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How to Read Music A Complete Music Theory Guide to Learn How to Read Write and Hear the Different Aspects of Music from Beginners to Advanced 1st Edition Carl C. Jones
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Table of Contents
INTRODUCTION
HISTORY OF MUSIC
WHAT IS THE MEANING OF MUSIC THEORY?
MUSIC ANALYSIS
WHY DO WE NEED MUSIC IN OUR LIFE? WHY MUSIC IS SO GOOD FOR OUR BRAIN?
"SOMETIMES, IT FEELS LIKE AN ADDICTION."
EVERY APPEARANCE MAKES TIM NEUHAUS HAPPY A VERITABLE THUNDERSTORM BREAKS OUT IN THE RESEARCHER'S BRAIN
AFTER 20 MINUTES ON A NEW INSTRUMENT, CHANGES BECOME APPARENT
"CHILDREN ARE ALWAYS INVOLVED INTERNALLY."
MUSIC PROMOTES THE FUNCTIONS THAT ARE NECESSARY FOR SELFCONTROL
HEAVY METAL IS NO WORSE FOR THE BRAIN THAN OPERA REASONS WHY LEARNING MUSIC WILL MAKE YOU MORE SUCCESSFUL BOOST BRAIN DEVELOPMENT
IT WILL MAKE YOU MORE SKILLED IN MATH
IT WILL AROUSE YOUR CREATIVITY
IT WILL MAKE YOU PERSEVERING
IT WILL ENHANCE YOUR ASSOCIATION WITH OTHERS
IT WILL DEVELOP YOUR MENTALITY
YOU WILL HAVE A MORE ROBUST SENSE OF RHYTHM IT WILL RAISE YOUR DISCIPLINE
YOU WILL BE MORE INCLINED TO WORK ACTIVELY TO GET
RESULTS
WHAT IS MUSIC?
POWER OF MUSIC
HOW THE BRAIN PROCESSES MUSIC
MEMORY TRAINING
HOW MUSIC TRIGGERS EMOTIONS
TYPES OF MUSIC
ACADEMIC MUSIC
POPULAR MUSIC
FOLK MUSIC
TEMPO IN THE BRAIN
THE PHYSIOLOGICAL PERCEPTION OF HUMANS
THE MOZART EFFECT
ALL YOU HAVE TO KNOW IF YOU ARE THINKING ABOUT STUDYING MUSIC BENEFITS
ARE YOU READY?
CAN YOU LEARN MUSIC THEORY IN A FEW PERIODS?
REASONS TO LEARN MUSIC THEORY HOW TO LEARN TO READ AND SCORES TO PLAY MUSICAL INSTRUMENTS?
MUSIC LESSONS TO KEEP UP
RHYTHM
SETTING YOUR TIME TO LEARN MUSIC THEORY ADVANTAGES OF LEARNING MUSIC THEORY WHAT FOLLOWS AFTER LEARNING MUSIC THEORY? WHAT SUPPORT MATERIALS CAN I USE TO LEARN A MUSICAL INSTRUMENT?
CLASSICAL MUSIC FOR BEGINNERS
SOLFEO SELF PRACTICES
MUSICAL ELEMENTS
MELODY AND THE HARMONY
THE SOUND
ACOUSTIC ACOUSTIC PHYSICS
SOUND
SPEEDOF SOUND PITCH PERIOD VOLUME
TIMBRE
TEXTURE SOUND LOCATIONS
LEVEL OF SOUND PRESSURE ULTRASOUND INTRASOUND
THE DYNAMICS OF SOUND GRADUAL DYNAMIC SIGNS
MOST PROMINENT AND POPULAR TYPES OF MUSIC
MUSICAL GENRES FOR ALL TASTES
THE VARIOUS TYPES OF MUSIC AND MUSICAL GENRES CLASSICAL MUSIC
BLUES
JAZZ
RHYTHM AND BLUES (R AND B)
ROCK AND ROLL
THE GOSPEL
THE SOUL ROCK METAL COUNTRY
FUNK
DISK
HOUSE
TECHNO
POP
SKA
REGGAE
HIP HOP
DRUM AND BASS
GARAGE
FLAMENCO
SALSA
REGGAETON
GENRE OF MUSIC, DEPENDING ON THE INSTRUMENT YOU USE
VOCAL MUSIC OR "ACAPELLA."
INSTRUMENTAL MUSIC
OTHER TYPES OF MUSIC
PRAGMATIC MUSIC
SOUNDTRACK
WHAT DO WE MEAN BY MUSICAL HARMONY?
HARMONY
TONAL HARMONY
MODAL HARMONY
MUSICAL SOUNDS
THE SCALE
RHYTHM TONE
CHORDS AND TRIADS
MAJOR AND MINOR MODE SHADES
THE DEFINITION OF THE 24 SHADES
THE CADENCE
CHORDS OF MULTIPLE SOUNDS, ALTERED CHORDS AND DISSONANCES
TENSION AND REST
MODULATION
CONTINUOUS OR NUMBERED BASS
WHAT IS INTERVAL IN MUSIC AND HOW ARE THEY USED?
THE INTERVAL, AN ESSENTIAL CONCEPT TO UNDERSTAND AN INTERVAL, A HISTORY OF TONES AND SEMITONES
MELODIC INTERVAL OR HARMONIC INTERVAL
INTERVAL REVERSAL: HEAD UPSIDE DOWN
INTERVAL
UNISON
EIGHTH
THE INTERVALS IN THE DIATONIC SCALE
SEMITONE AND TONE
RIGHT INTERVALS
EIGHTH FOURTH FIFTH
MAJOR AND MINOR INTERVALS
THIRD SIXTH
SECOND.
