MUSICAL MEMORY - online book

A System To Cultivate The Musical Memory For Musicians
Also With An Investigation Into The Forms Of Memory Employed In Pianoforte Playing, And A Theory As To The Relative Extent Of The Employment Of Such Forms.

By Frederick G. Shinn, Associate Of The Royal College Of Music, Fellow Of The Royal College Of Organists, Published by Charles Vincent London. Circa 1900

About This Book
The publication of a work upon a subject so interesting and so important as Memory, in its connection with Music and Musical Performance, and about which, as far as the author has been able to discover, absolutely no literature exists, seems to call for no apology. But, because it is the first attempt to deal with this subject, because the territory which the author has endeavoured to map out was largely an unexplored one, in the survey of which he has been obliged to make his own high roads, and erect his own sign posts, he therefore wishes to claim the indulgence of his reader, if, in the investigation which he now presumes to offer to those interested in musical education, his foot has slipped, and he has taken, not perhaps one, but many wrong turnings.

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MUSICAL MEMORY, Index Page. Deduct 100 from the numbers show to get the original page numbers from the book.

Title Page Dedication PREFACE PREFACE TABLE OF CONTENTS. TABLE OF CONTENTS. General and Special Memory, The Faculty of Memory and its various divisions, Special Forms of Memory, and to what they are due - 0101 Page - 0102 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 - 0103 Page - 0104 Page - 0105 Page - 0106 Page - 0107 Musical Memory in connection with Practical Execution ... 8 The memorizing of piano music and the different forms of memory which may be employed - 0108 Page - 0109 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 - 0110 Page - 0111 Page - 0112 Page - 0113 Page - 0114 Page - 0115 Page - 0116 Page - 0117 Page - 0118 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 - 0119 Page - 0120 Page - 0121 Page - 0122 Page - 0123 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 - 0124 Page - 0125 Page - 0126 Page - 0127 Page - 0128 Page - 0129 Page - 0130 Page - 0131 Page - 0132 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, - 0133 Page - 0134

Page- 0135 Page - 0136 Page - 0137 A trained memory for sounds, a necessary part of every musician's equipment, 70. Ear-training, 71. The power of reading music, 72, 73. The correct method of studying Harmony, 74. The performance of piano music from memory, 75. Memory playing, a form of mental training, 76. Its injudicious employment - 0138 Page - 0139 Page - 0140 Mental freshness the first condition, 80-82. Retentive power possessed by the Individual, 83. Power of Concentration, 84-87. Repetition of the Impression - 0141 Page - 0142 Page - 0143 State of advancement necessary, 91. The value of early training, 92. Principles which should guide us in the selection of pieces, 93-95 ; as to length, 96—Form and Construction, 97, 98—Detail, 99—Difficulty - 0144 Page - 0145 Page - 0146 Page - 0147 How to study a piece intelligently, 102, 103. Analysis of the first movement of Beethoven's Sonata in F minor, Op. 2, No. 1, 104-107. The Memorizing of Concertos, 108. Rehearsing from Memory, 109. Mental Rehearsal - 0148 Page - 0149 Page - 0150 Page - 0151 Page - 0152 Page - 0153 Page - 0154 Page - 0155 Page - 0156 Page - 0157 Page - 0158 Page - 0159 The Influence of Examinations, m-113. The necessity of including Ear-tests in all Harmony Examinations, 114-117. Memory performance in Examinations - 0160 Page - 0161 Page - 0162 A collection of evidences, bearing witness to the possession of re­markable powers of memory by famous musicians, and giving particulars of exceptional memory performances by Mozait, 120. Mendelssohn, 121-123. Ferdinand Hiller, 124. Hans von Biilow, 125, 126, 129. Sir Charles Halle\ with quotations from contemporaneous criticism, 127,128. Rubenstein, 130. Dr. Hans Richter, 131. Sir Frederick Ouseley, 132,133. Sir Walter Parratt - 0163 Page - 0164 Page - 0165 Page - 0166 Page - 0167 Page - 0168 Page - 0169 Page - 0170 Page - 0171 GENERAL INDEX - 0172 Page - 0173 MUSICAL TEXT BOOKS - 0174