A COMPLETE
HISTORY of MUSIC
FOR SCHOOLS, CLUBS, AND PRIVATE READING
By W. J. BALTZELL
Contributions by
H. A. CLARKE, Mus. Doc.; ARTHUR ELSON,
CLARENCE G. HAMILTON, A.M., EDWARD BURLINGAME HILL,
A.B., ARTHUR L. JUDSON, FREDERIC S. LAW,
AND PRESTON WARE OREM, Mus. Bac.
With Portraits,
Reproductions of Instruments
and Musical Examples
PHILADELPHIA, PA.
THEODORE PRESSER
1908
Copyright, 1905, by THEO. PRESSER.
British Copyright Secured.
PREFACE.
The plan of arrangement used in this book has in view a combinationof the recitation and lecture systems, and affords an opportunity forteachers to apply the best principles of both. The paragraph headingsshould be thoroughly fixed in mind and close attention should be givento the words in heavy type and Italics that occur in the body of aparagraph; together they form a convenient outline for the lesson. Thequestions at the end of each lesson are to be used to test the pupils’mastery of the lesson material; all available works of reference shouldbe consulted for fuller information than the limited space of one bookwill admit of, each member of the class preparing one or more abstractsto be read before the class. The review outlines and suggestions areto be used in the same way, special attention being given to writtenanswers such as would be required in an examination.
With a view of furnishing the reader a considerable amount of materialon the growth of music as an art, biographical sketches havebeen made short, especially since so many excellent works of thatdescription are available at a small price. Emphasis has been laid onthe work of the men who developed music, on the influences which shapedtheir careers and the permanent value of their contributions to music.A clear knowledge of how music reached its present state is not to behad by studying books, biographical and critical; the works of thecomposers must be examined, played and sung, compared, analyzed as tomethods of construction (Form) and expression (Melody, Harmony andRhythm), so that the student may appreciate the change from simple,elementary processes to the free, polyphonic style found in the complexmodern piano and orchestral scores. Reference is made to representative[Pg vi]compositions by classical and modern composers, which are part of theaverage teaching repertoire. The works of the earlier composers arenot, however, readily accessible, although good examples of the styleof the 16th and 17th centuries are in the cheap editions of Peters,Litolff, Augener, Breitkopf and Härtel, and Ricordi.
The plan of this book provides for two lessons a week for thirty weeks.This will occupy a school year and allow time for quizzes, reviews andexaminations. If more time is available, the work may be divided intofour, five or six terms and stress laid on the study of representativecompositions, the preparation of short papers on the suggested topics,adding, as a feature to interest friends and music lovers generally,public programs including music.
Musical clubs will find in this book material for several years’programs, special attention having been given to the lessons on moderncomposers and their music, the suggestions as to class-work applyingwith equ