Two major forces, pulling in what seem to be exact opposite directions, fill in a large portion of the musical map as it stood at mid-century. One the one hand there was the extreme freedom advocated by John Cage, the minimalists and the s…

Epilogue: “Since Then” エピローグ：「あれから」 The year 1945 provides a convenient place-marker in any overview of the many pathways that music's creative spirits have explored in this century. The end of World War II left many people in …

18. From Composer to Interpreter to Listener １８．曲を作る人から演奏する人へ、そして聴く人へ Thus far, this book has been largely concerned with music in the abstract. But, practically considered, almost every musical situation implies th…

We have merely skimmed the surface, without mentioning the innumerable examples of utilitarian music － offstage street bands, the barn dance, merry-go-rounds, circus music, cafe music, the neighbor's girl practicing her piano, and the lik…

17. Film Music １７．映画音楽 Film music constitutes a new musical medium that exerts a fascination of its own. Actually, it is a new form of dramatic music － related to opera, ballet, incidental theater music － in contradistinction to c…

16. Contemporary Music 16. 現代音楽 Over and over again the question arises as to why it is that so many music lovers feel disoriented whey they listen to contemporary music. They seem to accept with equanimity the notion that the work of …

Only two or three contemporaries were able to compete with Wagner on his own ground. Verdi was the principal of these. Like Gluck, he wrote a large number of conventional Italian operas, which were wildly acclaimed by the public but found …

The year 1600 provides a convenient starting point, for it was thereabouts that operatic history began. It was the result ― or so the historian tells us ― of the meetings of certain composers and poets at the palace of one Count Bardi in F…

15. Opera and Music Drama １５．オペラと音楽劇 Up to now, the question of listening more intelligently has been considered solely in relation to music that comes under the heading of concert music. Strange as it may seem, music that is end…

SYMPHONIC POEM 交響詩 One of the reasons for our present freedom of form may very well be the creation of the symphonic poem. The symphonic, or tone, poem brings up the question of program music which must be elucidated first. 今日、音楽の…

14. Fundamental Forms １４．基本の音楽形式 V. FREE FORMS V. 自由形式 The Prelude; The Symphonic Poem 前奏曲、交響詩 In order to have some conception of what a “free” form consists of, we have to know what a strict form is. In the previous …

THE SYMPHONY 交響曲 The present-day status of the symphony is such that it is impossible to pass it by without further discussion, even though it does not constitute an independent form, different from the sonata. It is practically impossi…

APPENDIX III 巻末付録III Analysis of Beethoven's “Waldstein” Sonata, Op. 53 ベートーヴェン作曲「ワルトシュタイン」ソナタ作品53 分析 An analysis such as I shall attempt here must always be unsatisfactory, since we lack the sound of the note…

The recapitulation is, as its name indicates, a repetition of the exposition. In the classical sonata allegro, the repetition is generally exact; though even here the inclination is to omit nonessentials, leaving out material already suffi…

13. Fundamental Forms １３．基本の音楽形式 IV. SONATA FORM IV. ソナタ形式 Sonata as a whole; Sonata Form Proper; The Symphony ソナタ形式の全体像、ソナタ形式の詳細 交響曲 The sonata form, for the present-day listener, has something of the s…

III. FUGAL FORM III. フーガによる形式 FugueConcerto Grosso; Chorale Prelude; Motets and Madrigals フーガ、コンチェルト・グロッソ、コラール前奏曲、モテットとマドリガル Chapter 1 began with the premise that it was essential, in learning to l…

11. Fundamental Forms １１．音楽の基本の形式 II. VARIATION FORM II. 変奏による形式 Basso Ostomatp; Passacaglia; Chaconne; Theme and Variations バッソ・オスティナート；パッサカリア；シャコンヌ 主題と変奏 The variation forms well exemplify w…