f l/j
THE TEACHING OF MUSIC APPRECIATION
and the
USE OF WPA RADIO TRANSCRIPTIONS
W. P. A. Jjechnical Series
_Pllblic Activities Circular No. 14
Music Program Circular No. 3
February 21, 1941
_£EDERAL WORKS AGENCY
WORK PROJECTS ADMINISTRATION
Division of Community Service Programs
Washington, D. C.
A2125
£2125
Music Appreciation
Foreword
FOREWORD
This circular is issued by the Music
Section of'the Public Activities Subdivision fcr
the guidance of Music Program teachers. Its pur-
pose is to suggest materials and methods for the
prosecution of instmction in music appreciation.
Musical illustrations have been drawn from the
literature available in standard commercial recordings.
In addition, a number of the WFA radio
transcriptions have been graded and cataloged in
such a manner that they may be employed effectively
in the ausic-aprr£ci?.tion classroom.
Nothing in this circular is to be con¬
strued as affecting in any way the procedures of the
Work Projects Administration.
Howard 0. Ilunter
Acting Commissioner of Work Projects
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Music Appreciation
Table of Contents
Page 1
TABLE OF CONTENTS
Section 1, General
Section 2. Physical Facilities and Equipment
Section 3, Classification of Elements of Musical Composition with Illustrative
Materials
A. Rhythm
B. Melody
C. Timbre
D. Harmony
E. Form
Section 4, Classification of Musical Types and Styles with Illustrative
Materials
A. Amusement
B. Program Music
C. Impressionistic
D. Romantic
E. Classical
F. Polyphonic
Section 5. Class Planning and Teaching Methods
A. Psychological Basis for Glass Planning
B. Scope of Activities to.be Included in Appreciation Classes
C. Sample Class Plans for Different Age Croups
D. Correlation of Music with Other Subjects
E. Summary of Teaching Processes
Ap-pendix
PART I. BIBLIOGRAPHY
Section 1. Books on Music Appreciation
Section 2, Books on Music History and Biography
PART II. MUSICAL ILLUSTRATIONS
Section 3. Orchestral Music
Section 4. WPA Orchestra Transcriptions
Section 5. WPA Band Transcriptions
Section 6. Art Songs
Section 7. WPA Transcriptions — Songs
Section 8. Folk Song3
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Music Appreciation
Table of Contents
Page 2
Section 9« WPA Transcriptions — Polk Songs
Section 10. WFA Transcriptions — Negro Spirituals
Section 11. Chamber Music
A, Sonatas
B. Trios
C. Quartets
D, Quintets
Section 12. WFA Transcriptions — Chamber Music
Section 13, WFA Transcriptions •— Madrigal Singers
Section 14 Piano Music
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Music Appreciation
Sec. 1 Page 1
Section 1. General. The purpose of music appreciation teaching is
to assist the listener to derive more pleasure from his musical
experiences. Activities which further this purpose may also result
in the attainment of many lesser objectives, such as (l) the stimu¬
lation of a desire to participate in concert attendance, music study,
and performance; (2) an increased recognition of the value of all
sincere creative expression; and (3) the social value of sharing with
others stimulating and worth-while experiences.
The pathway to an increasing enjoyment of music is through the
listener's own growing ability to discriminate. The teacher should
assist this development in the following ways:
1» By preparing the class to listen to music with a minimum
of confusion or misunderstanding and with a sympathetic,
attentive attitude. Psychologists tell us that there are
three stages of listening attention:
(a) Passive listening when the mind is free from control.
(b) Active listening when the listener consciously keeps
his attention focused upon some aspect or detail of
the music (directed listening),
(c) Secondary passive listening occurs as a result of active
listening, until such receptivity is attained that the
mind is controlled practically without effort, and atten¬
tion is automatic.
It is the teacher's task to direct the listening of the
class with the object of assisting them to reach the third
stage of listening attention. The pupil's attention may
be directed toward rhythms, melodic lines, qualities of
tone, harmonies, aspects of form, details of performance,
or the message of the music. Attention should be directed
toward only one thing at a time until there is sufficient
receptivity to enable the student to notice more.
2, By providing an opportunity for music to be heard under
conditions favorable to attention.
3, By encouraging the student to use his growing background
of experience as an aid to further progress.
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Music Appreciation
Sec. 2 Page 1
Section 2. Physical Facilities and Equipment. For efficient
operation and. the creation of an atmosphere conducive to receptivity,
the classroom should "be properly equipped for the purpose to which
it is devoted. The room should be comfortable, well-lighted, and
well-ventilated, and should have the following equipment:
1. Suitable chairs, desks, tables, etc.
2. A blackboard.
3. A piano,
4. A library of books for reference and study, musical scores,
and a well-classified library of recordings. Suitable
reference books are listed in the bibliography in the
back of this circular.
The lists of standard recordings and WPA radio transcrip¬
tions in the bibliography of this circular may suggest a
suitable selection and a method of classification of
musical illustrations.
5. A good machine for playing records.
Standard commercial recordings come in 10- and 12~»inch
discs and require a turntable which revolves at about
78 revolutions per minute.
WPA transcriptions require a machine that will play 16-
or 17-inch records at 33-1/3 revolutions per minute.
Machines which will play both standard recordings and
WPA transcriptions are available at a moderate price.
WPA transcriptions are listed by program number and
series. The starting point for each composition is
indicated in inches and sixteenths of an inch. Thus
#12/39—7.6 means program number 12 in the 1939 series
starting at a point seven and six sixteenths of an inch
from the axis of the turntable. A standard rule fixed
with a loop which will fit over the turntable axis will
permit the quick finding of the starting point. This
device is also useful to locate any desired point on any
type of recording for replaying.
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Music Appreciation
Sec. 3 Page 1
Section 3. Classification of Elements of Musical Composition
With Illustrative Materials. Sihce the road to true appreciation
lies through an increasing ability to recognize and appraise details,
the teacher should be prepared to explain and encourage the recognition
of the elements of musical composition and the broad aspects of style
and aesthetic principals.
The elements of musical composition to be studied follow in the
order of progressive difficulty of understanding:
A, Rhythm The feeling for rhythm in its broad aspects, i.e.,
groupings of accented and unaccented beats and tempo, is fundamental.
The response to rhythm is universal and does not necessarily require
the ability to hear or discriminate with regard to other elements of music.
Finer aspects of rhythm, such as the comparative relationships
of notes, changing accents, simultaneous different rhythms, etc.,
require more experience to appreciate.
For explanations of the rhythmic element, the teacher is referred
to the following books:
1, The Art of .Enjoying Music - Sigmund Spaeth - published
by McGraw-Hill, N.Y., chapters II, III, and IV.
2, Listening to Music - Moore - published by Norton, N.Y.
chapter IV.
3, Discovering Music - McKinney and Anderson - published
by American Book Co., N.Y,, chapter IV.
A number of easy rhythmic illustrations are given by the following
compositions:
1, America
2, Humoresque Dvorak
3, Minuet in G, Beethoven
4, March from Tannhauser Wagner
5, Bolero Ravel
6, Juba Dance Dett
7« Tango Albeniz
8, Largo Handel
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Sec. 3 Page 2
WPA Transcriptions
1. Stars and Stripes Forever
2. "Peer Gynt" Morning
3. Hungarian Dance, G Minor
4. March from Tannhauser
5. Seherzo, Midsummer Night's
Dream
6. Fraeludium
7. Piedmontese Dance
8. Dance of the Sailors
Sous a
Grieg
Brahms
Wagntfr
Mendelssohn
Jarnefelt
Sinigaglia
Gliere
#12/37—4.6
#21/37**7.6
#49/37—6.6
#65/37—5.5
#87/37—7.8
#20/38—7.5
# 5/39—3.9
#10/39—7.8
Meledy Next to rhythm, melody is the simplest of musical
materials for the normal person to understand. Some references are
as follows:
1. The Scope of Music - Buck - Oxford, N„ Y0. chapter VIII.
2. Discovering Music - McKinney and Anderson - American Book
Go., h, Y0, chapter V.
Some easy musical illustrations are as follows:
1,
Air for the G String
J. S. Bach
2.
Londonderry Air
Traditional
3.
Largo
Handel
4,
Walther's Prize Song
Wagner
5,
2d movement, Symphony in
. D minor
Franck
6.
2d movement, "Death and the
Maiden" Quartet
Schubert
WPA
Transcriptions
1.
Prelude to La Deluge
Saint-Saens
#17/39—3.10
2,
3d movement, Scheherazade
Suite
Rimski-Korsakov
#80/38—7.6
3,
The Last Spring
Grieg
#36/38—4.12
4.
Andante Cantabile
Tschaikovsky
#35/38—4.15
5.
2d movement, Symphony No, 2
Brahms
# 6/36—7.6
C. Timhre The ability to distinguish quality of tone follows
closely the ability to follow melodies.
References:
1. The Art of En.ioying Music - Spaeth - McGraw-Hill, N. Y.#
chapters X and XI.
2. Discovering Music - McKinney and Anderson - American Book
Co., N, Y., chapter XXXI.
The Orchestral Instruments and What They Do - Mason - Grav
Co., N, Y. "
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Music Appreciation
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Easy Musical Illustrations:
1. Largo, New World Symphony
2. Scheherazade Suite
3. Nutcracker Suite
4. Solo pieces
5. Songs
Dvorak
Rimski - Korsakov
Tchaikovsky
WPA Transcriptions:
1. Frelude to Lohengrin
2. Andante from Symphony No, 5
3. L'apres Midi d' un Faune
4. Dance of the Flutes,
Nutcracker Suite
5. Chinese dance,
Nutcracker Suite
Wagner
Tchaikovsky
Debussy
Tchaikovsky
Tchaikovsky
#27/36—7.7
#78/36—7.7
#20/38—7.5
#60/38—5.4
#48/39—6.4
D. Harmony The ability to hear easily and accurately several
voices, parts, or instruments performing simultaneously usually requires
considerable cultivation. Part-singing and ensemble music are a val¬
uable aid in cultivating this ability.
Easy Musical Illustrations:
1. Largo Handel
2. Tannhauser Overture Wagner
3. Prelude to Lohengrin Wagner
4. Waltzes Chopin
5. Chorales Bach
WPA Transcriptions:
1.
The Last Spring
Grieg
#36/36—4.12
2.
Overture to Die
Meistersinger
Wagner
#76/36—7.7
3.
Prelude to Lohengrin
Wagner
#27/36—7.7
4.
Slavonic Dance, E Minor
Dvorak
#59/39—3.7
E.
