The Rhythm of Modern Music

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. 1909 Excerpt: ...time with marvellous skill. The courtly grace, the formal etiquettes and manners of the century are reflected in the music of Handel, Mozart, and Haydn, and their contemporaries, who used well-defined forms for their own purposes, and produced through them music that, like the ancient Greek drama, will continue to make appeal to generations yet unborn, in spite of a simplicity of construction that is no longer in keeping with the spirit of the age. The human feeling that is expressed in the highest efforts of artistic genius makes its appeal to all ages, for human nature never changes: only the methods of expression vary with the different generations, and for a modern composer to try and give expression to his emotions with the formality of a Mozart, would be much the same as if he were to appear in public in a powdered wig and knee breeches. But Mozart and Haydn sometimes tried experiments with new forms of Period. For instance, they would construct one of three-measure Rhythms, or they would extend the orthodox form by one or more measures; but they never failed to indicate clearly what they intended. Thus they obtained variety in their rhythmical schemes, without offending the tastes of their day. Towards the end of the eighteenth century mankind was beginning to weary of formality, and the courtly order of things began to change for more freedom of manners, and a greater liberality of ourook. Democracy commenced that ascendancy which has been growing ever since, and of which the first great external evidence was seen in the French Revolution. The feeling naturally began to be reflected in art; for art is the expression of the emotions of those for whom and by whom it is produced. Democracy is not concerned with forms, and styles, and etiquettes. What i...