iViT 7 Ml 2 1909 Cornell University Library MT 7.M12 1909 Some essentials in musical definitions f 3 1924 021 800 838 BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF ili^nrg W. Sage 1891 ./...2.3.f.//^- mzic / f//j//./... 3513-1 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021800838 SOME ESSENTIALS MUSICAL DEFINITIONS FOR Music Students COLLECTED AND EDITED BY M. F. MacCONNELL ''ft r' BOSTON OLIVER DITSON COMPANY New York CHAS. H. DITSON & CO. Chicago LYON&HEALY Philadelphia J. E. DITSON & CO. 3) COPTRIGHT, 1902 BY M. F. MacCONNELL COPIRIGHT, 1909 BY OLIVER ]5)ITS0N COMPANY Stanbope ipreeg , H. GILSON COMPANY BOSTON. U.S.A. PREFATORY NOTE. The difficulty of finding certain definite musical infor- mation in available form for the use of music students has prompted the compilation of this volume. Its aim is to furnish something more complete than the average Catechism of Music, and also something less extended in scope and material than is offered by the several excellent volumes on the various subjects. The most concise definitions have been selected, and the best authorities consulted. M. F. MacCONNELL. Makch, 1902. NOTE TO THE REVISED EDITION. Encouraged by the success of the book, I have carefully- revised it throughout, recasting some chapters, adding new matter of interest, and greatly extending the final sections of the work. M. F. MacCONNELL. Ne-w York, January, 1909 OOI^TEIS"TS. CHAPTBB I. II. III. IV. V. VI. VII. VIII. IX. IX. X. XI. XII. XIII. XIV. XV. XVI. XVII. XVIII. XIX. XX. XXI. XXII. XXIII. xXiv. XXV. XXVI. PAOE Music : Sound, Pitch 1 Elements of Music 3 Rhythm : lis Sub-Divisions 4 Melody 7 Notes : Names and Values 11 Sharps, Flats 14 Key Signature 16 Scales . . . . , 20 Major Scales 21 (Continued) Minor Scales 2.3 Chromatic Scale . 2.5 Other Scales 26 Time 30 Measures, Bars 31 Words to Indicate Movement 32 Abbreviations 34 Natural and Artificial Groups . . 37 Prolongation of Notes . . 39 Ties and Slurs . 40 Legato and Staccato . 42 Accent 43 Repetition Signs . 44 Embellishments ... 46 Chords . . 57 Porm 64 Opera 69 Oratorio .72 XXVII. Other Classes (Form) 73 XXVIII. National Hymns 74 XXIX. Instruments 75 XXX. Orchestra, Band 90 Appendix. Noted Names in Music 93 SOME ESSENTIALS IN MUSICAL DEFINITIONS. CHAPTER I. MUSIC, SOUND, PITCH. Music. Music is the science of liarmonical sounds. It treats of the principles of harmony ; of the properties, dependencies and relar tion of sounds to each other. The theory of music is a science. The practice of -music is an art. Sound. Sound is the sensation made on the organs of hearing by- peculiar vibrations of the air. Acoustics. Acoustics is the science which treats of the laws governing air vibrations and their production. A Musical Sound. A musical sound is produced by sonorous shocks following each other at regular intervals and with suf&cient rapidity of succession. Noise. Noise is produced by an irregular succession of sonorous shocks. Pitch. By pitch we mean the gravity or acuteness of a sound. In saying that one tone is higher than another we signify that the higher tone is produced by more rapid vibrations than the lower tone. Standards of pitch, or an accepted number of vibrations for a certain tone, have been recognized. Given the pitch of a tone, the pitch of other tones may be established by the laws of acoustics. 2 SOME ESSENTIALS IN MUSICAL DEFINITIONS. Different standards of pitch have been recognized at different times. For instance, the following records are given : In 1740 in England (Handel) A' = 416 vibrations ; C = 512 vibrations. 1739 1771 1826 1834 1858 1859 1859 1885 the Vienna conference advocated and ratified the French standard of A'= 435 vibrations, C'= 522 vibrations. What is called Classical pitch, gives C'= 515 vibrations. Concert « " C'= 540 " French " « C'= 517-522 vibrations. The philosophical standard of pitch gives C = 612 vibrations. The ratio of vibrations for each tone of a perfectly true major scale is as follows : Leipsic, C' = 472 St. Petersburg, C' = 500 Paris A' =440 ' ' C = 525 vibrations. Stuttgart A' =440 ' France A' = 448 ' C'= 522 vibrations. France (ratified) A' = 435 ' ' C' = 622 « England C' = 546 ' (opera pitch). C D E F G A B C 1 ibrations 256 1 288 i 320 341.3 384 426.6 480 2 512 ELEMENTS OF MUSIC. CHAPTEE 11. SIEUENTS OF MVSIC. Elements of Music. The three elements of music are Rhythm, Melody and Harmony. Rhythm. Rhythm is the symmetrical grouping of sounds with reference to their accent and duration. Rhythm is the metre of music. Rhythm is the regular recurrence of long and short beats. Melody. Melody is the term used to express a succession of tones that is musically effective. Harmony. Harmony is the art of combining sounds simulta- neously into chords, and treating these chords according to certain rules. SOME ESSENTIALS JJSI MUSICAL DEFINITIONS. CHAPTER III. EHYTHM, ITS SUB-DIVISIOSS.' Rhythm. The two sub-divisions of rhythm are accent and time. Accent divides a mass of notes into long and short. TiTToe divides these notes into groups of equal duration. Rhythm does for these groups what accent does for notes. An elementary or simple rhythm is one in which the notes of the melody nearly or wholly coincide with the number of beats in a measure. Thus : h a^^fe^ t: i gE4i Compound Rhythm. In Compound Rhythm the notes of successive measures do not so nearly coincide with the number of beats in a measure. Thus : i ^ it t ^PfeE^^feB :Si: W^- Rhythms, Duple. Duple rhythms occur where the measure divides naturally into halves, as expressed by the following time signatures : $ C ■>, 2 2 2 4 i i i i 2 1 •g" 1 2 ¥ S Rhythms, Compound.Duple. Compound duple rhythms occur where the measure divides naturally into halves or quarters, and each of these sub-divisions into thirds ; as expressed by the following time signatures : 6 12 1 12 11 16 li 16 BHYTHM, ITS SUB-DIVISIONS. 5 t Rhythms, Triple, Simple. Triple, simple rhythms occur where the measure divides naturally into thirds ; as indicated by fhe following time signatures : 3 Rhythms, Compound, Triple. Compound triple rhythms occur where the measure divides naturally into thirds, and each of these sub-divisions again into thirds ; as indicated by the following time signatures : 16 Rhythms, Peculiar. Peculi,ar rhythms occur where the measure divides into fifths, sevenths, etc. ; as indicated by the following time signatures : 5 I 16 Rhythms, Combined or Complex. Combined or complex rhythms occur when two or three dissimilar rhythms are employed. The following example of combined rhythms is from Mozart's " Don Giovanni." Three rhythms are here combined : i Sanza Tedesca, (" La Tentscli ") ■I ^ ^ li g., « V- | /'y-i/f- rf: *S P^= Gontradanza. i ■ft-ft- -it—tt- W- ' ^^ ^ u -a :t=td.-3 fe^^gg^gS Mennetto> ^-•J ^= -^ — ^—ft—n—i>- it^ti iS :4=^ etc. 6 SOME ESSENTIALS IN MUSICAL DEFINITIONS. Perhaps the best way to define the distinction between time and rhythm is to note the different rhythms that may be observed with one time signature. Thus : o A A A i r r r r r r ^ : r A 1 r r i i-T r LJ r r r S r i-r r r r r f r^^ r r r r 1 t_j' ti^ L^r-LJ' etc. Poetical metres are applied in musical composition. The follow- ing instances, selected from examples by W. S. Eockstro, show the correspondence between poetical and musical rhythms : Iambic, Dimeter, Acalectic. lis w _ I II Scherzo, op. 27. Beethoven. etc. Anapaestic, Tetrameter, Bracbycatalectic. leg Rondo, op. 62. Weber. U-^_ , .^^_,, , - _ , ggg^gpp^#^g^fe^^ Alternate verses of Acatalecti6 and Catalectic Dactylic with a Spondee in each of the even places. Symphony in A. Beethoven. - --II- -II- --ll- -II- --'II- -II- --11- i=3i^ifE£fe^fe^^^^g MELODY. CHAPTEE IV MELODY. Section I. Notes, Rests, Staves. Melody. Melody is a general term used to express a succession of tones that is musically effective. Notes. The distinctive sign of a musical tone is called a Note. Rests. In contradistinction to notes, which are the signs of musical sounds, there are signs of silence. These signs of silence are called Rests. Staves and Clefs. Staff or Stave. The five lines with the included four spaces on which notes are written, are called a staff or stave. -5tli line 4th space Std apace 2nd Bpaoe -Iflt lina iHtapacfl Section II. Clefs. Clef. The sign placed at the beginning of a stave and which determines the names of the notes written thereon, is called a Clef. There are three clefs used in modern music : The C clef ^; the G clef g; and the F clef ^ or § The position of the C clef has determined the place on the stave of the middle C of the pianoforte ; the G clef ^ represents the G or fifth above the middle C ; the F clef Si represents the F or fifth below the middle C. SOME ESSENTIALS IN MUSICAL DEFINITIONS. In pianoforte music if the broken line used for the C between the bass and the treble staves were continuous, we would have an eleven- lined stave. While confusing to the eye it explains the difference of position for notes on the two staves. Thus : i m 9i: ^ Koch's Musikalisches Lexicon and other authorities, show, how the three clefs are simply corruptions of old forms of the letters, C, G, and F. ^.^^-H. N IN. U^ (,<0 C^_(^ _ ^=fc=:z^ -r f f if ^ 'y- <^): (^) -$^ A section of the eleven line stave is used in writing for voices, or for instruments of limited compass, and the placing of the C clef indicates definitely the position of the middle C and the name of the stave used. „ , Treble stave Soprano stave _ Alto stave ^^z:^^^z^zz Bass stave Tenoi stave 9i i So, when we see the Tenor clef, it signifies that with the C clef on the fourth line all notes on that line are represented by the middle C of the pianoforte. The different clefs are used in modern music as follows : MELODY. 1. Classical composers write the voice parts of their full scores with the soprano, alto, tenor or bass clefs. (Note the difference between soprano and treble clefs.) 2. In the so-called pianoforte scores of to-day, the treble clef is substituted for the. soprano ; and usually for the alto and tenor also, it being understood that the tenor is to be sung an octave lower than it is written, or in his natural range. 3. In music for the pianoforte, organ, harp, etc., the bass and treble clefs are used, the two staves being connected by a brace. 4. The treble or Gr clef is used in music for the violin, for flutes, oboes, high notes of the cello, clarinets, horns, trumpets, etc. 5. The alto clef is used in music for the viola. 6. The normal clef of the violoncello is the bass clef; but the higher notes are generally written with the tenor clef, occasionally with the alto clef ; and the highest notes are written with the treble clef. 7. The bass clef is used for the contrarbasso or double-bass ; usually for the bassoon, though to save ledger lines, the tenor clef is used for the highest tones of this instrument. So, given the clef, we can read the notes placed anywhere on the stave. i G A B C G Clef. D E F E G B FACE =^=^ =E=t G A E D C F Clef. ^ B A G g' BDFAACEG X i: SEE i^S ■X C Clef. A G FED »: X :t=F t tenor. I This combination of G- and C clefs is used in some scores. ' In voice parts, it indicates that the part is to be sung by the In early harpsichord music, it indicates that the notes are to be played an octave lower than is indicated by G clef. 10 SOME ESSENTIALS IN MUSICAL DEFINITIONS. Ledger Lines. Notes may be written several degrees above or below the staff, by using short lines called. " added " or " ledger " lines. In this way : i p A B D E G C B t^ D ^ C D E F B ♦ ^ f: ^ ^ E D etc. And still further above or below, until five lines above or below have been added, in the same order, as the compass of the instrument, for which the music is written, may require. To obviate the use of too many ledger lines, simplify reading and save space, the sign 8va .... is used to indicate that the notes are to be transposed an octave. When the sign is placed over the notes they are to be executed an octave higher than written ; when the sign is under the notes they are to be executed an octave lower. The word loco, or the termination of the dotted line, indicates a return to the written register. Col. 8 . . . indicates that the octave above or below is to be played with the written notes. JfOTKS; THEIR NAMES AND VALUES. 11 CHAPTER V. NOTES: THEIB NAMES AND VALUES. Names of Notes. The names given to the notes on the staff are as follows : In America . " England . " France . . " Germany " Italy . . . . C, D, E, E, G, A, B. . C, D, E, F, G, A, B. . ut, re, mi, fa, sol, la, si. . C, D, E, F, G, A, H. do, re, mi, fa, sol, la, si. Kinds of Notes. The following are the different kinds of notes in use in modern music. a A whole note or semi-breve. 1 A half note or minim. r A quarter note or crotchet. S An eighth note ( f^ ) or quaver. 