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