Form The simplest approach
to musical form
is through the
study of melodic construction. However, many works can only be truly
appreciated through a knowledge of the underlying structure.
Reference:
1. The Scone of Music - Buck - Oxford, N.Y., chapter IX.
2. Discovering Music - McKinney and Anderson - American Book
Co., N. Y., chapter X
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Music Appreciation
Sec. 3 Page 4
Easy Musical Illustrations:
1, Preludes Chopin
2, To a Wild Rose McDowell
3, To a Water Lily McDowell
4, Mazurkas, Op, 67-1-2-3-4 Chopin
5, Sonata C minor, Violin and
Piano Grieg
WPA Transcriptions:
1. Humoresque
2. Russian Eolk Songs
3. March Militaire
4. Moment Musicale
5. Symphony in E Minor
Dvorak
Liadow
Schubert
Schubert
Haydn
#62—6.9
#70/36—4.11
4.6
3.14
#72/36—7.6
#85/36—3.15
#33/38—7.6
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Music Appreciation
Sec. 4 Fage 1
Section 4. Classification of Musical Types and Styles with
Illustrative Materials. Individuals are capable of being affected to
a greater or lesser degree by musical materials just as they can be
affected by words. One may be greatly moved by a fragment of melody,
the sonority of a great orchestra or chorus or the sound of a chord,
or be stirred by a martial rhythm. In other words musical materials,
like words, have the power to affect one through the physical senses.
This enjoyment, however, does not increase with repetition. It is not
lasting by itself. To derive an increasing degree of pleasure from music
or words, one must get in back of the materials. That is, the materials
are not an end in themselves, but rather a means to that end. Just as
the most lasting pleasure in words results from their employment to
convey ideas or emotions, so a lasting appreciation of music comes
not from sounds but rather from their use to convey a musical message.
The composer using musical materials and the author' using words
have, then, a common purpose, a design or plan in accordance with
which materials are selected and arranged. (To compose means to
arrange, to put in order.)
Unfamiliar methods of expression or ideas unrelated to anything
within the realm of experience are confusing, whether the medium of
expression is words or music.
There are two general classifications of musical expression.
In the first, the expression is purely musical. It is evident
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Music Appreciation
Sec. 4 Page 2
that to "get behind" this kind of music the listener must have some
familiarity both with materials and their usages and organizations.
The second type of music is related to something outside of music,
such as a story, a series of pictures, or an emotional experience
emanating from life or another art. Since this second kind of
music can be more readily related to something within the comprehension
of the inexperienced listener, it makes the most successful starting
point for the musical pilgrim. While comparatively few pieces of
music can be "labeled" successfully, there are a number of fundamen¬
tal plans and objectives for composition which singly or in combination
influence the composer, just as there are three primary colors which
may be combined to form an infinity of colors and shades.
The principal aesthetic types and styles of music are listed
below in the order of their ease of comprehension for the listener.
A. Amusement Under this heading comes most popular music and
most dance music, While the composer's chief objective may not be
serious, much excellent music has been written with only the intention
that it should be useful or pleasing.
B, Program Music For convenience we here include all music
which has as an integral reason for its selection of material or
structure, a program, either stated or siiggested. Most songs must
be included in this category since the music is usually written to
fit the words and moods of the text rather than the reverse. Opera
and instrumental music based upon a plot or story is also considered
to be program music. Such music must inevitably be appraised with
consideration to the program. This music affords a good starting
point for study, since the program being comprehensible aside from the
music affords an approach to an understanding of the music itself.
Easy musical illustrations:
1.
On the Steppes of Central Asia
Borodin
2.
First Peer Gynt Suite
Grieg
3.
The School of the Faune
Pi erne
4.
L'apprenti Sorcier
Dukas
5.
Pacific 231
Honegger
6.
Valse Triste
Sibelius
7.
Danse Macabre
Saint-Saens
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Music Appreciation
Sec. 4 Page 3
8.
Most art songs, operatic arias, etc.
i
WPA Transcriptions:
1. Danse Macabre
2. On the Steppes of Central
Asia
3. Chinese Dance
4. Valse Triste
5. "Peer Gynt" Morning,
Anitra's Dance
6. Ride of the Valkyries
7. Flight of the Bumblebee
#53/36—3.14
#10/39—3.8
#48/39—6.4
#66/36—6.12
7.6
6.4
#80/36—4.13
Rimski - Korsakov #84/36—5.14
Saint-Saens
Borodin
Tchaikovsky
Sibelius
Grieg
Grieg
Wagner
C. Impressionistic The impressionist aims at the suggestion
of moods, rather than the conveyance of emotions or ideas. Musical
materials are employed for their ability to suggest, and not in accord¬
ance with formal patterns or to tell a story. While the enjoyment
of this music calls for a sensitiveness on the part of the listener,
formal standards employed to evaluate other types of music are more
likely to hinder than to aid. Titles, versess or other materials
attached to such music are usually intended as a guide to the general
mood instead of forming the basis of composition. In other words, im¬
pressionistic music is not descriptive of scenes or events but sugges¬
tive of mood.
Musical illustrations;
1. A Deserted Farm MacDowell
2. The White Feacock Griffes
3. Nocturnes Debussy
4. L'apres Midi d'un Faune Debussy
WFA Transcriptions:
1. L'apres Midi d'un Faune Debussy
2, The Enchanted Lake Liadow
3. In Wartime MacDowell
4, Eu Bateau Debussy
#20/38—7.5
#37/36—7.6
#67/36—4.13
#80/36—6.2
D, Romantic In this type of music the materials are selected
for their power to convey ideas or -emotions. The form is determined
by the emotional content instead of by a program or by abstract concep¬
tions of beauty or perfection.
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Sec. 4 Page 4
Musical illustrationst
1.
Les Freludes
Liszt
2.
Siegfried Idyll
Wagner
3.
"Aus Meinen Leben"
Smetana
4.
Rhapsody in Blue
Gershwin
5.
Symphony No. 6
Tchaikovsky
6.
Symphony No. 3
Beethoven
WPA
Transcriptions:
1.
Finlandia
Sibelius
#6/36—5.9
2.
Overture to Oberon
Weber
#86/36—7.8
3.
Prelude to Act II of
Wagner
#64/38—5.12
"Lohengrin"
4.
3rd movement, Symphony
Brahms
#52.39—5.13
No, 2
5.
Egmont Overture
Beethoven
#61/39—3.9
a.
Classical It is a common
error to refer to
all serious
music as
classical. The term really applies to music,
the content
and form of which is determined "by conceptions of pure "beauty - "beauty
of materials and beauty of line and balance - the emotional, narra¬
tive, or suggestive powers are of secondary or minor importance, While
much classical music is comparatively simple as far as materials or
their use is concerned, its true enjoyment is an acquired taste for
the majority of listeners and requires well-formed standards and
a thoroughly discriminating taste.
Musical illustrations:
1, Surprise Symphony
2, Emperor Quartet
3, Symphonies in C and G Minor
4, Piano Sonatas
WPA Transcriptions:
1, Sarabande
2. Symphony in F Minor
3, Finale from "Concerto
Grosso"
4. Andante
Haydn
Haydn
Mozart
Haydn or Mozart
Corelli
Haydn
Vivaldi
#24/36-1—4.0
#33/36—7,6
#47/39—3.5
Haydn
#27/40—6.10
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Music Appreciation
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P. Polyphonic The interweaving of independent voice parts
is difficult for anyone "but a very experienced listener to follow.
The formality of the structures of polyphonic composition and the
ingeniousness of the devices, such as imitation, inversion,
augmentation, and diminution, which form the has is of polyphonic com¬
position make it difficult for many to understand,
A listener may he thrilled hy the power and beauty of the
choral effects in a Bach cantata without in the least following or
understanding the interweaving of melodic patterns. He may he
affected hy the melodic beauty, the beauty of the tonal effects,
the harmonies, or the rhythms without the least knowledge of con¬
trapuntal style or structure.
It is not intended that this enjoyment should he discoura.ged.
Any enjoyment music may yield the listener is worth while. It does
not matter whether the music he classical, romantic, or polyphonic.
It does matter that explanations and directions for listening
he helpful rather than a hindrance. The teacher who attempts to
focus the attention of the student upon devices of polyphony which
the student cannot follow will confuse him and detract from his
pleasure rather than adding to it. For the inexperienced listener
it is better to direct his attention to something within his ability
to understand or follow, instead of what may he to him meaningless
complexities.
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Section 5. Class Planning and Teaching Methods.
A. Psychological Basis for Class Planning The following general
considerations should be kept in mind in planning classes for children:
1. Young children (up to 8 years of age) cannot concentrate for
more than a brief period. They have no conception of abstract
ideas. There is almost no interest in activities except for
the sake of the activity itself. They dislike drill for future
benefits. The imagination is strong and the love for physical
activity predominant.
Music for young children should make, an appeal to the desire
for physical expression. Music with strong rhythms and music
related to the student's experience with concrete objects,
scenes, and actions is suitable for young children. It is not
advisable to put too much strain upon the interest by playing
lengthy works.
2. Children of intermediate age (9 to 11) are interested in
developing skill and facility. The urge to display individual
accomplishment is strong. Interests are technical and concrete
rather than ideal or abstract. This is the best period in which
to lay the foundations of sound mental processes and technical
facility.
Music for children of intermediate age should make an appeal to
the imagination. They love stories about heroes and are inter¬
ested in prowess. There is very little interest in abstract
ideas and ideals. There is a strong tendency toward rivalry
and a desire to show personal accomplishment. Drills in
memory and musical skills are successful at this age.
3. Adolescent children are interested in the emotional and
idealistic aspects of music. Appeals should be directed toward
aesthetic aspects of art. This is the period in which to develop
the child's sense of the beautiful and worth-while.
Some teachers may prefer to focus the attention of the class upon one
aspect of music at a time. For such, the order or presentation suggested
above in the classification of music materials and types may be a helpful
guide. Others may prefer to present work in a broader and less concentrated
way. Whatever the plan of presentation, it is helpful to frame questions in
such a way that the student is encouraged to reply successfully from his own
previous experience. Unfamiliar details may then be related to things al¬
ready in the student's experience. For instance, a melody familiar to the
pupil as a song can be recognized as an instrumental piece and the student
encouraged to recognize the difference between the sound of the voice and
the tone of a particular instrument. In this way the teacher may employ
the old educational maxim "Proceed from the known to the related unknown."
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Music Appreciation
Section 5 Page 2
B. Scope of Activities to Be Included in Appreciation Classes
1. Listening—both free and directed.
2. Activities designed to stimulate interest and focus
attention (preparatory).