SEVENTH.
INTERVALS INCREASED AND DECREASED EXCESS FOURTH OR TRITONE.
SEVENTH DIMINISHED.
MATHEMATICAL RATIOS OF THE INTERVALS CONSONANCES AND DISSONANCES
INTERVALS ON SCALES
INTERVALS IN CHORDS
PERFECT MAJOR CHORD
PERFECT MINOR CHORD
WHAT IF THE CHORD HAS 4 NOTES? THE SMALLEST INTERVAL
HOW TO READ MUSIC ON THE STAFF
LETS TALK ABOUT THE STAFF
THE DURATION OF THE NOTES THE HEIGHT OF THE SOUNDS. THE MUSICAL STAVES THE PIANO STAFF THE SEVEN MUSICAL NOTES
HOW TO DRAW THE TREBLE CLEF OR TREBLE CLEF THE PENTAGRAM
MUSICAL KEYS AND THE TREBLE CLEF THE OCTAVES THE ADDITIONAL CUTS
MUSICAL VALUES
THE MEASURE OR MEASURE THE VALUE OF NOTES HOW THE NOTE IS COMPOSED THE VALUE POINT THE BINDING OF A VALUE THE DETACHED THE ADDITIONAL CUTS THE BREAKS
SIMPLE AND COMPOUND TIMES
THE TIME
TREND TEMPO (BEATS PER MINUTE) TYPE TIME BINARY TERNARY QUATERNARY MIXED THE ACCENTS OF THE TIMES EMBELLISHMENTS
THE ACCACCATURA THE SUPPORT THE ARPEGGIO THE GROUP THE BITE THE TRILL
THE AGREEMENTS ON THE STAFF
INTRODUCTION TO SOLFEGGIO
HOW TO SOLFIRE 4/4
3/4 OR 3/8
THE DYNAMICS
HOW TO READ A MUSICAL SCORE
READING EXERCISES
MUSIC NOTE RECOGNITION
VOCAL TECHNIQUES FOR BEGINNERS AND PROFESSIONALS
1. THE WARMING OF THE VOICE
2. EXERCISE BREATHING HORIZONTALLY
3. PRACTICE SOUND PROJECTION
4.THE "NASAL SOUND" TRICK
5. TUNE TO SING BETTER
6. LEARN TO SING: FREE YOUR VOICE
7. TRICKS TO PROGRESS IN SINGING
8. WORK THE DICTION
9. PERFECT VOCALIZATION
10. POSITION THE TONGUE
11. FEEL THE ZYGOMATIC ARCH AND THE NUT
12. THE YAWN TECHNIQUE
SINGING LESSONS: PRIMARY VOICE CARE
PRIVATE TUITION LESSONS FOR BEGINNERS
THE BENEFITS OF PROPER VOCAL
TRAINING
PREPARE YOUR FAVOURITE SONG BEFORE THE SINGING CLASS THE APPS ARE USED TO PRACTICE ON YOUR OWN
TAKE ADVANTAGE OF YOUTUBE VIDEOS TO PRACTICE USE BOOKS AND MANUALS TO REVIEW
HOW TO LEARN TO SING WELL
WHAT IS SINGING WITHOUT DECLINING? MAKE SENSE OF RHYTHM
LEARN TO BREATHE TO SING WITHOUT DEFYING PRACTICE NOT TO DEFY
WORK THE TECHNIQUE AND VOCALIZATION
PRACTICAL TIPS TO KEEP YOUR VOICE
CAN YOU LEARN TO SING WITHOUT DECLINING IF YOU DON'T SING WELL?
LEARN TO SING WITHOUT DEFINING WITH A TUTOR
LEARN TO SING WITHOUT DECLINING WITH AN APPLICATION SING TRUE
SING SHARP SWIFTSCALES
SING KARAOKE
THE BEST VIDEOS ON THE WEB TO LEARN TO SING WELL
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INTRODUCTION
Music is one of the usual amazing feelings in humans because it manages to instantly convey different sensations that other art forms may not be able to communicate. Music is a complicated arrangement of sounds, melodies, and rhythms that humans have discovered and developed to obtain an infinite number of different possibilities. Music is believed to be of great importance to people because it allows them to express fear, joy, and intense feelings of all kinds. Music will enable you to channel these feelings and relieve pain or increase pleasure. Expressions that show who we are and what culture and traditions encompass us?
As with several other styles of cultural definition, music is a means for people to express themselves and to represent different sensations, ideas, and thoughts. Music is, therefore, not only crucial for its beauty and aesthetic value. These are two elements that are of great importance for the cultural heritage of a community or civilization. Also, as a means by which people can communicate with others and with themselves itself (since music can be heard socially and individually). In practice, the interlocking of the subject areas leads to the abolition of the individual disciplines in many places. Knowledge of music theory is conducive to a deeper understanding of the nature and effects of music. For this reason, music theory is a compulsory subject in the artistic courses at the music academies. In this book, music theory, the writing of style exercises is usually mutually related. Through study, criteria are obtained, which are then practically tested and checked in style exercises. At the music
colleges, music universities, and at some universities, there are also major subject courses in music theory and ear training, some of which are offered with different profiles and focal points. If you have been looking for where and how to learning music, I tell you that this book will answer all those questions that are in your head. This book can be used as a manual to teachers, student, and also a guide book to professionals. Well, music is a vast aspect of life in which there are different departments inside what I will call “university of music”. So, there are various areas you of your choice you can choose here in music, maybe vocals, mastering a musical instrument, teaching music itself, conducting, production and mastering, even sound engineering, and also dancing or what I will call chorography. Whatever the aspect you want to venture into, you will need this book even more than the reason you get it for, because we have brought all the knowledge together for you to learn and grasp quickly. So, I wish you an enjoyable fresh experience of music as you read ahead.
