The object of this book is to assist the concert-goer in recognizing the various orchestral instruments, both by sight and by hearing, and to stimulate his perception of the thousand and one beauties of orchestral coloring. Daniel Gregory Mason (1873-1953) studied at Harvard and in Paris before joining the Columbia University faculty in 1910, where he remained until his 1942 retirement. He was the grandson of the music publisher and educator Lowell Mason and the son of Henry Mason, a founder of the Mason & Hamlin Co. piano firm; a composer as well as the author of many books on music.
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The object of this little book is to assist the concert-goer in recognizing the various orchestral instruments, both by sight and by hearing, and to stimulate his perception of the thousand and one beauties of orchestral coloring. As a help to the eye, the descriptions of the appearance of the instruments are supplemented by pictures; in order to help recognition by ear, the divers registers of instruments are discussed with some particular- ity; while it is hoped that the many figures showing excerpts from standard works will sharpen the readers attentiveness to delicate shades of tonal effect These excerpts should serve only as an introduction to full scores of a few standard works, which can now be bought at moderate prices in miniature size, and which are of the greatest use in defining and regulating the act of listening, even for those who can read music only in the most tentative, stumbling way. Suggestions are given inS ection XX as to the use of scores by those who can do no more than count time, recognize accents, and see whether the tune is going up or down.
(Typographical errors above are due to OCR software and don't occur in the book.)
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This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
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