MARC details
| 000 -CABECERA |
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| campo de control de longitud fija |
09282nam a22001817a 4500 |
| 003 - IDENTIFICADOR DEL NÚMERO DE CONTROL |
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| campo de control |
EMODERNA |
| 005 - FECHA Y HORA DE LA ÚLTIMA TRANSACCIÓN |
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| campo de control |
20231120172518.0 |
| 008 - DATOS DE LONGITUD FIJA--INFORMACIÓN GENERAL |
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| campo de control de longitud fija |
231120b |||||||| |||| 00| 0 eng d |
| 040 ## - FUENTE DE LA CATALOGACIÓN |
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| Centro catalogador/agencia de origen |
EMODERNA |
| Centro/agencia transcriptor |
YG |
| 082 ## - NÚMERO DE LA CLASIFICACIÓN DECIMAL DEWEY |
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| Número de clasificación |
082 |
| Número de documento/Ítem |
M436 mús |
| 100 ## - ENTRADA PRINCIPAL--NOMBRE DE PERSONA |
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| 9 (RLIN) |
1257 |
| Nombre de persona |
Matthay, Tobias |
| Fechas asociadas al nombre |
1858-1945 |
| 245 ## - MENCIÓN DE TÍTULO |
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| Título |
Musical interpretation: |
| Resto del título |
its laws and principles, and their application in teaching and performing |
| Mención de responsabilidad, etc. |
/ Tobias Matthay |
| 260 ## - PUBLICACIÓN, DISTRIBUCIÓN, ETC. |
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| Lugar de publicación, distribución, etc. |
, Boston, Mass.: |
| Nombre del editor, distribuidor, etc. |
The Boston Music Co., |
| Fecha de publicación, distribución, etc. |
1913 |
| 300 ## - DESCRIPCIÓN FÍSICA |
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| Extensión |
xiv, 168 p. |
| 520 ## - SUMARIO, ETC. |
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| Sumario, etc. |
SECTION I: INTRODUCTORY: SOME GENERAL PRINCIPLES OF TEACHING AND LEARNING<br/>Preface<br/>Points selected for elucidation<br/>General attitude of the teacher<br/>The learner can only be helped to learn<br/>The first law of teaching<br/>The most usual fault of the teacher<br/>Both teacher and pupil must learn to think<br/>How to practice<br/>The danger of automaticity<br/>The danger of not really listening<br/>"Listening" defined<br/>Automatic practice useless, even for techniques<br/>We do not really see or hear unless we analyse<br/>As to ear-training, good and bad<br/>Definition of real practice<br/>Constant process of analysis proved necessary<br/>"Genius" implies natural concentration on one's work<br/>Practice implies study<br/>By learning concentration we can all approximate to the Genius level<br/>Not only concentration but imagination necessary<br/>The imaginative power must be trained<br/>The forms of analysis necessary in teaching<br/>The use of Example<br/>The artist as teacher<br/>The informative and the non-informative types of mind<br/>The teacher must be artistic<br/>Why unaided example will not suffice<br/>Example v. Explanation<br/>The necessity of Enthusiasm<br/>Bad and good teaching<br/>Cramming v. real teaching<br/>To render a pupil "musical"<br/>Bad and good conducting<br/>Teaching v. cramming again<br/>Make sure of your diagnosis before correcting a fault<br/>Concrete cases as examples<br/>Correction of inaccuracy as to Time-details<br/>Playing out of time implies lack of attention<br/>Uselessness of the Metronome as a Time-teacher<br/>Faults arising from bad touch habits<br/>How to correct a wrong tempo<br/>The causes of faults must always be made clear<br/>True education<br/>SECTION II: THE NATURE OF MUSICAL ATTENTION AND OF MUSICAL SHAPE<br/>Attention through key-resistance and time<br/>Meaning of "Time-spot"<br/>The Act of Thought, or Attention, itself implies a rhythmical act<br/>Similarity between playing out of time and playing out of