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TORONTO
HOW TO STUDY MUSIC
BY
CHARLES H. FARNSWORTH
INTEODUCTION BY
"UTHOB OF
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Wtto gorft
1920
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Ck"FrmieHT, 1920,
287313
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,
Norinooti Press
or
carries him along with its swing.
better enjoyment.
To aid in such a realization is the of
purpose
the
many subjects of everyday living that
CHAPTER I
PAGB
Propositions 1
........
as a beautiful expression.
Chorus practice in school is often so conducted that
CHAPTER II
ix
X CONTENTS
PAGB
CHAPTER III
V
How Learn Notation without Awakening a Dislike
parts.
Showing how variation in duration is a part of the
the meter.
particular tones.
CHAPTER IV
PAGE
sing appeal to :
I. Preparation :
1. Purpose to be accomplished.
2. Use of one^s own judgment.
3. Proportioning the time to the work to be complished.
ac-
II. Practice :
piece.
5. Drill : making a study of difficult parts so as
CHAPTER VI
Music 173
PAGl
composition.
III. Willingness to trust to feeling rather than to
CHAPTER VII
towards them.
goodness.
The necessity of right selection in our musical
opportunities :
CHAPTER VIII
PAOB
listening to music.
newness;
but he has been stimulated by the
books on
method must more and more sent
repre-
axiomatic.
XV
XVI INTRODUCTION
F. M. McMuRRY.
Teachers College,
March 12, 1920.
J
" "
"
" ""
"
""
"
"
" *
" "
"
" "
"
"
. "
Section 1
have to."
"You used to sing in the district school and I
" 4
,
;:i;6ariied
".
the music it sounds finer than anything
""/%'you did in the district school."
" "
it isn't my fault."
she replied,
*'I am singing the Tulip Song and these are
the tulips."
Her mother thought that there was some
tirely forgotten.
DIFFICULTIES IN THE STUDY OF MUSIC 5
only the smart ones that can get do, re, mi's
t"
There, that fmishes that," exclaimed the
girl,with relief.
" "
Finishes what ? asked her mother.
you?''
"Oh yes, we have lots of fun. It's almost
like a recess. You know it isn't a regular
study. We just attend, and we can do thing
any-
Section 2
of college Ufe.
After that he passed on to sentimental songs
with plenty of gush, but with no genuine etry,
po-
work.'*
Tom's father, who had been reading the paper,
news-
was old-fashioned.
Section S
or appreciation.
"But my greatest disappointment is that
Two Grenadiers."
drinking a soda, -
a physical sensation.
we were young.''
Uncle Phil's memory of their youthful days
came back to him; the deUghtful times of
as he could by saying :
^^
Jack is almost swamped by the many diflSi-
fine/
"
There is also one point more I want to make.
as modem music.
"
6. How to select music.
22 HOW TO STUDY MUSIC
"
7. How to make use
of music in the family.
Section 1
23
24 HOW TO STUDY MUSIC
all the sounds you did not really hear what was
significant.''
"Of course not," said Jack. "I don't know
language.
"There are, as you know, differences even in
the kinds of English that one learns. What
just as good?
''In other words, the kind of English that a
speak correctly!"
"Partly," said his uncle, "but this is not all.
it.
.
"As one's English may be good because one
don't like?"
"
^ "
The Erl King may be obtained through any large music store,
published in collections of Schubert's Songs or as arranged for piano.
It is also reproduced for the phonograph and piano player.
HOW TO LISTEN TO MUSIC 29
question, "
why the composer has given a ferent
dif-
child."
the music just for the fun of it, and don't care
sources.''
Section 2
WILD RIDER
(WILDER REITER)
Lively
leUufi
iiiiinriu is.
^m PiTJI'TTl j
8
k ^
"E ^F'ivvfl
*-t-*-ri
^ "rs-
lin^iJi^'Jiii' }""
EJ LLf * J"* *
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"
^ ^
f^/'^'y ^v J^ "="= ^
V
rifi'uiuii i ^W
"
_
"
^^
"^ I
PBBSK
^^ ^j^l^ rt^ M
^^S
14 9
HOW TO LISTEN TO MUSIC 33
be nmning.
Their uncle then said that Schumann called
uncle. "
I wiU write on this paper the names
way.''
Section 3
resembles "
made.
