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The Resource Evenings with music, by Syd Skolsky

Evenings with music, by Syd Skolsky

Label
Evenings with music
Title
Evenings with music
Statement of responsibility
by Syd Skolsky
Creator
Subject
Language
eng
Cataloging source
DLC
http://library.link/vocab/creatorDate
1917-1998
http://library.link/vocab/creatorName
Skolsky, Syd
Dewey number
780.1
Illustrations
illustrations
Index
no index present
LC call number
MT6
LC item number
.S56
Literary form
non fiction
Nature of contents
bibliography
http://library.link/vocab/subjectName
  • Music appreciation
  • Musical analysis
Label
Evenings with music, by Syd Skolsky
Instantiates
Publication
Note
"Suggested list for further listening": p. 370-372
Carrier category
volume
Carrier category code
nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
txt
Content type MARC source
rdacontent
Contents
  • Evening one : I. The symphony orchestra ; II. The string section ; III. Fundamental elements of music ; IV. Haydn's Symphony No. 94, third movement as an illustration of these elements ; V. Common musical terms ; VI. Johann Sebastian Bach ; VII. Introducing Bach's Passacaglia in C Minor -- Evening two : I. Josef Haydn ; II. The style of Haydn's music ; III. Structure of the symphony ; IV. The minuet form ; V. The third movement of Haydn's Symphony No. 94 as illustration of Haydn's style and the minuet form ; VI. The Woodwind section ; VII. Back's Passacaglia in C Minor as illustration of high strings and woodwinds -- Evening three : I. Wolfgang Amadeus Mozart ; II. The style of Mozart's music ; III. The third movement of Mozart's Symphony No. 40 as illustration of Mozart's style and the minuet form ; IV. Comparison of the musical style of Haydn and Mozart ; V. The brass section ; VI. Study of Bach's Passacaglia for illustrations of the brasses
  • Evening four : I. Ludwig van Beethoven ; II. The style of Beethoven's music ; III. The Scherzo form ; IV. The third movement of Beethoven's Symphony No. 5 as illustration of the scherzo form and Beethoven's musical style ; V. The percussion section ; VI. Study of Bach's Passacaglia as an orchestral unit ; VII. Comparison of the musical styles of Haydn, Mozart and Beethoven -- Evening five : I. The theme and variation s form ; II. Bach's Passacaglia as illustration of the theme and variation form ; III. Notes on the period in which Haydn lived ; IV. Second movement of Haydn's Symphony No. 94 as an example of the theme and variations form ; V. Prokofieff's Peter and the Wolf as illustration of orchestral instruments ; VI. Second and third movements compared -- Evening six ; I. Notes on the musical style of Bach, introducing the fugue ; II. Bach's Passacaglia record side 2, the bass and high stings ; III. Beethoven and the theme and variations form ; IV. Illustration of theme and variations form: the second movement of the Beethoven Symphony N. 5 ; V. Comparison of second and third movements of Haydn's Symphony No. 94 and Beethoven's Symphony No. 5
  • Evening seven : I. The sonata allegro form ; II. Haydn and the sonata allegro form ; III. First movement of Haydn's Symphony No. 94 as an example of the sonata allegro form ; IV. Bach's Passacaglia: woodwinds, brasses and complete orchestral unit ; V. The first three movements of Haydn's Symphony No. 94 -- Evening eight : I. Mozart and the sonata allegro form ; II. First movement of the Mozart Symphony No. 40 as illustration of the sonata allegro form ; III. The sonata forma, illustration of the sonata form: the second movement of the Mozart Symphony No. 40 ; IV. Bach's Passacaglia record side three: the bass and higher strings ; V. First three movements of Haydn's Symphony No. 94 and Mozart's Symphony No. 40 compared -- Evening nine : I. Beethoven's era ; II. Beethoven and the sonata allegro form ; III. Illustration of the sonata form: the first movement of the Beethoven Symphony No. 5 ; IV. Bach's Passacaglia: woodwinds, bass, viols and brasses ; V. The first three movements of Haydn's Symphony No. 94, Mozart's Symphony No. 40 and Beethoven's Symphony No. 5 compared
