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CORNELL UNIVERSHY LIBRARY 
 
 924 050 235 500 
 
4a^ ^ .^^usic Library 
 
 CorneiUJnlversity 
 Ithaca, NY 14853 
 
 Extension Syllabi, Series. A, No. 2^ Price 10 Cents 
 
 Columbia XDlnivetstt^ 
 \XK the Clt^ of mew ISorfe 
 
 SYLLABUS 
 
 A Course of Study 
 
 ON 
 
 MUSICAL ART 
 
 - BY 
 
 CHARLES HUBERT FARNSWORTH 
 
 ADJUNCT PROFESSOR OF MUSIC, TEACHERS CQLLE<JE, COLUMBIA UNIVERSITY 
 
 -Copyright, 1908, by 
 
 TEACHERS COLLEGE, COLUMBIA UNIVERSITY 
 
 NEW YbRK, CJTY 
 
Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924050235500 
 
Extension Syllabi, Series A, No. 25 
 
 Price 10 Cents 
 
 Columbia XDlniversiti^ 
 in the Cit^ of Bew J^otk 
 
 SYLLABUS 
 
 OF 
 
 A Course of Study 
 
 ON 
 
 MUSICAL ART 
 
 BY 
 
 
 CHARLES HUBERT FARNSWORTH 
 
 ADJUiN'CT PROFESSOR OF MUSIC, TEACHERS COLLEGE, COLUMBIA UNIVERSITY 
 
 COPYRIGHT, 1908, BY 
 TEACHERS COLLEGE, COLUMBIA UNIVERSITY 
 NEW YORK CITY 
 
MUSICAL ART 
 
 GENERAL INTRODUCTION. 
 
 This syllabus is an outline of a course of study having for its aim 
 the increasi of our musical enjoyment. The work is given partly in class, 
 coming once a week, and partly through supplementary readings. 
 
 In the class work, the student by defining and describing in non- 
 technical language what he himself hears develops his capacity for dis- 
 crimination and imaginative listening. 
 
 In the supplementary reading two ends are sought First, to pre- 
 pare a healthy, aesthetic approach to art in general and music in particu- 
 lar, inducing that serious attention to the beautiful without which it can- 
 not be enjoyed. 
 
 Second, by means of historical readings, to give a knowledge of and 
 sympathy with composers and their works that will also lead to greater 
 enjoyment of what is heard. The class work is given under three heads. 
 
 Part One notes the separate factors that go to make up a beautiful 
 whole. We commence by listening to simple songs and instrumental pieces 
 of undoubted beauty rendered as effectively as circumstances will permit. 
 In connection with the pleasure awakened, attention is drawn in turn to 
 the melodic, rhythmic and harmonic aspects, but only so far as the ma- 
 jority of the class can recognize the connection between the aspect ob- 
 served and the pleasure aroused. 
 
 In Part Two especial attention is paid to the arts that manifest 
 their beauty through surface designs such as are seen in decorative work, 
 book-covers, wall-papers and rugs. In these arts we can more easily see 
 the means used in combining parts into a whole, because it is easier to 
 see relationships expressed in space than to remember relationships ex- 
 pressed in time as are those of music and poetry. 
 
 The aim is to observe how, for instnnce, in a song, the poem, melody, 
 rhythm and harmony are united through repetitions and adaptations to 
 each other to produce the complete enjoyment of the whole. It is the 
 complement of Part One. 
 
 In Part Three application of the two complementary sets of obser- 
 vations carried on in parts one and two is made to musical works. We 
 start with the symmetrical dance forms, both early and modern, and pass 
 on to the idealized treatment of these same forms, taking such widely 
 different expressions as are found in the works of Bach and Chopin. 
 The aim in this applied work is not that we may be able to make technical 
 distinctions, but descriptive ones, that can be put into words, such defini- 
 tions inducing the necessary attention and concentration. 
 
