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Preface | |
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List of Illustrations | |
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The Musical Mind | |
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The sensory capacities | |
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Musical imagery, imagination, and memory | |
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Musical intelligence | |
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Musical feeling | |
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Musical performance | |
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The meaning of this analysis | |
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The Musical Medium | |
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Musician, music, listener | |
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Characteristics of the sound wave | |
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Frequency: pitch | |
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Musical aspects of pitch intonation | |
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Intensity: loudness | |
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Musical aspects of loudness | |
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Duration: time | |
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Musical aspects of time | |
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Wave form: timbre | |
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Musical aspects of tonal timbre | |
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The musical performance score | |
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The Science of Music | |
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Scope of the subject | |
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The performer, the music, the listener | |
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General principles of science | |
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Basic principles in the psychology of music | |
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A Musical Ornament, the Vibrato | |
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Nature of the vibrato | |
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An example of the vocal vibrato | |
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An example of instrumental vibrato | |
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Frequency of occurrence, extent and rate of vibratos | |
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Normal illusions which make for beauty of vibrato | |
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The nature of beauty in the vibrato | |
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Ear training for the vibrato | |
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Use and abuse of the vibrato | |
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The vibrato, good, bad, indifferent, and ideal | |
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Pitch: Frequency | |
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The nature of pitch | |
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Limits of audible pitch | |
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Pitch discrimination | |
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Absolute pitch | |
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The significance of individual differences | |
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Normal illusions of pitch | |
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Subjective tones | |
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The first difference tone | |
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Other difference tones | |
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Summation tones | |
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Subjective harmonics | |
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The difference tone a substitute for a low fundamental | |
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Pitch performance | |
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Loudness: Intensity | |
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The role of intensity | |
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Sensitivity or hearing ability | |
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Deterioration with age: presbycousis | |
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Children's hearing | |
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Discrimination: the sense of intensity | |
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Number of audible differences in loudness | |
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Motor capacities | |
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Intensity characteristics of musical tones | |
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Amplification of sound | |
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Duration: Time | |
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Nature of the perception of time | |
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Discrimination: the sense of time | |
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Normal illusions of time | |
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Motility | |
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Timbre: Wave Form | |
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The nature of timbre | |
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Harmonic analysis | |
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Synthetic tones | |
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Timbre discrimination: the sense of timbre | |
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Tone Quality: Sonance | |
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Analogy in moving pictures | |
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Types of sonance | |
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Sonance in attack, release, and portamento | |
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The inside of a vocal tone | |
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What is in a name? | |
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Sonance in speech | |
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Nature of the vowel in music and speech | |
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The problem of formant regions | |
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Dependence of harmonic structure upon fundamental pitch and total intensity in the vowel | |
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Conversational vs. audience voice | |
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Consonance | |
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The nature of consonance | |
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The psychological approach | |
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Six psychological problems | |
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Order of merit in each of four criteria | |
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Order of rank on three criteria combined | |
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The sense of consonance | |
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Volume | |
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Spatial factors | |
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Quantitative factors | |
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Qualitative factors | |
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Temporal factors | |
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Subjective factors | |
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Carrying power | |
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Rhythm | |
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The nature of rhythm | |
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What rhythm does | |
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Individual differences in musical rhythm | |
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Psychology of rhythm | |
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Learning in Music | |
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Twelve rules for efficient learning in music (to the pupil) | |
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Some specific applications (to the instructor) | |
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Imagining in Music | |
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The analogy in sculpture and painting | |
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Comparison of musicians and scientists | |
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R. Schumann | |
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Mozart | |
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Berlioz | |
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Wagner | |
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Supplementary imagery | |
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Living in a tonal world | |
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The development of imagery | |
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Individual differences in mental imagery | |
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Thinking in Music | |
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The issue | |
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The nature of musical intelligence | |
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How musicians rate | |
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Nature of Musical Feeling | |
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Determined by capacities | |
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Intensified by pursuit | |
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Characterized by intelligence and motor skills | |
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Transfer to other situations | |
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Timbre of Band and Orchestral Instruments | |
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The bassoon | |
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The clarinet | |
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The French horn | |
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The baritone horn | |
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The cornet | |
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The slide trom bone | |
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The flute | |
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The oboe | |
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The tuba | |
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Violin | |
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The violin performance score | |
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The violin phrasing score | |
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Comparison of the performance of two players | |
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The pitch factor | |
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The intensity factor | |
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The temporal aspect | |
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The timbre aspect | |
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Intervals: the problem of scales | |
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Piano | |
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Piano touch | |
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The piano camera | |
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The piano performance score | |
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Section of Chopin Nocturne No. 6 | |
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Similarity in statement and restatement | |
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Consistency of interpretation | |
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Asynchronization of chords | |
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Voice | |
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Singing | |
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The tonal aspect: pitch | |
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The dynamic aspect: intensity | |
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The temporal aspect: time | |
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Time and stress: rhythm | |
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The qualitative aspect: timbre and sonance | |
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Principles of Guidance in Music | |
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The problem | |
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Paving the way | |
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Reminiscent incidents | |
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Principles of measurement and guidance | |
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Sources of error in guidance procedures | |
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Measures of Musical Talent | |
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What can we measure? | |
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Principles involved in the elementary battery of measures of musical talent | |
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Criticisms of this approach | |
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Purpose of the phonograph records and supplementary procedures | |
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Reliability | |
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The basis for rank order | |
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The uses of these measures | |
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Analysis of Talent in a Music School | |
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Origin of the Eastman School experiment | |
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Plan and purpose of the experiment | |
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Classification | |
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Representative profiles | |
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Stability of the classification | |
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Retests of adults and children | |
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Bearing on success in the college music course | |
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Analysis of Talent in the Public School | |
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The Lincoln experiment | |
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The Rochester service | |
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Procedure in the guidance program | |
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The training of teachers and supervisors | |
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The organization of a guidance program for the public school | |
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The Inheritance of Musical Talent | |
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The nature of the inheritance of musical talent | |
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Basic approaches now available | |
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Possible ways of organizing investigation | |
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The naturalist's point of view | |
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Primitive Music | |
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Musical anthropology through phonophotography | |
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Negro songs | |
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The Development of Musical Skills | |
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Control of pitch intonation | |
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Control of intensity | |
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Control of time and rhythm | |
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The rhythm meter | |
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Training for precision in rhythmic action | |
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Control of timbre | |
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General significance of specific training for skills | |
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Musical Esthetics | |
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Approaches to musical esthetics | |
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Esthetics as a normative science | |
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The musical message | |
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Appendix | |
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Bibliography | |
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Index to Authors Mentioned or Quoted in the Text | |
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Index to Musicians | |
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Index to Compositions | |
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Subject Index | |