HISTORY OF MUSIC
Part of what gives us an individual is music. All cultures, from the first to the most modern, create music. Musical instruments are among the oldest artifacts. For example, there are results from flutes 37,000 years old and probably older. If we compare it to the process of reading and writing that is less than 35,000 years old and that there are even communities that are unfortunately not yet practicing, we can have an idea of the importance of music. It has in the evolution of society. Some theories suggest that music is the evolutionary forerunner of language, that is, the connection between the cries and signals of primates and our communication in a more abstract sense. You will quickly learn the structure and rules of music using a straightforward method, quick recognization of the formationof a melody, and be able to readnotes effortlessly, compose your song in a short time following instructions. You will find this in the book an exact musicdirection that brings the essence of music closer, quietly, and an effective method of singing syllables to train the inner ear.
Many graphics and pictures that facilitate understanding of what is going on in the invisible world of music. Pictorial comparisons illustrate the forces that work between the tones. Numerous step-by-stepinstructions that can be implemented safely and efficiently to create a piece of music. No prior knowledge is necessary! Whether you or a beginner is already playing an instrument, you will find essential facts and
explanations about the nature of music and practical step-by-step instructions in this book, suitable for you.
Read this practical book on music, and you will get an entirely new perspective on music and can master an instrument much faster. In this book, you will acquire more about the music description and a valid method with which you can learn in simple steps how the music is structured and how it works. It is for all those who have always wanted to write their piece of music but have not yet dared to do so.
Modern investigation has revealed the outcomes of music to arouse our brain and develop our well-being and cognitive development.
Among all musical genres, the melody emanating from the classic wind, percussion, or string instruments causes a sense of peace, harmony, and tranquility in us that will erase all worries and pains. Tension can play a deal on our bodily and mental health, proffering itself as a real obstacle to our study habits. Music will bring to our body the necessary tranquility that will allow us to face any obstacle.
Likewise, this music genre will help us reduce blood pressure and even fight insomnia.
Sleeping for the smallest number of hours, the body and mind need can be decisive when passing or pausing an exam or, in short, to give studies.
The musical notes of this attractive melody composed of great masters and composers from past eras will activate the autonomous, emotional, and cognitive centers of our brain. At the same time, however, it releases a chemical known as dopamine, which maintains
a special relationship with our mood and our ability to experience a pleasure.
In this way, when we release this substance, we will provide a greater sense of well-being to our bodies.
In this way, we can improve our attention and our ability to perform when we study or perform any work on an intellectual level.
Learning music from an early age can help us combat specific speeches and other brain and sound problems. To enter this universe that can bring so many benefits to our brain and physical well-being, it would be interesting to attend quality schools and courses held by highly qualified professionals in this field.
Maybe we don't know, but music can help us in many aspects of our daily, academic, and professional life. You must be able to listen carefully and appreciate the beauty behind the musical notes of a composition.
WHAT IS THE MEANING OF MUSIC THEORY?
Music theory is a set of methods for analyzing, classifying, and composing music and its elements. Strictly speaking, it can be defined as the description of the aspects of music, i.e., the semiography commonly referred to as musical notation and its interpretation. In general, the theory can be viewed as "some statement, belief, or idea of music." The educational learning of music is termed musicology.
Music theory, in general, tries to reduce the work of composing and performing pieces of music to several rules and ideas. In general, music theory works are descriptive and normative; that is, they try to define musical practice and to influence music practice after reading the works. For this reason, music theory largely depends on the method, but at the same time suggests future explorations. Musicians study music theory to understand the relationships that a composer expects in notation. A composer studies music theory to understand how specific effects can be created and how his work can be structured. Composers can study music theory to make their compositional decisions.
Music theory in the Western tradition is concerned with harmony and counterpoint in general, and therefore uses it to create broader musical structures and melodies.
MUSIC ANALYSIS
In music analysis, musical work is examined from different points of view using different methods So the music you analyze from formal, harmonic, rhythmic, and motivic-thematic aspects. The formal analysis of a composition is an attempt to understand the form of the work. This may reveal the composer's artistic intentions. Precise points of view can also be seen as the quality criteria of a composition. Over the centuries, formal schemes have developed and consolidated in vocal and instrumental music, including the stage theory and the functional theory developed by Hugo Riemann. Studying traditional forms is also recommended for understanding newer ways.
When analyzing a piece of music, features of the rough structure (incisions, cadences, etc.) are first sought to then advance to smaller form-forming elements (topics, time groups, motifs). This counteracts the risk of getting lost in details and minor matters that do not lead to an essential statement about the work. In many cases, the precise formal analysis enables a logical and dramaturgical correct interpretation. Last but not least, it can also be an essential aid for memorizing a composition.
WHY DO WE NEED MUSIC IN OUR LIFE? WHY
MUSIC IS SO GOOD FOR OUR BRAIN?
