![]() ![]() To this must be added the indisputable fact that “music study in Germany” or in France, for that matter, had become a mere matter of personal taste and predilection, and was not a necessity as in the days of Miss Fay’s amusing experiments with this or that German teacher of renown. As a piece of historical literature proper, I doubt that the book would have survived the war, because it is lamentably true that the average American music-student or even cultured lover of music is not particularly interested in musical history as such. ![]() In other words, her personal observations had ceased to be applicable except in certain details of ambient and had passed into the realm of autobiography valuable for historical reading. ![]() While even as late as 1890, Miss Fay’s volume could have been used as a guide of orientation by the would-be student of music in Germany, certainly it could no longer serve such a purpose during the years just prior to the war, when the lone American student of her book who despised Germany and everything German was definitely in the ascendency. Most of the heroes of the book are long since dead, Miss Fay included, who died in 1921. The earlier “Spiessbürgertum” of which Miss Fay gives such entertaining glimpses even in high quarters with their pomp and circumstance, was rapidly being replaced, at least outwardly, by the more cosmopolitan culture of the fin de siècle, not to mention the ambition for political, industrial and commercial “Weltmacht” in a nation thitherto known, perhaps too romantically, as a nation of “Denker und Dichter.” ![]() The Germany of the years 1869-1875 was quite different from the Germany of 1900 and certainly of 1912, even down to German table-manners. Twenty-one editions is an amazing record for a book of so narrow a subject as “Music Study in Germany.” The case of Miss Amy Fay’s volume becomes all the more unusual, if one considers that her letters were written only for home, not for a public audience and further that within twenty years from the year of first publication, her observations had become more or less obsolete. PREFATORY NOTE.Ĭ OMPARATIVELY few books on music have enjoyed the distinction of reissue. Printed August, 1896 reprinted June, 1897 “Pour admirer assez il faut admirer trop, et un peu d’illusion Produced from scanned images of public domain materialĪuthor of “C O-OPERATIVE H OUSEKEEPING” “The light that never was on sea or land.” Produced by Chuck Greif and the Online Distributed *** START OF THIS PROJECT GUTENBERG EBOOK MUSIC-STUDY IN GERMANY *** With this eBook or online at Title: Music-Study in Germany Re-use it under the terms of the Project Gutenberg License included This eBook is for the use of anyone anywhere at no cost and withĪlmost no restrictions whatsoever. disclaimer: all videos are apolitical and this channel is against any form of extremism the march "regimentsgruß" (army marsch ii, 4) was composed in the 1920s by the german swiss composer heinrich steinbeck composed by johann schwarz.The Project Gutenberg EBook of Music-Study in Germany, by Amy Fay disclaimer: all videos are apolitical and this channel is against any form of extremism or march of the hanoveranian guard hunters. the royal tank composer: friedrich wilhelm voigt (1883) in memory of the battle of grossgörschen (1813) from the war of liberation against composed by h.disclaimer: all videos are apolitical and this channel is against any form of extremism or hatespeech! provided to by universal music group unsere garde marsch disclaimer: all videos are apolitical and this channel is against any form of extremism or hatespeech! composed by carl teike. disclaimer: all videos are apolitical and this channel is against any form of extremism or composed by hans feindt. disclaimer: all videos are apolitical and this channel is against any form of extremism or composed by rudolph förster. ![]()
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