From the PREFACE. THIS little volume is not addressed to professional musicians nor yet to the student of Orchestration. For these there is an ample number of comprehensive text-books, such as those of Berlioz, Corder and Prout, which deal with all the technicalities of what is popularly known as the "Band." But, outside those who make music their calling, the world holds a vast multitude of listeners to music who would never think of reading an academic treatise on "Instrumentation." Indeed the majority of musical ...
Read More
From the PREFACE. THIS little volume is not addressed to professional musicians nor yet to the student of Orchestration. For these there is an ample number of comprehensive text-books, such as those of Berlioz, Corder and Prout, which deal with all the technicalities of what is popularly known as the "Band." But, outside those who make music their calling, the world holds a vast multitude of listeners to music who would never think of reading an academic treatise on "Instrumentation." Indeed the majority of musical amateurs, particularly those who are hearers rather than performers of music, know nothing of the concert platform beyond what they see of it from an auditorium. To them the orchestra, which literally means " dancing-place," is a stage upon which all is couleur de rose . Behind the glow of lights, the veneer of evening dress, and the ravishing and often bewildering multitude of sound-voices are hidden human nerves at a high tension bent on extracting from mechanical sources, as from human lungs, an ever-mysterious language of emotions. Those who have played or sung in public can never be indifferent to the instruments which have served them either for display or accompaniment. It is, therefore, not to these who make music, but to those for whom music is made that, in the following pages, we have attempted to introduce, with as little formality as possible, each separate member of the great family of sound-sources which constitute the Orchestra. At the start, however, it may be asked: Are concert-goers interested enough in the band to desire a more intimate understanding of it ? In other words, is the listener content to take the agglomeration of orchestral sounds as he hears it, and not go further to inquire into the nature and distinction of wood, brass and strings? Let us reply by asking another question. What is the attitude of the normal child when he is taken for the first time close to a military band? He is at once in love with the big drum, and probably longs to have a drum of his own. Then the great bombardon or the shrill trumpet fascinates him, and mother or nurse are plied with questions about the men with inflated cheeks who make music from these brazen tubes. Noise and size, we observe, are the primary elements of interest with the boy who is said to be father of the man. It may be also, if he is a thoughtful or naturally musical child, that the less assertive members of the group of instruments - the flute, oboe, or clarinet - will claim his attention. In fact he may want to know the name of each, much to the concision of his guardian, if he or she, owing to a life-long ignorance, would not willingly deceive the little inquisitor....
Read Less
Add this copy of How to Listen to an Orchestra to cart. $9.38, very good condition, Sold by Argosy Book Store rated 5.0 out of 5 stars, ships from New York, NY, UNITED STATES, published 1913 by James Pott.
Add this copy of How to Listen to an Orchestra to cart. $59.74, good condition, Sold by Bonita rated 4.0 out of 5 stars, ships from Hialeah, FL, UNITED STATES, published 2016 by Palala Press.
