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Full Chapter A Student S Guide To Newton S Laws of Motion Mahajan PDF
Full Chapter A Student S Guide To Newton S Laws of Motion Mahajan PDF
Motion Mahajan
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strange piece, Et la lune descend sur le temple qui fut, is a further
experiment in the kind of music of which La soirée is an example.
Here as there the music is fragmentary. Here as there there is but an
occasional touch of vividness against a background of misty night. In
both pieces pictures, words, almost sounds are only suggested to
the ear, not completely represented.
On the other hand, the Cloches à travers les feuilles, and the
Poissons d’or, respectively the first and last pieces in this second set
of Images, are what we might call consistently motivated throughout,
in the manner of the Reflets dans l’eau. There is always the rustling
of leaves and the faint jangle of bells in the former, always a quiver
of water and a darting, irregular movement in the latter; whereas in
neither La soirée nor in Et la lune is there the persistence of an idea
that is thus predominant and more or less clearly presented.
The last two series of Préludes show us his art yet more finely
polished and concentrated. In general these twenty-four pieces are
shorter and more concise than the Estampes and the Images,
certainly than the representative pieces in them—Pagodes, Les
jardins, and Reflets dans l’eau. Most of them, moreover, are in his
suggestive rather than his explicit manner. He accomplishes his end
with a few strokes, and usually in a short space. The placing of the
titles at the end rather than at the beginning of the pieces is an
interesting point, too; for one cannot believe that such a finished
artist as Debussy shows himself in these pieces to be would have
sent his work before the public without a consciousness of the
significance of such an arrangement. He does not, as it were,
announce to his auditors his purpose, saying, imagine now this
sound which you are about to hear as representing in music a
picture of gardens through a steadily falling rain. He rather draws a
line here upon his canvas and adds a point of color there, all in a
moment, and then, having shown you first this strange beauty of
combinations, says at the end you may now imagine a meaning in
the west wind, a church sunk beneath the surface of the sea, a
tribute to Mr. Pickwick, dead leaves, or what not in the way of
exquisite and incomplete ideas.
Many of these postscripts are significantly vague: Voiles, Les sons et
les parfums tournent dans l’air du soir, Des pas sur la neige (Alkan
called a piece of his Neige et lave), La terrasse des audiences du
clair de lune, etc.
The delicacy and yet the sharpness with which he has reproduced
qualities in outlandish music must be noticed. In earlier music he
gave proof of his insight into the essentials of other systems of music
than the French, or the German which has been considered the
international. The Suite Bergamasque has a local color. There is
Oriental stuff in Pagodes, Spanish and Moorish in La soirée dans
Grenade, Egyptian in Et la lune. Traces of Greek or of ecclesiastical
modes are abundant. Here, in the Préludes all this and more too has
he caught. Greece in Danseuses de Delphes, Italy in Les collines
d’Anacapri, the old church in La cathédrale, Spain in La puerta del
Vino, cake-walks in General Lavine, England in Pickwick, and Egypt
in Canope. There seems a touch of the North, too, in the exquisite
little pieces, La fille aux cheveux de lin. In this way alone Debussy
has rejuvenated music, doing more than others had done.
VI
The pianoforte music of Maurice Ravel is in many ways similar to
that of his great contemporary. His conception of harmony is, like
Debussy’s, expanded. Sevenths and ninths are used as
consonances in his music as well; and consequently one finds there
the free use of the sustaining pedal, the playing with after-sounds
and overtones.
His works are not so numerous. The most representative are the
Miroirs, containing five pieces: Noctuelles, Oiseaux tristes, Une
barque sur l’océan, Alborado del gracioso and La vallée des cloches;
and a recent set, Gaspard de la nuit, containing Ondine, Scarbo, and
Le Gibet, three poems for the piano after Aloysius Bertrand. A set of
Valses nobles et sentimentales are only moderately interesting on
account of the harmonies. The rhythms are not unusually varied, and
the treatment of the pianoforte is relatively simple. There is a well-
known Pavane pour une infante défunte of great charm, and a
concert piece of great brilliance called Jeux d’eau.
I
The origin of string instruments of the violin family is involved in
much obscurity and it would be impossible to discuss here the
various theories concerning it which have been stated with more or
less plausibility by musical historians.[42] A preponderance of
authoritative opinion seems to favor the theory that the direct
ancestor of the violin was the Welsh crwth, a sort of harp, which
seems to have been played with a bow. Venantius Fortunatus (570
A.D.) mentions this instrument in the much quoted lines:
Romanusque lyra plaudit tibi, barbara harpa, Græcus Achillaica,
chrotta Britana canat. (‘The Roman praises thee with the lyre, the
barbarian sings to thee with the harp, the Greek with the cither, the
Briton with the crwth.’) The fact that the old English name for the
fiddle was crowd furnishes an etymological argument in favor of the
crwth. It is, of course, possible that the idea of using a bow with the
small harp was first suggested by some instrument already in
existence. The Arabs and other peoples had instruments roughly
approximating the violin type. One is inclined, however, to the
assumption that the violin was not developed directly from any
particular instrument, but came into being rather through the
evolution of an idea with which various races experimented
independently and simultaneously.
Ignace Paderewski.
II
The sixteenth century brought the violin to a perfection that was still
far in advance of the technique of the players. At the same time there
was a distinct advancement in the recognition of instrumental music,
although vocal music continued to maintain its preeminence. This
was due partly to the limited technique of the instrumentalists and
partly to the greater appeal of music wedded to words. Violin players
then knew nothing about changing of positions and therefore could
play only in the first position.[44] Thus the tone register of the violin
was small. Some players, however, attempted to reach higher tones
on the first string through the stretching of the fourth finger. Simple
melodic phrases or figures were lacking in even quality of tone, in
smoothness and in fluency. The art of legato playing was unknown