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| 001 | 72303 | ||
| 003 | UtSlPG | ||
| 005 | 20260610134654.0 | ||
| 006 | m | ||
| 007 | cr n | ||
| 008 | 260607r20231915utu|||||o|||||||||||||| d | ||
| 040 | _aUtSlPG | ||
| 041 | 7 |
_aen _2iso639-1 |
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| 050 | 4 | _aML | |
| 100 | 1 |
_aMason, Daniel Gregory, _d1873-1953 |
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| 245 | 1 | 4 | _aThe art of music, Vol. 07 (of 14) |
| 264 | 1 |
_aSalt Lake City, UT : _bProject Gutenberg, _c2023 |
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| 300 |
_a1 online resource : _bmultiple file formats |
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| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_acomputer _bc _2rdamedia |
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| 338 |
_aonline resource _bcr _2rdacarrier |
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| 500 | _aRelease date is 2023-12-09 | ||
| 508 | _aAndrés V. Galia, Jude Eylander and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) | ||
| 520 | _a"The Art of Music, Volume 07 (of 14), Pianoforte and Chamber Music" by Daniel Gregory Mason is a comprehensive collection of information dedicated to music lovers and musicians, written in the early 20th century. This volume in particular focuses on the history, development, and intricacies of pianoforte and chamber music, detailing how great composers have adapted their techniques to this beloved instrument. The text likely serves as both an educational resource and a reflective exploration of the evolving art of music. The opening of this volume begins with the transcriber's notes explaining the formatting for the text, including how musical examples are represented in different formats. Following this is a preface that sets the stage for the content, with the editor stating that while a detailed history is not the aim, the chapters will reflect the contributions of masters to the art of pianoforte and chamber music through the ages. A particular emphasis is placed on composers like Beethoven and Chopin, and how they innovatively utilized the pianoforte and chamber formats to express a range of emotions and complexities in their work. The introduction further discusses chamber music's essence, highlighting its intimacy and the skill required for performance, marking it as a divine form of musical expression distinct from larger orchestral compositions. (This is an automatically generated summary.) | ||
| 534 |
_pOriginally published: _cNew York: National Society of Music, 1915 |
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| 653 | _aMusicians | ||
| 653 | _aMusic -- History and criticism | ||
| 700 | 1 |
_aBauer, Harold, _d1873-1951 |
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| 700 | 1 |
_aHall, Leland, _d1883-1957 |
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| 700 | 1 |
_aHill, Edward Burlingame, _d1872-1960 |
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| 700 | 1 |
_aSaerchinger, César, _d1889-1971 |
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| 856 | 4 | _uhttps://archive.org/details/artofmusiccompre03maso | |
| 856 | 4 | 0 | _uhttps://www.gutenberg.org/ebooks/72303 |
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_c113028 _d113028 |
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