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    Three Classics in the Aesthetic of Music

    Three Classics in the Aesthetic of Music
    Three Classics in the Aesthetic of Music
    SKU: 2211727
    Debussy, Busoni, Ives. All modern composers of the first order. Their most important contributions to culture were musical rather than literary; but when three highly successful practitioners of the musical art commit to writing their views on the nature and value of that art, the result is certain to be rewarding and stimulating.
    You can earn 20 Gems on this product!
    Price: P300.00
    Availability: Currently Out of Stock
    Product Details
    Format: Trade paperback, not easy to find at all

    Condition: vg- condition but shows some minor shelf and age wear (1962 book), some light bumps, previous owner short name on cover (visible in image)

    Size: 5.25"x8.0"

    Pages: 198pp, 1962 edition, Dover Publications

    Others: All defects if any are formulated into pricing

    Debussy - Monsieur Croche the Dilettante Hater

    Consists of 25 articles Debussy wrote for various newspapers and magazines between the years 1901 and 1905. Irreverent, witty, and sparkling, these essays cover a broad range of topics, among them the decline of the sympohny, the compositions of Moussorgski, the complexity of Bach's melodies, the inferiority of the Pastoral to the other Beethoven symphonies, and the excellence of Strauss's tone poems.

    Busoni - Sketch of a New Esthetic of Music

    What are the aims of music? Beginning with a categorical renunciation of any sort of program music, he considers the nature of truly absolute music, the ideals of absolute music and the composers who come closest to achieving them, modern systems of tonality, harmonies based on new tonalities, the concept of unity of keys, and other subjects concerned with the central problem.

    Ives - Essays Before a Sonata

    Serves as a literary complement to the movements of his Piano Sonata, "Concerd, 1845." In the Epilogue, especially, the reader will find what is undoubtedly Ives' most mature analysis of his own art. Here he considers the difficulty of expressing human attributes in music; the choice between "repose and truth," which every artists has to make; the equal importance of beauty and substance in musical compositions; and the possibility of attaining a "transcendental" music.

    These three pieces of criticism offer three basic viewpoints on the modern aesthetic of music. Musicians, music lovers, and philosophers of aesthetics will find much here to stimulate their own thinking.
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