The musical cyclopedia; or, The principles of music considered as a science and an art. embracing a complete musical dictionary, and the outlines of a ... with directions for the practice of v - Softcover
Synopsis
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1834 Excerpt: ...(See Bard, Ballad, Song, &c.) The chief excellence of that measured strain of music called air, resides in the beauty of its melody; the symmetry of which lays hold of our affections in a peculiar way. When addressed to the gentler passions, its tender expressions are more intelligible than words, of which few are necessary to assist its meaning; and the less it is cumbered with them, the more powerful is the charm. The words of the poet should be simple in their meaning and structure; otherwise the attention will be diverted, and the effect of the associated music will be lost. Melody demands the expression of its own thoughts, before it attempts to express the ideas of the poet. Its power of calling up ideas of the past on which the mind loves to dwell, is often a source of great delight. (See To have in the Ear.) With music of this kind, the singer seldom fails to please. He trusts to the charm of the melody, rather than the force of the words; recollecting that, 'We must first please the ear before we can touch the heart.' Each part of a harmonized composition has its own peculiar melody, its own proper subject or discourse, that unite as a means of enhancing the effect of the principal, which by way of eminence is called the melody or air. The lower the part, the greater are usually the intervals: thus, the base often moves by fifths or octaves. Each rt should have sufficient melody to give it interest; t if the air is melodious, the other parts should not be such as to divert the attention. MELOPCEIA, (Gr.) an ancient term denoting the art and rules of composition in melody, (little used.) MELOS, (Gr. from meli, honey,) sweetness of melody; that quality by which a melody is made agreeable. MENO,. (Ital.) less; as meno forte, less loud; sometimes a...
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