening to voices, and in no the voice separately;--when the correct vocal cord action had been of tone; they instruct their pupils to sing low notes in one quality, empirical precept, "Sing with open throat." Several vocal theorists take MECHANICAL VOCAL MANAGEMENT AS THE BASIS OF VOICE CULTURE MECHANICAL VOCAL MANAGEMENT AS THE BASIS OF VOICE CULTURE vocal-cord action, for forward emission of tone, and for control of the Voice Culture must be turned from the idea of mechanical vocal classes of muscular sensation of vocal tone, direct and sympathetic, are vocal mechanism, obtained through the attentive listening to voices. throughout all vocal training the teacher listens to the pupil''s voice. correct vocal action and any other manner of tone-production. the vocal organs and to the mechanical operations of the voice. id = 40849 author = Teetgen, Alexander title = Beethoven''s Symphonies Critically Discussed date = keywords = Beethoven; Eroica; Fate; God; Handel; Haydn; Mozart; Napoleon; Shakespeare; Symphony; great; high; like; man; music; nature; power summary = attempt to explain Beethoven''s music (his soul, _id est_) would involved beauty of Beethoven''s symphonies is not to be dreamt of in Shakespeare''s is that of a god-like man; Mozart''s that of that Beethoven, like the rest, does not equal Shakespeare. "Opus 21."--So, when Beethoven came of age, musically speaking, he Beethoven sitting down to write his first symphony; _fuller_ feelings some sort a Faust); and, before this symphony, we feel Beethoven was great text, like music in general, and more so with Beethoven, has Beethoven might well write an Heroic Symphony, for the very soul of favourite, Beethoven the Father''s; o''er Mozart''s music one would this symphony, Beethoven summoned up all his then powers to pour forth soul of music, at least Beethoven makes us think so; but the works--whose soul is as great, but substance less--we see Beethoven, Beethoven distinguished by his great power, 28 Fifth Symphony paints Beethoven''s life, 62 id = 26477 author = Tosi, Pier Francesco title = Observations on the Florid Song; Or, Sentiments on the Ancient and Modern Singers date = keywords = Airs; Appoggiatura; Cadences; Manner; Master; Musick; Scholar; Shake; Time; Voice; art; note; singer summary = attend him: Let a Singer have a Fund of Knowledge sufficient to perform Let the Master attend with great Care to the Voice of the Scholar, In the same Lessons, let him teach the Art to put forth the Voice, that they understand the Art of Singing better than the Singers. If the Master hastens insensibly the Time when the Scholar sings Let the Scholar not be suffered to sing _Divisions_ with Let the modern Master learn to make use of this Advice, for Action by the Singer, the Master is obliged to teach the Scholar a The most necessary Study for singing _Airs_ in Perfection, and Generally speaking, the Study of the Singers of the present Times I do not know if a perfect Singer can at the same time be a Where Knowledge with Study makes one a good Singer, Ignorance with id = 37662 author = Tubbs, Frank Herbert title = Seed Thoughts for Singers date = keywords = CHAPTER; body; come; good; mind; music; teacher; thought; time; voice summary = Heart and Intellect, 54; Time Ends Not, 55; Power of Thought, 56; Nature Good, 84; Little Things Affect, 85; Musical Library, 86; Change of A singing teacher, passing along, noticed the rich voice of the line of development to follow in bringing into use the singing voice. had in mind the opportunity which the music teacher has to do good. A teacher of voice and singing who does not believe his way is the best into voice and music, thus making better their ability. teacher feels every little while as if his good way were slipping from long time, much longer than it takes to sing any phrase in music which It will come to any man who is doing good work and living a teacher''s mind can be made upon the pupil in two seasons of study if it body enter into voice culture, where they are and how they work. id = 14968 author = Upton, George P. (George Putnam) title = The Standard Operas: Their Plots, Their Music, and Their Composers (12th edition) date = keywords = Caesar; Count; Diavolo; Don; Duke; Elvira; English; Faust; Figaro; Giovanni; Grail; Herr; José; King; Leonora; Lohengrin; London; Mignon; Milan; Mlle; Mme; Mozart; Mr.; Paris; Queen; Rienzi; Siegmund; Sig; St.; Verdi; Vienna; Wagner; act; german; italian; opera; scene summary = The last act opens with a song by Carmen ("Though Love''s the greatest The opera opens with a charming, playful love-scene between Jacquino to life, and the opera closes with a beautiful terzetto in Love''s their duet dies away, the chorus of maidens brings the act to a close scene of the second act, which inevitably recalls the garden music in scene, the act closes with brilliant pageant music as De Nevers The scene of the opera is laid in Brittany, and when the first act most beautiful music of the opera,--Vasco''s opening aria, "O been poisoned, and the act closes with a scene of great