The Act of Touch in All Its Diversity

Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: ultimate object of such muscular-correctness (Vide also 7, next Chapter.) Therefore, whenever we conduct muscular experiments at the Key-board, we must be careful to keep such muscular-conditions in view solely as the Means to an end. That end is: to Make Sound by means of inducing movement in the Key;? a...
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Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: ultimate object of such muscular-correctness (Vide also 7, next Chapter.) Therefore, whenever we conduct muscular experiments at the Key-board, we must be careful to keep such muscular-conditions in view solely as the Means to an end. That end is: to Make Sound by means of inducing movement in the Key;? a Sound-excitation, moreover, that must always be definitely Timed; and definitely gauged as to kind. (Vide also 7, next Chapter, page, S.) 10. This now brings us to a closer consideration of that Second Step in muscular-education?the correct Gauging and Timing of the correctly chosen muscular - conditions. We shall moreover realise, that it is in such Timing that immediately lies the LINK that unites the purely mental act of musical-determination with the physical act of Tone-production. For we shall see that it is on the ground of Rhythm that they coalesce. 11. As regards Education in this Second Step?the application of the results of muscular-condition to Key-necessities, manifestly, a Key-board is here absolutely essential. It is true, a dumb key-board may quite well serve to teach us, and to enable us to retain, those particular muscular-gaug- ings that enable us to find the right notes; this being a matter that depends merely on our muscularly gauging with accuracy the distances to be traversed on the key-board?through side- to-side movements of Finger, Hand, and Arm.i But beyond that point, a speaking key-board becomes imperatively necessary, by which to teach ourselves the Hahitof accurately Timing and accurately Gauging the degree of those other muscular acts, those that directly make tone. 'Our Eye can only guide us, in the case of large skips; with plenty of time provided by the composer for taking them. Everything else consists of mov...