*
See the preceding diagram of the Invention drawn to scale both
as to duration and pitch. The initial figure in the upper part is the
text of the piece. It appears upside down at the beginning of the third
measure and, with the addition of a single note between the figures,
forms a continuous run of two measures. The same occurs for the
lower part at the beginning of the third measure of the third brace.
42 HOW TO STUDY MUSIC
quite rational.
Phil.
again," he said.
text."
%
two."
as it deserves.
we do?''
you heard."
Jost time."
HOW TO LISTEN TO MUSIC 47
lost.
Section 4
listening.''
''Very true," replied her brother, "music
cially
espe-
in early childhood "
we are unable even
interesting."
"I am also very much impressed," said his
48 HOW TO STUDY MUSIC
J
something to look for "
setting a problem as
exercise it."
^
said.
"
things so simple that they can be enjoyed
without effort, when heard. So there is a great
deal of light music which should have a place
in the musical life of the child. The point I
way/'
"Very good,'' said her brother. ^,^You see
by listening."
"Why should not some capacity along these
more effective."
presented by your
small boy. Send him to
Section 1
singing to him.
58
HOW TO LEARN NOTATION 59
' '
you wait until the up is past before you
pull or step again.
62 HOW TO STUDY. MUSIC
music?"
them one.
step, you will find that the tune will tell you
^2
1
Section 2
''
That's right/' said Uncle Phil, "sometimes
there is more than one object on the square,
and sometimes there are a number of squares
covered by one object, in the same way that
to one tone.
J J J Rhythm of America
j J J. / J RhythntofSawanee River
P I
I
I
1
I
I
M
lleachof
A measure
a
of
quarter
four ptdaes
tone duration
'
'
Yankee Doodle needs two sounds in each time
' '
square, while America needs but one most of
the notes?''
'
quarter, if the tones in '
America went at the
Army. The jolly time made friends and was adopted, and is now
a national air.
68 HOW TO STUDY MUSIC
to music.
to do with it?"
^America'?"
But Jack could not say. Finally his uncle
comes."
The boy's face brightened, for he felt the
the size?"
beat is?"
Section S
march.
9
books and may be obtained for both the piano player and phonograph.
72 HOW TO STUDY MUSIC
"A rule."
desk?"
"Inches."
very hard."
Section 4
of example.''
He then took up a piece of paper, drew a
'^
His uncle asked, Suppose I startied out to
length of tones.
piano."
"You kept hitting it over and over while you
it."
asked Jack.
very patient.
''We have found the key tone. Now let's
counted.
one," he said.
others, "
particular pitch.
"I want to tell you now, how long ago and
ut "
quaent laxis fa "
muli tuoriim
re "
sonare fibris sol "
ve polluti
mi "
ra gestomm la "
bii reatum
Sancte Johannes
'^
That's so/' said Jack. ''I do get so mixed
key-note.
"I think," continued Uncle Phil, "you have
to-day?''
Jack remembered the illustration of the circle
go."
"Capital," said his uncle; "next time I am
that he knew.
Section 5
he asked.
question.
''But first I want to review something we
post, is it?'*
Jack puzzled quite a while on this question,
because he did not grasp the significance of the
same.''
from do."
Section 6
lower grades."
HOW TO LEARN NOTATION 99
" ^'
Don't you worry/' said Jack ; I know more
J
CHAPTER IV
Section 1
100
HOW A CHILD StjbULD LEARN TO SING 101
'
It is just a song/' - -
"
She commenced to think. "This song is
J 1 ""
J
"
about Jack Horner.
"
plum.
"Where was he when he did this?" he asked
connections.
"
doing, and what happened.
It was surprising to see what an intelligent
phrasing was given to the tune as soon as the
102 HOW TO STUPJ MUSIC
a noiiresgential hindrance.
'.'boy,"
,.";". said Uncle Phil. He sang with a Ught
" ' "
"
"
voice the lovely folk song, ''Sleep,Baby, Sleep.
The velvety softness of the pure and tained
sus-
singing is fun."
"Well," said her uncle, "I'll repeat it and
"
you tell me why it is fun.
"
said her uncle, "how you sang 'Little
'
Jack Horner to me a few minutes ago ? And
'^Anything else?''
Section 2
ways she had sung, and the two ways her uncle
mother.
