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Music Studies

Published online by Cambridge University Press:  01 January 1945

Hubert S. Middleton
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Extract

“… once we have recognised that knowledge in itself is good for man, we shall need to invent no pretexts for studying this subject or that; we shall import no extraneous considerations of use or ornament to justify us in learning one thing rather than another.”

This short extract from Professor Housman's Introductory Lecture delivered before the Faculties of Arts and Laws and of Science in University College, London, in the year 1892, is set down here to help me to disencumber my mind and to tell a plain tale in simple words; indeed, you too will have pondered upon those things which appertain to Music Studies. Throughout this Paper “I tell you that which you yourselves do know,” and I shall hope to be instructed in the Discussion.

Type
Research Article
Information
Proceedings of the Royal Musical Association , Volume 71 , 1945 , pp. 49 - 68
Copyright
Copyright © Royal Musical Association, 1944

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References

1 Julius Cæsar III, ii, Antony.Google Scholar

2 S. H. Butcher. Fourth edition, 1932 (Macmillan).Google Scholar

3 Schopenhauer, The World as Will and Idea; volume I, page 333. And see also volume III, third book, chapter xxxix. On the Metaphysics of Music (connected with paragraph 52 of the first volume). Trans. by R. B. Haldane and J. Kemp (Kegan Paul, 1896).Google Scholar

4 Sir Arthur Eddington, The Philosophy of Physical Science (Cambridge University Press, 1939).Google Scholar

5 Esemplare o sia saggio fondamentale pratico di contrappunto sopra il canto fermo da F. Giambattista Martini. Bologna, 1775. Regole di Contrappunto: “Oltre gli Elementi di Contrappunto, de’ quali e necessario sia instruito il Giovine Compositore, deve ancora possedere a perfezione almeno le Arti del Canto, e del Suono dell’ Organo, senza le quali due Arti non potra rendersi perfetto Compositore.Google Scholar

Thus does Martini begin, and he has an elaborate footnote extending his argument.Google Scholar

6 Letters of Sir Walter Raleigh, volume II, page 346 (Methuen. 1926).Google Scholar

7 The arguments for vocational reference are set out in The Function of Universities in the Modern World, by A. M. Carr-Saunders. Reprinted from The Sociological Review, volume xxxii, 1940.Google Scholar

8 Proceedings of the Musical Association, 1883–84. “On Certain Principles of Musical Exposition considered educationally, and with special reference to current systems of Musical Theory.” By Gerard F Cobb.Google Scholar

9 Proceedings of the Musical Association, lxiv, 1937–38. “The Music of Electricity.” by Francis W. Galpin.Google Scholar

10 Principia Ethica, by George Edward Moore, pp. 215–6. (Camidge University Press, 1903).Google Scholar

11 Proceedings of the Musical Association. “The History of the Evolution of Pianoforte Technique, lix, 1932–3; “The Influence of the Pianoforte on Musical Progress,” lxv, 1938–9Google Scholar

12 Moore, G. E., op. cit., p. 36.Google Scholar

13 Cf. A Mathematician's Apology, G. H. Hardy (Cambridge University Press, 1941), pp. 38–57.Google Scholar

14 Cf. Moral Values and the Idea of God. W. R. Sorley (Cambridge University Press, 1935), p 296. “The theories about the world which we form have the precision and fixity which are marks of intellectual conceptions. But our experience is a living growing experience always producing something new which may be used as a test of the adequacy of the theory.”Google Scholar

15 The Study of Modern History. An Inaugural Lecture delivered at Cambridge, by H. Butterfield (London: G. Bell, 1944).Google Scholar

16 Ernest Newman, “A Note on Beethoven”—II (The Sunday Times, August 28th, 1943): “There does not exist to-day a single study of a single composer that gets to the root of the man's mind in the way that the great literary critics have sometimes done in their own spheres There is any amount of able post-mortem musical anatomy—the dissection of forms and so forth—but hardly any genuine musical physiology or psychology, hardly anything that throws light on the peculiar personal chemistry that makes a particular composer and a particular work just what they are.”Google Scholar

17 The Life of William Sterndale Bennett, by J. R. Sterndale Bennett, p. 252 (Cambridge University Press, 1907).Google Scholar

18 Table-Talk; being the Discourses of John Selden. Published in 1689. (See The Temple Classics, first edition, 1898, cxxi, 3.)Google Scholar