(a) Reading, talks, or papers by teacher or members
of class on history, biography, aesthetics, style,
and criticism.
(b) Ear training, score reading, analysis, explanations,
and drill on terms and materials, participation in
performance when practical.
3. Activities designed to assist in clarifying reactions and
responses (follow-up).
(a) Discussion—directed and organized.
(b) Criticism—members of the class should be encouraged
to give verbal criticisms upon definite aspects of the
music listened to. Written essays or criticisms are
of assistance especially with school children. Students
may be asked to write "program notes."
C. Sample Class Plans for Different Age Groups
1. Young ohildren.
(a) Playing of Brahms Waltz, op. 39 no. 15.
Violin and piano (strong melody, well-marked rhythm).
(b) Identification of music as a waltz by Brahms, a great
composer.
(c) Replaying to find:
(1) Violin playing melody.
(2) Rhythm which can be marked by swinging or "conducting."
They should learn that this is a waltz rhythm.
(3) Piano accompaniment should be discovered and identified.
(4) Graceful rhythm, beautiful melody, lovely violin tone
quality should be recognized.
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Music Appreciation
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Notes on teaching methods:
"Children, have you heard this piece before?"
"No."
"This is called a waltz and was written by the great
composer, Brahms. I am going to play it again and you
may tell me what instrument is playing the tune."
(Play until class can identify violin as playing the
melody.)
"I will play the piece once more and I want you to
listen to the melody, so that you can sing it."
(Play again and ask children to sing tune to neutral
syllable.)
Educe from class recognition of a well-marked rhythm
to which they can respond by suitable physical ex¬
pression such as swinging or moving the arm.
Have class discover and name piano accomoaniment.
2. Adolescent class "Waltz Triste" by Sibelius, played by symphony
orchestra.
Before playing the music the following information may be
presented to the class.
Jan Sibelius is one of the greatest of living composers.
Eor many years the government of Finland, his native land,
has given Sibelius a sufficient income so that he may de¬
vote his whole time to composition. Waltz Triste ("Triste"
meaning "sad") was composed as incidental music to a drama
written by the composer's br®th«r-»in-law.
The story of the music is that of_a young man watching at the
bedside of his dying mother. The boy is weary and drowses
at his vigil; a strange, unearthly light pervades the rooms
and there comes the faint sound of a slow waltz sadly flowing
from stringed instruments. The dying woman arouses from her
coma and begins to dance in her long white robe. The dance
quickens and the dying woman dances more rapidly. She nods
and beckons to invisible partners, the dance growing more
and more excited until she falls back upon the bed exhausted.
She arises again to dance still more wildly until there comes
a knock as of a bony fist at the door. The door opens and she
looks upon the face of Death.
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Music Appreciation
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After playing the entire work it is suggested that the
various sections be replayed in order to gain a better
understanding of the tonal qualities, such as muted
strings, solo flute, clarinet; also the form, melody,
and harmony.
Discuss the music in connection with the program. Does
the program add to the effect of the music? is the
music intelligible without a program?
3- Irregular or Mixed-age Groups When classes are composed of
heterogenous groups, when they meet irregularly, or when limited
musical illustrations are available, it may be desirable to con¬
duct appreciation work in somewhat the manner employed by radio
commentators or the authors of program notes. In such instances,
the musical program is chosen first and the teacher must do his
best to offer such listening guides and suggestions as may be
generally helpful. He must direct most of his efforts toward
arousing interest and a sympathetic attitude toward the music
to be heard.
D. Correlation of music With Other Subjects Music is not a subject
set apart by itself. Since composers have drawn inspiration from experi¬
ences outside of music, it may be advantageous to the listener to draw
upon his knowledge of other subjects and experiences as an aid to musical
understanding. Some of the subjects that may be used in connection with
music are:
1. Drawing or Painting Many pieces of music are pictorial in mood
or title. When such subjects are illustrated by a picture, the
appeal to the eye as well as to the ear increases the interest
of the child in both music and picture.
Many subjects for pictures have musical interest. Animals,
toys, games, and nature subjects are suitable for both drawing
and music. These subjects may be used to stimulate interest
in both arts.
Musical illustrations:
(a)
March of the Dittle Lead Soldiers
Pierne
(b)
Spinning Song
Mendelssohn
(c)
To a Wild Rose
MacDowell
(d)
To a Water Lily
MacDowell
(e)
Pacific 231
Honegger
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Music Appreciation
Sec. 5 Page 5
(f) School of the Faune Pierne
(g) Nocturnes Debussy
(h) La Mer Debussy
2. Geography In this connection it is natural to stress folk music.
Music with racial or nationalistic trends may be much enhanced
by relating it to the physical environment, industries, and mode
of life of the people. Music reflects the characteristics of
a people perhaps more clearly than their literature or history.
Musical illustrations!
(a) Bolero
Ravel
(b) Finlandia
Sibelius
(c) March Slav
Tchaikovsky
( d) March from Aida
Verdi
(e) Hungarian Dances
Brahms
(f) Slavonic Dances
Dvorak
(g) National dances and folk songs
3. Biography and History Much interest can be aroused for music
by providing a picture of the period in which the composer lived
or which his music depicts. A few facts about the composer's
life—information which shows him as a human being with hopes,
feelings, problems, and aspirations—will do much to arouse
interest in his music.
4. Literature and English So much music has literary subjects, ■**
legends and mythology for its basis that it seems superfluous
to dwell on the opportunity for correlating it with literature.
Some opportunities that are frequently overlooked, however, may
be pointed out. Students may be asked to find or to write word
pictures suggested by music or to write verses to fit music or
music for poetry.
E. Summary of Teaching Processes Every good piece of music may be
profitably studied from many points of view. Rhythms, melodies, harmonies,
tone qualities, form, -tyle, influences, and motivations as well as details
of performance may all be worthy of conscious attention both to build back¬
ground and to add to the immediate enjoyment of the listener.
The teacher's task is to aid the listener to develop his receptivity.
To do this, the teacher must plan suitable activities and must select and
present explanations that are within the student's ability to understand.
The teacher must assist the listeners to direct their attention to such
details and aspects of the music as they can be expected to follow with
interest and understanding.
A2125
Music Appreciation
APPENDIX - Reference Materials Appendix
Sec. 1
PART X. BIBLIOGRAPHY
Section 1. Books on Music Appreciation;
1. Music Appreciation for Children. R.C.A. Mfg. Co.,
Camden, N. J.
2- Music Appreciation Readers. Hazel Kinscella,
University Pub. Co., N. Y.
3. Music Appreciation for Every Child, Glenn & Dowry,
Silver, Burdett & Co., N. Y.
4. Music Appreciation in the Schoolroom, Ginn & Co.,
Boston.
5* Teaching Music from an Ap-preciative Basis, Louis Mohler,
C. C. Birchard, Boston.
6. Discovering Music, McKinney & Anderson, American Book
Co., N. Y.
7. The Evolution of the Art of Music. Parry, Aupleton
Century Pub. Co.
8. The Layman's Music Book, Olga Samaroff Stokowski,
W. W. Norton & Co., N. Y.
9- Listening to Music, Moore, W. W. Norton & Co., N. Y.
10. Music. An Art and a Language, Spaulding, A. P. Schmidt
& Co., Boston.
11. What to Listen for in Music, Aaron Copland, McGraw,
Hill Book Co.
12. The Scope of Music. Buck, Oxford University Press,
N. Y.
13. Victor Book of the Symphony, O'Connel, Simon & Schuster
Inc., N. Y.
14. Victor Book of the Opera. O'Connell, R.C.A. Mfg. Co.,
Camden, K. J.
15. Stories of Symphonic Music. Gilman, Harper & Bros.,
N. Y.
16. Boston Symphony Program Notes. Philip Hale, Doubleday,
Doran & Co., N. Y.
17. Instruments of the Orchestra. Smith, R.C.A. Mfg. Co.,
Camden, N. J.
18« Alice in Orchestralia. La Prade, Doubleday, Doran & Co.,
N. Y.
A2125
Music Appreciation
Appendix
Sec. 2
Section 2. Books on Music History and Biography;
1. A History of Music,. Finney
2. History of Music. Waldo Seldon Pratt
3. Histox-y of Music. Standord, Forsyth
4. History of Music, Gray, Knopf, N. Y.
5. Outlines of Music History, Hamilton
6. Grove;- .Dictionary of Music and Musicians
7. Music Through the A-::os, Bauer and Peyser
Beethoven and His Forerunners. Mason, MacMillan, N. Y.
9. The Romantic Composers, Mason, MacMillan, N. Y.
10. From Grieg to Brahms, Mason, MacMillan, N. Y.
11. Studies in Modern Music, Hadow, MacMillan, N. Y.
12. Beethoven, the Man Who Freed Music, Schauffler,
Double day, Do ran &■ Co., N. Y.
13. Wagner as Man and Artist, Newman, Garden City Puh., Co,
N. Y.
14. Masters of Russian Music, Calvocoressi & Gerald,
A. A. Knopf, N. Y.
15. Master Series of Great Musicians, Earhart, Birge,
C. C. Birchard Co., Boston,
A2125
Music Appreciation
Appendix
Sec, 3 Page X
PART II. MUSICAL ILLUSTRATIONS
Explanation of symbols; 1 is music easy to listen to, requiring
little background; 2 is music requiring some ability on the part of
the listener; 3 is music requiring a considerable background and ex¬
perience in listening. P indicates programmatic music; I, impressionistic;
R, romantic; C, classical; A, incidental music, dance music, and the like.
Courses of appreciation records for use in the schoolroom may be
obtained from the various recording companies and publishers of school
texts.