tune<br/>"Grip" in performance<br/>As to Time-training<br/>As to the interpretation of the term "Rhythm"<br/>Correct ideas of Time and Shape in Music<br/>Progression and movement analogous in Music and Painting<br/>The origin of our sense of Pulse<br/>The progressional view of music v. the old segmental view<br/>The difference between the old segmental view of structure, and the progressional view of musical structure<br/>Some examples of the Progressional view of structure<br/>The incorrect notation of bar-lines<br/>As to Nomenclature of structural details<br/>Harmonic movement necessary<br/>The process of Memorizing also depends upon Progression<br/>Deliberate indefiniteness in composition<br/>How to apply one's memory<br/>Memory-failure<br/>The various kinds of musical memory<br/>The necessity of muscular memory and its dangers<br/>Silent practice<br/>To prevent slithering<br/>Inaccuracy in the sub-divisions of the pulses owing to non-perception of the Element of Progression<br/>Progression always towards climax of phrase in spite of decrescendo<br/>Passages broken between hands; correct thinking of them<br/>Broken passages, technical errors<br/>Wrong Bass notes<br/>and other notes<br/>Progression in its larger swings<br/>Warning against purely mechanical "scanning"<br/>To keep the whole in view is a question of memory<br/>"Thinking the Whole" expounded<br/>Perception of a new composition<br/>The cause of stammering unmusically<br/>SECTION III: THE ELEMENT OF RUBATO<br/>Tempo-continuity, why necessary<br/>Continuity also depends upon tonal and emotional planning-out<br/>True nature of Rubato usually quite misunderstood<br/>Rubato is no mystery, it is not "silent-sound" not "telepathy"<br/>Ritardandos and Acellerandos are not Rubato<br/>The true rationale of Rubato<br/>Time-curves constantly required<br/>Rubato in modern music<br/>Rubato in older music<br/>Fallacy re the old masters being unemotional<br/>In giving emotional life, Shape must not be lost sight of<br/>When to teach and learn Rubato<br/>The problem of music for children<br/>The two distinct fundamental forms of Rubato: [(I) The "leaning" Rubato<br/>Rubato supplies the strongest form of emphasis<br/>(II) The "push-on" Rubato<br/>The two forms may be combined]<br/>Ritardandos and Accellerandos marked in text, often found to be incorrectly noted Rubatos<br/>The exact position of the return to the pulse must be noted<br/>The cause of the Rubato also to be noted<br/>Rubato allows a phrase-climax to be shown in decrescendo<br/>Fallacy regarding position of phrase-climax<br/>Attack of phrase<br/>Various forms of Rubato illustrated: [(I) The more usual form, or "leaning" Rubato {Tone-amount varies with note-lengths in uneven passages<br/>In a slow movement, tone for the quicker notes is reduced from a high background<br/>In a quick movement the reverse process applies<br/>Further examples of "leaning" Rubato<br/>Rubato-inflections must always be carried out subtly<br/>Example of Rubato-analysis<br/>the first two bars of Chopin's ballade in A flat<br/>Example of Rubato showing trend of phrase in spite of diminuendo<br/>Example of Rubato showing cross-accent<br/>Again, the importance of "scanning"<br/>Rubato required to depict agitation<br/>Always shapeful, however veiled the shapes<br/>Definiteness, Decision, best expressed without Rubato inflections<br/>Illustrations of these Distinctions emotionally<br/>Mis-scanning of Chopin's Scherzos again}<br/>(II) The push-on or inverted Rubato {Examples of the combination of the two forms of Rubato<br/>Modern Rubato examples from Beethoven<br/>Rubato can show accent on a rest or tied note<br/>Rubato always in the nature of a curve, never a time-spike<br/>Always keep in view Musical Purpose, during Rubato-inflections}]<br/>SECTION IV: CONCERNING CERTAIN DETAILS IN THE APPLICATION OF TONE-INFLECTION AND THE BEARING OF TOUCH-TEACHING AND FINGERING, ETC., ON