MUSICAL MEMORY - online book

A System To Cultivate The Musical Memory For Musicians.

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TABLE OF CONTENTS.
*#* The nu?nbers refer to the Paragraphs, unless the contrary is stated.
PART I.
MUSICAL MEMORY, ALSO AN INVESTIGATION INTO THE FORMS
OF MEMORY EMPLOYED IN PIANO PLAYING, AND A
THEORY AS TO THEIR EMPLOYMENT.
Chapter.                                                                                                                                                  Page.
I.—General and Special Memory .................. i
The Faculty of Memory and its various divisions, I. Special Forms of Memory, and to what they are due, 2. The Memory for Colours—for Sounds, 3. To what the natural tastes of an individual are due, 4.
II.—Musical Memory ..................... ... 3
Musical Memory defined—its differences in individuals, 5. Its transi­tory employment by the listener, 6, 7. Its employment for permanent acquisition by the musician, 8-10. Upon what its value depends, II. Ear-training, 12. Sense of absolute pitch, 13.
III.—Musical Memory in connection with Practical Execution ... 8
The memorizing of piano music and the different forms of memory which may be employed, 14-17.
^ IV.—Muscular Memory........................10
The Muscular Sense and its retentive power, 18. Reflex Movements, 19. Muscular Memory and Technique, 20, 21. Its employment in memorizing piano music, 22. The form of suitable passages considered, 23-31. Un­suitable passages, 32. The limits of its employment, 33. Its employment in automatic form, 34.
\/V.—Visual Memory...........................19
The different methods of employment, 35. In connection with the printed page, 36. In connection with the keyboard, 37. The form of suitable and unsuitable passages, 38. The connection between Visual and Muscular Memory, 39. The retention of chords, 40. Visual Control and Visual Memory, 42, 43.
V VI.—Intellectual Memory .....................24
The Intellectual aspect of Music, and how our memory may be employed in connection with it, 44-46. Musical Form, 47-50. The Harmonic basis of passages, 51-53. Elaboration and the forms it assumes, 54-56.
VII.—On the Relative Extent of the employment of the different
Forms of Memory .....................33
The manner in which the various forms of memory are employed, 58, 59. What influences the employment of the different forms, 60. I. The Nature of the Music to be memorized, 61, 62. II. The Method of Study em­ployed, 63,64. III. The Peculiarities of the Individual memorizing, 65-67. Suggestions as to a final solution of the problem, 68, 69.
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