| 000 | 02853cam a22003493u 4500 | ||
|---|---|---|---|
| 001 | 76559 | ||
| 003 | UtSlPG | ||
| 005 | 20260610134754.0 | ||
| 006 | m | ||
| 007 | cr n | ||
| 008 | 260607r20251927utu|||||o|||||||||||||| d | ||
| 010 | _a27026369 | ||
| 040 | _aUtSlPG | ||
| 041 | 7 |
_aen _2iso639-1 |
|
| 050 | 4 | _aML | |
| 100 | 1 |
_aDent, Edward J. _q(Edward Joseph), _d1876-1957 |
|
| 245 | 1 | 0 | _aTerpander; or, Music and the future |
| 264 | 1 |
_aSalt Lake City, UT : _bProject Gutenberg, _c2025 |
|
| 300 |
_a1 online resource : _bmultiple file formats |
||
| 336 |
_atext _btxt _2rdacontent |
||
| 337 |
_acomputer _bc _2rdamedia |
||
| 338 |
_aonline resource _bcr _2rdacarrier |
||
| 490 | 1 | _a[To-day and to-morrow series] | |
| 500 | _aRelease date is 2025-07-24 | ||
| 508 | _aProduced by Tim Lindell, Donald Cummings and the Online Distributed Proofreading Team at https://www.pgdp.net (This book was produced from images made available by the HathiTrust Digital Library.) | ||
| 520 | _a"Terpander; or, Music and the future by Edward J. Dent" is a work of musical criticism and aesthetics written in the early 20th century. It examines how Western music evolved from antiquity to modern times and weighs anxieties about “the music of the future.” The likely topic is the changing language of music—melody, harmony, rhythm, and timbre—how listeners respond to it, and what those changes imply for the art’s future. The book opens by confronting fear of new music, then defines three ways music appeals (sensuous, emotional, intellectual) and argues for music’s autonomy beyond literary “programs.” It traces the rise of tonality and notation, the Church’s role, the northern invention of harmony, Renaissance secular song, and the acceleration of style through the 17th and 18th centuries toward the symphony and domestic music-making. It portrays the 19th century’s ethical fervor, orchestral spectacle, pianoforte culture, and the spread of clichés and program-music, then critiques commercialization and overproduction. Turning to the present, it rebuts claims that modern music lacks melody or feeling, explaining its break with inherited tonal associations, its abrupt forms, and its experiments in counterpoint, dissonance, rhythm, and tone-color. It urges listeners to rediscover the primary pleasure of sound and accept artistic adventure, notes the impact of mechanical reproduction, and closes by reminding us that every age laments musical decline while the art continually renews itself. (This is an automatically generated summary.) | ||
| 534 |
_pOriginally published: _cNew York: E. P. Dutton & Company, 1927 |
||
| 653 | _aMusic -- Philosophy and aesthetics | ||
| 830 | 0 | _a[To-day and to-morrow series] | |
| 856 | 4 | _uhttps://hdl.handle.net/2027/mdp.39015009444756 | |
| 856 | 4 | 0 | _uhttps://www.gutenberg.org/ebooks/76559 |
| 999 |
_c117284 _d117284 |
||