MUSICAL ART 
 
 Part One 
 
 Observation of the pleasure contributed by the separate constituents 
 of a musical impression, such as phrases, rhythms, harmonies, as seen in 
 
 A Complete Pieces, Songs and Instrumental Works Given with 
 Sufficient Repetition for Comprehension and Enjoyment and 
 Sufficient Variety to Form a Basis for Adequate Comparison. 
 
 1. Hearing a song and defining as far as possible with words what 
 it is that pleases us. 
 
 2. Noticing how far the pleasure of the impression is due to 
 
 a. The thought and lyric beauty of the poem 
 
 b. The appropriateness of the music to the poem 
 
 c. The qualities of the music itself 
 
 3. Observing complete pieces by themselves, both instrumental and 
 vocal, arid noticing what in their general movement makes some 
 more pleasing than others. 
 
 B. Melodic Movement, Noticing How the Whole is Made up of Parts 
 and How the Character of the Parts Affects the Pleasurable 
 Impression of the Whole with Reference to: 
 
 1. Most obvious divisions of the melody brovight about by a more or 
 less complete cessation of movement: noticing the nature of the 
 movement in these divisions, their similarity and contrast and the 
 pleasurable effects thus produced. 
 
 2. Less obvious divisions of the melody, such as phrases and sections, 
 as they appear in those portions already observed: noticing the 
 relation between their movement and the effect of the portion of 
 which they form a part. 
 
 3. Least obvious divisions of the melody, motives, as they appear in 
 those smaller portions already observed: Noticing the character- 
 istics of these partial movements and the effect they have on all 
 that is constructed out of them. 
 
 C. Rhythmic Design. Review of the Above Material for the Pur- 
 pose of Discovering the Pleasure th!at Arises from the Rhythm 
 Alone by Disassociating this Factor from the Rest of the Work 
 with Reference to : 
 
 I. Rhythmic units of movement ; the relation these have to each other 
 and the effect of their characteristics on the work as a whole. 
 
Part Two 5 
 
 2. Time units that are established by the melodic movement and 
 which by their regular successions and groupings give definiteness 
 to the whole tonal design, thus awakening pleasure. 
 
 3. Variation of the melodic movement through alterations in rhythm 
 and time units, and the relation these changes have to the pleas- 
 urable effect of the whole. 
 
 D. Harmonic Setting Studied in the Combination and Accompani- 
 ment OF Different Melodies and Different Accompaniments of 
 THE Same Meixjdy, for the Purpose of Observing and Differenti- 
 ating THE Pleasurable Effects Produced by Simultaneous Sounds. 
 Such Effects May Arise from : 
 
 1. Combintaion of melodies, where the pleasure is largely in the ex- 
 citement of following the movement of the various melodies in 
 the resulting harmony, rather than in the harmony itself. 
 
 2. Accompaniment of a single melody, where the pleasure lies in the 
 united effect of melody and harmony, the latter heightening and 
 coloring the effect of the former, supplying a background that 
 enhances the beauty of the melodic outline. 
 
 3. Harmonious interest, primarily, where the pleasure in the melodic 
 is subordinate to the effects produced through the succession of 
 the chords, observation being directed both to their structure and 
 the conditions under which they succeed each other. 
 
 Part Two 
 
 Observation of the pleasure contributed by the union of the separate 
 rhythms, motives and harmonies, including those that appeal both to eye 
 and ear, as seen in 
 
 A. Illustrations of Architecture, Sculpture, Painting, Poetry and 
 Music, Noticing that : 
 
 1. The forms used for expressing the beautiful in all the arts except 
 music have an existence independent of any pleasure giving sig- 
 nificance. They have a purpose and are organic without reference 
 to appearance. 
 
 2. When the artist deals with these forms he so modifies their ap- 
 pearance that a new pleasure is awakened. This pleasure, which 
 we speak of as beauty, is the result of the rhythms and an organic 
 relating of the impressions brought about through choice, omission 
 and repetition. 
 