5 A sixteenth note ( J— H ) or semi-quaver. \ A thirty-second note or demi-serai-quaver. \ A sixty-fourth note or hemi-demi-semi-qi: The following are the different kinds of rests in use in modern music. They correspond in value to notes. a whole rest. a half rest. 12 SOME ESSENTIALS IN MUSICAL DEFINITIONS. S orr a quarter rest. T an eighth rest. ^ a sixteenth rest. 3 a thirty-second rest. a sixty-fourth rest. Notes rarely used or quite Obsolete. The Breve or double whole note is equal to two whole notes and is written : mH i The corresponding rest is written : Large. Long, Breve, Semibreve, 1 (luYented in the Hth century by Franco of Cologne.) Obsolete. La.ige, Long, Breve, Semibreve, Minim, Notes. ~- ~"=:5=iEir=zn=z:=s=:=.-p^= White headed notes were used in the 14th century, and even earlier. Large, Long, Bieve, Semibreve, Minim. Kests. These were always written on a five-line stave. Gregorian Music or Plain Chant. The Roman Choral or Gregorian Chant is the music proper to the Roman Catholic liturgy. The notes are written on a four-line stave. The C and F clefs are used, and are movable. No time signature is used. Gregorian with F Clef. Ky ri o e le iso: MELODY. Same with Modern Notes. 13 l ^g^fe -25^ Ky 1^ Gregorian with O Clef. ^*=n= Ky 1^ In Modern Notes. 3=i z^z Ky W The most recently authorized version of Plain Chant is known as the Solesmes system. It was set down by the Benedictines of Solesmes (who since their expulsion from Trance have had their home in England), and it has received the stamp of authenticity from Pope Pius X and from the Sacred Congregation of Eites. 14 SOME ESSENTIALS IN MUSICAL DEFINITIONS. CHAPTER VI. -KEY SIGNATUBE: SHABFS AITS FLATS. Immediately following the clef, we find the key signature. Key signature is the name given to the signs which indicate in what key or scale a piece of modern music is written. These signs, which constitute the key signature, are the sharps or flats placed at the beginning of a composition, or their absence. The sharps or flats of the signature, not only affect the notes on the lines and spaces indicated, but also the notes of the same name in all octaves. Sharps, flats, double flats, double sharps, naturals, when occurring in the course of a piece, are called accidentals. Accidentals affect the changed notes only during the measure in which they occur. Examples : i ffife V imm: 'SIEEr: t=4= etc. ^g ^gfe *^ =3: lA gg^ ^^g^gg :tJ^: ^M=^=:^±»E^. In France a sharp is called di^se. In Germany a sharp is called Kreuz. In France a flat is called b^mol. In Germany a flat is called Be. In France a double sharp is called double di^se. In Germany a double sharp is called Doppel Kreuz. In France a double flat is called double b^mol. In Germany a double flat is called Doppelbe. In France a natural is called b^carre. In Germany a natural is called Quadrat. KEY SIGNATURE: SSABPS AND FLATS. 15 A sharp jl indicates a half tone higher. (The sharp in a slightly- different form was used at the end of the 13th and the beginning of the 14th centuries.) A flat ]} indicates a half tone lower. (Used as early as 925.) A double sharp x indicates a whole tone higher. (Of compara- tively recent origin.) (Sometimes written ^^.) A double flat W? indicates a whole tone lower. (Of comparatively recent origin.) The natural i[ cancels a preceding sharp or flat, double sharp or double flat, whether occurring in the key signature or in the course of a piece. (The natural was first used to cancel the flat about 1650. In the 18th century it was used to cancel the sharp.) Chromatic alterations are known as : In America and England. France. Germany. C (sharp) J ut di&e Cis D (sharp) t re di^se Dis E (sharp) S mi difee Eis F (sharp) t fa difee Fis G (sharp) It sol difee Gis A (sharp) t la di^se Ais B (sharp) t si di^se His C (double sharp) X ut double difee Cisis D (double sharp) X re double di^se Disis E (double sharp) X mi double di^se Eisis F (double sharp) X fa double di^se Fisis G (double sharp) X sol double di^se Gisis A (double sharp) X la double di^se Aisis B (double sharp) X si double di^se Hisis C (flat) b ut b€mol Ces D (flat) fr re b^mol Des E (flat) b mi b^mol Es F (flat) b fa b^mol Fes G (flat) b sol b6mol Gea A (flat) b la b^mol Aes B (flat) b si b^mol Be 16 SOME ESSENTIALS IN MUSICAL DEFINITIONS. In America and England. France. Germany. c (double flat) l>b ut double b^mol Ceses D (double flat) t* re double b^mol Deses E (double flat) ljl> mi double b^mol Eses F (double flat) bb fa double b^mol Feses G (double flat) bb sol double b6mol Geses A (double flat) bb la double btool Aeses B (double flat) bb si double b^mol Bes In Italy a J is called diesis. In Spain a )t is called sostenido. In Italy a x is called doppio diesis. In Spain. a x is called doble sostenido. In Italy a b is called bemoUe. In Spain a b is called bemol. In Italy a bb is called doppio bemolle. In Spain a bb is called doble bemol. In Italy a 11 is called becuadro (bisquadro.) In Spain a J is called becuadro. ^jBi' SIGNATURE: SHARPS AND FLATS. 17 CHAPTEE VII. KEY SIGNATUBES. The following are the different key signatures in use in modern music : Key of C major, Key of G major, Key of D major. Key of A major, or A minor. or E minor. or B minor. or F( minor. i 't- I* '4 No sharp. No flat. One sharp. Two sharps. Three sharps. Key of E major, Key of B major, Key of Ejt major. Key of CJ major, or CJf minor. or G# minor. or DJ minor. or AJ minor. g_tfiEE^EE [ ^| tt ite mi tt=J; % 't^ 't W Four sharps. Pive sharps. Six sharps. Seven sharps. Key of F major, or D minor. * Key of Bb major, or G minor. Key of I^ major, Key of Ab major, or minor. or P minor. nil p^- 15' One flat. Two flats. Three flats. Four flats. i Key of dIt major, or Bb minor. Key of Grb major, or El? minor. Key of Cb major, or Ab minor. U- ^^ m IE IS B. F£ Five flats. Six flats. Seven flats. The last sharp written in the signature is always the seventh tone of the major scale indicated. 18 SOME ESSENTIALS IN MUSICAL DEFINITIONS. The last flat in the signature is the fourth tone of the major scale indicated. The same signature that represents a major key, represents also the key of the relative minor. Thus a piece without flat or sharp at the beginning is probably in the key of C major; but it may be in the key of A minor, the relative minor of C (or a minor third below C). We recognize the major or minor key, (1) by the chords ; the chords of the major differing decidedly from the minor ; and, (2) the major or minor key is indicated also, and most definitely by this chromatic change : if the fifth or dominant of the major scale is raised a half tone, it has become the seventh, or leading note of the minor scale, thus : Examples ^ m^l E#*f 3 etc. etc. fcfe ^ St^ ^^SF^fS -Zhr d^-^-a-7 : -^. i:: ^^1, r -•— .^_._ 1 H- -1- — \ — 4 1 — -•- U— h- f^^ fi rt- • - 1 — J— * -m- — 1 J- ^ -J— etc. ^?^F*- '- -1 — -(* — 1 — -&= ^ \r- — 1 — y ^ V- - l^m B^ -m—f g^ :pi5r ^ etc. ^E KEY SIGNATURE: SHARPS AND FLATS. 19 =^ -(= (S- -z^tr -zl. ffgri- ^ — 151 S>- -75 S- :3fflJ— fiks- -il^- Se I ±=t ^^ ^t 7. ^ ^^ I^^^Sg^Eig^B i: B i« £sE^-^=bz^ -^»- -A-S- -A* ?=F=^^=^=P^-; te±^i^i±i=t 20 SOME ESSENTIALS IN MUSICAL DEFINITIONS. CHAPTER VIII. SCALES. "The first indispensable requirement of music is a series of notes which stand in some recognizable relation to one another, in respect of pitch." — Paeey. Pitch. The pitch of a musical note depends solely on the number of vibrations concerned in its production. The more rapid the vibra- tions, the higher the pitch. Scale. The grouping together in regular order, according to pitch, of several tones, is called a scale. Key. By key is meant a family of chords and the tones compos- ing them, all bearing a fixed relation to a central tone called a key- note or tonic. The keynote is the tonic or repose note of the scale. The two principal classes of scales in use in modern music are the Diatonic and Chromatic. A Diatonic (through the tones) scale is one that consists of the tones belonging to the three principal harmonies of a key, and of no others ; the tonic, sub-dominant, and dominant triads. A Chromatic scale is one which proceeds by semitones. The diatonic scales are divided into Major and Minor. The minor scales may be either Harmonic, Melodic or Natural. Scale ! ^ Diatonic Chromatic I I Maj or Minor I \ 1 Harmonic Natural Melodic. MAJOR SCALE. 21 CHAPTER IX. UAJOB SCALE. The diatonic major scale consists of seven principal tones fol- lowing eacli other in regular order and according to this formula : From 1 to From 2 to From 3 to From 4 to From 5 to From 6 to From 7 to 2 a whole step. 3 a whole step. 4 a half step. 5 a whole step. 6 a whole step. 7 a whole step. 8 a half step. or: whole whole step step half whole whole whole half step step step step step half step whole step whole step whole step half step whole step whole step -*—;•- -^ — »■ fei >^ ' • I >^ 22 SOME ESSENTIALS IN MUSICAL DEFINITIONS. The names given to the different degrees of the scale are : 8th tone Tonic. 7th tone. Leading note. 6th tone Sub mediant. 5th tone Dominant. 4th tone Sub dominant. 3rd tone •Mediant. 2nd tone Super tonic. > 1st tone Tonic. ''J<'U up Dih l-h /' While only the signatures of fifteen major keys (to seven sharps and seven flats, besides the natural key) are in general use, a major scale may be formed from any given tone in the octave using when necessary, double sharps and double flats. MINOR SCALES. 23 CHAPTER IX. (Continued.) MINOR SCALKS. Every major scale has a relative minor. The signature for both is the same. The sixth tone of the major scale is the first of the relative minor. The formula for the Natural minor scale is as follows : 6, 7, ,1, 2, 3, 4, 5, 6. The formula for the Harmonic minor scale is as follows : 1 step ^ step 1 step 1 step }4 step 1}^ step }4 step By number : 6, 7, 1, 2, 3, '4, #5; 6 The Harmonic minor scale is the same ascending and descending. The only differences between a major scale! and the scale of its rela- tive harmonic minor are (1) the " starting " note ; and (2) the fifth note of the major scale is chromatically raised and forms the 7th or leading tone of the relative minor. See following pages for Examples. The melodic minor scale, as its name indicates, is used exclusively for melodic work. This scale proceeds by steps or half steps. The harsh augmented second is avoided. The formula for the melodic minor scale, which is different ascending and descending, is : whole half whole whole whole whole step step step step step step Ascending 1^ IT ^3 whole whole half 4 whole 5 6 whole half step step step step step step Descending 8 7 6 5 4 Ex.p i =t rt By number : 6, 7, 1, 2, 3, #4, #5, 6, 5, 4, 3, 2, 1, 7, 6 24 SOME ESSENTIALS IN MUSICAL DEFINITIONS. «.J_L mi rr • -J_. '^ ^ *f^ •L. -W m ^ tl^L_fl^ tts^ im^ rmi tl# *^ tt4 TTT* •L4-L aL-J- Hji I 1 •J_L I ■L. I • I "■»( «LJ_L 1» "^Bi 1-^ TTT* I THS CHROMATIC SCALE. 25 CHAPTER X. THE CHROMATIC SCALE. Chromatic Scale. The chromatic scale proceeds by half steps, as •when every key of the piano, black and white, is touched in succession. C. Hubert K. Parry says, " With regard to the writing of the chromatic scale the most consistent practice is obviously to write such accidentals as can occur in chromatic chords without changing the key in which the passage occurs. Thus taking the key of C as a type, the first accidental will be Dt> as the upper note of the minor ninth on the tonic ; the next will be Eb the minor third of. the key, the next will be Ej| the major third of the super tonic, and the remaining two will be At? and Bb the minor of sixth and seventh of the key. " In other words, the twelve notes of the chromatic scale will be the tonic, the minor second, the major second, the minor third, the major third, the perfect fourth, the augmented fourth, the perfect fifth, the minor sixth, the major sixth, the minor seventh, and the major seventh." The chromatic scale in the key of C will read : The practice of composers with regard to the writing of the chromatic scale is very irregular. To classes in sight-singing the Chron;atic scale is taught as : 1 #1 2 #2 3 4 #4 5 S5 6 #6 7 8 do di re ri mi fa fi sol si la li ti do 8 7 t-T 6 b6 5 b5 4 3 b3 2 b2 1 do ti te la le sol se fa mi me re ral^ do 26 SOMJE ESSENTIALS IN MUSICAL DEFINITIONS. CHAPTEE XI. OTHEB SCALES. The Diatonic scale is of Greek origin. As settled by Pythagoras, B.C. 570-510 (?) the entire Greek diatonic scale of two octaves is represented as follows : i -s> — f> ^ e^ <^ Sol ve pol lu ti La-\s\ - \ re- a turn 't ^ ■ ~*^j 1 '^ CJ ^ t_- Sane te Jo - han - s' nes. Enharmonic Scale. The Enharmonic scale is a scale proceeding by- intervals less than the diatonic and chromatic. i =i-^ — b-^J=^= etc. These intervals can be sung, or played on the violin, etc., but it is not possible with keyed instruments, like the piano, to give the difference between enharmonic intervals. The Greek enharmonic genus, the Tetrachord, consisted of a progression of two quarter- steps and a major third. In modern music, an enharmonic change is a change of name without a change of pitch, thus : ^= =«E The Magyar or Hungarian Scale. The Magyar or Hungarian scale contains two augmented intervals with an augmented fourth, thus ; i w=^ :5J=iK ^=3=6^1^ =t The Turkish Scale, The Turkish scale is not formed of a succes- sion of octaves, but of a succession of equal tetrachords, all of these tetrachords being separated by the interval of a whole tone. Each tetrachord consists of a half tone, a tone and a half, and another half tone. Thus : C Db E E ; begin the next tetrachord on G ; G At? B C. This completes the octave. But the next tetrachord, beginning on OTHER SCALES. 