"Studies serve for delight, for ornament, and ability. There is no stond or impediment in the wit, but may be wrough out by fit studies."-Lord Bacon. Synopsis of the Contents OF THE VARIOUS WORKS ALREADY PUBLISHED IN LIBRARY FOR THE NOVELLO'S MUSICAL KNOWLEDGE. A collection of Standard Treatises on the Art of Music, written by the most esteemed English and Foreign Masters; reprinted at prices which will place these formerly expensive works within the means of every student. The Volumes already completed, are offered as a fair specimen of the future works intended to be comprised. The convenient form adopted for "Hawkins's History of Music" has been found particularly well adapted for "Novello's LIBRARY for the diffusion of MUSICAL KNOWLEDGE," because the page presents so much at one view, as considerably to aid comparative study. There are now ready,— DR. MARX'S GENERAL MUSICAL INSTRUCTION (Allgemeine Musiklehre). An aid to teachers and learners in every branch of musical knowledge. Translated, from the original German, by GEORGE MACIRONE. [Former price, 15s.] Bound in whole cloth, 6s. 6d., or $1.63c.; post-free, 7s. *** Of this work, five large editions have been printed in Germany, besides being reprinted in the United States and in England. It comprehends minute explanations of every musical matter, from the simplest rudiments, through the various elaborations of rhythm, doctrine of tones, instruments, elementary and artistic forms of composition, artistic performance, and musical education in general. DEDICATION.-To Parents, conscientious Teachers, and others concerned in Education, by whom it is considered a matter of Duty to see that the Musical Education of Youth be real, refreshing to the heart and senses, and elevating to the mind; who are anxious and watchful that Art be not perverted and debased into a source of enervating dissipation and vanity, this book is dedicated, in faithful sympathy, by THE AUTHOR. GENERAL TABLE OF CONTENTS. INTRODUCTION.-Review of the province of Music, 5th Section-Measurement of Relation of Tones. Appendix.-Of Ecclesiastical Modes. SECOND DIVISION.-Of Rhythm. 1st Section-Of the value of Tones. 2nd Section-Of Rests. 3rd-Indefinite signs of 4th Section Of absolute time-1, Of the slowest Appendix. Of the Metronome and Chronometer. 10th DR. MARX'S MUSICAL INSTRUCTION. General Table of Contents (continued). 1st Section-The foundations of melody. The succession of Tones-Of Rhythm. 2nd Section-Fundamental forms-1, The Passage; 2, The Phrase; 3, The Subject. 3rd Section Greater rhythmic arrangements. 4th-Melodic graces. 5th-Introduction to Harmony. 6th-The most important Chords, major and minor. 7th Section-The employment of the Chords1, Duplication; 2, Omission; 3, Transposition; 4, Inversion; 5, Close or dispersed position; 6, Combination; Connexion-Certain progressions -Determinate resolution; 7, The Close; 8, The Prelude. 8th Section-Of Modulation-The law of Modulation-Means of Modulation. 9th Section Of the movement of the parts in chords -1, Motion within a Chord; 2, Equal movement in the Chords; 3, Unequal movement in the Chords; Suspension or retardation-Anticipation-Organ point; 4, Motion between the Chords. 10th Section-Figuring of Basses. FIFTH DIVISION.-Artistic Forms of Composition. 1st Section-General considerations on artistic forms. 2nd-Differences of forms in the construction of the parts. 3rd-Polyphonic forms-1, Figuration; 2, Fugue; 3, Double and manifold Fugue; 4, Canon. 4th Section Homophonic and mixed forms1, Song form; 2, Rondo form; 3, Sonata form. 5th Section-Peculiar forms of Instrumental music1, The Sonata; 2, The Overture; 3, The Symphony; 4, The Concerto; 5, The Fantasia; 6, The Capriccio, Toccata, and Study. 6th Section-Peculiar forms of Vocal music-1, The Recitative; 2, The Aria; 3, The Chorus; 4, The Cantata; Finale. 7th Section-Music in combination with other objects-1, The Ballet; 2, The Melodrama; 3, The Play with music; 4, The Opera. SIXTH DIVISION.-Artistic Performance. 1st Section-General ideas of performance. 2nd Section-The meaning of artistic configurations. Rhythm-1, Motion; 2, Accent; 3, Larger rhythmic members. On Tones-1, Kinds of tonic movement; 2, Intervals; 3, Chords; 4, The Major and Minor modes; 5, Various scales; Observations. 3rd Section-The meaning of artistic forms. 4thThe comprehension and performance of particular works. 5th-Concerted or Orchestral performance. Appendix.-On Score Playing. SEVENTH DIVISION.-On Musical Education and Instruction. 1st Section-Remarks on the present state of music. 2nd-The right object and the right means. 3rd -Disposition or vocation for music. 4th-Development of the musical faculties - The time previous to learning; The time for instruction; Development of the feeling of measure; Development of the feeling of Tone. 5th Section-Objects of musical education, and their time-Song; Playing on the Piano; Composition. 