Prolific as a composer, performer, and recording artist, Percy Grainger was an indefatigable writer. This selection of forty-six essays about the production, promotion, and propagation of music is drawn from his over 150 public writings. Their topics range over his own and his friends' compositional plans, piano technique, Free Music', instrumental usage, and his ideas on artistic development in the United States, Australian,and his beloved Nordic lands.
Prolific as a composer, performer, and recording artist, Percy Grainger was an indefatigable writer. This selection of forty-six essays about the production, promotion, and propagation of music is drawn from his over 150 public writings. Their topics range over his own and his friends' compositional plans, piano technique, Free Music', instrumental usage, and his ideas on artistic development in the United States, Australian,and his beloved Nordic lands.
* Chronology * Introduction * Part I: To 1914 * 1: A Recognition (c.1898-1900) * 2: Theme as related to Form in Music (1901) * 3: My Musical Outlook (1902-4) * 4: Beatless-notation Machine (1902/03) * 5: The Music of Cyril Scott (1912) * Part II: 1915-21 * 6: The Impress of Personality on Unwritten Music (1915) * 7: Modernism in Pianoforte Study (1915) * 8: A Blossom Time in Pianoforte Literature (1915) * 9: Modern and Universal Impulses in Music (1916) * 10: The World Music of To-morrow (1916) * 11: Richard Strauss: Seer and Idealist (1917) * 12: The Unique Value of Natalie Curtis' Notations of American Negro Folksongs (1917/18) * 13: Possibilities of the Concert Wind Band from the Standpoint of a Modern Composer (1918) * 14: Let us Sit in Wait No Longer for the Advent of Great American Composers--They are with Us Already (1919) * 15: The Influence of Anglo-Saxon Folk Music (1920) * 16: The Value of Icelandic to an Anglo-Saxon (1920/21) * 17: Nordic Characteristics in Music (1921) * Part III: 1922-30 * 18: Guide to Virtuosity: Foreword to Students (1923) * 19: What Effect is Jazz likely to have upon the Music of the Future? (1924) * 20: To My Fellow-Composers (1924) * 21: The Completion of the Percussion Family in the Orchestra (1926) * 22: Sargent's Contributions to Music (1927) * 23: The Orchestra for Australia * 24: The Gregarious Art of Music * 25: Music of Ensemble Players (1927) * 26: Impressions of Art in Europe (1929) * Part IV: 1931-39 * 27: Democracy in Music (1931) * 28: A General Study of the Manifold Nature of Music (1932) * 29: Arnold Dolmetsch: Musical Confucius (1933) * 30: Can Music become a Universal Language? (1933) * 31: Melody versus Rhythm (1932/3) * 32: Characteristics of Nordic Music (1933) * 33: Can Music be Debunked? (1933/4) * 34: Sublime and Frivolous Elements in Music (1934) * 35: Roger Quilter: The Greatest Songwriter of our Age (1936) * 36Free Music (1938) * Part V: 1940 and After * 37: The Culturing Possibilities of the Instrumentally Supplemented A Capella Choir (1942) * 38: The Specialist and the All-round Man (1943) * 39: Grieg: Nationalist and Cosmopolitan (1943) * 40: English Pianism and Harold Bauer (1945) * 41: How to Memorize Music (1948) * 42: Music Heard in England (1949) * 43: The Saxophone's Business in the Band (1949) * 44: About Delius (1950-52) * 45: Henry Balfour Gardiner: Champion of British Music (1951) * 46: Questionnaire (1955) * Appendix - List of Grainger's Writings * Index
* Chronology * Introduction * Part I: To 1914 * 1: A Recognition (c.1898-1900) * 2: Theme as related to Form in Music (1901) * 3: My Musical Outlook (1902-4) * 4: Beatless-notation Machine (1902/03) * 5: The Music of Cyril Scott (1912) * Part II: 1915-21 * 6: The Impress of Personality on Unwritten Music (1915) * 7: Modernism in Pianoforte Study (1915) * 8: A Blossom Time in Pianoforte Literature (1915) * 9: Modern and Universal Impulses in Music (1916) * 10: The World Music of To-morrow (1916) * 11: Richard Strauss: Seer and Idealist (1917) * 12: The Unique Value of Natalie Curtis' Notations of American Negro Folksongs (1917/18) * 13: Possibilities of the Concert Wind Band from the Standpoint of a Modern Composer (1918) * 14: Let us Sit in Wait No Longer for the Advent of Great American Composers--They are with Us Already (1919) * 15: The Influence of Anglo-Saxon Folk Music (1920) * 16: The Value of Icelandic to an Anglo-Saxon (1920/21) * 17: Nordic Characteristics in Music (1921) * Part III: 1922-30 * 18: Guide to Virtuosity: Foreword to Students (1923) * 19: What Effect is Jazz likely to have upon the Music of the Future? (1924) * 20: To My Fellow-Composers (1924) * 21: The Completion of the Percussion Family in the Orchestra (1926) * 22: Sargent's Contributions to Music (1927) * 23: The Orchestra for Australia * 24: The Gregarious Art of Music * 25: Music of Ensemble Players (1927) * 26: Impressions of Art in Europe (1929) * Part IV: 1931-39 * 27: Democracy in Music (1931) * 28: A General Study of the Manifold Nature of Music (1932) * 29: Arnold Dolmetsch: Musical Confucius (1933) * 30: Can Music become a Universal Language? (1933) * 31: Melody versus Rhythm (1932/3) * 32: Characteristics of Nordic Music (1933) * 33: Can Music be Debunked? (1933/4) * 34: Sublime and Frivolous Elements in Music (1934) * 35: Roger Quilter: The Greatest Songwriter of our Age (1936) * 36Free Music (1938) * Part V: 1940 and After * 37: The Culturing Possibilities of the Instrumentally Supplemented A Capella Choir (1942) * 38: The Specialist and the All-round Man (1943) * 39: Grieg: Nationalist and Cosmopolitan (1943) * 40: English Pianism and Harold Bauer (1945) * 41: How to Memorize Music (1948) * 42: Music Heard in England (1949) * 43: The Saxophone's Business in the Band (1949) * 44: About Delius (1950-52) * 45: Henry Balfour Gardiner: Champion of British Music (1951) * 46: Questionnaire (1955) * Appendix - List of Grainger's Writings * Index
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