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On the Treatment of Ancient Ecclesiastical Melodies in Modern Instrumental Composition
Published online by Cambridge University Press: 01 January 2020
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.”
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- Copyright © Royal Musical Association, 1886
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