power in which The second act, like the first, opens with a chorus, this time, appears, and in a scene of great power, accompanied by music which The first act opens with a spirited chorus of villagers, followed by a id = 22793 author = Upton, George P. (George Putnam) title = The Standard Oratorios: Their Stories, Their Music, And Their Composers date = keywords = Bach; Christ; Church; David; Elijah; England; Germany; God; Handel; Haydn; Israel; Jesus; John; London; Lord; Mater; Mendelssohn; Mozart; Mr.; Narrator; New; Paul; Peter; Requiem; Saint; Saul; St.; Stabat; Thee; chorus; music; work summary = The oratorio in its modern form is a musical setting of a sacred story or the work, the chorus of Soldiers in march time ("We surely here shall The work is written for four solo voices, chorus, and orchestra. cantata." The work has seven numbers,--two baritone solos and chorus, followed by a very elaborate chorus ("Blessed be the Lord"), closing with final chorus ("Blessed be the Lord"), closing with a fugue on the word first written, the oratorio closed with the effective chorus and solo, number, "And He shall purify," a fugued chorus closing in simple harmony. This chorus is followed by a beautiful aria for alto ("The Lord music includes the following works: mass for four voices, Requiem Mass, solo and chorus ("God of all"), written in the church style, followed by The oratorio is written in three parts, for solo voices, chorus, and id = 32248 author = Upton, George P. (George Putnam) title = The Standard Cantatas: Their Stories, Their Music, and Their Composers A Handbook date = keywords = Acis; Bach; Cantata; Cecilia; Don; England; Faust; Fay; Festival; Frithjof; Galatea; God; Handel; Hymn; John; King; Leipsic; London; Lord; March; Mendelssohn; Mozart; Mr.; Night; Paris; Prince; Psalm; Queen; St.; Vienna; chorus; german; music; song; work; year summary = occasions an ode was written and set to music.[13] In the latter year the music, including an obligato soprano solo with chorus of angels ("Praise scene the music changes to a bright and tripping strain, the chorus of worlds and of music, as the song of stars unites with the angel chorus in The "Song of Victory," a cantata for soprano solo, chorus, and orchestra, Time shall come"), the number closing with double chorus in full rich beautiful cantatas, for four solo voices, chorus, and orchestra. The cantata is written for tenor solo, male chorus, and orchestra, and "King Trojan," composed for chorus, solos, and orchestra, was written in soprano solo, chorus, orchestra, and organ (1872); cantata, "Fridolin" The work is for soprano solo and chorus, the words by the poet The cantata is written for the four solo voices, chorus, and orchestra. The cantata is written for the four solo voices, chorus of sopranos, id = 42918 author = Upton, George P. (George Putnam) title = The Standard Light Operas, Their Plots and Their Music date = keywords = Captain; Count; Countess; Don; Duchess; General; King; Lady; London; Lord; Marian; Marquis; Opéra; Paris; Prince; Queen; Robin; Sir; Theatre; act; comic; love; personages; song summary = In the first act the principal numbers are the opening song of George, The second act opens with a charming chorus, "Tap, tap," sung by the The principal numbers in the second act are Janet''s joyous song, "There are a graceful carnival scene with chorus opening the act; the serenade Hector''s song, "Young appearing," in the second act; and the lively The second act opens with a love scene between Werner and Margaretha, principal numbers of the third act are Margaretha''s song, "My Love rode finale to the first act beginning with a mock serious aria in which Mrs. Ford bewails her husband''s jealousy, followed by a sextette and chorus, "The Sorcerer." The second act opens with a chorus of the daughters and The leading numbers of the second act are the opening duet first scene of the second act is a mine of charming songs, including id = 16658 author = Wieck, Friedrich title = Piano and Song How to Teach, How to Learn, and How to Form a Judgment of Musical Performances date = keywords = Beethoven; Chopin; DOMINIE; Emma; Lizzie; MRS; Mr.; piano; play; singing; teacher; time summary = teach you a great deal of it in a different way, and every time I shall acquire a fine touch on the piano; that is, to make the tones sound as singing, as a necessary foundation for piano-playing. advance the age; have heard every thing great and fine in music, and sing when papa played the flute, said, "What ridiculous little things just as singing-teachers rely upon the culture of a fine tone, in order has been acquired, it is of no use to talk about a fine singing tone. musical culture, with special reference to piano-playing. music, to play this piece, even if it is done quite mechanically, two or chords, which allow time to bring out the singing tone, in which Three trifles are essential for a good piano or singing-teacher,-EXTRAVAGANCES IN SINGING AND PIANO-PLAYING. EXTRAVAGANCES IN SINGING AND PIANO-PLAYING. Where did he learn piano-playing?