Section 3. Orchestral Music
Albeniz
Tango R-l
Beethoven
Symphony No. 3 (Eroica), R-3
Symphony No. 5, R-3
Symphony No. 6, R-P-3
Symphony No. 7, R~3
Symphony No. 8, R-3
Overture to Beonore No. 3, R-3
Overture to Egmont, R-3
Turkish March, 1
Berlioz
Rakoczy March, 2
Overture Oarnaval Romain, R-2
Bizet
L'Arlesienne Suites Nos. 1 and 2, R-l
Boccherini
Minuet, 1
Borodin
Polovetsian Dances (Prince Igor), P-R-2
Brahms
Symphonies 1-2-3-4, R-C-3
Academic Festival Overture, R-3
Hungarian Dances, R-l
Chabrier
Espana, R-l
Debussy
Iberia Images, 1-3
Nuages, 1-2
Fetes, 1-2
L'apres midi d'un Faune, 1-2
Music Appreciation
Aooendix
Sec. 3 Page 2
Delibes
Ballet Music "Coppelia," A-l
Ballet Music "Naila," A-l
Ballet Music "Sylvia," A-l
Dukas
L'Apprenti Sorcier, P-?2
Dvorak
Carnival Overture, R-3
Symphony "Prom the New World,'" R-3
Slavonic Dances, 1
de Palla
L1Amour Sorcier, P-2
Pranck
Symphony in D minor, R-3
German
Dances from "Henry VIII," A-l
Dances from "Nell Gwynn," A-l
Gliere
Sailor's Dance from "The Red Poppy," P-l
Glinka
Overture to "Russian and Ludmilla," P-2
Gounod
Puneral March of a, Marionette, 1
Griffes
The Pleasure Dome of Itubla Khan, 1-3
The White Peacock, 1-1
Haydn
Symphony No. 94, G major (Surprise), C-2
Symphony G Major (Oxford), C~3
Symphony No. 4, D Major (Clock), C-3
Honegger
Pacific 231, 1-1
Ionolit ov-1vanov
Caucasian Sketches, P-R-l
Liadow
Eight Russian Folk Songs, 1
Liszt
Symphonic poem "Les Preludes," R-3
A2i25 Music Appreciation
Appendix
Sec. 3 Page 3
MendelaBohn
Midsummer Night's Dream music:
Overture, R-2
Scherzo, R-l
Nocturne, R-2
Overture "Fingal's Cave," R-3
Meyerbeer
Coronation March "La Prophete," 1
Moussorgsky
Pictures at an Exhibition, 1-2
Mozart
Overture to the "Magic Flute," 3
Symphony G Minor, C-2
Symphony C Major "Jupiter," C-3
Pierne
March of the Little Lead Soldier, A-l
School of the Faune, P-l
Ponchielli
Dance of the Hours, 1
Ravel
Pavane, 1-2
Bolero, P-2
Mother Goose, 1-2
Rhapsodie Espagnole, 1-3
Resptghi
The Pines of Rome, R-I-3
The Fountains of Rome, R-I-3
Rimski-Korsakov
Flight of the Bumble Bee, 1
Dance of the Clowns, 1
Song of India, 1
Scheherazade Suite, P-R-2
Capricio Espagnole, 2
Rossini
Overture to "William Tell," R-P-l
Saint-Saens
The Carnival of the Animals, I-R-l
Danse Macabre, P-2
Schubert
Symphony No. 8, B minor, "Unfinished," R-2
Ballet Music from "Rosamunde," R-l
A2125
Music Appreciation
Appendix
Sec. 3 Page 4
Schumann
Symphonies 1-2-3-4, R-3
Sibelius
Waltz Triflte, P-rl
Finlandia, R-2
Symphonies 1-2-4-5, 3
Scriabin
Symphony No. 3, R-3
Pcem of Ecstasy, R-3
Prometheus, R-3
Smetana
Overture to the "Bartered Bride," R-3
The Moldau, P-2
Strauss. Johann
Die Fledermaus Overture, 2
Blue Danube Waltzes, A-l
Tales From the Vienna Woods, A-l
Strauss, Richard
Salome's Dance, P-2
Til Eulenspiegel's Merry Pranks, P-2
Death and Transfiguration, P-3
Don Juan, P-3
Don Vaixote, P-3
Stravinsky
Eire Bird Suite, P-I-2
Le Sacre du Printemps, P-I-l
Suite from "Petrouchka," P-I-2
Thomas
Mignon Overture, R-2
Raymond Overture, R-l
Wagner
Siegfried Idyll, R-2
Overture to "Tannhauser," R-2
March from "Tannhauser," 1
Siegfried's Funeral March, 1
Magic Fire Music, P-R-2
Entrance of the Gods Into Valhalla, 3
Siegfried's Rhine Journey, 3
Prelude to "Lohengrin," R-3
Prelude to Act III, "Lohengrin," 2
Overture to "Die Meistersinger," 3
Good Friday Spell, "Parsifal," 3
The Ride of the Valkyries, 1
Prelude - Love Death, "Tristan and Isolde," R-3
Weber
Overture to "Der Freischutz," R-2
Invitation to the Dance, R-l
API 25
Music Appreciation
Appendix
Sec, 4 Page 1
Section 4, WPA Orchestra Transcriptions
Grade Series
Arnold. Maurice
Plantation Dances
—
«■»
Bach
Suite in B minor for flute and
2
1940
strings
Chorale Prelude
2
1937
Toccata and Fugue
2
1937
Balsamo
"Two Island Sketches":
Vision of Capri
2
1940
Sicilian Autumn
2
1940
Bantock
The Frogs of Aristophanes
2
1938
Beethoven
Symphony No. 1 in C Major,
C-2
-
Andante con Moto
Overture to "Prometheus"
R-3
1937
Overture to "Prometheus"
R-3
1940
Overture to "Coriolanus"
P-R-3
1937
Scherzo from Symphony No. 2
2
1937
Second Movement from Symphony
C-2
1939
No. ? (Allegretto)
Overture "Egmont"
R-3
1939
Overture "Egmont"
R-3
1939
Berlioz. Hector
"Damnation of Faust":
The Ballet of the Sylphes
R-l
-
Dance of the Sylphes
R-l
1939
Minuet des Follets
R-l
1939
"Les Troyens Ballet":
Dance D'Esclaves
1
1939
Dance D'Esclaves
1
1939
Program No. No. of Inches
60 3,4
11
7.4
38
7.7
38
6.2
1
5.6
5
5.0
52
7.6
39
7.6
31
7.7
16
5. 3
36
7.7
42
7.8
23
3.7
34
3.9
61
3.9
11
6.4
19
3.8
30
3.8
14
4.11
55
6.6
A2125
Music Appreciation
Appendix
Sec. 4-Page 2
Series Program No. No. of Inches
Bizet
Second "L'Arlesienne" Suite:
Intermezzo
Farandole
43
5.12
4.5
Intermezzo from "Carmen"
1
-
49
5.10
Excerpts from "Carmen":
P-l
1938
46
—
Cigarette Chorus
6.14
Habanera
4.15
Factory Chorus
4.6
Gypsy Song
3.14
Excerpts from "Carmen":
R-2
1939
39
Introduction to Act II
3.6
Entr'Acte from Act I?
3.15
Festival Music from Act IV
5.0
Aubade from "L'Arlesienne" Suite
1
1939
39
5.13
No. 1
Farandole from "L'Arlesienne"
1
1939
39
6.9
Suite No. 1
Excerpts from "Carmen":
R-2
1939
40
Micaela's Prayer
3.5
Smoking Chorus by Cigarette
5.1
Girls
Entr'Acte to Act IV
6,3
Selections from "Carmen":
R-2
1939
49
—
The Card Song
3.6
Quintet
5.0
Toreador Song
6.0
Borodin
On the Steppes of Central Asia
P-l
1939
10
3.8
Polovetsian Dances from
P-R-2
1939
19
4,10
"Prince Igor"
Brahms
Second Symphony, Allegretto
R-2
6
7.6
Three Hungarian Dances
1
-
11
5.7
Hungarian Dance in G Minor
1
-
49
6.6
Hungarian Dance No. 5
1
-
53
5.12
Second Movement, Symphony No. 2
R-3
1939
52
3.4
Third Movement, Symphony No. 2
R-2
1939
52
5.13
Third Movement, Symphony No. 4
R-3
1940
3
5.8
A2125
Music Appreciation
Appendix
Sec. 4 Page 3
Bruch
Prelude to "Die Lorelei"
Bubeck
Polonaise
Cadman
Wolf Dance from the "Thunderbird
Suite"
To a Comedian from "Hollywood
Suite"
Colby. Frank
Selections from "Festival Mass":
Kyrie
Gloria
Sanctus
Corelli
Suite for Strings, Gigue
Suite for Strings, Sarabande
Suite for Strings, third
movement, Bandinerie
Debussy
Ballet from the "Petitie Suite"
En Bateau from "Petite Suite"
Cortege from "Petite Suite"
Afternoon of a Faun
Reverie
Cortege from"Petite Suite"
Delibes. Leo
Overture "Le Roi L'a Dit"
Overture "Le Roi L'a Dit"
Dillon
"The Hero" from the Chinese Sym¬
phonic Suite, "Prince Su Ming
Wang"
Series Program No. No. of Inches
67 7.6
—
73
6.7
-
53
3.3
-
76
5.14
1938
74
5.14
5.4
4.2
1937
13
4.5
1937
24
4.13
1937
24
4.0
70
7.8
-
80
6.2
-
86
4.6
1937
20
7.5
1940
5
7.3
1940
19
4.10
1939
17
5.12
1939
54
5.1
1937
22
5.15
Grade
2
1
1
C-3
C-l
C-l
1
1
2
1*8
1
1
2
2
2
A2125
Music Appreciation
Appendix
Sec. 4 Page 4
Grade
Series
Program No.
No. of
Dvorak. Anton
Slavonic Dance
1
-
39
4.10
Carnival Overture
R-3
-
49
3.4
Carnival Overture
R-3
1938
48
7.6
Slavonic Dance in E Minor
1
1939
27
3.7
Slavonic Dance in E Minor
1
1939
59
3.7
Legend, Opus 59
R-2
1940
14
4.15
El gar
Pomp and Circumstance
1
1940
9
4.12
Fibich
Idyll
R-l
1940
19
7.6
Franck
Selections from "The Beatitudes":
R-3
1939
50
-
Blessed he who from earthly
3.5
dreams awaking, turns his
heart from worldly pride.
Stricken with sorrow, sad watch
I am keeping.