  • Evening ten : I. Sonata allegro form-the fourth movement ; II. Illustrations : fourth movement of the Haydn Symphony No. 94 ; fourth movement of the Mozart Symphony No. 40. III. Bach's Passacaglia: it's derivation and style, illustration: all instruments contained in record side three of Bach's Passacaglia ; IV. Haydn's Symphony No. 94 and Mozart's Symphony No. 40 compared -- Evening eleven : I Beethoven and the fourth movement ; II. Illustration: fourth movement of the Beethoven Symphony No. 5 ; III. Bach's Passacaglia record side four ; IV. Review of all material studied from evenings one through eleven -- Evening twelve : I. Music before the period of Johann Sebastian Bach, George Frederick Handel ; II. The Fugue ; III. Illustrations of the fugue: Bach's Fugue in G Minor and Bach's Passacaglia in C Minor -- Evening thirteen : I. From J. S. Bach to the period of Haydn; musical classicism ; II. The concerto; the sonatina form and the rondo form, illustration: Haydn's Cello Concerto in D Major
  • Evening fourteen : I. Later eighteenth-century musical reforms, Gluck and Mozart ; II. Mozart and the concerto, illustration: Mozart's Piano Concerto No. 24 in C Minor -- Evening fifteen : I. The significance of Beethoven ; II. Beethoven and the concerto, illustration: Beethoven's Violin Concerto in D Major -- Evening sixteen : I. The turn of the nineteenth century, the advent of romanticism ; II. Franz Schubert ; III. Analysis of Schubert's Symphony No. 8 in B Minor (unfinished) -- Evening seventeen : I. Felix Mendelssohn's Symphony No. 4 in A Major (Italian) -- Evening eighteen : I. Robert Schumann ; II. The romantic musical style, significance of Schumann ; III. Analysis of Schumann's Piano Concerto in A Minor -- Evening nineteen : I. The development of keyboard instruments, the rise of pianism ; II. Frederic Chopin ; III. The significance of Chopin, pianistic romanticism, features of Chopin's style ; IV. Analysis of Chopin's Piano Concert No. 1 in E Minor -- Evening twenty : I. The piano virtuoso: Franz Liszt ; II. The musical style of Liszt ; III. Analysis of Liszt's Piano Concerto No. 1 in E Flat
  • Evening twenty-one : I. Johannes Brahms: classical romanticism ; II. The musical style of Brahms ; III. Analysis of Brahms' Symphony No. 2 in D Major -- Evening twenty-two : I. Emergence of Russian music ; II. Peter Ilyich Tchaikovsky ; III. The characteristics of Tchaikovsky's music ; IV. Analysis of Tchaikovsky's Symphony No. 4 in F Minor -- Evening twenty-three : I. Modern Russian music: Sergei Prokofieff ; II. The musical style of Prokofieff ; III. Analysis of Prokofieff's Classical Symphony -- Evening twenty-four : I. Overture to "Der Freischutz" by Weber; II. Symphonic Variations for Piano and Orchestra by Cesar Franck ; III. Through the Looking Glass by Deems Taylor -- Evening twenty-five : I. Overture to "Egmont" by Beethoven ; II Till Eulenspiegel's Merry Pranks by Richard Strauss ; III. Prelude to "The Afternoon of a Faun" by Debussy ; IV. Violin Concerto in E Minor by Mendelssohn -- Evening twenty-six : I. Prelude to "Die Meistersinger" by Richard Wagner ; II. Toccata and Fugue in D Minor by Bach ; III. Water Music Suite by Handel ; IV. Concerto in F by George Gershwin -- Evening twenty-seven : I. Overture to "The Marriage of Figaro" by Mozart ; II. Symphonic suite, Scheherazade by Rimsky-Korsakoff ; III. Violin Concerto in D Major by Brahms
