Music and the Higher Education |
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Common terms and phrases
action activity æsthetic affords appear appreciation artist attainment Bach beauty become Beethoven Berlioz century character church color composer concerning consciousness contrapuntal counterpoint course critic culture delight drama element emotional ence excite experience expression fact faculties feeling Fiona Macleod forces genius give hear heart higher human ical ideal ideas imagination impressions individual influence instincts instruction instructor intellectual interpretation J. S. Bach John Tyndall judgment knowledge Lafcadio Hearn learning literature matter means melody ment mental method mind moods moral movement musical art nature object opera organ organ music Palestrina passion pleasure poetry Praxiteles principles production programme music progress Protestantism relation Rembrandt result rhythm Richard Wagner schools Schumann scientific seems sense social songs soul sound spirit taste teach teacher tendencies thing thought tical tion tone Tristan und Isolde truth ture vision Wagner whole
Popular passages
Page 233 - All architecture is what you do to it when you look upon it, (Did you think it was in the white or gray stone? or the lines of the arches and cornices?) All music is what awakes from you when you are reminded by the instruments, It is not the violins and the cornets, it is not the oboe nor the beating drums, nor the score of the baritone singer singing his sweet romanza, nor that of the men's chorus, nor that of the women's chorus, It is nearer and farther than they.
Page 157 - Indeed there can be no more useful help 'for discovering what poetry belongs to the class of the truly excellent, and can therefore do us most good, than to have always in one's mind lines and expressions of the great masters, and to apply them as a touchstone to other poetry. Of course we are not to require this other poetry to resemble them ; it may be very dissimilar. But if we have any tact we shall find them, when we have lodged them well in our minds, an infallible touchstone for detecting...
Page 158 - What though the field be lost ? All is not lost ; the unconquerable will, And study of revenge, immortal hate, And courage never to submit or yield, And what is else not to be overcome ; That glory never shall his wrath or might Extort from me.
Page 24 - Art. I cannot help thinking that historians, looking back from the far future, will record this age as the Third Renaissance. We who are lost in it, working or looking on, can neither tell what we are doing, nor where standing; but we cannot help observing, that, just as in the Greek Renaissance, worn-out Pagan orthodoxy was penetrated by new philosophy; just as in the Italian Renaissance, Pagan philosophy, reasserting itself...
Page 167 - Evolution is continuous, progressive change according to certain laws and by means of resident forces.
Page 160 - We have therefore to lay down this rule : that, in order to comprehend a work of art, an artist or a group of artists, we must clearly comprehend the general social and intellectual condition of the times to which they belong.
Page 209 - In all expression we may thus distinguish two terms : the first is the object actually presented, the word, the image, the expressive thing; the second is the object suggested, the further thought, emotion, or image evoked, the thing expressed.
Page 24 - ... and the immense harvest of economical inventions are the fruit of the equality and the boundless liberty of lucrative callings. These are superficial wants, and their fruits are these superficial institutions. But as far as they accelerate the end of political freedom and national education, they arc preparing the soil of man for finer flowers and fruits of another age. For beauty, truth and goodness are not obsolete; they spring eternal in the breast of man.
Page 188 - Not a shimmer or a glory escaped him. From his books might be gathered a delightful anthology of the beauty of tint, of form, of shadow, of line. No loveliness was too subtile, too evanescent, too minute, to be recognized by those dim and straining eyes.