Music As Art Language And Life Volume I

Practical Music Theory provides the necessary tools for inspired music making, listening, and composing. Based on the holistic premise that music is both art and language, yet so much more, Practical Music Theory takes the musician on a journey through historic, yet relevant common practices of composition. Through this easy-to-read text, aspiring theorists encounter numerous examples from music literature, thought-provoking questions, and practical suggestions for implementation. Practical Music Theory is both a textbook and a workbook, containing an array of exercises ranging in complexity from simple to difficult. Designed for the first one to two years of instruction, it is a comprehensive volume that begins with the basic materials of music and progresses through advanced concepts and techniques. Practical Music Theory expands horizons to new worlds of musical discovery, enhancing the enjoyment of an already delightful art form.

Introductory music theory text and workbook, covering the fundamentals of music. Perfect-bound edition.

Described as "basically an art book with autobiographical anecdotes," the book features more than 100 color images of the paintings, drawings and sculputres of George Frayne and Chris Frayne, with comments by George Frayne.

Excerpt from Music: An Art and a Language Although "of the making of books there is no end," this book, on so human a subject as music, we believe should justify itself. A twenty-years' experience in teaching the Appreciation of Music at Harvard University and Radcliffe College has convinced the author that a knowledge of musical grammar and structure does enable us, as the saying is, to get more out of music. This conviction is further strengthened by the statement of numerous students who testify that after analyzing certain standard compositions their attitude towards music has changed and their love for it greatly increased. In the illustrations (published in a Supplementary Volume) no concessions have been made to so-called "popular taste"; people have an instinctive liking for the best when it is fairly put before them. We are not providing a musical digest, since music requires active cooperation by the hearer, nor are we trying to interpret music in terms of the other arts. Music is itself. For those who may be interested in speculating as to the connection between music and art, numerous books are available - some of them excellent from their point of view. This book concerns itself with music as music. It is assumed that, if anyone really loves this art, he is willing and glad to do serious work to quicken his sense of hearing, to broaden his imagination, and to strengthen his memory so that he may become intelligent in appreciation rather than merely absorbed in honeyed sounds. Music is of such power and glory that we should be ready to devote to its study as much time as to a foreign language. In the creed of the music-lover the first and last article is familiarity. When we thoroughly know a composition so that its themes sing in our memory and we feel at home in the structure, the music will speak to us directly, and all books and analytical comments will be of secondary importance - those of the present writer not excepted. Special effort has been made to select illustrations of musical worth, and upon these the real emphasis in study should be laid. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com 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.

This first book in English on the French composer André Jolivet (1905–1974) investigates his music, life and influence. A pupil of Varèse and colleague of Messiaen in La Jeune France, Jolivet is a major figure in French music of the twentieth century. His music combines innovative language with spirituality, summarised in his self-declared axiom to ‘restore music’s ancient original meaning when it was the magic and incantatory expression of the sacred in human communities’. The book’s contextual introduction is followed by contributions, edited by Caroline Rae, from leading international scholars including the composer’s daughter Christine Jolivet-Erlih. These assess Jolivet’s output and activities from the 1920s through to his last works, exploring creative process, aesthetic, his relationship with the exotic and influences from literature. They also examine, for the first time, the significance of Jolivet’s involvement with the visual arts and his activities as conductor, teacher and critic. A chronology of Jolivet’s life and works with details of first performances provides valuable overview and reference. This fascinating and comprehensive volume is an indispensable source for research into French music and culture of the twentieth century.

Think and Grow Through Art & Music is written for anyone who aspires to be or become a professional in the field of art and music. The Author's extensive experience has demonstrated that a person who possesses the burning desire to become a professional in the field of art and music, and not only reads, yet also applied these principles, will multiply his/her greater advantage of becoming successful by ten times or more. Just as Napoleon Hill made millionaires out of scores of men and women in the past, as well as today, his principles when properly applied and followed by action, will work with any application. The author: • Includes his Twenty plus years of face-to-face interviews with some of the greatest artists and musicians who have ever lived. He also includes email and telephone conversations from those too busy to sit down for a one on one. • Adds his countless hours of research delving into the past of those who have gone before, so he might add their input and suggestions. • Integrates Napoleon Hills’ lifetime of knowledge gained by over 500 interviews with some of Americas renowned leaders used to create his science of personal success and philosophy outlined in his classic Think & Grow Rich. • Teamed up with the Napoleon Hill Foundation in Wise, Virginia, who has carried on Napoleon’s work since his passing in 1970. Together they have clearly written a modern day classic, a must read for any & all. Over 20 years of interviews and research, yielding inspiration, advice and motivation from musicians and artists too numerous to list, including: Chet Atkins, Les Paul, B.B. King, Stevie Wonder, Jerry Garcia, Chet Baker, Martina McBride, Thelonious Monk, Leonard Cohen, Sheryl Crow, Pharrell Williams, Andrea Bocelli, Bruno Mars, Mick Jones, Beyoncé, Willie Nelson, Eric Clapton, Eminem, Madonna, John Mellencamp, Enrico Caruso, Taylor Swift, Lyle Lovett, Diana Ross, Naomi Judd, Paul McCartney, Aretha Franklin, Carole King, Mary J. Blige, Jimmy Buffet, Chaka Khan, Quincy Jones, Yo Yo Ma, Itzhak Perlman, Ringo Starr and more. Faulkner firmly believes that the only limitations the reader has, are those he or she set up in their own minds. By following these principles and taking action, the reader will remain persistent, not give up, and have doors open that otherwise they would never be aware of.

In 1877, Ruskin accused Whistler of ’flinging a pot of paint in the public’s face’. Was he right? After all, Whistler always denied that the true function of art was to represent anything. If a painting does not represent, what is it, other than mere paint, flung in the public’s face? Whistler’s answer was simple: painting is music - or it is poetry. Georges Braque, half a century later, echoed Whistler’s answer. So did Braque’s friends Apollinaire and Ponge. They presented their poetry as music too - and as painting. But meanwhile, composers such as Satie and Stravinsky were presenting their own art - music - as if it transposed the values of painting or of poetry. The fundamental principle of this intermedial aesthetic, which bound together an extraordinary fraternity of artists in all media in Paris, from 1885 to 1945, was this: we must always think about the value of a work of art, not within the logic of its own medium, but as if it transposed the value of art in another medium. Peter Dayan traces the history of this principle: how it created our very notion of ’great art’, why it declined as a vision from the 1960s and how, in the 21st century, it is fighting back.

Erik Satie (1866-1925) was a quirky, innovative and enigmatic composer whose impact has spread far beyond the musical world. As an artist active in several spheres - from cabaret to religion, from calligraphy to poetry and playwriting - and collaborator with some of the leading avant-garde figures of the day, including Cocteau, Picasso, Diaghilev and René Clair, he was one of few genuinely cross-disciplinary composers. His artistic activity, during a tumultuous time in the Parisian art world, situates him in an especially exciting period, and his friendships with Debussy, Stravinsky and others place him at the centre of French musical life. He was a unique figure whose art is immediately recognisable, whatever the medium he employed. Erik Satie: Music, Art and Literature explores many aspects of Satie's creativity to give a full picture of this most multifaceted of composers. The focus is on Satie's philosophy and psychology revealed through his music; Satie's interest in and participation in artistic media other than music, and Satie's collaborations with other artists. This book is therefore essential reading for anyone interested in the French musical and cultural scene of the late nineteenth and early twentieth century.