29 D and so on, leaves each octave different from the preceding one, and out of harmonic relations with it. Pentatonic Scale. Pentatonic scales are scales consisting of five tones or notes in the octave ; the fourth and seventh of the modem diatonic scale being omitted. It (the pentatonic scale) has been in use in China, Japan, Java, and the Pacific Islands. The melodies of the American Indians and negroes are largely built upon this scale. — — The pentatonic scale is also characteristic of Scotch music. At ,, least much of the Scottish music is constructed on the pentatonic ""series 1, 2, 3, 5, 6 of the major diatonic scale. Chinese Scale. The old Chinese scale of five tones was : X IE The lowest note of this scale, F, was called emperor; G was called prime minister; A was called loyal subjects; C was called affairs of state; 1) was called mirror of the world. The Chinese scale was enlarged to include E and B ; and these were called " leaders " and " mediators." What we call -- high " the Chinese call " low," and vice versa. Heptatonic Scales. Heptatonic scales, seven essential notes in the octave, form the majority of the most notable scales of the world. Ancient G-reece used, and India, Persia, Arabia, Egypt, modern Europe use, as a rule, the heptatonic scales. Enigmatic Scale. This scale is used by Verdi in his Ave Maria for four voices. It is : EfeB5;aE[tefeg;gj=pgEfete[»£535¥-= Whole-tone Scale. Used by Debussy and other modern composers. i -zs ^- 1^5=^2^^ 30 SOME ESSENTIALS: IN MUSICAL DEFINITIONS. CHAPTEE XII. TIME. The time signature is placed immediately after the key sig- nature The time signature indicates the number of beats or pulsations in a measure, and the unit of each pulsation or beat. Thus -I indicates that a quarter note value is the unit, and there are three of these quarter beats or pulsations in a measure. There are two distinct orders of time signature, known as, (1) common or duple time, when the number of beats is divisible by two ; and (2) triple time, when the number of beats is only divisible by three. Common or Duple Time. Under the head common or duple time are the following time signatures : z)izi248 2 2 4 *P*^2¥¥ ¥ S S 1^ 12 H etc. _4_ 6 6 8 _8_ 16 ¥ ¥ f 16 "S' 1 Triple Time. Under the head of triple time are these : 3 .3 3 T ft etc. 2 ¥ "S" F 16 ftuintuple or Septuple Time. Quintuple and septuple time are anomalous forms used occasionally, though rarely, (j |) (The different time signatures in use in modern music will also be found under the head of " Eihythm.") There is a difference of opinion among musicians as to whether the term "time signature" should not be superseded by the term " meter signature." MEASURES, BABS. 31 By the term Time is commonly understood the number of units in a measure. By the term Meter, the grouping of varied note values in a melodic phrase, or the feet in a line of poetry. Meter is the rhythm of the phrase. Meter in music and meter in poetry are analogous. CHAPTER XIII. UEASUBES, BAB3. Measures. A measure consists of the group of beats contained between the bar lines. Bar lines. The bar lines are vertical lines dividing the staff into measures. A Double Bar H indicates completion, the end. A indicates repetition. A double bar with dots 32 SOME ESSENTIALS IN MUSICAL DEFINITIONS. CHAPTER XIV. WOBDS TO INDICATE MOVEMENT OB MOOD. WoKDS placed at the beginning of a piece of music indicate, relatively, the speed with which the accents follow each other, or the general character or movement of a piece. Thus from the slowest to the quickest movements we have — Grave or Larghissimo Extremely slow, heavy, grave. Largo Slow, solemn. Larghetto Not quite so slow as Largo. Adagio Slowly (ad, at + agio, convenience, leisure, ease). Langsam or Lento • Slowly. Andante (andare, to go) Moderate time (usually understood slowly). Andantino Should mean slower than Andante, but now gen- erally understood as less slow. Moderato Moderate. Allegretto Light and cheerful but not so fast as Allegro. Allegro (aktcer, merry) Quick, lively. Presto Quickly. Prestissimo Very quickly or as fast as possible. Vivace With life and vivacity. Increasing or diminution of tone is indicated as follows : Increase -==i:r or crescendo, cres. Diminish - — or diminuendo, dim. These words may be combined with other words to indicate an accelerating or retarding of the movement. Thus : Crescendo ed accelerando indicates, increase the tone and accel- erate the time. WORDS TO INDICATE MOVEMENT. 33 Diminuendo ed ritardando indicates, diminish the tone and retard the time. Eallentando Becoming slow again. liitardando Slackening gradually. liitenente Holding back. Ritenuto Held back, retarding at once. Mancando Decreasing. Stretto Pressed, hurried, quicker. Accelerando Increase or hurry the velocity or speed of the move- ment. Allargando Growing broader : slower and louder. 34 SOME ESSENTIALS IN MUSICAL DEFINITIONS. CHAPTER XV. Other words and abbreviations frequently used are : ' Main droit. Fr. ^- J- } Right hand - r destro Mano < deritta or It. ( dritta. M.G. ) , ' Main gauche. Fr. L.H. > Left hand < > M.S. ) < ^ Mano sinistra. It. m mezzo Moderately. M mano or main Hand. pp pianissimo Very softly. p piano Softly. mp mezza piano Moderately soft. mf mezza forte Moderately loud f Forte Loud. ff Fortissimo Very loud. fz Forzando A V > Forced. s/ Sforzando Forced. Fed. Press damper pedal. The damper pedal (ordi- narily and erroneously called the " loud pedal ") raises the dampers from the strings, thereby allowing the strings to vibrate freely. * Release damper pedal. Una corda Press soft pedal (use one string). Tre corde Release soft pedal (use three strings). A poco A little. A poco a poco Little by little. A poco piu lento A little slower. Coll N Colla i Collo ) With the. OTHER WORDS AND ABBREVIATIONS. 35 Colla dentra With the right hand. Pin More. Ilpiu The most. ' II piu forte possible As loud as possible. Istesso The same. L'istesso tempo In the same time. Meno Less. Meno forte Less loud. Meno mossQ Less movement. Nel Nella Nelle - in the Nell' tempo ... in the time. Nello NelV Molto. Much, extremely. Assai Very, extremely. Assez Enough. Epoi And then. Stringendo Accelerating. Alia stretta Increasing the time. Alpiacere '\ piacere, > At pleasure. ad libitum ) Tempo rubato 1 Eobbed or stolen time ; irregular time ; a slight j deviation in time ; to give more expression. Pesante Heavy. Maestoso In a majestic style. Schmerz Grief, sorrow. Sec or secco Dry, unornamented. Mesto Sad. Sostenulo Sustained. Marcaio Marked. Martelletto Like a hammer, heavy. Mezzo I ,. f medium Mezza ) Mezzo voce — half or medium voice. Da By, from, to. Da capo From the beginning. Doppio Double. Doppio movimento A double movement ; equivalent to as fast again 36 SOME ESSENTIALS IN MUSICAL DEFINITIONS. Con With. Con mnore With tenderness. Con moto With movement. Sotto Under, below, softly. Sotto voce Voice under, or softly. Trts Very. TrH vite Very fast. Seque Follows. Sequito Now as follows. Sequo coro The chorus follows. Sempre Always, continually. Semjore cres. Always increasing. Senza Without. Senza rit. Without retarding. Pochetto Pochettino A little. Prima First. Quasi In the manner of. Piu More. Piu forte Louder. Cantabile In a singing style. Andante cantabile Slowly, and in a singing style. Trio An independent and contrasting Obbligato Indispensable, necessary. Dolce Sweetly. Con brio With vigor, animation. Sostenuto Sustained. Attaca subito Attack immediately or suddenly. Graziosa Gracefully. Morendo Dying away. GROUPS OF NOTES. 37 CHAPTER XVI. NATUBAL AND ARTIFICIAL GEOTJPS OF NOTES. Natural groups of notes are those in which the notes retain their normal value. In contradistinction to natural groups we have artificial groups, in which the notes have an abnormal value, this value being indi- cated by a numeral placed over the group. The artificial groups most frequently met with are "Duoles," " Triplets," and " Sextolets." Duole. A duole is an artificial group of two notes. A duole occurs when two notes fill the time of three notes of normal value. Thus: w B=t E?=tE I Triplet. A triplet, triole, or triolet, is a group of three notes to be played or sung in the time of two notes of the same value. Thus : i p ipzzpzrpnp: I =t -t- Sextolet. A sextolet is a group of six notes having the value of four normal notes. A sextolet does not consist of two triplets, and it should not be divided in that way, either in writing or in performance. Correct. Correct. Incorrect. 5 — m — J 1 * — tM — -J 1- fl 38 SOME ESSENTIALS IN MUSICAL DEFINITIONS. Artificial groups of four, five, seven, or nine notes occur ; but in groups of larger numbers the notes are usually written in small type and treated as a cadenza. Tirata is the name that was formerly applied to any number of notes of equal value or length moving in conjunct degrees. A figure indicating the number of notes in the group and a slur are always placed over these artificial groups. If a series of triplets or sextolets occur, it is necessary to indicate in this manner, only the first group, or the first measure of the series. PROLONGATION OF N0TM8. 39 CHAPTER XVII. FBOLONGATION OF NOTSS. The length or the value of a note or rest may be prolonged by (1) A pause ^ (It. Fermata). A pause «^ (or hold) placed over or under a note or rest pro- longs its value at the pleasure of the performer or conductor. (2) Dots. A dot placed after a note or rest adds one-half to its value. Thus : Equals. Equals. i=e s i A double dot after a note adds f of its value to the note ; the first dot being worth half of the note's value, and the second dot being worth half of the first dot. Thus : Equals. i Triple dots have been used, but not recently. Dots have been placed at the beginning of a measure, taking their value from the last note of the preceding measure. This form has been replaced by the " tie." (Usual form.) i ^£. 4^-- m (3) Ties (see next chapter). 40 SOME ESSENTIALS IN MUSICAL DEFINITIONS. CHAPTEE XVIII. TIES AND SLTTBS. CuKVED lines are either Ties or Slurs. The Tie. If the curved line connects two notes on the same degree of the stave it is a Tie, and the first note is held for the value of itself and for that of the tied note. But the value of the first note must extend to the second to make the tie good. Thus : This is a Tie. This is a Tie. This is not a Tie. g ^^:kr=iEi IS "ti;;^^^ The curved line is a tie if it connects two notes enharmonically changed. Thus : i =55 =# is an Enharmonic Tie. But if dots are placed over the notes joined by the curved line, it is no longer a tie ; it is then a semi-marcato or portamento mark. Thus : m =f=t :t=t: If the dot is only over the second of the two notes, the curved line is not a tie, but indicates the effect of a short slur. All other curved lines are slurs. TIES AND SLUBS. 41 The Slur. The slur has several uses. 1. It indicates the phrasing. 2. It calls for smoothness or legato effects. (For a stringed instrument played with a bow, it indicates one movement of the bow.) 3. Between two notes of quick or moderately quick time, it radicates that a certain accent or force must be given the first note, and the second note must be made shorter and weaker. 4. In vocal music it also indicates that one word or syllable is to be sung to the notes under the slur. 5. It partly counteracts the effect of staccato marks or dots if placed over ^. .^ or under ^' '^ the staccato marks. 9^ Tie. Slurs, ^E^ ^^P^- Slur. ;^ ±it^: Tie. 42 SOME ESSENTIALS IN MUSICAL DEFINITIONS. CHAPTER XIX. LEGATO AND STACCATO. Legato and staccato are two terms used to indicate : -^ 1. Legato, olose,-smootky the opposite of staccato. C-C tj fii- C"'«^ 2. Staccato, short, detached. , f'-tf 7t /' Small dots or dashes over or under notes indicate staccato. Modifications of legato and staccato are made by combining dots and slurs, thereby indicating the manner of performance. P P P P ^ very smoothly or legato. I ! I t frff^'^ffff detached or staccato. Semi-staccato or marcato.. F f f f non-legato ; called by some portamento ; literally a " carrying over " ; really a compromise touch vsrhich properly done gives a singing, caressing quality to the tone. ACCENT. 