Download A Composer's World: Horizons and Limitations (Schott) by Paul Hindemith PDF

By Paul Hindemith

The e-book goals to be a advisor in the course of the little universe that is the operating position of the guy who writes tune. As such it talks predominantly to the layman,although the professional composer can also locate a few stimulation in it... From the middle of uncomplicated concept the dialogue will unfolded into the entire nation-states of event which border the technical elements of composing, akin to aesthetics, sociology, philosophy, etc.

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Additional resources for A Composer's World: Horizons and Limitations (Schott)

Example text

If we experience a real feeling of grief — that is, grief not caused or released by music — it is not possible to replace it at a moment’s notice and without any plausible reason with the feeling of wild gaiety; and gaiety, in turn, cannot be replaced by complacency after a fraction of a second. Real feelings need a certain interval of time to develop, to reach a climax, and to fade out again; but reactions to music may change as fast as musical phrases do, they may spring up in full intensity at any given moment and disappear entirely when the musical pattern that provoked them ends or changes.

If, furthermore, he thinks he is awfully modem with his reference to a riveter, we have to tell him that he is a romantic with all the trimmings, for only a composer of the romantic type can deceive himself to such a degree as to believe: (1) I am actually demonstrating a riveting machine’s rattling — which he is not, since he is using a group of string players. (2) The effect of my piece is that of a riveting machine’s rattling — which it is not, since it rattles musically. (3) The listener takes this rattling for a riveting machine’s — he does not, no listener is that naive.

Actually there are in music no such spatial distinctions as high and low, near and far, right and left that correspond with the same definitions in real nonmusical space. Yet it is undeniable that successions of tones bring about effects of spatial feelings which in their obviousness are convincing even to the entirely untrained mind. Since neither the loudness nor the color of tones can produce or influence this effect, it must be the pitch relation among tones that is the reason for it. To understand the connection between the movement from tone to tone in music on the one hand and the feeling of spatial movement on the other, we must again, as we did in our discussion of the emotional effects of music, find the common denominator of both factors.

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