 3. Music does not employ either material or form already having a 
 practical existence, but creates its material and form for the sole 
 purpose of pleasure, thus giving a unique interest to its processes. 
 
6 Musical Art 
 
 B. Illustrations of Designs on Flat Surfaces^ Such as Wallpapers^ 
 RuGSj Cloths/ Laces and Book-covees Noticing: 
 
 1. When the design is not an imitation of an organic object, the 
 means employed to bring about: 
 
 a. Variety and unity 
 
 b. Beginning, middle and end 
 
 c. Principality and setting 
 
 2. The parallelism between the above arts and music in the way a 
 complete work is developed from a few root ideas or motives. 
 
 3. The importance that space plays in the arts that appeal to the eye 
 and how music depends on the memory for this relating element, 
 manifesting it in various forms of repetition. 
 
 C. Illustrations of Music Belonging to the Romantic Type, where 
 
 THROUGH A SUGGESTIVE TiTLE, OR ACCOMPANYING TeXT OR DESCRIPTION, 
 
 A Unifying Aim is Given to the Various Impressions Awakened, 
 Noticing : 
 
 1. How the presence of such external aids to comprehension makes 
 possible a freedom in the structural relations of the material 
 employed. 
 
 2. That these freer structural relations make a more direct appeal 
 to the imagination, demanding a much greater activity in this re- 
 spect on the part of the listener, the attendant pleasure depending 
 largely on his interpretive capacity. 
 
 3. How the enjoyment of such art makes a less technical demand, 
 but a much greater character and cultural demand upon the 
 listener. 
 
 Part Three 
 
 Practice in the enjoyment of musical works through the exercise of 
 the increased sensitiveness to musical effects developed by means of the 
 observations indicated in Part One and Part Two. 
 
 A. Illustrations of Music, Including not only what Was Heard in 
 Part One, but Unfamiliar Music of the Same Type. 
 
 B. Illustrations of Music where the Interest Lies Chiefly in the 
 Grace and Relations to Each Other of the Rhythms, Phrases, 
 AND Harmonies as Employed in Dance Music, Both Old and New, 
 as Well as in Some Idealized Treatments of the Same. 
 
 C. Illustrations of Music where the Interest Lies Chiefly in the 
 Imaginative Suggestiveness of the Effects Produced, Requiring 
 an External Aid, such as an Explanatory Title, or Accompany- 
 ing Text, to Direct the Mind into the Required Channel. Noc- 
 turnes, Reveries and Romantic Music, Generally, Are Examples. 
 
Readngs on Aesthetics 7 
 
 The three groups given above are for the purpose of gaining facility in 
 
 1. Feehng distinctly the difference with reference to likeness and un- 
 likeness of effects which before was not felt pleasurably at all, or 
 only dimly. 
 
 2. Feeling the organic relation of the parts to the whole thus gaining 
 pleasure from the accumulative effects. 
 
 3. Comparison and valuation with reference to personal preference of 
 what is heard — ^the exercise of the aesthetic judgment. 
 
 Readings on Aesthetics 
 
 These readings consider the aesthetic side of music. 
 
 Two opposite views must be guarded against, one in which the ap- 
 preciation of the beautiful is looked on as something taking place entirely 
 flirough the emotions, spoken of in opposition to intellectual as being 
 "emotional." Two selves are pre-supposed, an intellectual self dealing 
 with science and practical affairs of life and an emotional self that deals 
 with pleasures. Art in general, and music in particular, is thus looked on 
 as a pleasant excitement akin to such as might be produced from drugs. 
 It is thought of as an indulgence and as an excellent antidote to the over 
 intellectual activities. The music in schools is looked on as partly recre- 
 ative, as a relief from the attention and concentration required by the or- 
 dinary studies. 
 
 The opposite view emphasizes the intellectual side, despising the emo- 
 tional, making art consist of the observation of form, treating beauty as 
 merely a question of relations and proportions. 
 