43 CHAPTEK XX. ACCENT. Accent. Accent is the emphasis which certain notes receive. To be satisfactory (as a rule) these accents must recur at regular intervals. In quick common, or simple triple meter, there is but one accent in a measure ; that given the first beat. But in slower, common meter there are usually two accents, — a strong one on the first beat of the measure, and a weaker accent on the second half of the measure. These accents are known as the Grammatical or Metrical accents. (See examples in chapter on rhythm.) By Oratorical accents are meant the adaptation in vocal music of the notes to the words. In the best music the accent of the words fits the accent of the measures. Syncopation. Placing the accent on the usually unaccented part of a measure is called syncopation. Examples in syncopation : i tf sf I W-^- it= i II PE3ESEP -P— •- Syncopation is an artificial accent. Accents are also indicated by these signs : sf., sfz., fz., sforzando, or forzando, which indicate an accent on a single note or chord. Rf., rfz., rinforzando, may be applied to a note, a chord, or a passage, and indicates strength of tone without sudden accent. 44 SOME ESSENTIALS IN MUSICAL DEFINITIONS. CHAPTEE XXI. REPETITION SIGNS. Marks of Bepetition are : the double (or the heavy) bar with dot Da Capo, D.C., which signifies from the head or beginning ; that is, "Eepeat from the beginning and continue to the word Fine," the end, or to the mark '^ placed over a double bar. Dal Segno, D.S. or # signifies, Eepeat from the sign :8: or ^^. Bis, twice ; play or sing twice. Simile ; like ; indicates that a series of passages of similar form should be repeated or performed in the same or like manner ; ;//: this sign is sometimes used for simile. Da Cecpo e poi la coda indicates, Eepeat from the beginning to the coda. Al Fine indicates, to the end. Al Fine e poi la coda indicates, that after playing to where Fine is marked, go on to the coda. Oblique strokes which distinguish the 8th, 16th, or 32d note, if applied to the stem of quarter or half notes, signify as many repetitions of the shorter notes indicated as are equal to the longer note represented. Thus : m =ic=(i=fczpz m ^ indicates the repetition of a group of notes, or of an entire measure. Thus : 1— P-l — if — it — *?— «»r — A or :^Tz:s _L_L_^ a*^>*-— ^ — BEPETITION SIGNS. 45 (Only one oblique bar is necessary if the notes are eighth notes, or three bars if they are 32d notes). Figures placed over or in a measure in ■which rests are written, indicate the number of measures of silence. g =3= | =s=a The double bar and dots signify " Repeat." The Primo volta (first time), play to double bar ; in the repetition, omit measure ^2""! and play measure j 2 ■ 1^ 46 SOME ESSJENTIALS IN MUSICAL DEFINITIONS. CHAPTER XXII. EHBELLISHUENTS. EmbelUshmeuts, The principal embellisliments (Agremens, Fr.; Manieren, Ger.) used in modern music are the following : Trill or shake ; Mordent ; Prall trill, inverted mordent or bound- ing trill ; Turn or G-rupetto ; Inverted turn ; Appoggiatura ; Accia- catura ; Afternotes or Nachschlag ; Slide ; Arpeggio. The Trill consists of a rapid alternation of a principal note and the next note above, in the same key ; the alternation to continue for the full duration of the principal note. It is indicated in modern music by "tr" (generally followed by a waved line »*-.^*.^^ over a long note), and in older music by /^^ /wv, etc. There has been some difference of opinion as to whether the trill should begin with the principal note or with the subsidiary note. The rule most generally observed to-day, is to begin the trill on the principal note unless the principal note is preceded by a small note or notes. The following examples will show how some trills have been edited : Written. s Played. ^?5S-^? __£ — ' -h+-H-F~l— ~lt=i^t EMBELLISHMENTS. 47 EXAMPLES OF TBILLS. From Bkbthoven, op. 31, No. 1. Von Bijlow and Lebekt Ed. f tr. Played Ih » -»- f -• P -•- P ^- P -m- • -• P -•- f • f'm- f •- ^ -•- P ^S^^^m^^m i ^tjtfEEf^ttEtiztt -T^-«-l^- I "^ -m-P P -•- ^ •- ^ -•- ^ -•- r -, ' ' ' I P ^_^n^_y -^ I/"- — Played. Eg^^ ^ i ^•'~^~^—^~^^. ^E^^ . z]i=r»=iir From same opus and same ed. I J i J n^ i a u -=^- From same opus and same ed. Played. i ?=^==p^=F=f=p=p=F=f=f= Beethoven, op. 26, sa,me ed. Played. I ; ' P^^=^^^3 Er^E^^^I I I I -^— •- 48 SOME ESSENTIALS IN MUSICAL DEFINITIONS. i A-i I Beethoven, op. 10, No. 2. Played. ^ -^_^^^_^_^_^ -^_k»aka>ik^d__bi :E= fe-- Beethoven, op, 10, No. 2, same ed. r ^^^^^.^-^^ -^^ i— «■ -i-»- Played. m & , . ^^^ ^ ^^-^ — ^3^3^^^^^ — t =i=ti ^ ^ -i i i i i g -#*■ iH- ^^if^^ ^ Beethoven, op. 2, No. 2., same ed. Played. ^==t; Played. Beethoven, op. 106, Geemer Ed. m ^ T V.i-J- ^^;;SA U" -f— !^ Played. Same ed. as above. S^^i The following are examples from the Busoni ed. of Bach's Well-Tempered Clavicord. ^^^^P^ Prelude XVIII. tjf--r tr ^ EMBELLISHMEN TS . Played. 49 )- i — iii r . r — 1_ t; -I I'll ■-' I I ' I Prelude VIH, Played. mi =t=F: fe-fiF'S=F ^r-r^ - ^=>-^^'^'=^=^=^^^-^ ^ Prelude X. m Played. I I I 1 i'^™"] I 1^^ . III 1-^ I -=l-«- -5— =1-^ Prelude XI. , ,-w I I 1— ^ ^ Played. etc. :t^EE^3:1i^; 5^^ — --. * -•- ■'''■' '^^ Prelude XI, ^^^^^^^m Played. etc. -fctjctntr-lfztLirfzfE?^ m --w^ rJiM^J .^:: Fugue XI. Played. I I I'—i" 3^3^i •— 1^- Fugue Xm. Played. If the trill forms the accompaniment to a melody both played by the same hand, if the melody notes lie near the trill, the trill is not interrupted ; if the melody is out of reach, a single note of the trill 50 SOME ESSENTIALS IN MUSICAL DEFINITIONS. is omitted for the melody note. In the latter case the accent of the trill must be on the upper note. Examples : Written. :tsl=i m Played. He=S"-P5:p5?¥:^ie¥^«Vp:i:? ' ' ■ ' - ^^ etc. Written. $m A. A. WZZ3i. Played. « L-^ 'S^— F-»-«-»— E'-«-f-»-b=ir^-»-L-»-^'^: i»-»-r-»-^-»- etc. A trill is called Imperfect when it closes without a turn. Other examples of trills : Written. Played. m -^- ^Bi^^Si^ Written. Played. i si^g^is^B fe- Played. ■frR — j— -B— ^=3— —^•-w-»- eESz:f±EEr ^ -*-^-*- w-« ^^:^ =t^ i ■ — p — p- EMBELLISHMENTS. 51 Played. ^i^S^ig^^lS^'^^ ^gg^ f^il Played 3^s^r^=r=r^E^^-g^B IF ^-(S- The Mordent. The mordent is a transient shake, made with the note ■written and the note below. The sign is this : /v|v (note the yertical line through) ; or /vi^ for the long or double mordent. The simple or short mordent /s|v consists of three notes. The double or long mordent consists of five or more notes. Both kinds begin and end on the principal note. They are played as quickly as possible, and they always begin with the value of the written note ; they should never be introduced before it. a Simple MoTdent. ■slv Double Mordent. m i Played. i Written. -^- J- N^^ f-= Played. El 5: W=f- -^ It I eB Prall Trill. The prall trill, bounding trill, or inverted mordent •^^ is made with the note written and the next above in the same scale, except where otherwise indicated by an accidental. Written thus /w (without vertical line). 52 SOME ESSENTIALS IN MUSICAL DEFINITIONS. It takes its time value, like the mordent, from tlie note to whicli it is signed, and it is played as rapidly as possible. Thus : i Written. Wz Played. THE TURN. The Turn or Grupetto. The common or regular turn (grupetto) is indicated by the sign ^ or s>s placed over or under the note, or over the space following the note. It consists of four notes executed in the following order. The note above the written note ; the writ- ten note itself ; the note below ; and the written note again. Thus : Played. i ^ m When the turn is written directly over the note, it takes the place of the note. If the turn is written after the note, then the note is played or sung first, and the turn follows. Chromatic alterations in a turn may be indicated by writing the necessary accidentals over or under the turn. The inverted turn I simply inverts the order of performing the same notes, the lowest note being given first. Examples of turns : Played. i P=E i:. Played. Turn with Dot EMBELLISHMEN TS. Played. IeE X X -f- Tnin with Aocidentalsi Played. ^ I I — I ■ ^-IJ 63 laverted TniE. Played. i i=F =pcf=p= E0 The Appoggiatura. (Long and short.) An Appoggiatura is an accessory or grace note placed before a principal note. Its time is always taken from the principal note. An appoggiatura may be long or short. Long ; ;t^ The long appoggiatura is distinguished from the short appoggia- tura by the absence of the stroke across the stem. The following rules apply to the length of the long appoggiatura (without the stroke J^). 1. When the principal note can be divided into two equal parts the appoggiatura receives half. Thus : Played. IE 2. When the principal note is dotted the appoggiatura receives two-thirds. Thus : Played. ii^^^fi 54 SOME ESSENTIALS IN MUSICAL DEFINITIONS. 3. If the principal note is tied to another shorter note, the appoggiatura receives the whole value of the principal note. Thus : Played. (Exceptions to these rules are common. Taste and experience can best decide when exceptions are proper.) The appoggiatura, whether long or short, is always included in the value of the principal note. If written before a chord, it delays only the note to which it belongs. Thus : i Played. Me^. \Sr_ £ Played. -4^ 5^ i I The short appoggiatura is a grace note, beginning at the time of the' principal note and played as quickly as possible. It is recog- nized by the slanting line through its stem ^^. M 11 PE5E Played. eS ZWZJftl I i—tJ. ^ l =S^ r A double appoggiatura consists of two grace notes, the first begin- ning on the beat, and both played as quickly as possible. Played, ^ i ^^^^^^l^ EMBELLISHMENTS. 55 Acciaccatura. The word Acciaccatura is at present frequently applied to the form of ornament described as the short appoggiatura. Formerly it was written as we now write the short appoggiatura _^, and it was struck with the principal note, but immediately released. It is now occasionally used in this manner by organists. if^ S^=|iz§=± -^ 1 — 1 -1 EMZi- - h.^ q ^W-^- \H q -^ s After Notes, or Nachschlag. After notes, or Nachschlag, consist of one or more grace notes introduced in passing from one melody note to another. They are generally connected to the principal note by. a slur ; and they never fall on the accent or the beat, but occur at the end of the note (taking their value from it), to which they serve as an ornament. Thus. i^^ I w^~ Flayed. i^ Hayed. rjt=i=t=wz I # iEE Slide. The Slide consists of three notes, either ascending or descending, the principal note being the third, the other two grace notes. The short notes are to be given within the value of the principal note, and not before. Slides of more than three notes may occur. They are sometimes called by the name Tirade or Tirata. Played. i ^ I 56 SOME ESSENTIALS IN MUSICAL DEFINITIONS. Played. i Played. 8 _. ^m I i^^t Written. Played. ^^^^1^ Slide. Written. IE ^ Played. ^^^m The Arpeggio. The arpeggio, as an ornament, consists of the breaking or spreading of a chord either upwards or downwards. It is sometimes called an extension. m 3;i- m ^=P3X= As a part of instrumental passages, an arpeggio consists of the notes of a chord played one after the other, in any order indicated. CEOBDS. 67 CHAPTEE XXIII. CHOBBS. Harmony. Harmony is the art of combining sounds simulta- neously into chords, and treating these chords according to certain ■ rules. A Chord. A chord is the simultaneous occurrence of several musical sounds, producing harmony. Triad. The simplest chord is the triad. It is formed by adding a third and a fifth to a fundamental note. / -\ i^ '^— — ^ etc. -z> - I ' . , (. Interval. The difference in pitch which separates two tones is called an interval. Intervals are counted from the lower tone to the higher, thus, i IE r^ =? Eil= etc. razfii Fifth. Seventh. The general name of an interval is its number ; as a third, a sixth, etc. The specific name of an interval indicates its kind ; as a major third, a diminished seventh, an augmented fifth, etc. All intervals are either perfect consonances, imperfect conso- nances, or dissonances. Perfect Unisons or Primes " Perfect Fourths Perfect Fiftiis Perfect Octaves " Perfect Consonances. 