5.4
German
"Henry the Eighth":
1
1937
44
5.15
The Morris Dance
1
1937
44
5.04
The Torch Dance
1
1937
44
4.2
Glazunov. Alexander
Entr'Acte and Ballet from the
R-l
-
11
7.6
Third Act of "Raymonda"
Valse in D Major
R-2
1939
31
5.3
L'Hiver from "The Seasons"
R-2
1940
33
7.6
L'Kiver from "The Seasons," Part 2
R-2
1940
33
4.15
Gliere
Da,nce of the Russian Sailors
P-R-l
1939
10
7.8
Overture to Schah—Senem
R-2
—
82
3.3
Glinka
A Night in Madrid
1
1937
11
7.6
A2125
Grede Series
Gluck
Ballet Suite, Air Gai and, Lento C-l 1937
from "Iphigenia in Aulis"
Dance of the Blessed Spirits C-l 1937
from "Orpheus"
Air from "Iphigenia in Aulis" C-l 1937
Sicilienne from "Armide" C-l 1937
Gounod
The Judge from the Oratorio
"Death and Life"
Gretchaninov. Alexander
Russian Dances from /'Suite 1
Popular":
In the Garden
Kamarinskaya
Grieg
Selections from "Peer Gynt" Suite: P-l -
Morning
Anitra's Dance
Second "Peer Gynt" Suite: 1
! Ingrid's Lament
The Last Spring R-2 1937
Heart Wounds R-2 1937
Spring 1 1939
Grossman
Czardas 1
Grunn. Homer
Trauraerie 1 1938
Hadley, Henry
Overture, "In Bohemia" R-2
Symphonic Fantasia 2 1938
Music Appreciation
Appendix
Sec. 4 Page 5
Program No. No. of Inches
30
7.0
30
6.5
30
5.14
30
4.15
84
7.8
81
-
3.15
4.8
21
7.6
6.4
43
—
7.6
36
4.12
44
7.6
30
6.5
84
5.7
68
4.1
81
7.8
71
7.6
Hanson. Howard
Third Movement from "Romantic" R-3
Symphony, Allegro con brio
60
5.6
A2125
Music Appreciation
Appendix
Sec. 4 Page 6
Gradte Series Program No. No. of Inche
Haydn
Overture to "L1Isola Disahitata" C-2
1937
6
7.7
Symphony in F Minor, "La Passione":C-2
1937
33
7.6
Adagio
Allegro
Minuetto and Finale
Selections from "The Creation" 2
1938
55
—
"In the Beginning God Created"
7.5
"Now Vanish Before the Holy Beams"
7.0
"On Thee Each Living Soul-- Awaits"
5.6
"Achieved is the Glorious Work"
Largo and Minuetto from Sym- C-2
1938
68
7.6
phony No. 13 in G Major
Finale from Symphony No. 13 C-3
1938
71
4.8 •
in G Major
Andante from the "Clock" C-3
1940
27
6.10
Symphony
Minuet from the "Clock" C-l
1940
28
7.5
Symphony
Hoist
Ostinato (Movement from St,
Paul Suite for Strings)
Humoerdinck
Dream Music, "Hansel and Gretel"
Iouolitov-Ivanov
Berceuse from "Caucasian Suite"
No. 2
March from "Caucasian Suite" No.
Jarnefelt
Praeludium
Kotchetov. Nikolai
"A la Balalaika" from the
opera "Vengeance"
2 1938 80 4.0
P-B-l 1937 13 7.5
E-2 1940 31 6.13
R-l 1940 31 5.0
1 1937 20 4.3
E-2 1939 36 6.4
A2125
Music Appreciation
Appendix
Sec, 4 Page 7
Grade Series Program No. No. of Inches
Leftwich. Vernon
Elegie
Leoncavallo
Excerpts from "I Pagliacci":
Instrumental Prologue
Bell Chorus
Introduction to the Second Act
Excerpts from the Second Act
Finale
1938
P-R-2 1939
76
21
4.8
3.8
4.2
5.12
Lladow. Anatol
The Enchanted Lake R-2
Russian Folk Songs: 1
I Danced with a Mosquito
Cradle Song
Song Dance
Nanie 1 1939
Locatelli
Concerto Grosso, Opus 1, No. 2 '2 1940
(2nd and 4th movements)
MacDowell. Edward
Third Movement from Indian Suite I-R-2
In War Time
MacPherson. Cameron O'Day
Before the Dawn from "Deserted 2
Gardens"
Manton. Robert
A New Hampshire Rhapsody 2 1937
Martucci
Nocturne 2 1938
Mascagni
Intermezzo from "Cavalleria 1 -
Rusticana"
Excerpts from "Cavalleria P-2 1939
Rusticana":
Blossoms of Oranges
Crack Goes the Whip
Chapel Scene
37
70
31
67
76
42
78
65
9
7.6
4.11
4.6
3.14
3.7
7.7
4.13
4.6
6.0
7.8
7.7
3.9
4.8
5.10
A2125
Music Appreciation
Appendix
Sec. 4 Page 8
Grade Series Program No. No. of Inches
Massenet
Overture to "Phedre"
The Dance from "Neapolitan Scenes
Meditation ffom "Thais"
Overture to "Le Cid"
Excerpts from "Le Cid"
Fete Boheme from "Scenes
Pittoresques"
Mendelssohn
"A Midsummer Night's Dream":
Scherzo
Nocturne
Andante Movement from Symphony
No. 4 in A Major
Overture to "Ruy Bias"
Overture to "Ruy Bias"
Mills. Harlov
American Fantasy,
The Monkey1 8 Wedding
Morton
Tango
Moussorgsky
Coronation Scene from "Boris
Godounow"
Mozart
Overture to "The Marriage of
Figaro"
Overture to "The Magic Flute"
Alleluia
Napravnik
Fandango
Fandango
Nicolai
Overture to the "Merry Wives of
Windsor"
R-2
-
10
7.6
1
-
63
4.8
1
-
70
6.8
2
1937
35
7.7
2
1940
9
7.7
R-2
1940
21
5.1
1
87
7.8
2
1937
16
7.6
R-2
1938
60
7.3
R-2
1939
28
3.7
R-2
1939
57
7.8
1
-
76
3.3
1
1940
23
7.5
P-3
1938
74
7.7
C-3
-
80
7.8
C-3
1937
6
5.1
3
1940
27
3. IE
2
1939
28
6.0
2
1939
57
4.4
R-2
1937
24
7.6
A3125
Pettis.. Ashley
March Hymn
Pierne
March of the Little Lead Soldiers
Ponchielli
Dance of the Hours from
"La Gioconda"
Porter. Qaincy
Andante from Ukranian Suite
Dance
Dance
Powellf John
Me r r y-Go-R oun d from
"At the Pair"
Banjo Picker
Rayel
Chinese March (Mother Goose Suite)
Rimski-Korsakov
The Dance of the Buffoons from
"The Snow Maiden"
March of the Stiltan from
"Fairy Tale Suite"
Flight of the Bumblebee
Tsar's Joiirney from "Musical
Pictures"
The Young Prince and the Young
Princess from Scheherazade"
The Young Prince and the Young
Princess from "Scheherazade"
March from "Le Coq a'Or"
March from "Le Coq d'Or"
Introduction to "Le Coq d'Or"
Cortege from "Le Coq a'Or"
Polonaise from "Christmas Eve
Suite"
Rossini
Overture to "The Barber of Seville"
Overture to "The Barber of Seville"
Music Appreciation
Appendix
Sec, 4
Page 9
Grade
Series Program No.
No. of In<
1
-
85
4.13
P 1
1938
52
4,7
1
-
87
5.14
34
7.7
1
1939
34
6.2
2
1939
61
6.2
P 1
-
60
4.9
P 1
1937
22
7.8
P-R 1
1939
23
6.7
1
-
27
4.9
P-l
-
82
5.13
P-l
84
5.14
1
1938
60
4.9
P-R-2
1958
80
7.6
P-R-2
1940
16
7.6
1
1939
14
3.15
1
1939
55
7.8
R-2
1940
7
7.4
2
1940
11
4.12
1
1940
7
4.15
R—3
50
7.8
R-3
1939
26
3.8
A2125
Music Appreciation
Appendix
Section 4 Page 10
Grade
Series Program No. No. of inches
Rubinstein
Valse Caprice
1
-
37
5.3
Steger.
Interlude from "Gettysburg"
2
1939
46
6.5
Dans e Macabre
P-2
53
3.14
Prelude to "Le Deluge"
1
1939
17
3.10
Rondo Capriccioso
R-2
1939
51
4.11
Prelude to "Le Deluge"
R-l
1939
54
7.8
Reverie de Soir from "Suite
2
1940
21
7.6
Algerieune"
Schubert
Moment Musical
1
-
85
3,15
Schumann, George
Dance of the llymphs and Dryads 1
—
58
4.11
Adagio from Symphony No, 2
R-3
1939
27
5.12
in C Major
Adagio from Symphony No, 2
R-3
1939
59
5.12
in C Major
Sibelius
Finlandia
R-2
-
6
5.9
Mufeette
2
-
73
5.13
Sinigaglia
Overture, "Le Baruffe
Chiozzotte"
R-3
1937
28
7.6
Piedmontese Dance
R-l
1939
5
3.9
Skilton, Charles Sanford
Indian War Dance
P-l
-
76
6.8
Smetana
Overture to "Libusa"
R-3
1940
14
7.6
A2125
Music Appreciation
Appendix
Sec. 4 Page 11
Still. William Grant
Excerpts from "Lenox Avenue Suite":
Street Scene
A Elirtation
A Eight
The Intervention of the Law
Dancing Boys
The Dancing Drunkard
The Philosopher
Excerpts from "Lenox Avenue Suite":
The Mission
The House Rent Party
The Orator
The Einale
Strausst Johann
Waltz - Artist's Life
Tales from the Vienna Woods
Overture to "Die Eledermaus"
Kaiser Waltz
Blue Danube Waltz
Perpetuum Mobile
Voices of Spring
Strauss, Richard
"Der Rosenkavalier" Walzer
Thomas
Overture to "Mignon"
Tchaikovsky
Trepak, from the "Nutcracker Suite"
Waltz of the Elowers from the
"Nut cr acker Suit e"
Symphony No, 5 in E Minor,
2nd movement, Andante Cantabile
Scherzo "At the Eireside,"
Symphony No, 1
Waltz of the Elowers from the
"Nutcracker Suite"
Andante Cantabile for Strings
Danse des Mirlotons, from
the "Nutcracker Suite"
Trepak, from the "Nutcracker Suite"
Grade Series Program No* No. of Inches
p-1
1938
62
7.6
p-1
1938
63
7.6
5.0
1
21
5.0
1
—
34
5.15
1
—
63
7.7
1
—
85
7.7
1
1939
46
3,5
1
1939
48
6.10
1
1940
28
5.2
R-2
-
10
4.15
R-3
-
73
3.3
P-1
39
5.2
1
-
75
5.0
R-2
-
78
7.7
R-2
1937
11
5.11
1
1937
16
5.3
R-l
1937
28
5.4
?-l
1937
29
4.4
P-1
1937
29
3.10
A2125
Music Appreciation
Appendix
Sec. A Page 12
Grade Series Program No. No. of Inches
Tchaikovsky
Andante Cantabile for Strings
1
1937
35
4.15
Dance of the Flutes from the
i—i
i
Pi
1938
60
5.4
"Nutcracker Suite"
Second Movement from Symphony No. 6
R~ 3
1938
78
5.13
Finale, "Symphony No. 4"
R-l
1939
5
5.2
Waltz from "Swan Lake Suite"
1
1939
14
5.7
Waltz from "Serenade for Strings"
R-2
1939
26
6.4
Elegy from "The Spring Serenade"
R-2
1939
36
3.8
Valse from "La Belle au Bois
1
1939
38
6.8
Dormant"
Finale, Symphony No. 4
2
1939
47
4.12
Second Movement, Symphony No. 4
H-3
1939
48
3.5
Chinese Dance from the
P-l
1939
48
6.4
"Nutcracker Suite"
Waltz from "Swan take Suite"
1
1939
55
5.8
Valse from "La Belle au Bois
1 "
1939
62
3.15
Dormantif
Polonaise from "Eugene Onegin"
2
19<0
15
4.15
March Miniature from Suite No. 1
1
1940
31
7.7
Verdi. Giuseppe
Overture to "Sicilian Vespers"
R-2
-
58
7.6
Prelude to Fourth Act of
R-2
-
65
6.6
"La Traviata"
Ave Maria from "Othello"
-
1938
64
7.6
Vivaldi
Concerto Grosso in 33 Minor:
First movement,
C-3
1939
45
Maestoso-raoderato
Second movement, Largo
C-3
1939
51
Final movement
C-3
1939
47
A?125
Music Appreciation
Appendix
Sec. 4 Page 13
Grade
Series
Program No.
