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On the Treatment of Ancient Ecclesiastical Melodies in Modern Instrumental Composition

Published online by Cambridge University Press:  01 January 2020

Charles William Pearce
Charles William Pearce*
Affiliation:
University of Trinity College, Toronto
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Extract

Mr. Chairman, Ladies, and Gentlemen,

A few remarks of an explanatory nature are necessary by way of introduction to the subject of the present paper. The term “Ancient Ecclesiastical Melody” must be defined; and certain limits should be assigned to the somewhat broad idea conveyed to the mind by the use of the words “Modern Instrumental Composition.”

Type
Research Article
Information
Proceedings of the Musical Association , Volume 13 , 1886 , pp. 63 - 82
Copyright
Copyright © Royal Musical Association, 1886

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References

∗ See “Urbs Beata Hierusalem,” a Postlude for the organ, by Charles W. Pearce, pp. 6, 7. London Music Publishing Company, 54, Great Marlborough Street, W.Google Scholar

∗ Te Lucis ante Terminum, a Prelude and Fugue for the organ, by Charles W. Pearce. London Music Publishing Co., 54, Great Marlborough Street, W.Google Scholar

∗ See “Corde Natus ex Parentis,” a Symphonic Poem for the Organ, by Charles W. Pearce, pp. 10, 11. London Music Publishing Co., 54, Great Marlborough Street, W.Google Scholar

∗ See “The Royal Banners,” a Dramatic Fantasia for the Organ, by Charles W. Pearce, pp. 3–6.Google Scholar

∗ See Sonata in E minor and major, for organ, pp. 9 to 14, by Charles W. Pearce. London Music Publishing Company.Google Scholar