58 SOME ESSENTIALS IN MUSICAL DEFINUIONS. Major and minor Thirds ) j^^^^^^^ Consonances. Major and minor Sixths ) Major and minor Seconds Major and minor Sevenths and all Augmented and Diminished intervals » Dissonances. All intervals in a major scale arc either Perfect or Major The prime, fourth, fifth, and octave are Perfect. The second third, sixth, and seventh are Major. , Lower the upper tone of a major interval and it becomes Ttiinor. Uajori Minor. Major, Minor. i W- -9^ =6i A perfect or a major interval made larger by one chromatic semi- tone, becomes an augmented interval. Perfect Stli. Augmented 5th, i w- A perfect or a minor interval made smaller by one chromatic semitone, becomes a diminished interval. Perfect 5tli, Diminished 5th. i w :#^ A major interval made smaller by two chromatic semitones becomes a diminished interval. m Major 3d, Diminished 3d, '^- CHORDS. 69 Table of intervals. i FiimeSi Perfect. Augmented. Seconds, Major. Minor. Augmented. Thirds. Major. Minor. Diminished. I w 5»=tjj-__b«.l 1^7-^. :^r-^^^. a _-^tJs^:^^#z^'r5r«'-^:^'S'-^|: T Fourths. Perfect. Aug. Dim. Fifths. 1 Sixths. Perfect.Augmented.Diminished. | Major. Minor. Aug. / / -4 \ u L, " \ a<= a l7/5> fl'^ 2 '5' »':=' ] c -e- -©-" Is'-^ -«>- -s-- " s- iS- -IS- -SI- i Sevenths. Major. Minor. Diminished. I Octaves. Perfect. Diminished. Ifinths. Major. Minor. --t^- P A similar schedule may be built from any and every chromatic tone of the octave. Triads are either Major (major 3rd, perfect 5th) or Minor (minor 3rd, perfect 5th) W^=W or Diminished (minor 3rd, diminished 5th) i or Augmented (major 3rd, augmented 5th) rz ^ n -ic— "g KJ -'§p~ Inversions. The two inversions of any triad are called : (1) The chord of the sixth, when the third of the triad is in the bass. 60 SOME ESSENTIALS IN MUSICAL DEFINITIONS. (2) The chord of the sixth and fourth, -when the fifth of the triad is in the bass : Fnndamental, Chord of the Sixth, Chord of the Sixth and Fourth, $ ^i: _ThejsJbflxd„of four tones, or the chord of the 7th, is formed by- adding a third, fifth, and seventh to a fundamental tone. ti^—& i fe # -Mz ^ The three inversions of all " chords of the seventh," are : (1) The chord of the sixth, fifth, and third, called usually the chord of the sixth and fifth and 'figured f or f ; when the bass takes the third of the fundamental chord. (2) The chord of the sixth, fourth, and third, called usually the chord of the fourth and third, and figured I or f ; when the bass takes the fifth of the primal chord. (3) The chord of the sixth, fourth, and second, and figured | or i or 2, called usually the chord of the second ; when the bass takes the seventh of the primal chord. Q r— S- ^ ■rs 1 s n 1 g ((^ '^ 1 — % v^; » \ *" *j 7 f % a 7 % % 2 C\' > 1 )• I i ^ <^ -1 & — L — g> — L — s> — ' — s— "^ 1 CHORDS. 61 The position of the tones of the chord of the seventh and the inversions, in the three upper voices, in relation to the bass, may be arranged at pleasure or as the content of the music may demand. The chord of the ninth consists of the 3rd, 5th, 7th, and 9th, being add«d to a fundamental tone. The chord of the eleventh and the chord of the thirteenth consist respectively of the 3rd, 5th, 7th, 9th, 11th, and the 3rd, 5th, 7th, 9th, 11th and 13th being added to a fundamental tone. The chord of the dominant seventh consists of the dominant tone of the scale (the fifth) with its 3rd, 5th, and 7th. -*- • The dominant seventh chord is the same in the major and minor. Thus, the dominant seventh chords in C major and C minor are : ±. y EEi The diminished seventh chord is the chord of the seventh built from the seventh degree of the minor scale. It consists of a minor third, a diminished fifth and a diminished seventh. Thus : i sgi m i m i^ 5=fr fc^= w^^ :rf= SOME MIXED CHORDS. The French Sixth. A major 3rd, augmented 4th, augmented sixth. The German Sixth. A major 3rd, perfect 5th, augmented sixth. The Italian Sixth. A major 3rd and augmented sixth. i ^% The Neapolitan Sixth. (The Neapolitan Sixth does not include the augmented sixth.) A minor 3rd, a minor 6th occurring on the sub-dominant or 4th degree of the scale ; or if the root of the supertonio triad in minor is chromatically lowered, the chord is a Neapolitan sixth. 62 SOME ESSENTIALS IN MUSICAL DEFINITIONS. ^■\ ^ n^ '^^ Augmented Siz-Five-Chord. Chord of the Doubly Augmented Fourth. Chord of the Augmented Siz-Four-Three. i ^ M Gondolied ) Bourr^e I Caprice Canzone Chaconne \ Ciaccone ) Conrante Cracovienne Csardaa Fackeltanz German air ; an obsolete slow dance, originally in common time, beginning on the last beat. Spanish dance, three-fourths time. (Metre " 4 r_t-^ r r r r \ Boat song ; f time. Trench dance in J or f time. Begins on fourth beat of measure. A fanciful composition. A song, ballad, or air, in two or three parts, with divisions of fugue or imitation. A Spanish dance, | time, composed on a ground bass. Running ; an old dance in triple time. A Polish dance in triple time. Magyar or Hungarian dance in f or f time. Dance with flambeaux (torches). * There were English Suites, French Suites, German Suites, named accord- ing to the order in which the dances were arranged. 68 SOME ESSENTIALS IN MUSICAL DEFINITIONS. Tandango Spanish dance, f, |, or f time. f P F P P \ f <' ^ ^ This rhythm Fantasie Gavotte Gigue 1 Jig i Gagliarda ) Galliard ( Interlude ) Intermezzo ( Habanera Minuet Musette Mazurka Nocturne Pavan i Pavane ) Fassacaille i Fassacaglio ) Paspy (passepied) Polonaise Bigaudon Sarabande Sicilienne Tambourin Tarentella > A caprice. A common-time dance heginning on third beat, or at the second half of the measure. A jig, in duple time. An old dance of merry character, usually in J time. It originated in Rome, and was sometimes called Romanesca. A short piece introduced between the acts of a drama, or the play and afterpiece, or between verses of hymns. Spanish dance, slow, | time. Slow dance, f time. A pastoral air in imitation of a French bagpipe, with a drone bass in duple or triple time. A lively Polish dance | or | time ; peculiar rhythmic construction. A composition suitable for evening. An evening song. From pavo, peacock. Stately dance, usually f time. A kind of chaconne with divisions, on a ground bass in f.time, and always in a minor key. A sort of jig or quick minuet ; a lively old French dance in |, |, or f time. A chivalrous Polish dance in J time, having a move- ment of I (in rhythm of 2's) with extra accent on the fifth. The second P is generally divided into T*^. A lively French or Provencal dance, in duple or triple time. Spanish or Saracenic dance, triple time, with castanets. Dance of Sicilian peasants, duple time, f or J/. A dance accompanied by the tambourine, duple time. A swift Italian dance f in time. A popular story attributes to this dance the cure of the bite of the tarantula. OPERA. 69 CHAPTEE XXV. OFEBA. Opera. A drama set to music. An opera is a drama, either tragic, comic, or melodramatic, sung throughout (or nearly so), with appropriate scenery, acting, and with orchestra accompaniment. The modern opera was the result of an attempt to revive the Greek drama. Opera was and is known under the following heads : Opera Seria A serious or tragic opera. Opera Bulfa A comedy in wliicii tlie dialogue was carried on in " recitative secco.'' Opera Semi-seria A serious opera, with many comic episodes. Grand Opera (Fr.) \ An opera in whioli everything is sung to orcliestra Grosse Oper {Oer.) ) accompaniment. n ' . / j!v \ ■) -^^ opera in which the dialogue is spoken, and , • 1 / ri ( "'^^ ''^ which the "ending" must be happy. * ^ '' ; (Not unlike the English ballad opera.) Op^ra Bouffe A Erenoh comic opera of too light a character, and constructed on too trivial a plan, to entitle it to rank as an Opdra Comique. Operetta A work in which the forms of Grand Opera are imitated, the dialogue is spoken, and the purpose of the play is satirical. (Gilbert and Sullivan's operettas are excellent examples.) Eomantio Opera {Ger.) Operas in which the plots are arranged from ro- mantic tales of the Middle Ages. (" Oberon," "Weber; "Euryanthe," Weber; "Freischlitz," Weber, are examples.) Comic Opera An opera interspersed with light songs, dances, etc. Opera di Camera A short opera to be performed in a room. 70 SOME ESSENTIALS IN MUSICAL DEFINITIONS. Mtisic Drama ) The name given by Richard Wagner to his later (Musikdramen) ) operas. Commedia Lirico i Lyric Comedy J This is what Verdi called his " Falstaff.' Ballet An artistic, as distinguished from a social, dance. A kind of opera in which there is not much plot, but a great deal of dancing. The rep- resentation of an action by pantomime and dancing. French Opera Places the text foremost, the dramatic movement next. German Opera Places the drania first, the music second. Italian Opera Places the voices and the art of singing first, and the drama second. Opera. The birth of opera, Italian opera, is dated from about the year 1600. In 1597 the first opera, " Dafne/' by Jacopo Peri, was privately performed in Florence. This opera was lost, but its success at the time was assured. In 1600 Peri's " Eurydice " was performed in public in Plorenee. In England Henry Purcell (1658-95) composed operas. In Erance, " Pomone," by Cambert and Perrin, was the first opera performed in public, 1669 ; but the true founder of French opera was Giovanni Lulli (1633-1687). In Germany, 1627, " Dafne," translated into German, and set to music by Schiitz (1585-1672), was sung ; but the real foundation of German opera is credited to Eeinhard Reiser (1673-1739) in Hamburg. The recitative and the aria are essential parts of an opera. Recitative. Recitatives are either, (1) the recitative seeeo, in which there is no form except the text, the accompaniment usually played on d, piano, and consisting only of a few chords ; (2) the recitative stromente, accompanied throughout by the orchestra. Aria. The aria is an air, a vocal composition for single voice, with instrumental accompaniment. The different styles of aria were and are : 1. Aria cantabile ; slow, flowing, pathetic in style. OPERA. 71 2. Aria di portamente ; with stronger rhythm and wider intervals. 3. Aria di mezzo oaraterre ; medium character. 4. Aria parlante ; declamatory. 5. Aria di bravoura ; displaying agility and florid execution. An arietta is a short air or aria. Ariosa signifies in the movement of an ana. SOME FAUOTTS OFEBAS AND THEIB COMFOSEBS Auher: La Muette di tortici. Beethoven: Fidelio. Bellini: Norma, La Sonnambula. Bizet: Carmen. Debussy: Pelleas et M^lisande. Donizetti: Lucia di Lammermoor, Don Pasquale. Flotow: Martha. . f , Gluc k: Orfe o. / ^.i ^ ^ , > , ,. "J./ . ''' Gounod: Faust, Eomeo et Juliette. , / , Leoncavallo: I Pagliacci. / Mascagni: Cavalleria Rusticana. Massenet: Le Cid, Thais, Le Jongleur de Notre Dame. Meyerbeer: Les Huguenots, Le Proph^te. Mozart: Don Giovanni, Le Nozze di Pigaro, Die Zauber flete. Puccini: La Boh^me, Tosca, Madama Butterfly. Rossini: II Barbiere di Siviglia, William Tell. Saint-SaSns: Samson et Dalila. Strauss: Salom^, Elektra. Thomas: Mignon, Hamlet. Verdi: Aida, Otello, Rigoletto, La Traviata, II Trovatore. Wagner: Lohengrin, Tannhauser, Die Meistersinger, Tristan und Isolde, Parsifal, the trilogy consisting of Rheingold, Die Walliure, Siegfried and Die Gbtterdammerung (Music Dramas). Weber: Der Freischutz, Oberon, Euryanthe. 72 SOME ESSENTIALS IN MUSICAL DEFINITIONS. CHAPTER XXVI. OBATOBIO. Oratorio. An oratorio is a musical work on a Biblical subject, sung throughout by solo voices and chorus, to the accompaniment of a full orchestra. It received its name from oratory or chapel, the place where these musical compositions with sacred subjects were first performed. St. Philip Neri, founder of the congregation of the Oratory, intro- duced this art form. He induced the best Italian poets to write the libretto, and the best composers, including Palestrina, to compose the music. The oratorio as known to-day dates from Handel, though the true father of modern oratorio is said to be Griacomo Carissimi. The earlier oratorios were sung with the accessories of costume} acting, and scenery. It was during Handel's time that these accessories were abolished by order of Dr. Gibson, Bishop of London. NOTED OBATOBIOS AND THEIR COMPOSERS. Bach: Passion Music according to St. Matthew, Christmas Oratorio. Elgar : Dream of Gerontius. . Handel : The Messiah, Samson, Judas Maccabceus. Haydn : The Creation, The Seasons. Mendelssohn: Elijah, St. Paul. Pierne : The Children's Crusade OTHER CLASSES. 73 CHAPTEE XXVII. OTHEB CLASSES. Anthem. A vocal composition in sacred style, set to words that are generally taken from the Bible. Cantata. Something sung. A vocal composition of some extent, with recitatives, arias, choruses. It is a name applied to short sacred works, or to secular works, as a lyric or a story not intended to be acted. Ballad. In English, a simple song. Madrigal. 16th century. (Of uncertain derivation.) 