 The position taken in this course is that the whole self acts both in sci- 
 ence and art. While admitting that different kinds of activities bring a 
 greater strain on different parts of the self, as physical work on the body, 
 mental on the head, yet the self back of it all is the same. Emotional and 
 intellectual activities go on whether the work be physical, intellectual or ar- 
 tistic. The extreme consciousness of pleasure connected with the beautiful 
 is simply an indication that the entire self, the senses and the intellect as 
 well as the emotions has been most healthfully active. We hold that the 
 capacity for such a complete action of self is a unique endowment varying 
 with each individual much as the memory capacity varies. But as in the 
 case of the memory few people ever exercise the full extent of the power 
 they possess. 
 
 The readings suggested below aim to bring about that attitude to- 
 wards art and music that will inhibit both the emotional and the critical 
 approach so destructive to the healthful enjoyment of the beautiful. 
 
 Where in many cases certain chapters only are suggested, they repre- 
 sent the minimum amount of reading expected. It is hoped that the 
 
8 Musical Art 
 
 student will read further as time allows. It will be seen that occasionally 
 these extracts are critical of each other. 
 
 Hugo Miinsterberg, The Principles of Art Education, Part I; Henry 
 Rutgers Marshall, Aesthetic Principles, chaps, i-iv; R. Wallaschek, Primi- 
 tive Music, chap, ix; Edmund Gurney, Power of Sound, chap, xxiii, "Or- 
 igin of Music"; Hanslick, The Beautiful in Music. (A classic statement of 
 music as being objective, consisting of beautiful forms. Especially valu- 
 able in its criticism of the sentimental approaches to music.) W. A. Am- 
 brose, The Boundaries of Music and Poetry. (A good antidote to Dr. 
 Hanslick.) Edmund Gurney, Power of Sound. (Discussions of the Na- 
 ture of Music.) "Music as ideal motion," chaps, i, iii, viii, x, xi, xiv; 
 Ethel D. Puffer, Psychology of Beauty, chap, v, "Beauty of Music." (Ex- 
 cellent summary of a modern position.) 
 
 Historical Readings 
 
 The historical readings, like those on aesthetics, are purely secondary 
 to the aim of the course which is musical enjoyment. By means of these 
 readings that setting for musical works is obtained which is essential to 
 intelligent enjoyment. It is unfortunate that musical illustrations for the 
 historical readings cannot be fully given in class. Their performance 
 would interfere with the purpose of this particular course; but the excep- 
 tional opportunities that New York offers on the line of historical pro- 
 grams will make it possible for students to hear examples sufficient to give 
 point to these readings. 
 
 Professor Dickinson, History of Music. (A clear and concise state- 
 ment of the development of music. Each chapter has a bibliography by 
 the aid of which the student can read more fully on a given topic.) 
 Professor Waldo Pratt, History of Music. (In this work more detail is 
 presented. The student unable to work in libraries, as suggested by Dick- 
 inson, will find this work rich in material, skilfully selected and arranged, 
 enabling the reader to form sound judgments of the periods treated.) 
 Surette and Mason, The Appreciation of Music, chaps, i-vii. (An excel- 
 lent statement of the facts of musical observation, with brief historical 
 notes. The reading of these chapters, after finishing Part Two will 
 make a valuable review, especially as the observations are here presented 
 in their structural relationships.) 
 
PUBLICATIONS OF EXTENSION TEACHING 
 
 Syllabi of courses of instruction haye been issued which, contain out- 
 lines of study, bibliographies, and references, ajid furnish" systematic 
 guides for the private student, reading circles, and classes of instruction^ 
 Series A contains syllabi of collegiate courses. Series B contains syllabi 
 of shorfer lecture courses. 
 
