Etude Volume 10, No. 9 (Paperback) - 5 Angebote vergleichen

Von Händler/Antiquariat, BuySomeBooks [52360437], Las Vegas, NV, U.S.A.
This item is printed on demand. Paperback. 38 pages. Dimensions: 9.7in. x 7.4in. x 0.1in.This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1892 edition. Excerpt: . . . piece, but the contrast must not be too great. It is customary to have the best piece near the end, but this rule is often best observed by breaking it. Fourhand pieces or orchestra numbers are good to begin a programme with, or perhaps, if very brilliant, for the ending number. Choruses come under the same rule. Avail yourself of home talent and of timely visitors in your community who may be good singers or players; but do not put amateurs with fine professional talent of the same kind, as, if there is to appear a professional violinist, soprano, contralto, etc. , do not allow amateurs of the same class to appear, for the contrast is likely to be fatal, and this would be poor if not a wrong bit of management. HOW TO SUCCEED. A Request to give a word of greeting through your columns to the Alumni must be heeded. After all, study alone will not suffice to make a musician. Our art, being an emotional one, has in itself both a danger and a promise. The danger is that a giving of free scope to the emotions may lead to a character without balance and stamina, and this is to be corrected by a broad line of studies (languages, history, literature, etc. ) outside of the strict domain of technical work. The promise is, that as the musical student goes through life, every trial, every experience, will transmute itself into advancement in his musical worth. A man who has never experienced sorrow can scarcely give the full significance of sorrow, either in a musical performance or composition, as a painter who has never seen the sea could give but a poor picture of the ocean. It will be the same with every other phase of feeling; technique and personal nature being equal, that musician will be the better who has felt more deeply, to whom destiny has. . . This item ships from La Vergne,TN.

Lieferung aus: Vereinigtes Königreich Großbritannien und Nordirland, Versandkostenfrei.
Von Händler/Antiquariat, The Book Depository US [58762574], London, United Kingdom.
Language: English Brand New Book ***** Print on Demand *****. This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1892 edition. Excerpt: .piece, but the contrast must not be too great. It is customary to have the best piece near the end, but this rule is often best observed by breaking it. Fourhand pieces or orchestra numbers are good to begin a programme with, or perhaps, if very brilliant, for the ending number. Choruses come under the same rule. Avail yourself of home talent and of timely visitors in your community who may be good singers or players; but do not put amateurs with fine professional talent of the same kind, as, if there is to appear a professional violinist, soprano, contralto, etc., do not allow amateurs of the same class to appear, for the contrast is likely to be fatal, and this would be poor if not a wrong bit of management. HOW TO SUCCEED. A Request to give a word of greeting through your columns to the Alumni must be heeded. After all, study alone will not suffice to make a musician. Our art, being an emotional one, has in itself both a danger and a promise. The danger is that a giving of free scope to the emotions may lead to a character without balance and stamina, and this is to be corrected by a broad line of studies (languages, history, literature, etc.) outside of the strict domain of technical work. The promise is, that as the musical student goes through life, every trial, every experience, will transmute itself into advancement in his musical worth. A man who has never experienced sorrow can scarcely give the full significance of sorrow, either in a musical performance or composition, as a painter who has never seen the sea could give but a poor picture of the ocean. It will be the same with every other phase of feeling; technique and personal nature being equal, that musician will be the better who has felt more deeply, to whom destiny has.