1. A short lyrical poem, pastoral, or amorous song of no fixed form. 2. A vo- cal composition in three, four, five, six, and rarely seven parts. Some claim its name to be derived from " Madre di Gala," Mother of the Eeast, hymns in honor of the Virgin Mother. Mass. A vocal work performed in Roman Catholic churches during the celebration of High Mass, and consisting of the Kyrie Eleison, the Gloria, the Credo, the Sanotus, the Benedictus, and the Agnus Dei. Among the most celebrated masses are those by Palestrina, the famous mass in D by Beethoven, the great B minor mass by J. S. Bach, the mass in A by Cesar Franck, the mass of St. Cecilia by Charles Gounod. 74 SOMl! ESSENTIALS IN MUSICAL DEFINITIONS. CHAPTER XXVIII. SOME KATIOITAL HYMNS. TTnited States. Star Spangled Banner. Music, Dr. Arnold ; words, Francis Scott Key.' England. Eule, Britannia, 1740, Dr. Arne. God Save the King, 1743, Henry Carey. Austria. Gott erhalt Franz den Kaiser, 1797, Joseph Haydn. Germany. Wacht am Ehein, 1854, Wilhelm. God Save the King (Heil dir im Siegerkranz), Carey. Deutschland, Deutschland tiber alles. France. The MarseillaisCj 1792, Eouget de Lisle. Belgium. Brabanconne, 1830, Campenout. Portugal. Hymno da carto, Dom Pedro IV. Italy. Marcia Eeale, 1834, Gabetti ; Garibaldi's Hymn- Russia. Boje Tsare Krani, 1833, LvofE. Poland. Polish Hymn, 1863, Nikorowicz. Greece. Hymn to Liberty, Solomos and Manzeros. Mexico. Mexican Hymn, 1855. Music by Jaime Nuno ; words by Bocanegro. Canada. The Maple Leaf. Spain. Quien qui siera ser libre, Fenellosa. Denmark. King Khristian, Ewald. Wales. Men of Harlech. Norway. National Hymn by E. Nbrdraak. Sweden. Kong Karl. Finland. Wartland. Frederick Pacius. INSTBUMENTS. 75 CHAPTEE XXIX. INSTETJMENTS. Music can be produced by but three classes of instruments, — wind instruments, stringed instruments, and instruments of percussion. The human voice is classified under the head of wind instruments. It is the highest type. That department of the science of music which treats of the compass, timbre, construction, mechanism, grouping, managing, and combining of instruments is called " Instrumentation " ; sometimes " Orchestration." The diiferent instruments used in modern music are the follow- ing: Stringed Instruments, strings played with a bow. strings plucked by the hand. with keys; strings struck by a hammer. f Violin. Viola. Viole d' Amour. Violoncello. . Double Bass, r Harp, ■j Guitar. L Mandolin. < Pianoforte. Wind Instruments, open flues without reeds. open flues with striking reeds. f Flageolet. I Flute. L Piccolo. Clarinet. Basset Horn or Alto Clarinet. Bass Clarinet. . Saxophone. 76 SOME ESSENTIALS IN MUSICAL DEFINITIONS. Wind Instruments continued, . open flues with double reed. flaring tubes, or tubes with bells, with mouthpiece. Human voice. Oboe. English Horn. Bassoon. Double Bassoon. "■ Sarrusophone. Horn. Trumpet. Trombone. Tuba. Ophioleide. Clarion. Cornet. _ Bugle. definite pitch. The organ has all varieties of pipes; open, stopped; with and ■without reeds. Tympani or Kettle Drums. Glockenspiel, Carillon — -Steel Bars. Xylophone — Wooden Bars. Ancient Cymbals. Tuning Fork. . Large Bells or Chimes. C Large and Small Drums. Triangle. Tambourine. Castanets. Tam-tam or Gong. . Cymbals. Percussion Instruments, indefinite pitch. There are various types of imitative instruments that need not be enumerated here. Celesta. An instrument of comparatively recent invention, con- sisting of a series of tuning forks set in vibration by mallets actuated from a piano keyboard. The tone is of peculiar sweetness and is heard to charming effect in modern scores, notably in the "Nut Cracker" Suite of Tchaikovski. INSTRUMENTS. 77 "Women. Men. Usual Classification of Voices. High soprano. Soprano. Mezzo soprano. Contralto. Lyric tenor. Tenor robusto. Baritone. Basso cantante Usual Notation and Range. »- H« i Hi -JS-- Effi t>TZS- i p I -•- b-tS- ^^m :9z: 8va :9i: i JE- ^i: ^i: -(2- ^- i^i: Basso profundo. In Eussia there is a voice cultivated and known as the contra basso. Its range sometimes extends to C below the bass ^ stave. Ancient and Mediaeval Instruments. The names of some of the instruments used by ancient nations and by mediaeval nations are added now as a matter of interest. The 78 SOME ESSENTIALS IN MUSICAL DEFINITIONS. same classification of stringed instruments, wind instruments, and instruments of percussion holds good. Of Percussion. Wind. Stringed, Chinese Instruments. King (2200 B.C.) Kou Te-tchung or piao Pang hiang Tchoung-tou Bells ' Hulen Cheng Yo Tsche Siao Kin Cli6 Pepa Cha chi A kind of 'harmonicon com- posed of sonorous slabs of stone called "yu." Drum. Square bell. Wood harmonicon. Made of bamboo ; used for beating time. Made of earthenware ; it gave five tones. Twenty-four bamboo reeds in a hollowed out pumpkin; an important instrument. Flute type. Flute type. Pan-pipes. Primitive guitar form ; four strings and inside bells. Table psaltery, nine feet long, twenty-five strings. Lute. Similar to the kin, but hav- ing the chromatic scale. Vina. Seringhi, or Serinda, or Serunda, or i Suroda J Flute Chang I Hindu Instruments. Resembled somewhat a guitar ; a cylindrical tube, three feet long, with nineteen mov- able bridges, seven strings, and two hollow pumpkins. A kind of violin. Harp. ANCIENT AND MEDIEVAL INSTRUMENTS. 79 Revanastron Invented five thousand years ago by Eevanon, King of Ceylon. Fiddle bow is said to have originated in Hindoo- stan. Drums, bells, etc. Egypt. Harps (Buni), no front pillar. Lyres, Trumpets, Sistrum or Kemkem (called Sessesh). The sistrum was a clanging instrument, and consisted of bars of metal" and movable pieces of metal. Cymbals, drums, double pipes (mam), small pipes, small flutes (S§bi), a kind of guitar (Nofra). Assyria. Kinnor, an Assyrian harp (played with a plectrum), Dulcimers, Double pipes or flutes. Lyres, Assyrian trumpets. Drums, Tambourines, Cymbals, Bells, Cylindrical drums. Chaldea and Babylon. Sambuca Probably a stringed instrument. Symphoneia Sackbut, original of bagpipe. Kinnor Hebrews. (Credited as the Most Musical People of the East.) A Harp, triangular in shape Ugab Nebel Psanterin Asor Minor Machalath | Nebel Chalel , Nekel Mishrokitha Sumphonia Magrepha Keren j Shophar > Chatzozerah ) (David played the Kinnor) . S (Credited to Pipe. ) J"^^l) A kind of dulcimer. A kind of dulcimer. A ten-string instrument played with a plectrum. Varieties of the lyre. Hebrew flute or pipes. A small organ of seven pipes. A Bagpipe. An Organ or kettledrum. Trumpets. 80 SOME ESSENTIALS IN MUSICAL DEFINITIONS. Timbret i Tabret ) Tzeltzelim ■ Metzilloth Metziltbaim . Menaaneim Phaamon Shalisbim Neohiloth Gettitb > Machalath 5 Maohol Hand drums. Cymbals. Sistrum. Little bells. Triangle. Flute. Stringed instruments. Flute. Eebab ) Kemangeh ) Nefyr L'End Tanbur Junk Kanoon ) Santir ^ Nay Surnay Janissary music Nei Arabs and Persians. Violin type and precursor of modern stringed instruments. Trumpet. Lute. Lute. Harp. Dulcimers. Flute type. Oboe type. Bells, drums, triangles, metal clappers, piccolos, oboes, etc. A sort of flute, and a fashionable instrument with the Turks. Lyres Greeks. Lyres and Flutes. Lyra. Kithara. Chelys. . Phorminx. ANCIENT AND MEDIEVAL INSTRUMENTS. 81 ' Trigonom. Magadis. Other Stringed Instruments Barbiton. Sambyke, Nabla. Pandoura. Monochord. Aulos Flute. Syrinx Pandean pipes. Salpinx Trumpet. Keras Brass horn. Tympanon Hand drum. Kymbala Cymbals. Krotala Resembled Castanets. Rome. Tibia Double flute. Citiiar and lyre. Tubas and buccina Wind instruments. Hydraulic organ. Lyra, cithara, chelys, testuda, tides, cornu. • Lyres. barbitos, psalterium Calamus Pipe. Syrinx Fistula Pipes. Tibia utricularis Bagpipe. Scabillum Instrument of percussion Cymbalum Cymbals. Crotala and Crismata Castanets. Triangulum Triangle. Sistrum Tintinnabula Metal bells in a frame. Crepitaculum Metal bells on a hoop. Phenicia. Lionedda Launedda ' Bagpipe. S2 SOME ESSENTIALS IN MUSICAL DEFINITIONS. Aztecs. Pipes and flutes. Pito 1 Flute J A kind of flageolet made Mexico. Cuyvi A Pipe. Huayllaca A Flageolet. PincuUu A Flute. Chayna A Flute or kind of Oboe. Teponaztli A Drum. Agacaxtli A Rattle. Clarin Tubes. Huehuetl ' A Drum. Yotl Bells. Fern. Huayra i Puhura ) Syrinx. Flutes Of human bone. Tiniya A Stringed instrument. Huanca A Drum. Ohhilohiles Resembled a tambourine American (generally). Rattles, drums, flutes, whistles, conch shells, trumpets, etc. Middle Ages. The organistrum, requiring two people to manipulate it, was used in the 8th century. In France it was known as the rubelle, symphonic, or chifonie. The Rota (la rote and crout in France, orwth in Wales, cionar, cruit, in Ireland) was used in the 9th century. Cithara, 9th century. Harps. Fithele, or Anglo-Saxon fiddle, in the 11th century. Lyra, or German fiddle, 12th and 13th centuries. Monochord. ANCIENT AND MEDIEVAL INSTRUMENTS. 83 The Organ. The hydraulic organ was known to the Israelites, Greeks, and Romans 200 b.c. Archimedes and Ctesibus, have each been credited with its invention. The pneumatic organ was introduced in Rome about 350 a.d. Organs were improved by the Byzantines in the 8th century. Organs were introduced into France about 747. Organs were introduced into Germany about 822. Organs were introduced into England about the 11th century. Pedals for organs were invented by Bernhard Mured, a German, who lived in Venice about 1470, though the invention now is said to have been in use before 1448. Regals were portable organs. Other Mediseval Instruments. Among the other instruments recorded in use in the Middle Ages are flutes, syrinx, trumpets, sackbut, (sambuca, saquebutte), .lutes, organs, regals, drums, cymbalum, triangies, tinnabulums, vielle, viols (11th century) ; citterns, bagpipes, clarions, rebecs, gitterns, shalm, waits (14th century) ; virginals, lutes, chanterelles, viol da gamba^ treble, tenor and bass viols, recorders, bagpipes, bells, carillons. In Russia : the Domra, the prototype of the mandolin, the gouli, a sort of horizontal harp, the svireli, a very elementary ilute, and the balalaika, a triangular case, above which are extended three chords, which the hand causes to vibrate at one touch. About Some Modern Instruments. The Violin gained its iinal form in the early part of the 16th century in the hands of the Stradivarii. The Piute is originally an ancient instrument. Its latest and best improvements were made by Theobald Boehm (1832). The Oboe is an instrument of great antiquity, known under variouo names. Improvements in this instrument have been made 84 SOME ESSENTIALS IN MUSICAL DEFINITIONS. through applying the Boehm system. MM. Barret and Triebert, the French instrument makers, have also introduced improvements. The Oboe gives the tuning A to the orchestra. The Clarinet, by some traced back to the mediaeval shawm or schalmuse, by others claimed as an invention of Johannes Christo- pher Denner of Kuremburg about 1690, is in its name form a dimin- utive of Clarino, Italian for trumpet. Its construction has been improved by Stadler, MuUer, and Klose (1843). The Bassoon is also an instrument of antiquity, though by some it is credited to Afranio of Ferrara. Its name in English, " bassoon " " basson," indicates its pitch, it being the natural bass to the oboe, etc. Its German name, Fagott, Italian, Fagotto, comes from its resemblance to a faggot or bundle of sticks. The Cornet in its present form is of comparatively modern con- struction. The Horn (modern), brass, was introduced into the orchestra in France in 1767. Scarlatti and Lotti introduced it into Italy. It was first used in England in 1720. J. S. Bach used it in his scores. The Trombone (sackbut) was originally invented by Tyrtaeus, 685 B.C. * Charles Joseph Sax (1791-1865) and his son, Antoine Joseph Sax (Adolphe), improved many, and inventei some wind instruments, notably the Sax Horn and the Saxophone. Evolution of the Pianoforte. In the evolution of the modern pianoforte the following steps are noted : Monochord. Invented by Pythagoras, 580 (?)-600 (?) b.c. It consisted of an oblong box with one string stretched across it, with a movable bridge for stopping the string. Keyboard. Devised (?) by Guido d' Arezza (born 996 a.d.). Four-stringed Monochord. Is mentioned by Jean de Muris, 1323. The Monochord (one string) after the 10th century had keys that divided the string by a metal pin, which struck the string at the MODERN INSTRUMENTS. 