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    On the Execution of Music, and Principally of Ancient Music
    On the Execution of Music, and Principally of Ancient Music
    On the Execution of Music, and Principally of Ancient Music
    Ebook43 pages28 minutes

    On the Execution of Music, and Principally of Ancient Music

    By Henry P. Bowie and Camille Saint-Saëns

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 15, 2013
    On the Execution of Music, and Principally of Ancient Music

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      Book preview

      On the Execution of Music, and Principally of Ancient Music - Henry P. Bowie

      The Project Gutenberg EBook of On the Execution of Music, and Principally

      of Ancient Music, by Camille Saint-Saëns

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.net

      Title: On the Execution of Music, and Principally of Ancient Music

      Author: Camille Saint-Saëns

      Translator: Henry P. Bowie

      Release Date: November 7, 2009 [EBook #30412]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK ON THE EXECUTION OF MUSIC ***

      Produced by Chuck Greif

      ON THE EXECUTION OF

      MUSIC, AND PRINCIPALLY

      OF ANCIENT MUSIC

      BY

      M. CAMILLE SAINT-SAËNS

      Delivered at the

      "Salon de la Pensée Française"

      Panama-Pacific International Exposition

      San Francisco, June First

      Nineteen Hundred

      & Fifteen

      DONE INTO ENGLISH

      WITH EXPLANATORY NOTES BY

      HENRY P. BOWIE

      SAN FRANCISCO:

      THE BLAIR-MURDOCK COMPANY

      1915

      Copyright, 1915

      by M. Camille Saint-Saëns

      ON THE EXECUTION OF

      MUSIC, AND PRINCIPALLY

      OF ANCIENT MUSIC

      USIC was written in a scrawl impossible to decipher up to the thirteenth century, when Plain Song [1] (Plain Chant) made its appearance in square and diamond-shaped notes. The graduals and introits had not yet been reduced to bars, but the songs of the troubadours appear to have been in bars of three beats with the accent on the feeble note of each bar. However, the theory that this bar of three beats or triple time was used exclusively is probably erroneous. St. Isidore, in his treatise on music, speaking of how Plain Song should be interpreted, considers in turn all the voices and recommends those which are high, sweet and clear, for the execution of vocal sounds, introits, graduals, offertories, etc. This is exactly contrary to what we now do, since in place of utilizing these light tenor voices for Plain Song, we have recourse to voices both heavy and low.

      In the last century when it was desired to restore Plain Song to its primitive purity, one met with insurmountable obstacles due to its prodigious prolixity of long series of notes, repeating indefinitely the same musical forms; but in considering this in the light of explanations given by St.

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