Lieferung aus: Vereinigtes Königreich Großbritannien und Nordirland, Versandkostenfrei.
Von Händler/Antiquariat, The Book Depository [54837791], London, United Kingdom.
Language: English Brand New Book ***** Print on Demand *****.This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1892 edition. Excerpt: .piece, but the contrast must not be too great. It is customary to have the best piece near the end, but this rule is often best observed by breaking it. Fourhand pieces or orchestra numbers are good to begin a programme with, or perhaps, if very brilliant, for the ending number. Choruses come under the same rule. Avail yourself of home talent and of timely visitors in your community who may be good singers or players; but do not put amateurs with fine professional talent of the same kind, as, if there is to appear a professional violinist, soprano, contralto, etc., do not allow amateurs of the same class to appear, for the contrast is likely to be fatal, and this would be poor if not a wrong bit of management. HOW TO SUCCEED. A Request to give a word of greeting through your columns to the Alumni must be heeded. After all, study alone will not suffice to make a musician. Our art, being an emotional one, has in itself both a danger and a promise. The danger is that a giving of free scope to the emotions may lead to a character without balance and stamina, and this is to be corrected by a broad line of studies (languages, history, literature, etc.) outside of the strict domain of technical work. The promise is, that as the musical student goes through life, every trial, every experience, will transmute itself into advancement in his musical worth. A man who has never experienced sorrow can scarcely give the full significance of sorrow, either in a musical performance or composition, as a painter who has never seen the sea could give but a poor picture of the ocean. It will be the same with every other phase of feeling; technique and personal nature being equal, that musician will be the better who has felt more deeply, to whom destiny has.

Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 24 hours.
Von Händler/Antiquariat, Amazon.com.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1892 edition. Excerpt: ...piece, but the contrast must not be too great. It is customary to have the best piece near the end, but this rule is often best observed by breaking it. Fourhand pieces or orchestra numbers are good to begin a programme with, or perhaps, if very brilliant, for the ending number. Choruses come under the same rule. Avail yourself of home talent and of timely visitors in your community who may be good singers or players; but do not put amateurs with fine professional talent of the same kind, as, if there is to appear a professional violinist, soprano, contralto, etc., do not allow amateurs of the same class to appear, for the contrast is likely to be fatal, and this would be poor if not a wrong bit of management. HOW TO SUCCEED. A Request to give a word of greeting through your columns to the Alumni must be heeded. After all, study alone will not suffice to make a musician. Our art, being an emotional one, has in itself both a danger and a promise. The danger is that a giving of free scope to the emotions may lead to a character without balance and stamina, and this is to be corrected by a broad line of studies (languages, history, literature, etc.) outside of the strict domain of technical work. The promise is, that as the musical student goes through life, every trial, every experience, will transmute itself into advancement in his musical worth. A man who has never experienced sorrow can scarcely give the full significance of sorrow, either in a musical performance or composition, as a painter who has never seen the sea could give but a poor picture of the ocean. It will be the same with every other phase of feeling; technique and personal nature being equal, that musician will be the better who has felt more deeply, to whom destiny has... Paperback, Label: RareBooksClub.com, RareBooksClub.com, Produktgruppe: Book, Publiziert: 2013-09-13, Studio: RareBooksClub.com.

Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 1-2 business days.
Von Händler/Antiquariat, tabletopart.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1892 edition. Excerpt: ...piece, but the contrast must not be too great. It is customary to have the best piece near the end, but this rule is often best observed by breaking it. Fourhand pieces or orchestra numbers are good to begin a programme with, or perhaps, if very brilliant, for the ending number. Choruses come under the same rule. Avail yourself of home talent and of timely visitors in your community who may be good singers or players; but do not put amateurs with fine professional talent of the same kind, as, if there is to appear a professional violinist, soprano, contralto, etc., do not allow amateurs of the same class to appear, for the contrast is likely to be fatal, and this would be poor if not a wrong bit of management. HOW TO SUCCEED. A Request to give a word of greeting through your columns to the Alumni must be heeded. After all, study alone will not suffice to make a musician. Our art, being an emotional one, has in itself both a danger and a promise. The danger is that a giving of free scope to the emotions may lead to a character without balance and stamina, and this is to be corrected by a broad line of studies (languages, history, literature, etc.) outside of the strict domain of technical work. The promise is, that as the musical student goes through life, every trial, every experience, will transmute itself into advancement in his musical worth. A man who has never experienced sorrow can scarcely give the full significance of sorrow, either in a musical performance or composition, as a painter who has never seen the sea could give but a poor picture of the ocean. It will be the same with every other phase of feeling; technique and personal nature being equal, that musician will be the better who has felt more deeply, to whom destiny has... Paperback, Label: RareBooksClub.com, RareBooksClub.com, Produktgruppe: Book, Publiziert: 2013-09-13, Studio: RareBooksClub.com.