Synopsis
A complete guide to interpretation of music and the rules and principles of playing and teaching the piano. Although written with pianists in mind, the principles are applicable to any instrument or any form of music, including composition and teaching. This book is highly recommended for those wishing to learn or those who teach the piano, and it would make for a fantastic addition to musical collections. The main points dealt with are: a) The difference between letting a pupil shift for himself and helping him to learn; b) the difference between mere cramming and real teaching; c) the difference between making a pupil 'do things' and teaching him to think; d) the exposition of the true nature of Rhythm and Shape in music - as Progression or Movement towards definite landmarks; e) the true nature of Rubato in all its forms, small or large, simple or compound, and the laws of application; f) consideration of the element of Duration; includes rules as to the application of Tone-Variety, Fingering, Memorizing and some speculations as to the ultimate reason of the power that music has over us. Tobias Augustus Matthay (1858 - 1945) was an English pianist, composer, and teacher. He was taught composition while at the Royal Academy of Music by Arthur Sullivan and Sir William Sterndale Bennett, and he was instructed in the piano by William Dorrell and Walter Macfarren. Other notable works by this author include: "The Act Of Touch In All Its Diversity: An Analysis And Synthesis Of Pianoforte Tone Production" (1903), "The First Principles of Pianoforte Playing (1905)" and "Relaxation Studies" (1908). Many vintage books such as this are increasingly scarce and expensive. It is with this in mind that we are republishing this volume now in an affordable, modern, high-quality edition complete with a specially-commissioned new biography of the author.
Présentation de l'éditeur
Fob many years past I have been urged to put into a permanent and available form my enunciation of those Principles and Laws of I nterpretation, knowledge of which has proved to be one of the main causes of the success of the army of teachers who have arisen from my school. The first step towards this end was the preparation, in the year 1909, of a set of Lectures covering this ground. These I condensed later into a single lecture, and this was first delivered publicly in Manchester toD r. Carroll sA ssociation ofT eachers during the season of 1909-10. Subsequently, it was repeated to theE dinburgh Musical Education Society, to theL ondon Music Teachers Association (in 1910) and its Branches; it was also given at the Royal Academy of Music in the same year, and at my ownS chool, and elsewhere. A full synopsis also appeared in theM usic Student of A pril, 1911, and elsewhere. I, nevertheless, still delayed issuing the material in book form, as I felt, in view of the extreme importance of the matters dealt with, that I would like to expand it, but lack of time has prevented my doing so. A s, however, some of our more up-to-date theorists are now doing me the honor to apply, in their recent works, some of the ideas first enunciated in these lectures of mine (and in my First Principles, 1905, and A ct ofT ouch, 1903) such, for instance, as the vital one of recognizing in Progression or Movement the actual basis of all Rhythm andS hape in Music. I feel compelled to issue these lectures now as originally delivered.
(Typographical errors above are due to OCR software and don't occur in the book.)
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