Music audiobooks page 3

If you love and cherish old English nursery rhymes and have fond memories of your early childhood years, Our Old Nursery Rhymes by Alfred Moffat published in 1911 is indeed the little book for you! Or as a parent, if you'd like your own children to share the magic, this book provides them all.

One of the most appealing aspects of this charming book is that the rhymes are all set to music and if you're musically inclined, you can certainly keep yourself and your children entertained by playing these pretty tunes.

Today, we are much less tolerant of perceived political incorrectness, subtle violence, racism and sexism, but in the era when these rhymes were sung...

Preface by W.S.B. Mathews: I have here endeavored to provide a readable account of the entire history of the art of music, within the compass of a single small volume, and to treat the luxuriant and many-sided later development with the particularity proportionate to its importance, and the greater interest appertaining to it from its proximity to the times of the reader.

The range of the work can be most easily estimated from the Table of Contents (pages 5-10). It will be seen that I have attempted to cover the same extent of history, in treating of which the standard musical histories of Naumann, Ambros, Fétis and others have employed from three times to ten times as much space. ...

This is a short introduction to Franz Schubert’s life and works. “…to give the casual radio listener a slight idea of Schubert’s inundating fecundity and inspiration. Like Bach, like Haydn, like Mozart, Schubert’s capacity for creative labor staggers the imagination… Volumes would not exhaust the wonder of his myriad creations. If this tiny book serves to heighten even a little the reader’s interest in such songs, symphonies, piano or chamber works of Schubert as come to his attention over the air it will have achieved the most that can be asked of it.” This book was published by The Philharmonic Symphony Society of New York.

A look at the poetic motivations behind certain piano works. An understanding of these pieces on purely poetic grounds, with little insight into the technical or objective side of the music. How to understand the pieces in terms of an assumed poetical meaning for performer and listener.

Until relatively recently, music students at all levels of study—from the conservatories to public schools—had few resources available for the formal study of musical notation and terminology in the classroom. In fact, it was not until 1914, when Professor Karl Gehrkens at the Oberlin School of Music published this compilation of class notes and sources he collected over the years, that a uniform text became available for schools and universities everywhere. Since the publication of this monumental work, similar textbooks have emerged, but Dr. Gehrkens’ contribution remains thoroughly worthwhile—particularly since it provides not just the definitions of musical terms, but also the histori...

A selection of Beethoven’s letters from the compilation by Dr. Ludwig Nohl and translated by Lady Grace Wallace.

This collection was a joint effort by the chaplains of the US Army and the Navy to meet the needs of divine services conducted in the Army and Navy, and for, in the compilers' words, "the upbuilding up patriotic citizenship."

These 20 hymns from the book were selected by the singers. "Fairest Lord Jesus" sung by Kimberly Krause and TriciaG
"Safe in the Arms of Jesus" sung by by Dulcimergirl and Kimberly Krause

The Perfect Wagnerite: A Commentary on the Niblung's Ring (originally published London, 1898) is a philosophical commentary on Richard Wagner's Der Ring des Nibelungen, by the Irish writer George Bernard Shaw. Shaw offered it to those enthusiastic admirers of Wagner who "were unable to follow his ideas, and do not in the least understand the dilemma of Wotan." He interprets the Ring in Marxian terms as an allegory of the collapse of capitalism from its internal contradictions. Musicologically, his interpretation is noteworthy for its perception of the change in aesthetic direction beginning with the final scene of Siegfried, in which he claimed that the cycle turns from Musikdrama back to...

These light entertainments, originally published anonymously, are an imagined day in the life of each composer (Beethoven, Mendelssohn, Schubert, Chopin, Wagner, Gounod, Mozart, Schumann, Tschaikovsky). This gives the author scope to describe each one's work and life, sketchily, of course, but interestingly.

Subtitled "Songs of Scotland of the Past Half-Century, with Memoirs of the Poets, and Sketches and Specimens in English Verse of the Most Celebrated Modern Gaelic Bards."