INTERPRETATION<br/>The importance of Rubato does not detract from the importance of Tone and Duration Contrasts<br/>Lack of tone-variety often not realised by the teacher<br/>Need of accurate listening and analysing again demonstrated<br/>Want of true pp is mostly the cause of deficiency in coloring<br/>After a long note, the continuation of the same phrase is often played too loudly<br/>Cut away the tone to render certain notes prominent<br/>The individualism and balance of the constituent notes of chords, octaves, etc<br/>An exercise for tonal individualisation<br/>Less force required to produce the higher notes than the lower notes of the Piano<br/>The tonal emphasising of melody notes should not lead to tasteless agoggic accents<br/>The bearing of the teaching of Touch, etc., upon the teaching of Interpretation<br/>Command over Interpretation implies command over technical resources<br/>Obedience to the laws of Touch and Technique must constantly be insisted upon<br/>Knowledge of the laws of Touch and Technique necessary even for the beginner<br/>Points as to Touch requiring constant reminder<br/>Musical and Technical Attention must never be allowed to flag while giving attention to the details of Muscular Education<br/>The bearing of Fingering on Interpretation, and the learning of its laws<br/>Fingering, also, must not be "crammed"<br/>Its proper teaching<br/>The Memorising of Fingering<br/>Scale fingerings, single and double notes<br/>SECTION V: AS TO PEDALLING AND THE ELEMENT OF DURATION<br/>Just as close attention required for the foot as for the finger<br/>Most pedalling a mass of blemishes<br/>Examples of bad pedalling<br/>Not enough to feel the breaks between the phrasings clearly, one must play them clearly<br/>Inadequacy of Pedal-discontinuity<br/>Accuracy in Duration-effects depends immediately upon accuracy in listening<br/>Value of Duration-contrasts insufficiently realised<br/>Gradations of Tone and Duration contrasted<br/>Pedal-durations more important than Finger-durations<br/>Pedal enhances actual prolongation of sounds<br/>"Syncopated" pedalling<br/>Why syncopated pedalling is required<br/>Legatissimo pedalling<br/>Echo-resonance of a Hall different from pedal continuity<br/>Examples of Legatissimo Pedalling<br/>Pedal must rise fully<br/>Pedal must remain up long enough<br/>Half-damping effects<br/>The "Sostenente" Pedal<br/>Half-pedalling applied to whole chords<br/>Cessation of sound as a form of emphasis<br/>Examples of this<br/>Imperative to listen accurately and constantly to Duration<br/>Various additional Pedalling examples<br/>Chopin's Pedalling<br/>Listen both to finger and to foot-doings<br/>Attention during Performance<br/>SECTION VI: THE PURPOSE OF ART-EXPRESSION AND ITS RELATION TO THE INFINITE<br/>The ever-present danger of forgetting the End over the Means<br/>The Purpose of Art is the expression of Feeling<br/>Art-moods which make for Good and which make for Evil<br/>Health and Mood<br/>The nature of Music, its relation to all-pervading Rhythm, and its relation to the ultimately Unknowable<br/>Summary: Report of Lecture on "The Principles of Teaching Interpretation"<br/>ADDITIONAL NOTES<br/>No. I. On half-pedalling and half-damping<br/>No. II. On the colouring of octaves and passing-notes<br/>No. III. Tone-colouring v. tone-inflection<br/> |
| 650 #0 - PUNTO DE ACCESO ADICIONAL DE MATERIA--TÉRMINO DE MATERIA |
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| 9 (RLIN) |
1646 |
| Término de materia o nombre geográfico como elemento de entrada |
MUSICA - INTERPRETACION |
| 942 ## - ELEMENTOS DE PUNTO DE ACCESO ADICIONAL (KOHA) |
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| Fuente del sistema de clasificación o colocación |
Dewey Decimal Classification |
| Tipo de ítem Koha |
ORIGINAL |
| 999 ## - NÚMEROS DE CONTROL DE SISTEMA (KOHA) |
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| Koha biblionumber |
8490 |