o
.
o
{25
Warner. Richard
Prelude to "Lohengrin"
R-3
1
27
7.7
Apprentices'Dance from
1
-
53
5.3
"Die Meistersinger"
Apprentices' Dance from
1
-
50
5.3
"Die Meistersinger"
March from "Tannhauser"
1
-
65
5.5
Ride of the Valkyries from
P-l
-
80
4.13
"Die Walkure"
Prelude, "Tristan and Isolde"
R-3
1937
26
7.6
Prelude to Act III of "Lohengrin"
R-2
1938
6^
5.12
Wedding Song from "Lohengrin"
-
1938
64
4.14
Prelude to "Lohengrin"
R-3
19-78
65
7.6
King's Prayer from "Lohengrin
P-3
1938
65
4.14
Finale of Act 1 of "Lohengrin"
P-3
1938
65
4.4
Overture to "Lie Meistersinger"
R-3
1938
76
7.7
Tristan and Isolde Act III
R-3
1940
15
7.6
Weber. Carl Maria Von
Ocean, Thou Mighty Monster, from
2
-
75
7.6
"Oberon" (soprano)
Overture to "Oberon"
R-3
-
86
7.8
Overture to "Oberon"
R-3
1937
29
7.6
Invitation to the Dance
1
1937
31
5.11
Overture to "Der Freischutz"
R-3
1939
38
3.8
Overture to "Der Freischutz"
R-3
1939
62
7.5
Westerhoudt. van
Ronde d'amour
-
1938
48
4.1
Williams. Gay Bevier
Idyll for Strings
2
1939
45
5.6
Wolf-Ferrari
Overture to "The Secret of
R-l
1940
1
7.5
Suzanne"
Wrieht
Overture to "David"
2
1940
23
4.11
A2125
Music Appreciation
Appendix
Sec. 5 Page 1
Section 5. WPA Band Transcriptions
Grade
Balfe
Overture "The Bohemian Girl"
Bazzini, Antbnio
Overture to "Saul"
Bellini
Overture to "ftorma"
Bizet
Second "L1Arlesienne" Suite
Boccherini
Minuet
Boieldieu
Overture to "Caliph of Bagdad"
Overture to "Caliph of Bagdad"
Blon, von
Flag of Victory
The Whisperings of the Flowers
Brahms, Johannes
Fifth Hungarian Dance
Sixth Hungarian Dance
Cha-pj, Ruperto
March to the Tournament
Chopin
Minute Waltz
Ozibulka
Love's Dream After the Ball
Drumm, George
Spring Time (Valse Intermezzo!
Series Program No. Ho. of Inches
1937
1938
1939
1939
1937
1938
56
32
72
8
60
1
54
35
35
1938
38
51
56
6.8
7.4
5.0
7.4
6.8
3.4
7.5
7.5
5.6
5.6
4.11
7.4
4.0
4.12
4.4
A2125
Grade
Series
Dvorak, Anton
Humoreske
Slavonic Dance No.
1
1
1937
Farrar
March Bomhasto
Flotow
Overture to "Stradella"
Overture to "Martha"
2
1
1939
Friedmann, Carl
Slavonic Rhapsody - 1937
Gabriel-Marie
La Cinquantaine 1
Gatti, Domenico
Concerto for Euphonium - 1938
German, Sir Edward
Three Dances from "Henry the 1
Eighth" Suite:
Morris Dance
Shepherd's Dance
Torch Dance
Gillet, Ernest
Babillage
Loin du Bal
Au Moulia (In the Mill)
Grainger, Percy
Irish Tune from County Derry
Shepherd's Hey
Hastings, Ray
Suite of Contrasts:
Love Song
Bacchante
1
1
1
1
1
1937
1937
Herbert, Victor
Canzonetta 1
Selections from "Naughty Marietta 1
Selections from "The Fortune Teller 1
Punchinello 1 1939
Music Appreciation
Appendix
Sec. 5 Page 2
Program No. No. of Inches
62 6.9
5
4.10
62
7.5
2
5.3
24
5.6
32
5.14
35
6.9
54
4.6
32
-
5.10
5.0
4.1
7
5.13
26
6.6
56
4.8
1
5.5
1
4.3
42
5.13
5.3
2
6.0
12
6.3
26
5.4
24
4.6
A2125
Music Appreciation
Appendix
Sec. 5 Page 3
Grade Series Program Mo. No. of Inches
Hoist. Gustave
Suite in F Major:
First Movement:
Morris Dance
Swansea Town
Cloudy Banks
Second Movement:
I'll Love My Love
Third Movement:
Song of the Blacksmith
Fourth Movement:
Fantasia on the Dargason
Lacome
La Feria - Suite Espagnole: 1-19 -
Los Toros 6.7
Serenade La Reja 5.6
La Zarzuela 4.2
Losey. F. H.
The Call of the Wild 1 - 79 7.6
Waldemere 1 1938 61 7.6
Luigini
Egyptian Ballet: 1-23
Allegro 7.3
Allegretto 6.6
Andante 5.9
Allegro non troppo 4.7
54
7.4
5.13
5.5
5.0
Massenet
"Scenes Pittoresques":
Fete Boheme
2
-
66
5.5
Marche
1
—
72
5.5
Air de Ballet
1
-
72
4.2
Marche
1
1937
5
7.6
Meyerbeer, Giacomo
The Coronation March from
"Le Prophete"
1
12
7,5
A2125
Music Appreciation
Appendix
Sec. 5 Page 4
Moszkowski. Moritz
Malaguena from "Boabdil"
Mozart
Alia Turca from Piano Sonata
in A Major
Overture to "The Magic Flute"
Overture to "The Magic Flute"
Planquette. Robert
Selections from the operetta,
"The Chimes of Normandy"
Ponchielli
Dance of the Hours from
"La Gioconda"
Dance of the Hours from
"La Gioconda"
Raclimanino'v
Prelude in G Minor
Rimski-Kor sakov
Flight of the Bumble Bee
Rossini
Overture to "William Tell"
Rubinstein, Anton
Dance of the Bayaderes
Saint-Saens
Bacchanale from "Samson
and Delilah"
Danse Macabre
Schubert
March Militaire No. 1
March Militaire No. 2
Sibelius
Valse Triste
Series Program No. No. of Inches
1933 59 4.11
1 4.4
1937 3 7.6
1933 57 7.5
29 5.3
1 7.6
69 4.6
1939 24 3.7
26 5.12
38 7.6
1937 32 7.4
62 5.7
1938 57 5.6
48 7.5
72 7.6
66 6.12
Grade
1
1
3
3
1
1
2
2
1
R-S'
1
2
P-2
1
1
P-2
A2125
Music Appreciation
Appendix
Sec. 5 Page 5
Sinding. Christian
Rustle of Spring
Sous a
Stars and Stripes Forever
Semper Fidelis (March)
■ March of the Gladiators
Washington Post March
Belle of Chicago
The Picador
The Thunderer
Our Flirtations
Strauss. Johann
Wine, Women, and Song
The Blue Danube
Treasure Waltz from the
"Gypsy Baron"
Treasure Waltz from the
"Gypsy Baron"
You and You from "Die Fledermaus"
Straus. Oscar
Waltz Dream
Sullivan. Sir Arthur
Entrance and March of the Peers
from "Iolanthe"
Sunne. Franz von
Overture to "Pique Dame"
Light Cavalry Overture
Tchaikovsky
Finale, Symphony No. 4
Verdi
Grand Triumphal March from "Aida"
Overture to "La Forza Del Destino"
The Dance of the Zingarella
Overture to "The Sicilian Vespers"
Wagner
March from "Tannhauser"
Nibelungen March
Series
Program No.
No. of
-
79
6.10
12
4.6
-
29
7.5
-
35
7.6
54
4.1
-
66
7.6
69
7.6
-
19
7.5
-*
56
7.4
48
6.1
-
69
6.7
1939
8
5.8
1939
60
4.12
-
56
6.9
-
29
6.9
1938
54
7.5
1938
59
7.5
1937
1
6.13
1937
7
6.4
, ,
42
7.6
-
51
7.4
1937
7
7.7
1938
61
5.13
7
7.4
-
26
7.4
Grade
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
2
2
1
2
1
2
1
1.
Weber. Carl Maria von
Invitation to the Dance
1
79
5.10,
A2125
Music Appreciation
Appendix
Sec. 6 Page 1
Section 6. Art Songs.