Control code
921258
Dimensions
21 cm
Extent
382 pages
Lccn
44008846
Media category
unmediated
Media MARC source
rdamedia
Media type code
n
Other physical details
illustrations (including music), diagrams
Label
Evenings with music, by Syd Skolsky
Publication
Note
"Suggested list for further listening": p. 370-372
Carrier category
volume
Carrier category code
nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
txt
Content type MARC source
rdacontent
Contents
  • Evening one : I. The symphony orchestra ; II. The string section ; III. Fundamental elements of music ; IV. Haydn's Symphony No. 94, third movement as an illustration of these elements ; V. Common musical terms ; VI. Johann Sebastian Bach ; VII. Introducing Bach's Passacaglia in C Minor -- Evening two : I. Josef Haydn ; II. The style of Haydn's music ; III. Structure of the symphony ; IV. The minuet form ; V. The third movement of Haydn's Symphony No. 94 as illustration of Haydn's style and the minuet form ; VI. The Woodwind section ; VII. Back's Passacaglia in C Minor as illustration of high strings and woodwinds -- Evening three : I. Wolfgang Amadeus Mozart ; II. The style of Mozart's music ; III. The third movement of Mozart's Symphony No. 40 as illustration of Mozart's style and the minuet form ; IV. Comparison of the musical style of Haydn and Mozart ; V. The brass section ; VI. Study of Bach's Passacaglia for illustrations of the brasses
  • Evening four : I. Ludwig van Beethoven ; II. The style of Beethoven's music ; III. The Scherzo form ; IV. The third movement of Beethoven's Symphony No. 5 as illustration of the scherzo form and Beethoven's musical style ; V. The percussion section ; VI. Study of Bach's Passacaglia as an orchestral unit ; VII. Comparison of the musical styles of Haydn, Mozart and Beethoven -- Evening five : I. The theme and variation s form ; II. Bach's Passacaglia as illustration of the theme and variation form ; III. Notes on the period in which Haydn lived ; IV. Second movement of Haydn's Symphony No. 94 as an example of the theme and variations form ; V. Prokofieff's Peter and the Wolf as illustration of orchestral instruments ; VI. Second and third movements compared -- Evening six ; I. Notes on the musical style of Bach, introducing the fugue ; II. Bach's Passacaglia record side 2, the bass and high stings ; III. Beethoven and the theme and variations form ; IV. Illustration of theme and variations form: the second movement of the Beethoven Symphony N. 5 ; V. Comparison of second and third movements of Haydn's Symphony No. 94 and Beethoven's Symphony No. 5
  • Evening seven : I. The sonata allegro form ; II. Haydn and the sonata allegro form ; III. First movement of Haydn's Symphony No. 94 as an example of the sonata allegro form ; IV. Bach's Passacaglia: woodwinds, brasses and complete orchestral unit ; V. The first three movements of Haydn's Symphony No. 94 -- Evening eight : I. Mozart and the sonata allegro form ; II. First movement of the Mozart Symphony No. 40 as illustration of the sonata allegro form ; III. The sonata forma, illustration of the sonata form: the second movement of the Mozart Symphony No. 40 ; IV. Bach's Passacaglia record side three: the bass and higher strings ; V. First three movements of Haydn's Symphony No. 94 and Mozart's Symphony No. 40 compared -- Evening nine : I. Beethoven's era ; II. Beethoven and the sonata allegro form ; III. Illustration of the sonata form: the first movement of the Beethoven Symphony No. 5 ; IV. Bach's Passacaglia: woodwinds, bass, viols and brasses ; V. The first three movements of Haydn's Symphony No. 94, Mozart's Symphony No. 40 and Beethoven's Symphony No. 5 compared