 Series A 
 
 A. i—ShakspTere^By Professor F. H. Sykes 
 A. 2 — Old Testament Literature— ^By Dr. R.-M. Hodge 
 A. 3 — American Literatiire^By Clyde Fcrst, M. A. 
 A. 4 — Architectttre—rRenaissdnce-T-Modern — By Professor Hamlin 
 A. .^-^nglish Language and Gramindr — By Professor G. P. Krapp 
 A. 6^^Rnglish Literature — XIX' Century — By Prof. F. H. Sykes 
 A. 7— Representative American' Writers — By Clyde Furst, M. A. 
 \. ^T^Teaching English in Elementary Schools— By Prof. F.T. Baker 
 A. ^—Development of Instrumental Mftsic — By Mr. T. W. Surette 
 A. 10 — Architecture-^Ancient, Mediaeval — By Prof essof Hamlin 
 A. iiT-EhglishCom^ositiori— By Professor H. V, Abbott* 
 *A. iZr—The PhUosophy of Education — By Prof. John Angijs MacVannel 
 A; 13 — Teaching of SchooVMusic — By Professor C. H. Faknsworth 
 A. i4— English History to the Tudors — By Professor C. A. Beard 
 . A. t^-^English [History from James I — By Professor C. A. Beard 
 §A. \6-rGerterdl_Geography — By Professor R.'E. Dodge : 
 
 *A. ly— 'History an& Principles of Educatiojv-^By Prof. Paul Monroe 
 A. iB^^choql Administration — By Professor S. T. Dutton 
 'A. ig— Modern European History— By Professor C. A. Beard 
 A. 2a— Teaching in Elementary Schools — By Professor G. D. Sthiayer 
 A. 21^-Wood^and Wood-Working — By William Noyes, A.:M. 
 A. 23 — American Government— By Professor S. P. Du'ggan ' _ 
 
 *A. Zi— Theory and Practice of Teaching in Elementary Schools— ^yPro' 
 fe'ssors StkaVeh, Baker; Douge, Johnson, atifi Mr. 'ypTOH\^ 
 *A. 24 — Epochs rof History — By Professor J. T Shotwell - /;. ■' - ' 
 
 A. 25 — Musical Art — By Professor C, H. Farnswokth 
 
 Series B 
 
 B. I — Tile 5'oZar iSyj/ewj— By, Dr. S.- A. Mitchell 
 
 B. 2— The French Revolution— By Professor J. T. Shotwell 
 B. 3 — The Vegetation of the Earth— By Professor F.' E. Lloyd 
 B. 4-^CKwote onrf Afanfemd-^By Professor R,E. Dodge 
 B. 5— Me/oH«rgy— By Professor iBRAPLEYSTOUGHTON, and Drs. M. N. 
 , BoLLES and Wm. Campbell ^ -, 
 
 B. 6— Greatest American, Writers^^By Clyde Furst, M. A. 
 B. 7— Cathedrals of the Middle Ages— By Prof. A. D, F. Hamun 
 B. ^Problems of Human Nature — By PrOfesspr E.- 1!. Thorndike 
 B. 10— Representative German Aidhors^~By Professor R. Tombo 
 B. II — Organic Evolution — By Professor H. E. Crampton 
 B. 12— Spanish America — By Professor W^ R. Shepherd 
 B. 14— Expansion of United States^By Professor C. A. Beard 
 B. i6-:rlndustrialism and Democracy— B^yProiessor C. A. Beard 
 B. ly^^The Great Masteri of Music— By Mr. D. G. Mason 
 B. A—Tlie Metallurgy of iron and Steel— By Prof. B. Stoughton 
 B. 19— The History of American Poetry— By Professor C. H. ^age 
 B. so— The Architecture of Great Cities-'^y Professor A. D. F. Hamlin 
 B. 21 — Our Country's Resources — By Dr. C. F. Walker 
 B. 22 — Nation Making — By Mr. J. P. Lichtenberger 
 B. 23— Party Government in the United States^By Professor C, A. Beard 
 Price 10 cents per copy, except *A. 12, 17, 23, 24, which are double 
 
 numbers, price 20 cents; Address: Extension Teaching, Teachers 
 
 College, Columbia University, New -York. / 
 §In Preparation.