Talk! The more you learn, the more you can express yourself and understand the meaning of humanity. Music should be learned from an early age, as the child's brain is well developed and the best time to develop positive habits. As you reach puberty, the more you listen and learn, the more your style of choice will be. Finally, music is a social part. For that reason, I love to eat, run, and jump. Being overweight makes us sad. Music penetrates the skin, creating intense emotions and strong memories. There is nothing more complicated than that, but at the same time, nothing is more cumbersome or beautiful.
Recent studies have shown that music stimulates our brain and improves our well-being and cognitive development. Within all musical genres, melodies emanating from classical winds, percussion, or stringed instruments create a sense of peace, harmony, and tranquillity that eliminates all worry and suffering. Stress can impair our physical and mental health and has proven to be a real obstacle to learning habits. Music gives our bodies the necessary restfulness and allows us to confront any obstacles. This music genre also helps lower blood pressure and fight insomnia.
To pass the exam, fail the exam, or complete the study successfully, you must fall asleep for the minimum amount of time your body and mind need.
These interesting melodic notes activate the brain's autonomous, emotional, and cognitive centres while releasing a chemical known as dopamine Consisting of great masters and composers of the past. Maintain unique relationships with the ability to feel and feel joy Thus, with the release of this substance, we guarantee the better well-being of our bodies. In this way, you can improve your attention and performance when studying or working at an intellectual level. Learning music from an early age can help solve language problems and other brain and noise-related issues.
It will be interesting to attend quality schools and courses organized by talented experts in this field to enter this universe that offers so many benefits to brain and body health. We may not be informed of it, but music helps us in many aspects of our daily life, academic and professional life. If you pick up an instrument or listen to your favourite songs, you experience feelings of happiness and sometimes get better faster. Researchers can always explain better how music plays with our brains.
Schwarz lines bounce zigzag through the monitor. Daniela Collector follows her ups and downs. The lines show her what is happening in the head of the young woman, who, in the service of science, has locked her in a soundproof cabin next door to science. The entry is tightly closed, and loudspeakers hang in the cabin. Piano music can be heard from the speakers.
A hood is attached to the subject's head, which measures her brain activity with over 64 sensors and transmits it to the screen as EEG lines. So that she doesn't get bored, Collector has inserted a DVD with recordings from the ocean, but without sound. The woman should hear piano music. Daniela Collector composed crooked tones in the sequences.
The psychologists want to find out how intuitively people react to music, whether they recognize wrong tones and harmonies without thinking. The subject in the cabin never learned an instrument. It's a little experiment designed to help answer a big question. How does music affect the human brain? In recent years, a whole branch of research has emerged around this question. Recordings from the brains of professional musicians look different than those from the heads of people who don't play an instrument. It started with this realization. In professional musicians, the left temporal lobe opens when they listen to music, in laypersons, the right one.
It is now known that musicians are not born with other brains. It is the music that changes their minds. "Making music is one of the strongest incentives for neuroplasticity,"
Neuroplasticity is a term that describes the malleability of the brain. Nerve cells reconnect, entire areas grow or shrink. Altenmüller was the first to show the different connections in the minds of musicians and non-musicians. He is a neurologist and a professional flutist himself - and a pioneer in the field of research. Music is a tremendous stimulus for the brain. Children who play music learn foreign languages better, and people often don't need a hearing aid for a long time if they have made music. Musicians can
concentrate better, not just when playing. The list of proven positive effects is getting longer. But above all, music makes you happy. It is not about the music that is noisy in shopping centres or supermarkets that looms out of elevators or on hold. You are continually being sonicated. Music has not been as quickly opening as it is now, through stream, download, on your phone. But when last have you listened to music? Music works when people play in a band, sing in the shower, or dance salsa in the evening. Or listen with pleasure. Only then does music become "a bridge between emotion and cognition," says Mari Tervaniemi, who heads a research team in Helsinki that is studying how music can be used to cure neurological disorders. Perhaps everyone could even become his therapist with music. Tervaniemi wants to investigate that. Until then, she advises every patient to listen to their favourite music in the hospital, as this could speed up their recovery.
"SOMETIMES, IT FEELS LIKE AN ADDICTION."
"It is too early to explain music as a panacea. We first have to find out why it has a positive effect to convince the health insurance companies too," says Daniela collector, the neuropsychologist from Leipzig.
Above all, collectors are interested in perception. The beginning of the chain of evidence, if you will. How are tones processed? A few
days after the trial, she already knew that the first test subject had unconsciously recognized the crooked sounds from the experiment. She wants to test 19 more men and women.
Collector also examines musicians while playing. A piano manufacturer dismantled a grand piano for the institute and constructed a mini keyboard from the parts. It contains no metal and is small enough to fit a computer tomography on a pianist's lap. The pianist plays while lying down. Incidentally, it is not difficult to find volunteers for such experiments, says Collector: "Many musicians want to get what is happening in their heads."
Sometimes it feels like an addiction, says Tim Neuhaus. He is a musician, plays drums, guitar and sings. The music takes up so much space in his head that he cannot imagine which hole there would be without it. Neuhaus hardly does anything other than music, and when you hear him talk about it, from the crazy feelings of happiness it gives him, you feel something yourself. You get in a good mood.
EVERY APPEARANCE MAKES TIM
NEUHAUS HAPPY
Tim Neuhaus has been making music for 30 years. He is only 37. piano, drums, guitar. "And when you start with the guitar, the bass isn't far either," he says. Neuhaus works as a drummer for the shows of the Blue Man Group in Berlin and the band of the singer Clueso. He has already been on stage with artists such as Udo Lindenberg,
Glen Hansard, Joan Baez, and Patti Smith. Tim Neuhaus also sings in his band, which is called himself. Every appearance makes you happy, says Tim Neuhaus. It is, of course, best if the people in the audience are also enthusiastic. He feels their moods exactly. And when Neuhaus plays the guitar on his own, he's the boy again who dreams of a career as a musician with his friends. It starts after a few bars. Tim Neuhaus hardly has the guitar in his hand; he already feels it there. Where does it come from, this happiness, he wonders.
