Harmony: Its No, and Practice Its Theory /Ts Theory (Classic Reprint)

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9781440071706: Harmony: Its No, and Practice Its Theory /Ts Theory (Classic Reprint)
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Stack Annex KPRE FACE. So large a number of works on Harmony already exists that the publication of a new treatise on the subject seems to call for explanation, if not for apology. The present volume is the outcome of many years experience in teaching the theory of music, and the author hopes that it contains sufficient novelty both in plan and in matter to plead a justification for its appearance. Most intelligent students of harmony have at times been perplexed by their inability to reconcile passages they have found in the works of the great masters with the rules given in the textbooks. If they ask the help of their teacher in their difficulty, they are probably told, Bach is wrong, orB eethoven is wrong, or, at best, This is a licence. No doubt examples of very free part-writing may be found in the works of Bach and Beethoven, or even of Haydn and Mozart ;several such are noted and explained in the present work. But the principle must surely be wrong which places the rules of an early stage of musical development above the inspirations of genius !H aydn, when asked according to what rule he had introduced a certain harmony, replied that the rules were all his very obedient humble servants ;and when we find that in our own time Wagner, orB rahms, or Dvorak breaks some rule given in old text-books there is, to say the least, a very strong presumption, not that the composer is wrong, but that the rule needs modifying. In other words, practice must precede theory. The inspired composer goes first, and invents new effects ;it is the business of the theorist not to cavil at every novelty, but to follow modestly behind, and make his rules conform to the practice of the master. It is a significant fact that, even in the most recent developments of the art, nothing has yet been written by any composer of eminencewhich a sound theoretical system cannot satisfacto
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Ebenezer Prout
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Description du livre Forgotten Books, United States, 2015. Paperback. État : New. 226 x 152 mm. Language: English Brand New Book ***** Print on Demand *****.Excerpt from Harmony Its Theory and Practice So large a number of works on Harmony already exists that the publication of a new treatise on the subject seems to call for explanation, if not for apology. The present volume is the outcome of many years experience in teaching the theory of music, and the author hopes that it contains sufficient novelty both in plan and in matter to plead a justification for its appearance. Most intelligent students of harmony have at times been perplexed by their inability to reconcile passages they have found in the works of the great masters with the rules given in the textbooks. If they ask the help of their teacher in their difficulty, they are probably told, Bach is wrong, or Beethoven is wrong, or, at best, This is a licence. No doubt examples of very free part-writing may be found in the works of Bach and Beethoven, or even of Haydn and Mozart; several such are noted and explained in the present work. But the principle must surely be wrong which places the rules of an early stage of musical development above the inspirations of genius! Haydn, when asked according to what rule he had introduced a certain harmony, replied that the rules were all his very obedient humble servants; and when we find that in our own time Wagner, or Brahms, or Dvorak breaks some rule given in old text-books there is, to say the least, a very strong presumption, not that the composer is wrong, but that the rule needs modifying. In other words, practice must precede theory. The inspired composer goes first, and invents new effects; it is the business of the theorist not to cavil at every novelty, but to follow modestly behind, and make his rules conform to the practice of the master. It is a significant fact that, even in the most recent developments of the art, nothing has yet been written by any composer of eminence which a sound theoretical system cannot satisfactorily account for; and the objections made by musicians of the old school to the novel harmonic progressions of Wagner are little more than repetitions of the severe criticisms which in the early years of the present century were launched at the works of Beethoven. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. N° de réf. du libraire AAV9781440071706

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Description du livre Forgotten Books, United States, 2015. Paperback. État : New. 226 x 152 mm. Language: English . Brand New Book ***** Print on Demand *****. Excerpt from Harmony Its Theory and Practice So large a number of works on Harmony already exists that the publication of a new treatise on the subject seems to call for explanation, if not for apology. The present volume is the outcome of many years experience in teaching the theory of music, and the author hopes that it contains sufficient novelty both in plan and in matter to plead a justification for its appearance. Most intelligent students of harmony have at times been perplexed by their inability to reconcile passages they have found in the works of the great masters with the rules given in the textbooks. If they ask the help of their teacher in their difficulty, they are probably told, Bach is wrong, or Beethoven is wrong, or, at best, This is a licence. No doubt examples of very free part-writing may be found in the works of Bach and Beethoven, or even of Haydn and Mozart; several such are noted and explained in the present work. But the principle must surely be wrong which places the rules of an early stage of musical development above the inspirations of genius! Haydn, when asked according to what rule he had introduced a certain harmony, replied that the rules were all his very obedient humble servants; and when we find that in our own time Wagner, or Brahms, or Dvorak breaks some rule given in old text-books there is, to say the least, a very strong presumption, not that the composer is wrong, but that the rule needs modifying. In other words, practice must precede theory. The inspired composer goes first, and invents new effects; it is the business of the theorist not to cavil at every novelty, but to follow modestly behind, and make his rules conform to the practice of the master. It is a significant fact that, even in the most recent developments of the art, nothing has yet been written by any composer of eminence which a sound theoretical system cannot satisfactorily account for; and the objections made by musicians of the old school to the novel harmonic progressions of Wagner are little more than repetitions of the severe criticisms which in the early years of the present century were launched at the works of Beethoven. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. N° de réf. du libraire AAV9781440071706

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Description du livre Forgotten Books. Paperback. État : New. Paperback. 266 pages. Dimensions: 8.9in. x 6.0in. x 0.9in.Stack Annex KPRE FACE. So large a number of works on Harmony already exists that the publication of a new treatise on the subject seems to call for explanation, if not for apology. The present volume is the outcome of many years experience in teaching the theory of music, and the author hopes that it contains sufficient novelty both in plan and in matter to plead a justification for its appearance. Most intelligent students of harmony have at times been perplexed by their inability to reconcile passages they have found in the works of the great masters with the rules given in the textbooks. If they ask the help of their teacher in their difficulty, they are probably told, Bach is wrong, orB eethoven is wrong, or, at best, This is a licence. No doubt examples of very free part-writing may be found in the works of Bach and Beethoven, or even of Haydn and Mozart ;several such are noted and explained in the present work. But the principle must surely be wrong which places the rules of an early stage of musical development above the inspirations of genius !H aydn, when asked according to what rule he had introduced a certain harmony, replied that the rules were all his very obedient humble servants ;and when we find that in our own time Wagner, orB rahms, or Dvorak breaks some rule given in old text-books there is, to say the least, a very strong presumption, not that the composer is wrong, but that the rule needs modifying. In other words, practice must precede theory. The inspired composer goes first, and invents new effects ;it is the business of the theorist not to cavil at every novelty, but to follow modestly behind, and make his rules conform to the practice of the master. It is a significant fact that, even in the most recent developments of the art, nothing has yet been written by any composer of eminencewhich a sound theoretical system cannot satisfacto(Typographical errors above are due to OCR software and dont occur in the book. ) This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Paperback. N° de réf. du libraire 9781440071706

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