6th Section-Teachers and methods of teaching. APPENDIX. A. Rhythmic Divisions—B. On the form of Fugues --C. On the form of Rondos-D. On the form of Sonatas. In addition to the foregoing general Table of Contents, there is a very copious Index to every subject, technical term, or sign used in music, by which is obtained the convenience of a COMPLETE DICTIONARY OF MUSICAL TERMS. MOZART'S SUCCINCT THOROUGH-BASS SCHOOL. SABILLA NOVELLO, from the original German. Translated, by [Former price, 7s.] *** In these comparatively few pages are condensed all the essential points of Thorough-Bass ; they appear as axioms, and any one who will commit the whole to memory would have a very competent knowledge of every chord in music. CONTENTS. I. Fundamental principles of Thorough-Bass. II. The Intervals.—Explanation of all the Intervals over C. III. The Ten Intervals: the Unison--the Second-the Third-the Fourth-the Fifth-the Sixth-the Seventh-the Octave-the Ninth-the Tenth. IV. On Movement: direct-contrary-oblique. V. and VI. The Figuring explained. VII. The Six Hazardous Progressions. CHERUBINI'S TREATISE ON COUNTERPOINT AND FUGUE. Translated, by MARY COWDEN CLARKE, from the original French. [Former price, 31s. 6d.] Bound in whole cloth, 6s. 6d., or $1.63c.; post-free, 7s. *** This work is adopted for the instruction of the Classes at the Conservatoire, Paris, and of those at the Royal Academy of Music, London. There has been added a Memoir of Cherubini, chiefly compiled from Mons. Fétis. Speaking of this Treatise, he says "The admirable Treatise on Counterpoint and Fugue is, in fact, the result of Cherubini's experience as to what was necessary for teaching counterpoint to the pupils of the Conservatoire for nearly a quarter of a century; and the examples are models of that perfection of style which distinguishes the productions of the ancient Italian masters. Memoir of the Author. GENERAL TABLE OF CONTENTS. Upon concords in strict counterpoint. Upon discords in strict counterpoint. Upon various kinds of movement. Two-Part Counterpoint: First order-Note against note. Second order— Three-Part Counterpoint : First order-Note against note. Second order— Four-Part Counterpoint : First order-Note against note. Examples of first, second, and third order. Fourth order-On syncopation. Fifth order-Florid counterpoint. Counterpoint in Five, Six, Seven, and Eight Real Parts On Imitation : Antecedent and consequent. On free or irregular imitation. On regular or restricted imitation. On several other sorts of imitation. Augmentation; diminution. Reversed accents; Interrupted; Convertible; Periodic; Canonic. Finite and Infinite Canonic. Third section-Imitations in 3 and in 4 voices. Antecedent or Theme; consequent. Inverse contrary imitation. On Double Counterpoint : First section-Inversion in the octave. Inversion in the ninth. Inversion in the tenth. Inversion in the eleventh. Inversion in the twelfth. Inversion in the thirteenth. Inversion in the fourteenth. Second section-Triple and quadruple counterpoint. In the octave. In the tenth. Conclusion. On Fugue : Definition of the term Fugue. On Subject. On Response. On Counter-subject. On stretto. On Pedal. On Tonal Fugue. On Real Fugue. On Fugue of Imitation. On the Coda. On Digression. On Modulation. On the entire composition of a Fugue. General remarks. Extended Examples analysed throughout:Real fugue in 2 parts. Tonal fugue in 2 parts. Real fugue in 3 parts (Instrumental character). Tonal Fugue in 3 parts, with one countersubject. (In gloria Dei Patris, from Grand Mass in F). Tonal fugue in 4 parts, with one counter-subject. Tonal fugue in 4 parts, with two counter-subjects. Chromatic fugue in 4 parts, with three counter-subjects, with preliminary remarks thereon. Concluding observations thereon. Authentic and plagal cadence. Tonal fugue of considerable development, in 8 parts and for two choirs (from Credo). M. Fétis's remarks thereon. Real fugue in 8 parts, for two choirs, by J. Sarti. Appendix Given subjects of basses to serve for lessons in FETIS' TREATISE ON CHOIR AND CHORUS SINGING. Translated, by the REV. THOMAS HELMORE, M.A., from the original French, with the kind approval of the Author. [Former price, 15 francs.] Sewed, 1s. 6d., or 38 cents. AUTHOR'S PREFACE. "It is my design, in this little work, to teach a branch of the musical art which has been much neglected, I might even say ignored. There exist, doubtless, in Germany, some schools where the principles explained in this book are put in practice; but I do not know that any one has hitherto pointed out the principles of a rational method for teaching Choirs and Choruses. The work of M. Hæser, and all that have been written on this subject, are almost exclusively on practice, and include many notions of matters which do not belong to the special nature of Choir and Chorus Singing. Other important matters, which belong essentially to this subject, are not even mentioned. Upon the whole, these excellent works are only applicable to the schools for which they were intended. "That which I propose, is to call the attention of Heads of Schools, Directors of Music, and Chapel Masters, to the necessity of perfecting the execution of music in vocal masses, and to point |
