The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1906-05-13

~ ne EFT, q the 4 greatest St. Of the arts Is
becomes with any one art, the
greater is the impression Of the har-
mony and unity Of them all. In the
beginning, when the heavens and earth
were created it was architecture; the,
separation of land from the water,
sculpture; when the earth was clothed
in verdure, it was painting, and when
the morning stars sung. together, : it
plete and beautiful in the blending of
all. The inspiration, pleasure and ben
eft Of music are admitted by all, but
the highest appreciation comes thru cul-
ture, and familiarity with the lives of
those people of genius whose produc-
tions are masterpieces. In fact it is
to but half understand music, unless
one be in touch with, the actual lives of
the musicians, their aims, ambitions.
hopes, struggles and achievements. This
being studied; one is prepared to appre-
ciate the motif, and development OF the
works and enjoy the Interpretation. The
circulnstan under which they pro-
duced their work are often the key to
the. especial Importance or values Of
their particular individual successes.
The literature Of music adds vastly to
O1S iHSuL DIS well dS U6iug dDSO-.
lItely necessary for technical study.
The plan of the following program for
music is?to take, representative musi-
clans, and have some Interpretation Of
the music of each .However,zif this is
not practical. !. the literature of the
music will make each lesson complete. .
FIJI Musical Heritage. D. s5a.
| The place Of song in the Bible; musical in,
| struments Of Egype, Greece and RomeS rise
and growth Of minnesingers. master singers,
trouvefes, troubadours, folksongs and bards. H !.
- II.--Musical Development.
). Evolution of church music; collections OF mu-
Steal instruments; lullaby songs of nations; music
in, the public schools, methods and educational
| value. ~ - .>;af 80 = II :. n. -
1Hs@Et4 III. = Handel, 1685-175e. y. :,
I Handel biographical sketch; his position in
musical art; italian influence upon his genius:
his work previous to oratorios; flanders orator
los their reception and subsequent history; in
! terpretive music. - . r. -. d
r. IV.Musical Appreciation. -
Musical definitions and distinctions-symp
| oratorto. overture fugue, mass, cantata, aria
musical knowledge shown by Milton; songs and
musical appreciation of Shakspere's dramas.
S8 V.-Haydn, .1732-1sO9.
| Haydn's musical education and development;
character. Of the Austrian emperor's hymn;
1
tories tories 1T The Creation and The Seasons, hi,
! and Haydn societies in the United States.
/. ~,
~ Vl.-MOzaIt, 1foo-llSl.
1 choroo+org stato,, :, ,1o,art. ,,s ,ar.n,,+,,
ius, shown, by his operas; his :quartets, masses
Atlantic, November, 1902. r
! -" -. = ltE.se:- x
! - VII.-Beethoven, l77O-1S27.
| ~, ,.. Z. g,,.o
at hts greatest sSmphonies the third
| dedicated; Beethoven as performer and con,
ductor. COMPARE with Others. No. ~
! - vTI7T-schnbert,z 17a71 sos
! =, seAA"DSAV' 90 1910 -
Schubert as song writer.a his facility and
\ music; source of the words for his music habits
as a composer. q sss't"'3 y ~
i = Ty ! Sch,1y,arn 1o1n.1e5e~ :. -
. 9, = >A- - 80 1oo ''s~..sf. :. j.
his songs the unison Of words with the music music
music; his musical limitations JUDGMENT Of pas
7 anu - s'eA' .'lt'ss. ~-@-r'
+. ~ X.-MendelSSchn 1S09-1S47.
i : FS..;'. u =. =, X; -. ~ -
l .Mendeissohns eny ironment, personality, sister
I overtures his oratorios, their character and cir
4 cumstances of production; reading, in Brown
Ing themes g e TO n
!. -, xT -.wap,,er 1a19-1aso a-...55
! 500 " "oo' 49, Hoo~ =
i woprer,s musical nropress Iscbarac ters+,cs
4 his >mnsicdi dramas LEGENDS and sources Of hi