"
a well modulated voice. While
it is true that some are bom with a better
daughter.
She decided that one of the most important
things to do was to visit the school and see
and speech.
She had come to the school to-day in the
Section S
Nell promptly.
"And what do we mean by having the voice
beautiful?"
of a careful teacher."
suggestion.
Section 4
* "
Education through Music," by Charles H. Famsworth,
Teachers College, Columbia University, published in 1909.
HOW A CHILD SHOULD LEARN TO SING 129
use
of an introductory descriptive notation
problem.
Section 1
told me your
teacher is very particular that you
procedure ?''
been sufficient.
of the lesson.''
130
HOW TO LEABN TO PLAY THE PIANO 131
will put a new piece before you, and you may show
exhibition.
you not?"
"Certainly."
"And yet you did not play them right."
"Well," she answered, "I could not think
right."
"It's well worth while to be held to a ard
stand-
own way."
"That is very well," he said, "if in doing
as those who know, you learn the reasons that
be formed.
points to consider :
the piece.
''
2. The use of my own judgment in plishing
accom-
this purpose.
^^3. The use of my practice time for the day,
the length of which will determine the choice
Section 2
so cunning."
"Well, do you remember when she was first
place?"
This preposterous situation made Harriet
person to do this."
reply.
"Then you will admit," her uncle said, "that
the passage is made up of difiiculties of various
whole.
meet?"
easy enough."
"But I would commence before that," he
said.
144 HOW TO STUDY MUSIC
'^
She looked at him in surprise. I should mence
com-
do."
whole first?"
HOW TO LEAHN TO PLAY THE PIANO 145
coming."
"How do you expect you are going to read
music then?"
in my mind.
"
We can reduce difficulties not merely by sepa-
rating
them, as, for instance, by taking one hand
thought."
"Where does the first thought end in this
composition?"
After some consideration she marked the end
"
?
analyzing?"
"That is a good name," he answered.
HOW TO LEABN TO PLAY THE PIANO 147
^^
Analysis, then, our fourth stage, is one of the
thumb."
piece."
"Now," said Uncle Phil, "I hope you will
Section 3
and see that they did it, and would save her
the piece work so that the final motive for all the
152 HOW TO STUDY MUSIC
music."
quickly."
"I see it now," Harriet rejoined. "It's for a
Section 4
her part?"
Harriet turned over in her mind the various
aspect of practice."
"Oh," said she, "I should want to play it with
expression."
"What does playing with expression mean?"
MORNING "SONG
SON
BUM h t"tU"r MMak
Op. O; Mo. 4
j^ V
m m
NO "8
crest.
(
SB^F 7 J *t
^-" " 4
W' "
motto enreuivo,
jl .^
1
'^^
f^7 ff 7^^ f7 7 r^r vr 7 f^
^
HOW TO LEARN TO PLAY THE PIANO 157
i^^j. AiJ"iV)
'I
I I J J. j. f tf' P
^M
^ ^
^ ^^ *
^ w
Crete
^^ ^ tf
1^ Of
Sd.
158 HOW TO STUDY MUSIC
recurring?"
"There are two moods," she replied.
"Then wouldn't you say that one of the
composition?"
After some thought, Harriet replied, "Why,
this prelude seems to have two passages, one
Section 5
Section 6
''
Analysis
4. : when you think the whole
studies of worth."
or cooking."
"That may be, Mother," Harriet answered,
"but I have always thought of culture as thing
some-
examination."
somewhat below
par,
who were so constantly
were
within hearing distance.
as
the rest !
CHAPTER VI
MODERN MUSIC
Section 1
music?''
well.
might be valuable."
said mischievously.
"Yes, I have; we should do fewer foolish
inquiry.
'^
"Let me illustrate,"he continued. You are
N
178 HOW TO STUDY MUSIC
of music."
them .
Every one is capable of doing this in some
Section 2
noon.
'^
There are two fundamental points in learning
to enjoy good music; the first depends upon
what the listener does; and the second, upon
what he knows. I wonder if you can tell me
subject."
A titter went down the room, rather to the
appreciation.
''Let us go back to the illustration of the
the beautiful.
music?"
Section 3
associations of interest.
N
194 HOW TO STUDY MUSIC
symphony.
"There is,however, one other character that
character.
or a change of scene.