Beethoven
Adelaide
Creation's Hymn
Brahms
Sapphic Ode
Foldeinsamkeit
My Songs
To a Nightingale
May Night
Debussy
Beau Soir
Mandoline
Je tremble en voyant ton visage
Faure
Apres un reve
Les berceaux
Franck
La Procession
Panis Angelicus
Franz
An die Music
Im Khein, im Heiligen Strome
Grieg
The Nightingale
Solvejg's Song
Ich Liebe dich
Gretchaninov
The Lonely Steppe
Handel
I know that my Redeemer Liveth
Where'er you Walk
Moussorgsky
Trepak
Song of the Flea
The Orphan
Misfortune
Rachmaninov
To the Children
A2125
Music Appreciation
Appendix
Sec. 6 Page 2
ART SONGS
Rimski-Kor sakov
L1indifferent
La Piute Enchantee
Song of the Nightingale
Schubert
Der Wanderer
Der Erlkonig
Du hist die Ruh1
Am Meer
Der tod und das Madchen
Schumann
Du bist wie eine Blume
Mondnacht
Strauss
Allerseelen
Standchen
Morgen
Zueignung
Wolf
Verborgenheit
Heimweh
Das Standchen
Auf einer Wanderung
A2125
Music Appreciation
Appendix
Sec. 7
Section 7. WPA Transcriptions - Songs
Series
Program No. No».of Inches
Beach
Ah, Love But a Day
Chadwick
Thou Art so Like a flower
G-uion
Return
Haydn
The Mermaid Song
Kramer
The Last Hour
Sar.jeant
Blow, Blow, Thou Winter Wind
Schumann
Two Grenadiers
Tchaikovsky
None but the Lonely Heart
Tosti
A Bucchel'la
Wood
Do you Know My Garden
I Heard You Go By
1936
1936
1936
1936
1936
1936
1936
1936
1936
1936
1936
30
30
30
18
55
22
18
24
24
55
30
7.6
3.14
6.5
6.2
7.5
6.11
4.6
5.8
4.10
4.3
4.7
A2125
Music Appreciation
Appendix
Sec. 8 Page 1
Section 8. Polk Songs
Irish
The Foggy Dew
The Londonderry Air
Scottish
Eriskay Love Lilt
The Bush Ahoon Traquair
Welsh
Springtime is Returning
David of the White Rock
The Stars in Heaven are Mine
Russian
Down the Volga
Stenka Razin
Czech
Waters Ripple and Plow
Dance Song
Slovakian
Nad Tatrou sa Blyska
Slovenian
Ko-so Pant Je Proti vis Sli
Croatian
Ja Sam Sirota
Kolko Ima Janjo
German
In einem kuhlen Grunde
Erlqube mir, Feinsliebchen
Mein Madel hat ' nen Rosenmunde
Hungarian
The Pear Tree
All the Hemp is Wasted
Woe is Me
Snanish
Malaguena - Del convento las campanas
Fandango - Como yo quise a mi mare
Seguidilla - No llamen al medico
Swedish
Varmland, Thou Lovely
A2125
Music Appreciation
Appendix
Sec. 8 Page 2
Norwegian
Eg Seer Deg ut for Gluggjen
Finnish
Tula, Lulla
Danish
Oet Haver Saa Nyligen Regnet
Italian
Santa Lucia
La Violetta
French
The Duke of Marlborough
The Bridge of Avignon
Miracle Song of St. Nicholas
English
My Johnny was a Shoemaker
The Farners' Song
I'm 1? Come Sunday
Sea Chanteys
Shenandoah
Rio Grande
Billy Boy
Negro
Swing Low, Sweet Chariot
Joshua fit de Battle ob Jericho
Mary had a Baby, Yes Lord
Hill Billy
Jenny's Strawberry Feast
Cowboy
Home on the Range
American
Indian War Song
Funeral Song
Sun Dance
Eskimo
Stone Age Dance Song
Call of the Seal
Incantation for Healing the Sick
A2125
Music Appreciation
Appendix
Sec. 8 Page 3
Chinese
The Jasmine Flower
Japanese
Cherry Bloom
Persian
Salmak
Arabian
Female Song
Turkish
Beyati Sourak
Indian
Boatman's Song
Celebrating a Birth
Temple Song
A2125
Section 9. WPA Transcriptions - folk Songs.
Series
Music Appreciation
Appendix
Sec. 9
Program No. No. of Inches
Swedish Song - Ach Varmeland du Skona
61
3.5
Italian Song - Museimein
61
3.13
11 11 Litania di Marie
61
4.6
English Song - In Derry Down Dale
61
5.4
Russian " - Prison Song
61
6.1
Venetian Barcarolle
61
6.10
Swedish Song - Flicknrna de sraa uti
68
3.3
Dansen de Ga
" " Ach Hor du Li11a Flicka
68
3.8
Early American - Prairie Flower
68
3.14
La Pastorella
68
4.10
Italian Mountain Song - Serenata Daili
68
5.1
Alpi
Neapolitan Serenade - 0 Mari Canta
68
5.13
Stonellata RomonescA
68
6.6
Italian Folk Song - Coro Campagnuola
1937
25
7.6
Australia
1937
25
6.1
English - Drink to me only with Thine
1937
25
5.7
Eyes
Russian - Why Should I Worry?
1937
25
4.13
Russian - Good Boy
1937
25
3.15
A2125 Music Appreciation
Appendix
Sec. 10 Page 1
Section 10. WPA Transcription - Negro Spirituals.
Series Program No. No. of Inches
Roll, Jordan, Roll
-
4
7.5
Short'nin' Bread
-
4
6.8
Were you there When They Crucified
-
4
6.2
My Lord?
Ezekiel Saw de Wheel
-
4
5.2
Gospel Train
~
4
4.7
Same Train
-
4
4.0
Go Down, Oh Sun, In Blood
-
8
7.4
Oh, Loving Heart
-
8
6.14
Immortal Zeus
-
8
6.6
Didn't My Lord Deliver Daniel
-
8
5.10
Wade in the Water
-
8
5.5
Swing Along
-
8
4.11
Free at Las'
-
13
7.5
Who'll Jine Dat Union
-
13
6,15
Who Built dat Ark
-
13
6.6
Cert'n'y Lawd
-
13
5.6
Dis Train
-
13
5.1
Same Train
-
13
4.8
De Sign of Judgment
-
13
4. 4
Carry Me Back to 01' Virginny
-
16
7.5
Live-a 'Umble
-
16
6.7
Joe Brown's Coal Mine
-
16
5.9
Street Vendor Cries
-
16
4.12
In Dat Great Gittin' up Mornin'
-
16
4.0
Where Shall I "be when that First
-
17
7.4
Trumpet Sounds?
Great Day the Righteous Marches
-
17
6.8
Joshua Fit de Battle of Jericho
-
17
6.2
Tell Me, Who do .you call the Wonder~
-
17
5.10
ful Counselor?
I Been in the Storm so Long
-
17
5.1
Oh, My Lovin' Brother
-
17
4.2
If You Love God, Serve Him
-
28
7.3
King Emanuel
-
28
6.7
Dere's Gwinna Be a Lan' Slide
-
28
5. 6
Dat Great Gittin' up Mornin'
-
28
4.7
I Couldn't Hear Nobody Pray
-
52
3. 4
Dark Waters
-
52
3.15
Li'l David
—
52
4.15
Swanee River
-
52
5.9
In That Great Gittin' up Mornin'
—
52
6.5
Cert'n'y Lav/d
64
3.5
I Gotta Home in Dat Rock
-
64
3.10
Go Down Moses
—
64
4.8
Be Ready When He Comes
-
64
5.3
Four and Twenty Elders
—
64
5.10
Good News
-
64
6.5
A2125
Music Appreciation
Appendix
Sec. 10 Page 2
Series Program No. No. of Inches
Every Time I Peel the Spirit
-
71
3.4
Got a Home at Las'
-
71
3.14
Now is the Needy Time
-
71
4.8
Wade in the Water
-
71
6.1
Swing Low, Sweet Chariot
-
71
5.9
Hebbin
-
71
6. 6
Steal Away
-
71
6.12
Way Over in Beulah Land
1937
.4
7.4
De Blin' Man Stood on de Road an1 Cried
1937
4
6.11
Walk Together Chillun
1937
4
5.13
Scandalize % Name
1937
4
5.1
Set Down Servant
1937
4
4.10
The Old Ark's A-Moverin
1937
4
4.1
Oh Southland
1937
23
7.6
Great Day
1937
23
6.2
Steal Away
1937
23
5.5
Every Time I hear the Spirit
1937
23
4.6
King Jesus is A-Listenin'
1938
45
7.6
Great Gittin' up Mornin'
1938
45
6.12
Chillun, Come on Home
1938
45
5.10
Go Down, Moses
1938
45
4.8
Joshua Fit the Battle of Jericho
1938
69
7.8
Climhin' Up the Mountain Chillun
1938
69
6.14
You May Bury Me in the East
1938
69
6.6
Sinners, Please Don't Let This
1938
69
5.7
Harvest Pass
Nohody Knows the Trouble I've Seen
1938
69
4.14
Where Shall I be When That First
1938
69
4.5
Trumpet Sounds
I Ain't Gonna Study War no mo'
1938
77
7.8
Soon-A Will Be Done
1938
77
6.14
Daniel Saw the Stone
1938
77
6.3
One Mornin' Soon
1938
77
5.9
See Four and Twenty Elders
1938
77
5.0
Some of These Days
1938
77
4.3
De Lawd's Gwine to Move This Wicked
1939
4
3.10
Race
I Want to be Ready
1939
4
4.5
Live a 'Umble
1939
4
5.0
Hold Out Your Light
1939
4
6.3
I Ain't Gonna Study War no Mo'
1939
7
6.10
Hold On
1939
7
3.9
Bye and Bye
1939
7
4.0
Hebbin
1939
7
4.11
There's Twelve Gates to the City
1939
7
5.9
Mary and Martha
1939
7
6.8
6.13
Stand the Storm
1939
7
A2125
Music Appreciation
Appendix
Sec. 10 Page 3
Series Program No. No. of Inches
Sun Don't Set in the Mornin'
1939
11
3.12
Bone, Come a-Knittin'
1939
11
4.9
Plenty Good Room
1939
11
5. 8
No Condemnation
1939
11
6.1
Ride On, Jesus
1939
11
6,13
Oh, Freedom
1939
18
3.12
Keep me from Sinkin1 Down
1939
18
4.4
Keep on a-Runnin!
1939
18
5.1
Oh, Holy Lord
1939
18
6.0
He is King of Kings
1939
18
6.10
I ain't gonna study war no Mo'
1939
22
3.10
Father Lazarus
1939
22
4.3
I Can't Sit Down
1939
22
4.15
Oh Lord, Have Mercy on Me
1939
22
5.14
Climbin' up the Mountain
1939
22
6.12
Poor Ole Lazarus
1939
25
3.10
I feel like ray time ain't long
19^9
25
4.2
Babylon's Fallin' to rise no Mo'
1939
25
4.15
Cotton Song of the Levee
1939
25
5.14
Li'l Liza, I Love You
1939
25
6.10
Good News
1939
33
3.10
Deep River
1939
33
4.0
Do Lord, Remember Me
1939
33
4.10
Hold On
1939
33
5.4
Witness for my Lord
1939
33
6.12
Leanin' on de Lavd
1939
35
3.13
Dat Suits Me
1939
35
4.7
Where Shall I Go to Ease My Troubled
1939
35
4.14
Mind?