A VERITABLE THUNDERSTORM BREAKS OUT IN THE RESEARCHER'S BRAIN
Lutz Jäncke cables his head from time to time to find an answer to this question. The neuroscientist from the University of Zurich is then his test subject. For example, he hears "Autumn" from Vivaldi's "Four Seasons," a piece that he knows will trigger intense feelings in him.
"A real thunderstorm breaks out in my brain when I concentrate on my favorite music," observed Jäncke. In addition to the hearing center, the areas for spatial thinking, seeing, and smelling are active in Jäncke's brain. Jäncke explains it this way: When he hears Vivaldi, he thinks of Boston, where he liked to hear "autumn" 20 years ago. It was the first time in New England at that time, and the piece was appropriate for the season, Jäncke wandered through the forests that were colored red and gold by the Indian summer. Even today,
he thinks he can feel the leaves under his feet and smell the wood when the violins start.
"It's a big event in my head. Half the brain is active," he says. The music and the pleasant memories confuse Jäncke's hormonal balance. His body releases happiness and attachment hormones — serotonin, dopamine, oxytocin. The researcher is happy. Even if Jäncke does not feel it, the level of antibodies in his blood is likely to increase at the same time. Studies have shown that enjoying music stimulates the immune system.
The effects that Vivaldi's hearing has on Jäncke can be increased. Next to his desk in the university is a keyboard on which Jäncke occasionally practices. "This is an extreme test of patience for me. I have been working with professional musicians in research for so long that I am used to a better musical level than my own."
AFTER
20 MINUTES ON A NEW INSTRUMENT, CHANGES BECOME APPARENT
But it has to be because Jäncke also examines his brain while learning the keyboard. The same areas are active in his head that also reacts when listening to Vivaldi. There are also areas in the cerebral cortex that control motor skills and movements. At Jäncke, it is the area for the fingers that he moves while playing the keyboard.
If Lutz Jäncke were to play a keyboard for the first time in his life, he could even watch his brain create new networks. It always happens
when a person performs a new instrument for the first time. Twenty minutes are enough, say, researchers. Then you see something in the brain that wasn't there before.
One would also like to put small EEG caps on the 80 children who sit in the music club one morning in March, an adjoining room in the Berlin Konzerthaus. Is there something new in your mind? In any case, the children are behaving strikingly. They are between five and eight years old - and you cannot hear a single one of them, even though there are hardly any adults in the room. The children sit there as if hypnotized, and the mouth is open to some, you are listening to Mozart.
"Papageno plays the Magic Flute" is the name of the performance, it is a children's version of the opera and runs like a school program on that day. These performances are particularly fun for the singers because they feel the effects of their music more strongly. The children's reactions are clear. Many hear opera singing for the first time. When the soprano reaches particularly high notes in the music club, small hands fly everywhere on the ears. "Funny," whispers a girl.
"CHILDREN
ARE ALWAYS INVOLVED
INTERNALLY."
But it also happens that six-year-olds ask after a performance why the Queen of the Night aria is missing in the children's version. Some children grow up with opera visits, house concerts, singing lessons. And there are other children. In order not to let the gap get too big,
the concert hall invites classes to dress rehearsals and sends volunteers to schools.
"The path begins in childhood," says Gabriele Nellessen, who heads the "Junior" area. Nellessen comes from an "absolute family of musicians" and is a musicologist. "Anyone who has access to music as a means of enriching their lives," she says. With music, one can transport "almost all contents" to children, create relationships, convey empathy. "Children are always involved internally." When Nellessen attends congresses for music education, she prefers to hear the lectures given by neurologists, who explain what she feels at work.
When Eckart lectures Altenmüller, a lecture is itself a small musical theater. Altenmüller stands in an old auditorium of the Berlin Charité and sings the song of the yellow frog. It's about the question of what listening to music and making music now bring, apart from a few happiness hormones. Altenmüller studied medicine and flute, and he couldn't make up his mind; he appears as a flutist about once a month. Otherwise, he heads the Institute for Music Physiology at the Hanover Academy of Music. He has been bartering with the influences of music on people for 30 years, and he has shared his passions.
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CURRANT BLANC-MANGE.
In three-quarters of a pint of clear currant-juice, drawn from the fruit as for jelly, and strained, dissolve an ounce and a half of isinglass; add nine ounces of sugar broken small, give the whole a boil, strain it, and stir it by slow degrees to three-quarters of a pint of thick cold cream; when it is less than milk-warm pour it into the moulds. The proportions of juice and cream can be varied to the taste, and a portion of raspberries or strawberries added to the currants. Black currants would, we think, make an agreeable variety of this blanc-mange for persons who like their peculiar flavour, but we have not tried them.
Clear juice of red currant, 3/4 pint; isinglass, 1-1/2 oz.; sugar, 9 oz.; cream, 3/4 pint.
LEMON SPONGE, OR MOULDED LEMON CREAM.
