Preface 1. The two characters of sentiment, and the two sections of musical effect 2. The exigency in expression which abstract sentiment involves, and the structural plan of the great modern instrumental forms of composition 3. A comparative analysis of the spirit of the instrumental music of Haydn, Mozart, Beethoven, and Mendelssohn 4. The intellectual position of instrument music 5. The principles on which the musical and literary plan of an opera, should be based 6. The spirit of sacred music. Remarks on the oratorio 7. Some remarks concerning the influence of mental progress upon music Conclusion.
Preface 1. The two characters of sentiment, and the two sections of musical effect 2. The exigency in expression which abstract sentiment involves, and the structural plan of the great modern instrumental forms of composition 3. A comparative analysis of the spirit of the instrumental music of Haydn, Mozart, Beethoven, and Mendelssohn 4. The intellectual position of instrument music 5. The principles on which the musical and literary plan of an opera, should be based 6. The spirit of sacred music. Remarks on the oratorio 7. Some remarks concerning the influence of mental progress upon music Conclusion.
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