E. I. 0.
1939
35
5.13
Won't You Be a Witness for My Lord?
1939
35
6.2
Good News, Chariot's corain1
1939
35
6.12
Soona Will be Done With the troubles
1939
53
3.7
of the World
Three on Record
1939
53
4.1
No More Auction Block
1939
53
4.12
Amen Chorus
1939
53
5.10
Tell Jesus
1939
53
6.7
Po' Mourner's Got a Home at las*
1940
8
7.2
Sometines I Feel like a Motherless
1940
8
6.6
Child
My Lord, What a Morning
1940
8
4.2
A2125
Music Appreciation
Appendi x
Sec. 10 Page 4
Series Program No. No. of Inches
Were You There When They Crucified
1940
12
7.3
My Lord?
Satisfied With Jesus
1940
12
6.6
Too Late
1940
12
4.9
Sit Down Servant
1940
12
4.0
Lift Every Voice ard Sing
1940
13
7.4
I Feel like a Motherless Child
1940
13
7.0
Armour of Goc
1940
13
6.7
It's all Over Me
1940
13
6.0
Dark Water
1940
20
7.4
Little David, Play on Your Harp
1940
20
6.8
Heaven is a Beautiful Place
1940
20
6.1
Goodbye Africa
1940
20
5.3
I'm Newborn Again
1940
20
4.6
Po' Mourner
1940
22
7.4
Four and Twenty Elders
1940
22
6.12
Down by the River
1940
22
6.1
One Mornin' Soon
1940
22
4.15
Great Day
1940
22
4.6
Steal Away
1940
26
7.4
Every Time I feel de Spirit
1940
26
6.10
You May Bury Me in the East
1940
26
6.3
That Great Gittin' Up Mornin'
1940
26
5.5
0, Southland
1940
26
4.12
A2125
Music Appreciation
Appendix
Sec. XI Page 1
Section 11. Chamber Music Most chamber music is pure or absolute music,
not relying upon external program but rather upon purely musical patterns.
Because of the purity of part writing, contrapuntal strength, and the
length and complexity of form, most chamber music makes its appeal principally
to listeners of considerable experience.
Since many of the greatest composers have done much of their best writing
for chamber music groups, a small but representative list of compositions
follows:
A. Sonatas.
Beethoven
Sonatas for violin and piano in A Major
(Kreutzer), G major, and F major (Spring)
Brahms
Sonatas for violin and piano in A major,
G major, and D minor
Franck
Sonata for violin and piano in A major
Grieg
Sonata for violin and piano in C minor
Mozart
Sonata for Violin and piano in B flat major
B. Trios.
Dvorak
Trio in E minor, Op. 90 ("Dinsky")
Terzetlo for two violins and viola
Brahms
Trio Op. 40 ("Horn Trio")
Quartets
Schubert
Trio in B flat major, Op. 99
C. Quartets.
Beethoven
Quartets No. 1, 2, and 4 - Op. 18
Quartet No. 1 - Op. 59
Quartet in B flat major - Op. 130
Brahms
Quartets in C minor, A minor, and B flat major
A2125
Music Appreciation
Appendix
Sec. 11 Page 2
Debussy
Quartet in G Minor
Franck
Quartet in D major
Haydn
Quartets in F major, Op. 3, No. 5;
D major, Op. 64, No. 5; and
G major, op. 77, No. 1
Hespighi
Quartet "Dorico"
D. Quintets
Brahms
Piano Quintet, Op. 34, in F minor
Franck
Piano Quintet
Mozart
Quintet in G Minor
Schubert
Quintet in C Major, Op. 163
Schumann
Piano quintet in E flat major
A2125
Music Appreciation
Appendix
Sec. 12 Page 1
Section 12. WPA Transcriptions - Chamber Music
Series
Program No. Ho, of Inches
Bach
Contrapunctus No. 11 from
"Art of the Fugue"
1937
37
7.6
Beethoven
1st movement, "Quartet in
C Minor," Opus 18, Mo. 4
1st movement, "Quartet in
C Minor," Opus 18, No. 4
1939
1939
12
56
3.10
7.8
Brahms
"Romanze" from "Quartet in C Minor,"
Opus 51
"Finale" from "Quartet in C Minor,"
Opus 51
Allegro non Troppo from "Quartet in
A minor" Opus 51, No. 2
1937
1937
1939
41
41
15
7.6
5.5
3.11
Oouperin, Francois
Musette
1937
34
4.12
Dvorak
Lento from "String Quartet," Opus 96
1938
53
7.2
Gossec, Francois Joseph
Tambourin
1937
34
5.15
Grainger, Percy
Molly on the Shore
Molly on the Shore
1939
1939
12
56
6.4
3.14
Haydn
Allegro Spiritoso from "Quartet in
F Major"
1937
37
5.2
Leclair
Sarabande
1937
34
5.5
Lully. Jean Baptiste
Gavotte
1937
34
7.7
Mendelssohn
Andante Espressivo from "String
Quartet," Opus 44, No. 1
Molto Allegro Vivace from "String
Quartet," Opus 44, No. 1
1938
1938
50
50
7.5
5.6
A2125
Mozart
2nd. movement, Trio in C Major
Rachmaninov
Romantic Serenade
Rameau
Les Tendre Reproches
Minuet
Redman
Allegretto from "Creole Quartet"
Smetana
2nd movement, G minor Trio
Music Appreciation
Appendix
Sec. 12 Page 2
Series Program No. No. of Inches
1936 83 7-7
1939 15 6.4
1937 34 6.15
1937 34 4.1
1938 53 4.14
1936 83 4.4
A2125
Music Appreciation
Appendix
Sec. 13 Page 1
Section 13. WPA Transcriptions - Madrigal Singers
Series Program Ho. No. of Inches
Arensky
Adagio Trio in D Minor - 77 5.15
Bach
Wohiam
Brahms
Im Stille Nacht
Ach Liebe Herre Jesus Christ
Im Stille Nacht
Dowland, John
Come Again, Sweet Love
Elgar, Edward
My Love Dwelt in a Northern Land
Haydn
Die Harmonie in Der Ehe
Die Harmonie in Der Ehe
Die Beredsamkeit
Die Beredsamkeit
1939
2
3.14
1937
2
6.6
1938
58
5.3
1938
58
4.8
-
83-
5.8
1937
27
6.15
1937
8
4.10
1938
58
6.13
1938
58
6.3
1940
6
6.6
Jeune. Claude Le
Revecy Venir du Printans
Lasso. Orlando di
Matona Mia Cara
Echo Song
Lassus. Orlandus
Hon Couer Se Recommende a Vous
1937 2 3.15
1938 58 4.1
1939 2 5.11
1937 2 7.2
Monteverdi. Claudio
Jo Mi Son Ciovenetta
Morley. Thomas
Now is the Month of May
Clorinda, False, Adieu
April is in my Mistress' Face
Sing We and Chaunt It
Clorinda, False, Adieu
Sing We and Caunt It
Now is the Month of Maying
Palestrina. Giovanni
Glory to God
1939
2
4.7
77
6.7
-
77
4.4
-
83
5.0
1937
2
7.7
1937
8
7.6
1937
27
7.7
1939
2
6.14
1939
2
3.9
A2125
Music Appreciation
Appendix
Sec. 13 Page 2
Ravenscroft, Thomas
Willie, Prithee, Go to Bed
Willie, Prithee, Go to Bed
Reynard, Prancois
Petite Nymphe
Tessier, Charles
Au, Jolie Bois
Valente, Richard
Autumn Wind
Vauter, Thomas
Mother, I will have a Husband
Vittoria
0 Vos Omnis
Weelkes, Thomas
Hark, All Ye Lovely Saints
Wilbye, John
Happy, Oh Happy He
The Turtle Love
The Springtime of the Year
Matthew, Mark, Luke, and John
Oh, Jesus, Tender Shepherd, Hear
Summer is I1cumen in
Patapan
The Dark Eyed Sailor
The Springtime of the Year
Whither Runneth my Sv?eetheart
Turtle Dove
The Wassail Song
Patapan
The Dark Eyed Sailor
The Springtime of the Year
Whither Runneth my Sweetheart
The Turtle Dove
In Mirth and in Gladness
In These Delightful Pleasant Realms
Spring is Here Again
Sweet lymphs That trip Along
Cantata Domino
Sweet Honey Sucking Bees
Praise God in His Holy Temple
0, Magnum Mysterium
If I must die, I will die of Love
Pair Phyllis, I Saw Sitting all Alone
Series Program Ho. No. of Inches
-
77
3.10
1937
8
5.13
1937
2
6.0
1937
2
6.10
1939
2
6.1
—
83
4.11
1937
8
6.12
1938
58
7.6
-
77
7.6
1937
2
5.7
1937
• 2
4.10
1937
8
5.3
1937
8
4.0
1937
19
7.6
1939
16
3.10
1939
16
4.1
1939
16
4.8
1939
16
5.10
1939
16
6.2
1939
16
6.13
1939
58
7.8
1939
58
7.0
1939
58
6.8
1939
58
4.11
1939
58
4.2
1940
4
7.7
1940
4
6.7
1940
4
4.14
1940
4
4.4
1940
6
7.4
1940
6
4.14,
1940
10
7.2
1940
10
6.8
1940
10
4.8
1940
10
3.14
API 25
Music Appreciation
Appendix
Sec. 14
Section 14. Piano Music The following is a short list of representative
piano compositions that have "been recorded:
Bach
Well Tempered Clavichord
Beethoven
Sonata in C Minor, Op. 13 (Pathetique)
Sonata in A flat, Op. 26
Sonata in C# minor, Op. 27, No. 2 (Moonlight)
Sonata in C major, Op. 53 (Waldstein)
Sonata in E flat, Op. 81a (Les adieux)
Brahms
Ballade in D minor, No. 1
Ballade in D major, No. 2
Ballade in G minor, Op. 118, No. 3
Short pieces, Op. 116—119
Chopin
Preludes, waltzes, nocturnes;
etudes, scherzi, ballades, polonaises
Franck
Prelude, Chorale, and Fugue
Prelude, Aria, and Finale
Liszt
Sonata in B minor
Concert etude in D flat
La campanella
Mozart
Sonata in A major
Sonata in A minor
Fantasia in C minor
Schumann
Carneval
Fantasie pieces
Scriabin
Sonatas Op. 66, 68, and 70
Two poernes Op. 32