Infuse in half a pint of cream the very thin rind of one large lemon, or of one and a half of smaller size; or, instead of this, rasp the fruit with the sugar which is to be used for the preparation. Add threequarters of an ounce of fine isinglass, and when this is dissolved throw in seven ounces of sugar in small lumps. Do not boil the mixture, to reduce it, but let it be kept near the point of simmering, until the sugar and isinglass are entirely dissolved, and a full flavour of the lemon-rind has been obtained; then stir in another half-pint of cream, and strain the mixture immediately into a deep bowl or pan. When it is quite cold, add to it very gradually the strained juice of one lemon and a half, whisking the preparation well all the time; and when it begins to set, which may be known by its becoming very thick, whisk it lightly to a sponge, pour it into an oiled mould, and, to prevent its breaking when it is dished, just dip the mould into hot, but not boiling water; loosen the edges carefully, and turn out the cream: to save time and trouble the whisking may be omitted, and a plain lemon-cream take place of the sponge.
Cream, 1 pint; rind of lemons 2 middling-sized, or 1-1/2 large; isinglass, 3/4 oz.; sugar, 7 oz.; juice of 1-1/2 lemon.
Obs.—For this, as for all other dishes of the kind, a little more or less of isinglass may be required according to the state of the weather, a larger proportion being needed in summer than in winter.
AN APPLE HEDGE-HOG, OR SUÉDOISE.
This dish is formed of apples, pared, cored without being divided and stewed tolerably tender in a light syrup. These are placed in a dish, after being well drained, and filled with apricot, or any other rich marmalade, and arranged in two or more layers, so as to give, when the whole is complete, the form shown in the engraving. The number required must depend on the size of the dish. From three to five pounds more must be stewed down into a smooth and dry marmalade, and with this all the spaces between them are to be filled up, and the whole are to be covered with it; an icing of two eggs, beaten to a very solid froth, and mixed with two heaped teaspoonsful of sugar, must then be spread evenly over the suédoise, fine sugar sifted on this, and spikes of blanched almonds, cut lengthwise, stuck over the entire surface: the dish is then to be placed in a moderate oven until the almonds are browned, but not too deeply, and the apples are hot through. It is not easy to give the required form with less than fifteen apples; eight of these may first be simmered in a syrup made with half a pint of water and six ounces of sugar, and the remainder may be thrown in after these are lifted out. Care must be taken to keep them firm. The marmalade should be sweet, and pleasantly flavoured with lemon.
VERY GOOD OLD-FASHIONED BOILED CUSTARD.
Throw into a pint and a half of new milk, the very thin rind of a fresh lemon, and let it infuse for half an hour, then simmer them together for a few minutes, and add four ounces and a half of white sugar. Beat thoroughly the yolks of fourteen fresh eggs, mix with them another half-pint of new milk, stir the boiling milk quickly to them, take out the lemon-peel, and turn the custard into a deep jug; set this over the fire in a pan of boiling water, and keep the custard stirred gently, but without ceasing, until it begins to thicken; then move the spoon rather more quickly, making it always touch the bottom of the jug, until the mixture is brought to the point of boiling, when it must be instantly taken from the fire, or it will curdle in a moment. Pour it into a bowl, and keep it stirred until nearly cold, then add to it by degrees a wineglassful of good brandy, and two ounces of blanched almonds, cut into spikes; or omit these, at pleasure. A few bitter ones, bruised, can be boiled in the milk in lieu of lemonpeel, when their flavour is preferred.
New milk, 1 quart; rind of 1 lemon; sugar, 4-1/2 oz.; yolks of eggs, 14; salt, less than 1/4 saltspoonful.
RICH BOILED CUSTARD.
Take a small cupful from a quart of fresh cream, and simmer the remainder for a few minutes with four ounces of sugar and the rind of a lemon, or give it any other flavour that may be preferred. Beat and strain the yolks of eight eggs, mix them with the cupful of cream, and stir the rest boiling to them: thicken the custard like the preceding one.
Cream, 1 quart; sugar, 4 oz.; yolks of eggs, 8.
THE QUEEN’S CUSTARD.
On the beaten and strained yolks of twelve new-laid eggs pour a pint and a half of boiling cream which has been sweetened, with three ounces of sugar; add the smallest pinch of salt, and thicken the custard as usual. When nearly cold, flavour it with a glass and a half of noyau, maraschino, or cuirasseau, and add the sliced almonds or not, at pleasure.
Yolks of eggs, 12; cream, 1-1/2 pint; sugar, 3 oz.; little salt; noyau, maraschino, or cuirasseau, 1-1/2 wineglassful.
CURRANT CUSTARD.
Boil in a pint of clear currant-juice ten ounces of sugar for three minutes, take off the scum, and pour the boiling juice on eight wellbeaten eggs; thicken the custard in a jug set into a pan of water, pour it out, stir it till nearly cold, then add to it carefully, and by degrees, half a pint of rich cream, and last of all two tablespoonsful of strained lemon-juice. When the currants are very ripe omit one ounce of the sugar.
White currants and strawberries, cherries, red or white raspberries, or a mixture of any of these fruits, may be used for these custards with good effect: they are excellent.
Add to a pint of apple-juice prepared as for jelly, a tablespoonful of strained lemon-juice, and from four to six ounces of sugar according to the acidity of the fruit; stir these boiling, quickly, and in small portions, to eight well-beaten eggs, and thicken the custard in a jug placed in a pan of boiling water, in the usual manner. A larger proportion of lemon-juice and a high flavouring of a rind can be given when approved. For quince custards, which if well made are excellent, observe the same directions as for the apple, but omit the lemon-juice. As we have before observed, all custards are much finer when made with the yolks only of the eggs, of which the number must be increased nearly half, when this is done.
