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Author: Andrew Deakin
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 122
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Author: Andrew Deakin
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 122
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Book Description
Author: Andrew Deakin
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 0
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Author: Andrew Deakin
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Author: Andrew 1822-1903 Deakin
Publisher: Legare Street Press
ISBN: 9781013474491
Category :
Languages : en
Pages : 128
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Book Description
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author: Andrew Deakin
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 112
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Author: Andrew Deakin
Publisher: Forgotten Books
ISBN: 9781331427711
Category : Music
Languages : en
Pages : 118
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Excerpt from Outlines of Musical Bibliography, Vol. 1: A Catalogue of Early Music and Musical Works Printed or Otherwise Produced in the British Isles; The Whole Chronologically Arranged With Descriptive and Critical Notes on the Principal Works 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.
Author: Catharine Keyes Miller
Publisher:
ISBN:
Category :
Languages : en
Pages : 26
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Author: Andrew Deakin
Publisher: Forgotten Books
ISBN: 9780260122759
Category : Music
Languages : en
Pages : 82
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Excerpt from Musical Bibliography: A Catalogue of the Musical Works, (Historical, Theoretical, Polemical, Etc.) Published in England During the Fifteenth, Sixteenth, Seventeenth, and Eighteenth Centuries, Chronologically Arranged; With Notes and Observations on the Principal Works To further make plain the pitch of notes, in the fifteenth century, as now, clefs were placed at the beginning of the staves. These were named F, C, and G, from the initial notes of the different hexachords. Bars were not used until the sixteenth century, and at first merely to mark the endings of phrases, not as indicators of rhythmical accent. Signs for chromatic alterations of pitch (the sharp, flat, and natural) were seldom used, although alterations to the extent of a semitone were occasional necessities in performance. Consequently a knowledge of the rules relating to the introduction of chromatic alterations was an essential part of a singer's education. The laws relating to time, the length of notes, and rhythm, were complicated. Rhythm was distinguished as perfect or triple, and imperfect or dual. In the fourteenth century composers wrote in notes of four lengths - larges, longs, breves, and semibreves. Writers of the fifteenth century mention the introduction of shorter notes - minims and crotchets. These notes, however, did not at first sight make plain the peculiarities of time and rhythm. Sometimes the large was equal to three longs; sometimes to two longs. So with the long and the breve, the rules governing their relative lengths being many and complex. This is apparent when it is remembered that in the nature of things music may be triple or dual, and that the use of the dot for increasing the duration of a note was not known until the present system of notation was approached. The first time-signatures were the whole circle for perfect or triple time, and the broken circle for imperfect or dual time. Knowing nothing of bars, composers constantly mixed triple and dual rhythms in the same pieces. 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.
Author: Clarence Grant Hamilton
Publisher: Sagwan Press
ISBN: 9781376449068
Category : Biography & Autobiography
Languages : en
Pages : 332
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Book Description
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author: Brooklyn College. Department of Music
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 144
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