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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1667 edition. Excerpt: ...thing more concerning two Bases is, "that though they may often meet in ds. yet "if if they move successively in simple %ds....they will produce a kind of buzzing, in loW'jNotes especially, (as I have sometimes observed) which is not to be approved unless the Humour of the Words should require it. Quire, the iame may be understood if either Quire consist of five' 'orJsix voices. Also, if the Musick be composed for three or four Qpiresieacfe $$re QPgfct/iqwqit3p Ci1iI aj) independent of the other; And the more Parts the Composition consists of when all are joned, togtther(in afull &for-f 5 the greater allowances may be granted' because, tlie multiplicity of voices doth drown or hide those little solecisines which L in fewer Parts would not be allowed. This is, uh;ais IirfeceirY to be shewed concerning Coknterpoint of plain DcJuwt, which is the Ground-work or (as I may lay ) the Grammar of Musical Composition. And'rhbugb. the'Examples. herein set down (fin which I have endevoured no, cu ripsity but plain instrucBonjbe ffior'tuiablfc to a' Comfenclijtwjyets'thcy./afaQjfayej sufficient to let yov- see how to carry oft your Compositions to what length you ihaji desire. ' '.'," A $ i. Concerning Discords. lscords, as we formerly (aid otlntervalls _y are Indefinite5 for all Intctvails, excepting those few which precisely terminate the ConcordSj are Discords. But our concernment in this place, is no more than with these that follow, viz. The LcJJer and and Greater Second. The Lejstr, Greater, and Terfett Fourth. The Lejser or Defe&ive Fifth. The leer and Greater Seventh, By these I also mean their O&aves. H a. fiW Discords are...

This is a facsimile reprint of the 1773 edition. Originally in two volumes but now bound as one. There is a small bibliography provided by the publisher.

One of the most original and insightful surveys of American music is now available in a revised edition. Published to wide acclaim in 1965, Music in a New Found Land, in its original edition, selectively reviewed the development of American musical traditions from the 1600s to the early 1960s. With the addition of a new afterword and a revised bibliography, Wilfrid Mellers brings his book up to date, discussing the important developments in American music in the past 20 years. A British musical scholar and composer, Wilfrid Mellers brings to this work not only his musical scholarship but the objectivity of a European writing about American music. "As an outsider," he writes, "I may see and hear things that cannot be experienced from within the American context." Mellers explores the development of unique musical traditions within the confines of America's shores, dividing his work into two parts, the first concentrating on "serious" art-music, the second on "popular" music, jazz, and show tunes. Beginning with the "primitives" (the New England hymnodists), the section on "serious" music shows how the styles of all the great American classical composers developed. Mellers uses as examples only those composers whose work he considers to have had a lasting effect on the history of American music. Among these are Charles Ives, "the first authentic American composer"; Carl Ruggles; Aaron Copland, "the first artist to define precisely, in sound, an aspect of our urban experience"; Charles Griffes; and John Cage, who took abstraction to an extreme, considering each sound an audible event, with no past and no future. He also examines the importance of Samuel Barber and Virgil Thomson, decidedly non-avant-garde 20th-century composers, whose works are popular, he claims, because they appeal to Americans' regressive tendencies. The second section charts the development of "pop" music, jazz, and musicals from parlor songs, work songs, and spirituals. Here, Mellers examines the appeal of Stephen Foster, Louis Moreau Gottschalk, and John Philip Sousa; tells the fascinating story of Tin Pan Alley; and traces the development of jazz from its beginnings in the smoke-filled bars of Storeytown to a music that encompassed barrelhouse piano, piano rag, and blues and was played in Chicago, New York, and the Far West. George Gershwin, Mark Blitzstein, and Leonard Gernstein all receive their due, as do the jazz greats, band leaders, and showmen. Mellers weaves into his study of American music discussion of American intellectual traditions, including Puritanism, transcendentalism, abstraction, and Dadaism--so that we have a history not only of American music, but of the way that music has fit into the intellectual preoccupations of the country. Also included are excerpts from American literature, samples of musical scores, references to specific recordings, and a selected bibliography. Updated through the 1980s, Music in a New Found Land now offers a new generation of scholars and music lovers an absorbing and authoritative study of the development of American music.

Facsimile reprint of the 1888 edition. "Celebrated singing performer of the last [18th] century : including an account of her introduction to public life, her professional engagements in London and Dublin and her various adventures and intrigues with well-known men of quality and wealth, carefully compiled and edited from the best and most authentic records extant."

This is a facsimile of 1760 Luke Hinde edition.