Prepared apple-juice (see page 456), 1 pint; lemon-juice, 1 tablespoonful; sugar, 4 to 6 oz.; eggs, 8. Quince custards, same proportions, but no lemon-juice.
Obs.—In making lemon-creams the apple-juice may be substituted very advantageously for water, without varying the receipt in other respects.
THE DUKE’S CUSTARD.
Drain well from their juice, and then roll in dry sifted sugar, as many fine brandied Morella cherries as will cover thickly the bottom of the dish in which this is to be sent to table; arrange them in it, and pour over them from a pint to a pint and a half of rich cold boiled custard; garnish the edge with macaroons or Naples biscuits, or pile upon the custard some solid rose-coloured whipped cream, highly flavoured with brandy.
Brandied Morella cherries, 1/2 to whole pint; boiled custard, from 1 to 1-1/2 pint; thick cream, 1/2 pint or more; brandy, 1 to 2 glassesful; sugar, 2 to 3 oz.; juice of 1/2 large lemon; prepared cochineal, or carmine, 20 to 40 drops.
CHOCOLATE CUSTARDS.
Dissolve gently by the side of the fire an ounce and a half of the best chocolate in rather more than a wineglassful of water, and then boil it until it is perfectly smooth; mix with it a pint of milk well flavoured with lemon peel or vanilla, add two ounces of fine sugar, and when the whole boils, stir it to five well-beaten eggs which have been strained. Put the custard into a jar or jug, set it into a pan of boiling water, and stir it without ceasing until it is thick. Do not put it into glasses or a dish until it is nearly or quite cold. These, as well as all other custards, are infinitely finer when made with the yolks only of the eggs, of which the number must then be increased. Two ounces of chocolate, a pint of milk, half a pint of cream, two or three ounces of sugar, and eight yolks of eggs, will make very superior custards of this kind.
Rasped chocolate, 1-1/2 oz.; water, 1 large wineglassful: 5 to 8 minutes. New milk, 1 pint; eggs, 5; sugar, 2 oz. Or: chocolate, 2 oz.; water, 1/4 pint; new milk, 1 pint; sugar, 2-1/2 to 3 oz.; cream, 1/2 pint; yolks of eggs, 8.
Obs.—Either of these may be moulded by dissolving from half to three quarters of an ounce of isinglass in the milk. The proportion of chocolate can be increased to the taste.
COMMON BAKED CUSTARD.
Mix a quart of new milk with eight well beaten eggs, strain the mixture through a fine sieve, and sweeten it with from five to eight ounces of sugar, according to the taste; add a small pinch of salt, and pour the custard into a deep dish with or without a lining or rim of paste, grate nutmeg or over the top, and bake it in a very slow oven from twenty to thirty minutes, or longer, should it not be firm in the centre. A custard, if well made, and properly baked, will be quite smooth when cut, without the honey-combed appearance which a hot oven gives; and there will be no whey in the dish.
New milk, 1 quart; eggs, 8; sugar, 5 to 8 oz.; salt, 1/4 saltspoonful; nutmeg or lemon-grate: baked, slow oven, 30 to 40 minutes, or more.
A FINER BAKED CUSTARD.
Boil together gently, for five minutes, a pint and a half of new milk, a few grains of salt, the very thin rind of a lemon, and six ounces of loaf sugar; stir these boiling, but very gradually, to the well-beaten yolks of ten fresh eggs, and the whites of four; strain the mixture, and add to it half a pint of good cream; let it cool, and then flavour it with a few spoonsful of brandy, or a little ratifia; finish and bake it by the directions given for the common custard above; or pour it into small well-buttered cups, and bake it very slowly from ten to twelve minutes.
FRENCH CUSTARDS OR CREAMS.
To a quart of new milk allow the yolks of twelve fresh eggs, but to equal parts of milk and cream of ten only. From six to eight ounces of sugar will sweeten the custard sufficiently for general taste, but more can be added at will; boil this for a few minutes gently in the milk with a grain or two of salt, and stir the mixture briskly to the eggs, as soon as it is taken from the fire. Butter a round deep dish, pour in the custard, and place it in a pan of water at the point of boiling, taking care that it shall not reach to within an inch of the edge; let it just simmer, and no more, from an hour to an hour and a half: when quite firm in the middle, it will be done. A very few live embers should be kept on the lid of the stewpan to prevent the steam falling from it into the custard. When none is at hand of a form to allow of this, it is better to use a charcoal fire, and to lay an oven-leaf, or tin, over the pan, and the embers in the centre. The small French furnace, shown in Chapter XXIII., is exceedingly convenient for preparations of this kind; and there is always more or less of difficulty in keeping a coal fire entirely free from smoke for any length of time. Serve the custard cold, with chopped macaroons, or ratafias, laid thickly round the edge so as to form a border an inch deep. A few petals of fresh orange-blossoms infused in the milk will give it a most agreeable flavour, very superior to that derived from the distilled water. Half a pod of vanilla, cut in short lengths, and well bruised, may be used instead of either; but the milk should then stand some time by the fire before or after it boils, and it must be strained through a muslin before it is added to the eggs, as the small seed of the vanilla would probably pass through a sieve.
The French make their custards, which they call crêmes, also in small china cups, for each of which they allow one egg-yolk, and then add sufficient milk or cream to nearly fill them; they sweeten and give them a delicate flavour; and simmer them in a pan of water until they are set.