  • Evening ten : I. Sonata allegro form-the fourth movement ; II. Illustrations : fourth movement of the Haydn Symphony No. 94 ; fourth movement of the Mozart Symphony No. 40. III. Bach's Passacaglia: it's derivation and style, illustration: all instruments contained in record side three of Bach's Passacaglia ; IV. Haydn's Symphony No. 94 and Mozart's Symphony No. 40 compared -- Evening eleven : I Beethoven and the fourth movement ; II. Illustration: fourth movement of the Beethoven Symphony No. 5 ; III. Bach's Passacaglia record side four ; IV. Review of all material studied from evenings one through eleven -- Evening twelve : I. Music before the period of Johann Sebastian Bach, George Frederick Handel ; II. The Fugue ; III. Illustrations of the fugue: Bach's Fugue in G Minor and Bach's Passacaglia in C Minor -- Evening thirteen : I. From J. S. Bach to the period of Haydn; musical classicism ; II. The concerto; the sonatina form and the rondo form, illustration: Haydn's Cello Concerto in D Major
  • Evening fourteen : I. Later eighteenth-century musical reforms, Gluck and Mozart ; II. Mozart and the concerto, illustration: Mozart's Piano Concerto No. 24 in C Minor -- Evening fifteen : I. The significance of Beethoven ; II. Beethoven and the concerto, illustration: Beethoven's Violin Concerto in D Major -- Evening sixteen : I. The turn of the nineteenth century, the advent of romanticism ; II. Franz Schubert ; III. Analysis of Schubert's Symphony No. 8 in B Minor (unfinished) -- Evening seventeen : I. Felix Mendelssohn's Symphony No. 4 in A Major (Italian) -- Evening eighteen : I. Robert Schumann ; II. The romantic musical style, significance of Schumann ; III. Analysis of Schumann's Piano Concerto in A Minor -- Evening nineteen : I. The development of keyboard instruments, the rise of pianism ; II. Frederic Chopin ; III. The significance of Chopin, pianistic romanticism, features of Chopin's style ; IV. Analysis of Chopin's Piano Concert No. 1 in E Minor -- Evening twenty : I. The piano virtuoso: Franz Liszt ; II. The musical style of Liszt ; III. Analysis of Liszt's Piano Concerto No. 1 in E Flat
  • Evening twenty-one : I. Johannes Brahms: classical romanticism ; II. The musical style of Brahms ; III. Analysis of Brahms' Symphony No. 2 in D Major -- Evening twenty-two : I. Emergence of Russian music ; II. Peter Ilyich Tchaikovsky ; III. The characteristics of Tchaikovsky's music ; IV. Analysis of Tchaikovsky's Symphony No. 4 in F Minor -- Evening twenty-three : I. Modern Russian music: Sergei Prokofieff ; II. The musical style of Prokofieff ; III. Analysis of Prokofieff's Classical Symphony -- Evening twenty-four : I. Overture to "Der Freischutz" by Weber; II. Symphonic Variations for Piano and Orchestra by Cesar Franck ; III. Through the Looking Glass by Deems Taylor -- Evening twenty-five : I. Overture to "Egmont" by Beethoven ; II Till Eulenspiegel's Merry Pranks by Richard Strauss ; III. Prelude to "The Afternoon of a Faun" by Debussy ; IV. Violin Concerto in E Minor by Mendelssohn -- Evening twenty-six : I. Prelude to "Die Meistersinger" by Richard Wagner ; II. Toccata and Fugue in D Minor by Bach ; III. Water Music Suite by Handel ; IV. Concerto in F by George Gershwin -- Evening twenty-seven : I. Overture to "The Marriage of Figaro" by Mozart ; II. Symphonic suite, Scheherazade by Rimsky-Korsakoff ; III. Violin Concerto in D Major by Brahms
Control code
921258
Dimensions
21 cm
Extent
382 pages
Lccn
44008846
Media category
unmediated
Media MARC source
rdamedia
Media type code
n
Other physical details
illustrations (including music), diagrams

Library Locations

    • Thomas Jefferson LibraryBorrow it
      1 University Blvd, St. Louis, MO, 63121, US
      38.710138 -90.311107
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