HOW TO LEARN TO ENJOY CLASSICAL MUSIC 195
k
^^g^pg wsrix
e *-*
9%f^
^
^m
P
i i-
F^"F^
Bi^
I I u
^^
#
aygfi- r lJIl-
HOW TO LEARN TO ENJOY CLASSICAL MUSIC 199
Section 4
go home."
important it is to remember.
of the present.
"
My third topic will be about this forward-
growth.
"All the points I have given you, except
the one on form, will be equally effective ap-
at once.
Music
imagining.
II. By inteUigent listening,requiring :
be one
of the main features of work.
your
everything at Have a
well-rounded plan,
once.
Section 1
evening."
'^Why can't we have it now?" said Tom.
you?"
"No, not so much to listen to them as to
asked Tom.
wisely."
Section 2
these selections.
are not.''
to select.'"
of the art.
being true.
justified/'
Section 3
father's face.
performed.
"
2. Buying such music in disks and rolls.
^^3. The musical programs arranged by
officials and heads of institutions.
illustration implied.
"It is not as hopeless as it seems," he
Section 4
'
picture or a tune, must be ^a joy forever. But
longest time."
asked Tom.
required, "
factors little in evidence in the first
mother ?
'^
a standard, answered Mr. Brown. '^The
Section 5
ideals.
time.
A
238 HOW TO STUDY MUSIC
it.
^^
These three classes of hearers, "
in the
your duty, I
to the galleries."
HOW TO SELECT MUSIC 241
'^
Certainly/^ said Mr. Curtis. '^Who will
which a mere
attention to the improvement of
as
well. You see
I am thinking of
music as a
social art. I cannot conceive of it
in other way."
any
CHAPTER VIII
'Section 1
effort.
243
244 HOW TO STUDY MUSIC
^'
There is one question more I would like to
of the race.
world."
art.
relief.''
more?"
Section 2
thinking over."
so enjoyed.
Section 3
-s
''
man (as he spoke of him to the boys) as a
we do not utilize.
Section 4
something?"
The boy thought for a few moments and
experiment.
He soon found that he was not feeling just
as usual. He recalled boyhood days on the
farm when occasionally in the spring the old
to occur.
Section 5
bear.
Section 6
planning.
"You know," he said, turning to the school
a celebration "
a play, or a festival "
in their
Section 7
A
276 HOW TO STUDY MUSIC
Lullaby Brahms
Lead Soldiers
of lead soldiers.
played the piano the first time the music was performed.
We can hear the tones of a violin and a bass viol. All the
other instruments heard are toys; such as the cuckoo,
the quail, the rattle,and the triangle.
March
to bow or curtsey.
by Beethoven)
Largo "
from New Dvofdk Philharmonic Orchestra
World Symphony
LIBRARY OF PIANO COMPOSITIONS 279
"
lullaby. Read the part of the poem, "Hiawatha, which
known.
of Love
the third melody theme " and now the Prince and real
twelve. One tunes his fiddle and the rest dance. This
ture (Westward)
A song originally sung at the departure of a traveler
from Sault Saint Marie to the trading post where Detroit
now stands.
The Dawn
The Storm
The Calm
Alps.
Finale
Minor (Unfinished)
chorus
violin.
Marionette
movement.
LIBRARY OF PIANO COMPOSITIONS 285
Symphony Orchestra
Tennyson tells us how the Grail came into sight before Sir
Grail, in Parsifal
(Sh6-ha'-ra-za'-da)
his voyage.
II. The Ffite at Bagdad.
We are in the city of Bagdad "
it is an Oriental city,
and the music suits its title. There is a wild dance which
makes us think of a Tarantella.
Op. 25 No. 9
era Marriage of
Figaro
I am Titania "
from Thomas Sung by Tetrazzini
the Opera Mignon
Delight
A
290 HOW TO STUDY MUSIC
POPULAR MUSIC
Barcarolle "
from Offeribach Sung hy Alma Gluck
sody, No. 2
Prologue "
from the Leoncavallo Sung by Ruff o or
The singer comes before the curtain and tells the ence
audi-
Opera Barber of
Seville
Lammermoor -".
Morning
The sun rises over the hills ; the shadows are pushed
aside, and the mist lifts from the sea.
Ase^s Death
Anitra's Dance
him.
Opera A'ida
Trovatore
chants a prayer.
"SI '
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