New milk, 1 quart; yolks of eggs, 12; sugar, 6 to 8 oz. Or: new milk, 1 pint; cream, 1 pint; yolks of eggs, 10; flavouring of orange-
flowers or vanilla: simmered in water-bath, 1 to 1-1/2 hour
GERMAN PUFFS.
Pound to a perfectly smooth paste two ounces of Jordan almonds and six bitter ones; mix with them, by slow degrees, the yolks of six, and the whites of three eggs. Dissolve in half a pint of rich cream, four ounces of fresh butter, and two of fine sugar; pour these hot to the eggs, stirring them briskly together, and when the mixture has become cool, flavour it with half a glass of brandy, of cuirasseau, or of orange-flower water; or, in lieu of either, with a little lemon-brandy. Butter some cups thickly, and strew into them a few slices of candied citron, or orange-rind; pour in the mixture, and bake the puffs twenty minutes, in a slow oven.
Weigh a pound of delicate young rhubarb-stems after they have been carefully pared and cut into short lengths; mix eight ounces of pounded sugar with them, and stew them gently until they form a smooth pulp; then quicken the boiling, and stir them often until they are reduced to a tolerably dry marmalade. When the fruit has reached this point turn it from the pan and let it stand until it is quite cold. Separate the whites of four fresh eggs carefully from the yolks, and whisk them to a froth sufficiently solid to remain standing in points when it is dropped from the whisk or fork. Common cooks sometimes fail entirely in very light preparations from not properly understanding this extremely easy process, which requires nothing beyond plenty of space in the bowl or basin used, and regular but not violent whisking until the eggs whiten, and gradually assume the appearance of snow. No drop of liquid must remain at the bottom of the basin, and the mass must be firm enough to stand up, as has been said, in points. When in this state, mingle with it four heaped tablespoonsful of dry sifted sugar, stir these gently together, and when they are quite mixed, lay them lightly over the rhubarb in a rather deep tart-dish. Place the meringue in a moderate oven and bake it for about half an hour, but ascertain, before it is served, that the centre is quite firm. The crust formed by the white of egg and sugar, which is in fact the meringue, should be of a light equal brown, and crisp quite through. If placed in an exceedingly slow oven, the underpart of it will remain half liquid, and give an uninviting appearance to the fruit when it is served. Unless the rhubarb should be very acid, six ounces of sugar will be sufficient to sweeten it for many tastes. It is a great improvement to this dish to diminish the proportion of fruit, and to pour some thick boiled custard upon it before the meringue is laid on.
Obs.—When gooseberries are substituted for spring-fruit, a pint and a half will be sufficient for this preparation, or even a smaller proportion when only one of quite moderate size is required. In the
early part of their season they will be more acid even than the rhubarb, and rather more sugar must be allowed for them.
CREAMED SPRING FRUIT, OR RHUBARB TRIFLE.
Boil down the rhubarb with seven ounces of sugar, after having prepared it as above, and when it is perfectly cold, but not long before it is sent to table, pour over it about half a pint of rich boiled custard also quite cold, then heap on this some well drained, but slightly-sweetened whipped cream, which should be good and very fresh when it is whisked, but not heavily thick, or it will be less easily converted into a snow-froth. The rhubarb will be very nice if served with the whipped cream only on it.
MERINGUE OF PEARS, OR OTHER FRUIT.
Fill a deep tart-dish nearly to the brim with stewed pears, and let them be something more than half covered with their juice. Whisk to a solid froth the whites of five eggs; stir to them five tablespoonsful of dry sifted sugar, and lay them lightly and equally over the fruit; put the meringue immediately into a moderate oven, and bake it half an hour. Cherries, bullaces, and damsons, with various other kinds of plums, first either stewed as for compôtes (see page 457), or baked with sugar, as for winter use, answer as well as pears for this dish; which may, likewise, be made of apples, peaches, apricots, or common plums boiled down quite to a marmalade, with sufficient sugar to sweeten them moderately: the skins and stones of these last should be removed, but a few of the blanched kernels may be added to the fruit.
Dish filled with stewed pears or other fruit; whites of eggs, 5; pounded sugar, 5 tablespoonsful: baked, 1/2 hour
AN APPLE CHARLOTTE, OR CHARLOTTE DE POMMES.
Butter a plain mould (a round or square cake-tin will answer the purpose quite well), and line it entirely with thin slices of the crumb of a stale loaf, cut so as to fit into it with great exactness, and dipped into clarified butter. When this is done, fill the mould to the brim with apple marmalade; cover the top with slices of bread dipped in butter, and on these place a dish, a large plate, or the cover of a French stewpan with a weight upon it. Send the Charlotte to a brisk oven for three quarters of an hour should it be small, and for an hour if large. Turn it out with great care, and serve it hot. If baked in a slack oven it will not take a proper degree of colour, and it will be liable to break in the dishing. The strips of bread must of course join very perfectly, for if any spaces were left between them the syrup of the fruit would escape and destroy the good appearance of the dish: should there not have been sufficient marmalade prepared to fill the mould entirely, a jar of quince or apricot jam, or of preserved cherries even, may be added to it with advantage. The butter should be well drained from the Charlotte before it is taken from the mould; and sugar may be sifted thickly over it before it is served, or it may be covered with any kind of clear red jelly
A more elegant, and we think an easier mode of forming the crust, is to line the mould with small rounds of bread stamped out with a plain cake or paste cutter, then dipped in butter, and placed with the edges sufficiently one over the other to hold the fruit securely: the strips of bread are sometimes arranged in the same way.
