On the Execution of Music, and Principally of Ancient Music E-Book

Camille Saint-Saëns

• Herausgeber: DigiCat
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2022

Beschreibung

In "On the Execution of Music, and Principally of Ancient Music," Camille Saint-Saëns embarks on a profound exploration of musical interpretation, focusing particularly on ancient compositions. The text is characterized by its meticulous argumentation, marrying scholarly analysis with poetic expression, highlighting the significance of historical context in the performance of music. Saint-Saëns delves into the nuances of musical execution, advocating for a restoration of authenticity in the interpretation of ancient works, which he perceives as a pivotal yet often neglected aspect of musical practice. Saint-Saëns, a prolific composer and fervent advocate for classical music, was deeply influenced by the rich tapestry of musical traditions that spanned across history, ranging from ancient to contemporary epochs. His extensive background in both composition and performance, as well as his scholarly pursuits, informed his critical insights into the art of music-making. This book is a testament to his desire to fuse tradition with innovation, underscoring his commitment to preserving the integrity of ancient music. This work is essential for musicians, musicologists, and enthusiasts alike. It not only challenges readers to reconsider their approach to ancient compositions but also enriches their understanding of the historical implications of musical performance. Saint-Saëns' eloquent advocacy for authenticity in music execution makes this text a valuable resource for anyone seeking to deepen their appreciation of the art form.

Leseprobe

Camille Saint-Saëns

On the Execution of Music, and Principally of Ancient Music

 

EAN 8596547323372

DigiCat, 2022 Contact: [email protected]

Table of Contents

ON THE EXECUTION OF MUSIC, AND PRINCIPALLY OF ANCIENT MUSIC

M. CAMILLE SAINT-SAËNS

ON THE EXECUTION OF MUSIC, AND PRINCIPALLY OF ANCIENT MUSIC

EXPLANATORY NOTES

ON THE EXECUTION OF MUSIC, AND PRINCIPALLY OF ANCIENT MUSIC

Table of Contents

BY

M. CAMILLE SAINT-SAËNS

Table of Contents

Delivered at the "Salon de la Pensée Française"Panama-Pacific International ExpositionSan Francisco, June FirstNineteen Hundred& Fifteen

DONE INTO ENGLISH WITH EXPLANATORY NOTES BY HENRY P. BOWIE

SAN FRANCISCO: THE BLAIR-MURDOCK COMPANY 1915

Copyright, 1915by M. Camille Saint-Saëns

ON THE EXECUTION OF MUSIC, AND PRINCIPALLY OF ANCIENT MUSIC

Table of Contents

USIC was written in a scrawl impossible to decipher up to the thirteenth century, when Plain Song [1] (Plain Chant) made its appearance in square and diamond-shaped notes. The graduals and introits had not yet been reduced to bars, but the songs of the troubadours appear to have been in bars of three beats with the accent on the feeble note of each bar. However, the theory that this bar of three beats or triple time was used exclusively is probably erroneous. St. Isidore, in his treatise on music, speaking of how Plain Song should be interpreted, considers in turn all the voices and recommends those which are high, sweet and clear, for the execution of vocal sounds, introits, graduals, offertories, etc. This is exactly contrary to what we now do, since in place of utilizing these light tenor voices for Plain Song, we have recourse to voices both heavy and low.