85 proper place. The pin held its place against the striiig until the finger released the key. Hurdy Gurdy. In this instrument (used in the 10th century) bridges for stopping the strings were moved by a species of keyboard. ^^_Clayichord. The clavichord was used during the 14th century and until the end of the 18th. It was often called clavier or instru- ment. It was arranged with tangents, or metal pins that divided the strings into two unequal parts, one of which was dampened, allowing the other to vibrate from the stroke of the tangent. jiarpsichord. (Ger. Klavichord, It. Clavicembalo, Fr. Clavegin.) First used toward the end of the 14th century. The harpsichord had quills which plucked the strings, therein differing from the clavichords, which had tangents. Aricembalo. Invented during the 16th century. It had an enharmonic scale. Spinet. When the harpsichords were made in the form of our square pianos (now obsolete), with strings arranged diagonally, they were called spinets after John Spinetus, the Venetian manufacturer. Virginal. When the harpsichords were of smaller compass and in smaller cases, they were called virginals. Clavicytherium (It. Gravicembalo, Ger. Flugel, Eng. Concert Grand). A harpsichord of large compass and grand piano form. The name was most commonly applied to the harpsichord made in upright form, bear- ing some resemblance to our modern upright piano. The mechanism of the harpsichord was more complicated than that of the clavichord, as it was necessary to provide for a so-called escapement (to allow the release of a lever) and for a separate damper for each string. This second difiSculty suggested the invention of the damper pedal. Pianoforte. (Hammer-Clavier.) This instrument was first made and exhibited by Bartolomeo Cristofori in 1711. The strings were no longer plucked but were struck by hammers. Ttree others, Gottfried Silbermann, C. G. Schroter and Marius, a Frenchman, also claimed first credit for the invention. The first square piano is said to have been made by Frederici of Gera. 86 SOME ESSENTIALS IN MUSICAL DEFINITIONS. In 1766 Johannes Zumpe built square pianos in England. Improvements in the construction of pianos were made by John Andrew Stein (1728) ; Augsburg ; Sebastian Erard, Paris, 1823 ; and Johann Andreas Streicher in Vienna ; Johann Heinrich Pape, Paris, 1815 ; William Steinway, New York. The modern pedal device was patented by John Broadwood, 1783, Alpheus Babcock of Boston, T. W. Bechstein of Berlin. The upright piano was patented in 1800 by John Isaac Hawkins of Philadelphia. The first American grand piano was made in 1828 by Jonas Chickering. The Doppelflugel, or double grand piano, had a keyboard at both ends. Modern Organs. Modern organs have enlisted the ingenuity and skill of organ builders, and all the devices of pneumatics and electricity have been used to make the organ of to-day really a modern orchestra and to reduce to a minimum mechanical difficulties. As an example of the size and completeness of modern organs, the following specifications of a modern American organ is given. This is the organ in Woolsey Hall Auditorium in Yale University. Compass of Manuals from C to C, 61 notes. Compass of Pedals from C to G, 32 notes. Gkeat Organ. ft. Diapason metal CI pipes ft. Quintaton wood 61 ft. Diapason metal 61 ft. Diapason " 61 ft. Diapason " 61 ft. Doppelflote wood 61 ft. Principal Flute " 61 ft. Gross Gamba metal 61 ft. Viol d' Amour, " 61 ft. Gemshorn " 61 ft. Octave metal 61 ft. Waldflote .' wood 61 ft. Gambette metal 61 1. 16 2. 16 3. 8 4. 8 6. 8 6. 8 7. 8 8. 8 9. 8 10. 8 11. 4 12. 4 13. 4 MODERN ORGANS. 87 14. 16. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 2 ft. Twelfth metal 61 pipes 2 ft. Fifteenth " 61 " Five Rks. Mixture " 305 " 16 ft. Trumpet " 51 " 8 ft Trumpet " 61 " 4 ft. Clarion " 61 " Swell Organ. 16 ft. Contra Gamba metal 61 pipes 16 ft. Bourdon wood 61 " 8 ft. Stentorphone metal 61 " 8 ft. Diapason " 61 " 8 ft. Gamba " 61 " 8 ft. Bourdon wood 61 " 8 ft. Flauto Traverso " 61 " 8 ft. Salioional metal 61 " 8 ft. Quintadena " 61 " 8 ft. Unda Maris " 61 " 8 ft. JEoline " 61 " 8 ft. Vox Celestis " 61 " 4 ft. Harmonic Flute " 61 " 4 ft. Principal " 61 " 4 ft. Violina " 61 " 2 ft. Flautino " 61 " Five Eks. Dulce Cornet " 305 " 16 ft. Posaune " 61 " 8 ft. Cornopean " 61 " 8 ft. Oboe " 61 " 8 ft. Vox Humana " 61 " Tremolo Choir Organ. (Inclosed in a swell-box.) 16 ft. Contra Dulciana metal 61 pipes 8 ft. Diapason " 61 " 8 ft. Melodia wood 61 " 8 ft. Viol d'orchestre metal 61 " 8 ft. Lieblioh Gedaoht wood 61 " 8 ft. Dulciana metal 61 " 8 ft. Viol Celeste 2 Ranks "122 " 8 ft. Violoncello wood 61 " 4 ft. Viola metal 61 " 4 ft. Flauto Traverso wood 61 " SOME ESSENTIALS IN MUSICAL DEFINITIONS. 51. 2 ft. Piccolo Harmonique metal 61 pipes 52. 8 ft. Clarinet " 61 " 53. 16 ft. Contra Fagotto " 61 " Tremolo. Solo Okgan. (In a swell-box.) 54. 8 ft. Tibia Plena metal 61 55. 8 ft. Tuba Sonoro " 61 56. 8 ft. Gross Flute " 61 57. 4 ft. Hohlpfeife wood and metal 61 58. 8 ft. Dolce metal 61 59. 8 ft. Orchestral Oboe " 61 Pedal Organ (Augmeinted). 60. 64 ft. Gravissima (Resultant) wood 32 pipes 61. 32 ft. Diapason " 32 62. 32 ft. Contra Bourdon " 32 63. 32 ft. Contra Bass (Resultant) " 32 64. 16 ft. Diapason " 32 65. 16 ft. Diapason metal 32 66. 16 ft. Violone wood 32 67. 16 ft. Bourdon " 32 68. 16 ft. Dulciana metal 32 69. 16 ft. Lieblioh Gedacht wood 32 70. 16 ft. Bombarde metal 32 71. 16 ft. Contra Fagotto " 32 72. 8 ft. Bass flute wood 32 73. 8 ft. Octave metal 32 74. 8 ft. Violoncello wood and metal 32 75. 8 ft. Bourdon wood 32 76. 8 ft. Tromba metal 32 77. 4 ft. Super Octave " 32 78. 4 ft. Flute wood 32 79. Great to Pedal, 80. Swell to Pedal, 81. Choir to Pedal, 82. Solo to Pedal, 83. Swell to Great, 84. Choir to Great, 85. Solo to Great, 86. Swell to Choir, 87. Swell to Solo, COCPLEKS. Pedal. Unison. MODERN ORGANS. 89 88. Great to Great, 16 89. Swell to Swell, 16 90. Solo to Solo, 16 91. Swell to Great, 16 92. Choir to Great, 16 93. Solo to Great, 16 94. Great to Great, 4 95. Swell to Swell, 4 96. Solo to Solo, 4 97. Swell to Great, 4 98. Solo to Great, 4 Sub 8vo. Super 8vo. 1, 2, 3, 4, 5, 0, 1, 2, 3, 4, 5, 6, 0, 1, 2, 8, 4, 1, 2, 3, 4, 1, 2, 3, 4 General Eelease, Pedal Adjustable CoMEraATiONS. (Push buttons between manuals.) Operating on Great and Pedal. " " Swell " " " Choir " " " Solo " " " such stops as are desired. Pedal. 1, 2, 3 Combinations on Great. 4 5, 6 " " Swell. 7, 8 " " Choir. 9, 10 " Solo. 11 Great to Pedal Reversible. 12 Swell " " 13 Sforzando (Pull Organ). 14 Balanced Swell. 15 Choir. 16 " Solo. 17 " Crescendo. Electro-pneumatic ActioTi. 90 SOME ESSENTIALS IN MUSICAL DEFINITIONS. CHAPTER XXX. OBCHESIBA, BAND. At the present time the use of the terms " orchestra " and " band " are used to indicate : Ba nd — a body of wind instruments and some instruments of percussion. Orchestra — a body of instruments, the bulk being stringed instru- ments, with a certain proportion of wind instruments and percussion instruments. __As_exaraples the New York Symphony Orchestra, Walter Damroseh, conductor, in 1908-9 consisted of : 34 violins 2 flutes 3 bassoons 1 tuba 12 violas 1 piccolo 1 contra bassoon 5 percussion 12 cellos 2 oboes 4 horns 1 harp ; 10 basses 1 English horn 4 trumpets K 1 harp 3 clarinets 3 trombones The Boston Symphony Orchestra, Max Fiedler, conductor, '08-09, consisted of : SO violins 4 flutes 1 bass clarinet 4 trumpets 10 violas 3 oboes 3 bassoons 3 trombones 10 cellos 1 English horn 1 contra bassoon 1 tuba 8 basses 3 clarinets 8 horns 1 harp 2 tympani, and 4 other percussion. ORCHESTRA, BAND. 91 The great orchestra for the New York Festival of 1882, Theodore Thomas, conductor, consisted of : 50 first violins 6 flutes 6 bassoons 1 bass trumpet 50 second violins 2 piccolos 2 contra bassoons 9 trombones 36 violas 7 oboes 9 horns 3 tubas 36 violoncellos 2 English horns 2 Saxhorns 4 pairs kettledrums 40 double basses 6 clarinets 11 cornets 2 bass drums 6 harps 2 bass clarinets 3 trumpets cymbals, triangles, small drums The Philharmonic Society of New York, Wassily Safonoff, con- ductor, during season 1908-09 (its 67th season, and its last as a co-operative society), consisted of : 18 first violins 16 second violins 14 violas 12 violoncellos 12 basses 3 flutes 1 piccolo 3 oboes 1 English horn 3 clarinets 1 bass clarinet 3 bassoons 1 contra-bassoon 6 horns 3 trumpets 3 trombones 1 tuba 1 kettle drum 1 bass drum 2 harps The Havana Municipal Police Band, Capt. Tomas, leader, in 1901 consisted of the following : 1 piccolo 2 flutes 2 El? clarinets 2 C clarinets 10 B> clarinets 2 oboes 1 soprano saxophone 2 alto saxophones 2 tenor saxophones 2 baritone saxophones 2 cornophones 2 sarrusophones 2 bassoons 2 flugelhorns 4 cornets 2 trumpets 4 trombones 1 bass trombone 2 French horns 2 baritones 2 euphoniums 2 basses 2 tubas 1 bass drum 1 snare drum 1 Prussian drum cymbals and kettledrums John Philip Sousa's band, '01-'02, consisted of : 2 sarrusophones 2 euphoniums 4 saxophones 4 tubas 4 cornets 1 small drum 2 trumpets 1 bass drum 1 fliigelhorn 1 tympanl 4 horns 4 trombones 4 flutes and piccolos 12 Bb clarinets 1 Eb clarinet 1 alto clarinet 1 bass clarinet 2 oboes 2 bassoons NOTED NAMES IN MUSIC. 93 NOTED NAMES IN MUSIC. COMPOSERS, PERFORMERS, AND LITTERATEURS. Abt, Franz. EUenburg, 1819; Wies- baden, 1885. Song composer. Adam, Adolplie-Charlcs. Paris, 1802- 1856. Light operas. Alard, Jean-Delphin. Bayonne, 1815; Paris, 1888. Violinist. Albani, Smma. nr. Montreal, 1852. Soprano. d' Albert, Eugen. Glasgow, 1864. Pian- ist and composer. Alberti, Domenico. Venice, 1707; For- mio, 1740. Composer. Invented " Alberti bass." Albrechtsberger, Johann Georg. nr. Vi- enna, 1736; Vienna, 1809. Contra- puntist, composer, organist. Aldrich, Richard. Providence, R. I., 1863 . Litterateur and critic. Alkan, Charles-Henri-Valentin. Paris, 1813-1888. Pianist and teacher. AUegri, Gregorio. Rome, 1584-1662. Composer. Amati, Niccolo. Cremona, 1596-1684. Violin maker. Apthorp, Wm. Foster. Boston, 1848. Litterateur and mxisic critic. Arcadclt, Jacob. 7, 1514 ?; Paris, 1570-5 ? Flemish composer. Arditi, Luigi. Crescentino, 1822; nr. Brighton, Eng., 1903. Opera con- ductor, composer. Arenski, Anton Stepanovitch. Nijni- Novgorod, 1861; Finland, 1906. Russian pianist and composer. Arne, Dr. Thomas Augustine. London, 1710-1778. Composer. Artchiboucheff, Nicholas V. Tsarskoe- Sielo, 1858. Russian pianist and composer. d'AstoTga, Emmanuelc, Baron. Pal- ermo, 1681; Prague, 1736. Church composer. Auber, Daniel-Fran9ois-Esprit. Caen, 1782; Paris, 1871. Opera composer. Audran, Edmond. Lyons, 1842; Tier- ce vill6, 1901. Light operas. Bach family. Noted family of musi- cians. From 1550 to 1850. (About 400 Bachs are recorded.) Bach, Karl Phllipp Emanuel. Weimar, 1714; Hamburg, 1788. Third son of J. S. Bach. Composer. Bach, Johann Sebastian. Eisenach, 1685; Leipzig, 1750. Composer. Baeker-Grondahl, Agathe. Christiania, 1847-1908. Pianist and composer. Balakirev, Mill A. Ni.ini-Novgorod, 1836. Russian composer. Balfe, Michael William. Dublin, 1808; Rowney Abbey, 1870. Opera com- poser. Baltzell, W. J. Shiremanstown, Pa., 1864. Litterateur. Bartlett, Homer N. Olive, N. Y., 1845. Pianist and composer. Bantock, Granville. London, 1868. Composer and conductor. Bargiel, 'Woldemar. Berlin, 1828-1897. Composer and teacher. Barnby, Sir Joseph. York, 1838; Lon- don, 1896. Organist and composer. Bauer, Harold. London, 1873. Pianist. Beach, Mrs. H. H. A. Henniker, N. H., 1867. Pianist and composer. Beethoven, Ludwig van. Bonn, 1770; Vienna, 1827. Composer. Behr, Franz. Liibtheen, 1837; Dresden, 1898. Salon composer. Bellini, Vinccnzo. Catania, Sicily, 1801 ; Paris, 1835. Opera composer. Bcmberg, Hermann. Buenos Ayres, 1861. Opera and song composer. Bendel, Franz. Bohemia, 1833; Ber- lin, 1874. Pianist and composer. Benedict, Sir Julius. Stuttgart, 1804; London, 1885. Composer. Bennett, Sir Wm. Sterndale. Sheffield, 1816; London, 1875. Composer. Benoit, Pierje-Leonard-Leopold. Harle- beke, Flanders, 1834; Antwerp, 1901. Flemish composer. Beriot, Charles de. Louvain, 1802; Brussels, 1870. Violinist. 94 NOTED NAMES IN MUSIC. Berlioz, Hector. La Cote-St.