Word: tone
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Dates: during 1930-1939
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...mustachioed German physicist, Hermann Ludwig Ferdinand von Helmholtz, published an enormous volume on the physics and psychology of musical sound. Its enormous title: Lehre von den Tonempfindungen als Physiologische Grundlage für die Theorie der Musik. Terser English translators called it Sensations of Tone. Composers and prima donnas paid little attention to Physicist von Helmholtz' monumental brainwork, but the science of acoustics was groggy from it for half a century...
...named Pablo Casals. The aging Casals has not played in the U. S. for nearly a decade. Three years ago, when Austrian-born Cellist Emanuel Feuermann made his Manhattan debut, he set the cello fans' heads to wagging. Short, roundheaded Feuermann not only drew a powerful, well-modulated tone from his recalcitrant instrument, he could play it with a rippling facility that put most violinists to shame. Last week Cellist Feuermann finished the most ambitious cellistic venture ever witnessed in Manhattan concert halls. In a cycle of four concerts with the National Orchestral Association he had played 13 large...
...audience. (Pipes in modern organs are, as a rule, enclosed behind shutters; those visible to the audience are often dummy pipes good only to look at.) The Bach facsimile requires from one-third t01/20th the wind pressure demanded by a modern organ, and has a correspondingly limpid quality of tone. Unlike the modern organ it cannot increase or diminish the volume of tone. The "swell" mechanism of the modern organ was invented in England in 1712, was not used in continental Europe until long after Bach's death. Bach was such a master of musical architecture that he could...
...plate known as "The Cannon," shown in a fine impression. Remarkable in every way, it stands as the first pure landscape print, as an achievement in panoramic composition, as his last etching. It is all in line, individual strokes that build up the texture of the earth, even the tone...
...composers have ever approached Germany's great, white-haired Richard Strauss in making music onomatopoetic. In his tone poem Don Quixote, muted wind instruments reproduce with waxwork fidelity the distant bleating of a flock of sheep. In his opera Salome, while the heroine gloats, each chop of the knife that severs the head of John the Baptist clunks with horrifying realism from the orchestra pit.. Composer Strauss once boasted that he could put anything into musical terms, even a glass of water...