FOOTNOTES:[1]See the author’s “From Grieg to Brahms,” pp. 219-223.[2]“First Principles,” American edition, p. 358.[3]Op. cit., p. 326.[4]For a fuller statement of this theory of musical expression, see “From Grieg to Brahms,” pp. 6-11.[5]These principles will be studied more in detail in the chapter on The Principles of Pure Music.[6]For a technical explanation of equal temperament, see Dr. Parry’s “Evolution of the Art of Music,” pp. 187-188.
FOOTNOTES:
[1]See the author’s “From Grieg to Brahms,” pp. 219-223.
[1]See the author’s “From Grieg to Brahms,” pp. 219-223.
[2]“First Principles,” American edition, p. 358.
[2]“First Principles,” American edition, p. 358.
[3]Op. cit., p. 326.
[3]Op. cit., p. 326.
[4]For a fuller statement of this theory of musical expression, see “From Grieg to Brahms,” pp. 6-11.
[4]For a fuller statement of this theory of musical expression, see “From Grieg to Brahms,” pp. 6-11.
[5]These principles will be studied more in detail in the chapter on The Principles of Pure Music.
[5]These principles will be studied more in detail in the chapter on The Principles of Pure Music.
[6]For a technical explanation of equal temperament, see Dr. Parry’s “Evolution of the Art of Music,” pp. 187-188.
[6]For a technical explanation of equal temperament, see Dr. Parry’s “Evolution of the Art of Music,” pp. 187-188.