-Andr6, 1803; Paris, 1869. Composer and critic. Bertini, Henri. London, 1798; nr. Grenoble, 1876. Piani.st and com- poser. Best, Wm. Tbomas. Carlisle, 1826; London, 1897. Organist and com- poser. Blsbop, Sir Henry Rowley. London, 1786-1855. Composer. Bizet, Georges. Paris, 1838; Bougival, 1875. Opera composer. Blockx, Jan. Antwerp, 1851. Pianist and composer. Bloomfleld-Zeisler, Fanny. Austria, 1866. Pianist. Blow, Dr. John. Nottinghamshire, 1648; London, 1708. Composer. Blumenthal, Jacques. Hamburg, 1829; London, 1908. Song composer. Boccherini, Luigi. Lucca, 1740; Ma- drid, 1806. Composer and 'cellist. Bochsa, Robert N. C. Montm^dy, 1789; Sydnepr, 1855. Harpist. Buellmann, Leon. Ensisheim, 1862; Paris, 1897. Organist and composer. Bohm, Carl. Berlin, 1844. Pianist and salon composer. Boieldleu, Francois-Adrien. Rouen, 1775; Jarcy, 1834. Opera composer. Boise, Otis B. Oberlin, O., 1845. Coinposer and theorist. Boito, Arrigo. Padua, 1842. Com- poser and poet. Bononcini, Giovanni. Modena, 1660; Venice (7), 1750 (?). Opera composer. Bordogni, Giulio Marco, nr. Bergamo, 1788; Paris, 1856. Tenor and sing- ing master. Borodin, Alexander P. St. Petersburg, 1834-1887. Composer. Bortniansky, Dimitri. Gluchov, 1752; St. Petersburg, 1825. Composer. Bossi, Marco Enrico. Brescia, 1861. Organist and composer. Bottesinl, Giovanni. Lombardy, 1823; Parma, 1889. Double-bass virtuoso. Bouval, Jules Henri. Toulouse, 1867. Composer. Brahms, Johannes. Hamburg, 1833; Vienna, 1897. Composer. Brassin, Louis. Aix-la-Chapelle, 1840; St. Petersburg, 1884. Pianist and composer. Bridge, Sir John Frederick. Oldburg, 1844. English organist and church composer. • Brockway, Howard A. Brooklyn, N. Y., 1870. Pianist and composer. Brucb, Max. Cologne, 1838. Com- poser. Bruckner, Anton. Ansfelden, 1824; Vienna, 1896. Symphonic composer. Brull, Ignaz. Moravia, 1846. Pianist and composer. Bruneau, Alfred. Paris, 1857. Opera composer. Buck, budley. Hartford, Conn., 1839. Organist and composer. Bull, Dr. John. Somersetshire, 1562(?); Antwerp, 1628. Organist and com- poser. Bull, Ole. Bergen, 1810-1880. Nor- wegian violinist. Bullard, Frederic Field. Boston, 1864- 1904. Composer. Billow, Hans von. Dresden, 1830; Cairo, 1894. Pianist, conductor, composer. Busch, Carl. Bjerre, Denmark, 1862. Composer and conductor. Bungert, August. Miihlheim, 1846. Opera composer. Buonamici, Giuseppe. Florence, 1846. Pianist and conductor. Busoni, Feruccio B. - Florence, 1866. Pianist and composer. Buxtehude, Dietrich. Helsingor, 1639; Liibeck, 1707. Organist and com- poser. Byrd, William. London, 1538(7); 1623. Organist and composer. Caccini, Giulio. Rome, 1558 (7); Flor- ence, 1615 (7). With Peri, he wrote the first operas. Calkin, John Baptiste. London, 1827; 1905. Organist and composer. Calve, Emma. Madrid, 1864. Dra- matic soprano. Cambert, Robert. Paris, 1628 (7); Lon- don, 1677. First French opera composer. Campra, Andre. Aix, 1660; Versailles, 1744. Opera composer. Carissimi, Giacomo. nr. Rome, 1604; Rome, 1674. Church composer. Carl, William C. Bloomfield, N. J. 1865. Organist. Carreno, Teresa. Venezuela, 1853. Pianist. Caruso, Enrico. Naples, 1874. Dra- , matic tenor. Chabrier, Alexis Emmanuel. Aubert, 1841 ; Paris, 1894. Composer. Chadwick, George Whitfield. Lowell, Mass., 1854. Composer and organist. Chaminade, Cdcile. Paris, 1861. Com- poser. Cbarpentler, Gustave. Dieuze, Lor- raine, 1860. Composer. Chausson, Ernest. Paris, 1855; Limaz, 1899. Composer. NOTED NAMES IN MUSIC. 95 Cherubinl, L,ulgl. Florence, 1760; Paris, 1842. Composer. Cbopin, Frederic. Zelazowa-Wola, Po- land, 1809; Paris, 1849. Pianist, composer. Cimarosa, Domenico. nr. Naples, 1749; Venice, 1801. Composer. dementi, Muzio. Rome, 1752 ; London, 1832. Pianist, teacher, publisher and piano-maker. Clousta-Leighter, H. Washington, D. C, 1874. Composer. Coerne, Louis Adolf. Newark, N. J., 1870. Composer. Coleridge-Taylor, Samuel. London, 1875. First eminent composer ot African descent. Colonne, Edouard. Bordeaux, 1838. Conductor. Concone, Giuseppe. Turin, 1810(7)- 1861. Singing master and composer. Converse, Frederick S. Newton, Mass., 1871. Composer. Coquard, Arthur. Paris, 1846. Com- poser. Corelli, Arcangelo. Fusignano, Italy, 1653; Rome, 1713. Violinist and composer. Cornelius, Peter. Mayence, 1824-1874. Composer. Costa, Sir Michael. Naples, 1810 (7); Brighton, 1884. Conductor and composer. Couperin, Francois. Paris, 1668-1733. Composer. Cowen, Frederic Hymen. Kingston, Jamaica, 1852. Bnglish composer. Cramer, Johann Baptist. Mannheim, 1771; London, 1858. Pianist, com- poser and teacher. Cristofori, Bartolommeo. Padua, 1 653 ; Florence, 1731. Inventor of the piano-forte, 1709-11. Cui, Cesar Antonovitch. Vilna, 1835. Russian composer. Curwen, Rev. John. Heckmondwike, Eng., 1816; nr. Manchester, 1880. Tonic Sol-fa system. Czerny, Carl. Vienna, 1791-1857. Pianist, teacher and composer. Dalcroze, Jacques Emile. Vienna, 1865. Swiss composer. Damrosch, Frank. Breslau, 1859. Conductor. Damrosch, Leopold. Posen, 1832; New York, 1885. Violinist and conductor. Damrosch, Walter. Breslau, 1862. Conductor, composer.^ Dancla, Charles. Bagneres-de-Bigorre, 1818; Tunis, 1907. Violinist and composer. Dargomizski) Alexander S. Toula, 1813; St. Petersburg, 1869. Opera composer. David, Felicien. Cadenet, 1810; St. Germain, 1876. French composer. David, Ferdinand. Hamburg, 1810; nr. Klosters, 1873. Violinist and teacher. Davidov, Charles. Goldingen, 1838; Moscow, 1889. 'Cellist and composer. Debussy, Achille Claude. St. Germain- - en-Laye, 1862. Composer. De Koven, Reginald. Middletown, Conn,, 1859. Operetta composer. Delibes, Leo. St. Gerraain-du-Val, 1836; Paris, 1891. Composer. De Reszke, Jean, Warsaw, 1852. Dra- matic tenor. Despres, Josquin, Burgundy, 1450 (7)- 1521. Singer and composer. Re- garded as the greatest of his period. Diabelli, Antonio. Mattsee, 1781; Vi- enna, 1858. Composer. Dienel, Otto. Silesia, 1839. German organist and composer. Dittersdorf, Karl Ditters von. Vienna, 1739; Rothlhotta, 1799. Composer and .violinist. Dbhler, Theodor. Naples, 1814; Flor- ence, 1856. Pianist and composer. Dohnanyi, Ernest von. Pressburg, 1877. Hungarian pianist and composer. Donizetti, Gaetano. Bergamo, 1797 (7)- 1848. Opera composer. Draeseke, Felix. Coburg, 1835. Com- poser and teacher. Dreyschock, Alexander. Zack, Bohe- mia, 1818; Venice, 1869. Pianist. Dubois, Theodore. Rosnay, 1837. Or- ganist and composer. Dufay, Guillermus. 1400 (7)-1474. Singer, organist and composer. Father of the Gallo-Belgic school. Dukas, Paul. Paris, 1865. Composer. Dunstable, John. Dunstable(?), 1400(7); Walbrook, 1453. English composer. Duparc, Henri. Paris, 1848. Composer. Durante, Francesco. Naples, 1684- 1755. Founder of the Neapolitan School. Dussek, Johann, Bohemia, 1761; St. Germain-en-Laye, 1812. Pianist and composer. Dvorak, Antonin, Miihlhausen, 1841; Prague, 1904. Bohemian composer. Dwight, John Sullivan. Boston, 1813- 1893. Music critic and litterateur. Eames, Emma. Shanghai, China, 1867. Dramatic soprano. Eddy, Clarence. Greenfield, Mass., 1851. Organist. 96 NOTED NAMES IN MUSIC. Ehlert, Louis. Konigsberg, 1825 ; Wies- baden, 1884. Critic, litterateur and composer. Ehrlicli, Alfred Hclnrlch. Vienna, 1822; Berlin, 1899. Pianist, critic and litterateur. Elgar, Sir Edward. Broadheath, 1857. Composer. Elson, Louis C. Boston, 1848. Critic and litterateur. Elvey, Sir George. Canterbury, 1816; Windlesham, 1893. Organist and composer. Enna, August. Nakskov, Denmark, 1860. Composer. Erard, Sebastien. Strassburg, 1752; Paris, 1831. Invented the repeating action of the piano and double action harp. Ernst, Heinrich Wilhelm. Briinn, 1814; Nice, 1865. Violini.st. Farwell, Arthur. St. Paul, Minn., 1872. Composer. Faulkes, William. Liverpool, 1863. Organist and composer. Faurc, Gabriel Urbain. Pamiers, 1845. Composer. Fetis, Franrois-Joseph. Mons, 1784; Brussels, '1871. Belgian music his- torian and litterateur. Fibieh, Zdenko. Bohemia, 1850; Prague, 1900. Bohemian composer. Field, John. Dublin, 1782; Moscow, 1837. Pianist, composer. Created the Nocturne. Fiorillo, Federigo. Brunswick, 1753; Paris (?), 1823 (?). Violinistand com- poser. Fielltz, Alexander von. Leipsic, 1860. Composer. Finck, Henry T. Bethel, Mo., 1854. Critic and litterateur. Fisher, Wm. Arms. San Francisco, 1861. Composer. Flotow, Friedrich von. Mecklenburg, 1812; Darmstadt, 1883. Composer. Foerster, Adolph Martin. Pittsburg, Pa., 1854. Composer. Foote, Arthur Wm. Salem, Mass., 1853. Organist and composer. Foster, Stephen Collins. Pittsburg, 1826: New York, 1864. Song com- poser. Franchctti, Alberto. Turin, 1860. Opera composer. Franck, C6sar-Auguste. Li^ge, 1822; Paris, 1890. Composer " Les Beatitudes." Franz, Robert. Halle, 1815-1892. Song composer. Frescobaldi, Girolamo. Ferrara, 1583; Rome, 1644. Organist. Friedheim, Arthur. St. Petersburg, 1859. Pianist. Gabrilovlteh, Ossip S. St. Petersburg, 1878. Pianist. Gade, Niels Wilhelm. Copenhagen, 1817-1890. Composer. Gadski, Johanna. Anclam, Pomerania, 1871. Dramatic soprano. Garcia, Manuel. Madrid, 1805; Lon- don, 1906. Vocal teacher. Invented the laryngoscope. Gaul, Alfred Robert. Norwich, Eng., 1837. Composer. Ge'rardy, Jean. Spa, Belgium, 1877. 'Cellist. Gericke, Wilhelm. Graz, 1845. Con- ductor. German, Edward. Whitchurch, Eng., 1862. Composer. Gevaert, Francois-Auguste. Huyse, 1828; Brussels, 1908. Composer, theorist and historian of music. Gibbons, Orlando. Cambridge, 1583; Canterbury, 1625. Composer. Gigout, Eugene. Nancy, 1844. Or- ganist and composer. Gilchrist, Wm. Wallace. Jersey City, 1846. Composer. Gilman, Lawrence. Flushing, N. Y., 1878. Litterateur. Gilson, Paul. Brussels, 1865. Com- poser. Giordani, Giuseppe. Naples, 1744; Fermo, 1798. Composer. Giordano, tJmberto. Foggia, 1867. Opera compo.^er. Glazounov, Alexander. St. Petersburg, 1865. Composer. Glinka, Michael Ivanovich. Novos- paskdi, 1803; Berlin, 1857. Com- poser. Gluck, Christoph Willlbald von. Wei- denwang, 1714; Vienna, 1787. Opera composer. Godard, Benjamin. Paris, 1849; Cannes, 1895. Opera composer. Godowski, Leopold. Wilna, Russ, Poland, 1870. Pianist. Goetschius, Percy. Paterson, N. J., 1853. Theorist. Goetz, Hermann. Konigsberg, 1840; nr. Ziirich, 1876. Composer. Goldmark, Carl. Hungary, 1830. Com- poser. Goldmark, Rubin. New York, 1872. Composer. Goltermann, Georg Eduard. Hanover, 1824; Frankfort-a.-M., 1898. 'Cellist and composer. Gomes, Antonio Carlos. Campinas, Brazil, 1839; Para, 1896. Opera composer. NOTED NAMES IN MUSIC. 97 Goodrich, J. Wallace. Newton, Mass., 1871. Organist and conductor. Goss, Sir John. Fareham, Eng., 1800; London, 1880. Organist and com- poser. Gottschalk, Louis Moreau. New Orleans, 1829; Rio Janeiro, 1869. Pianist and composer. Gounoil, Charles. Paris, 1818-1893. Opera composer. Graun, Carl Helnrich. Wahrenbriiok, 1701; Berlin, 1759. Opera and church composer. Gretry, A. E. M. Li^ge, 1741 ; Paris, 1813. Opera composer. Grieg, Edvard Hagerup. Bergen, 1843; Christiania, 1907. Norwegian com- poser. Grove, Sir George. Clapham, Eng., 1820; London, 1900. Writer on music. Guarnerius. Cremona, 17th and 18th centuries. Violin makers. Guido, d'Arezzo. Arezzo, 995 (7) Avellano, 1050 (?). Reformer of music notation. Guilmant, Alexandre. Boulogne, 1837 Organist and composer. Guiraud, Ernest. New Orleans, 1837 Paris, 1892. Composer. Hadley, Henry K. Somerville, Mass. 1871. Composer. Hahn, Reynaldo. Venezuela, 1874 Composer. Hale, Philip. Norwich, Vermont, 1854 Litterateur and critic. Halevy, 3. F. F. E. Paris, 1799; Nice 1862. Opera composer. Halle, Sir Charles. Hagen, 1819 Manchester, 1895. Pianist and con- ductor. Handel, George Frideric. Halle, 1685 London, 1759. Composer, Harris, Victor. New York, 1869. Song composer. HansUck, Eduard. Prague, 1825 Vienna, 1904. Music critic and litterateur. Hasse, Johann Adolph. nr. Hamburg 1699; Venice, 1783. Opera com- poser. d'Hardelot, Guy (Mrs. Rhodes). nr Boulogne. Song composer. Hauptmann, Moritz. Dresden, 1792 Leipzig, 1868. Composer and theorist Hausegger, Sicgmund von. Graz Austria, 1872. Composer. Hawkins, Sir John. London, 1719- 1789. Music historian. Haydn, Franz Joseph. Rohrru, 1732 Vienna, 1809. Composer. Heller, Stephen. Pesth, 1815; Paris, 1888. Pianist and composer. Henderson, Wm. James. Newark, N. J., 1855. Music critic and litterateur. Henschel, Georg. Breslau, 1850. Singer, conductor and composer. Henselt, Adolf von. Bavaria, 1814; Warmbrunn, Silesia, 1889. Pianist, composer. Herbert, Victor. Dublin, 1859. Com- poser and 'cellist. Herold, Louis J. F. Paris, 1791-1833. Opera composer. Herz, Henri. Vienna, 1806; Paris, 1888. Pianist. Hesse, Adolph Friedrich. Breslau, 1809-1863. Organist and composer. Hildach, Eugene. Mittenberger, 1849. Composer. Hiller, Ferdinand von. Frankfort, 1811; Cologne, 1885. Composer. Hoffman, Richard. Manchester, Eng., 1831. Pianist. Hotmann, Helnrich. Berlin, 1842; Gross-Tabarz, 1902. Composer. Hofmann, Josef. Cracow, 1877. Pianist. HoUins, Alfred. Hull, Eng., 1865. Organist (blind), composer. Holmes, Augusta Mary Ann. (Irish parents.) Paris, 1847-1903. Com- poser. Hopekirk, Helen. Edinburgh, 1856; Pianist and composer. Huber, Hans. nr. Olten, Switz., 1852. Composer. Hiie, Georges A. Versailles, 1858. Composer. Hummel, Johann Nepomuk. Pressburg, 1778; Weimar, 1837. Pianist and composer. Humperdinck, Engelbert. nr. Bonn, 1854, Composer. Huneker, James Gibbons. Philadelphia, 1860. Litterateur and critic. Hiinten, Franz. Koblenz, 1793-1878. Composer. Huss, Henry Holden. Newark, N. J., 1862. Composer. Hyatt, Xathaniel Irving. Lansing- burgh, N. Y., 1865. Composer. d'Indy, Vincent. Paris, 1851. Com- poser. Jadassohn, Salomon, Breslau, 1831 ; Leipzig, 1902. Teacher and composer. Jaell, Alfred. Trieste, 1832; Paris, 1882. Pianist and composer. Jensen, Adolph. Kbnigsberg, 1837; Baden-Baden, 1879. Composer. Joachim, Joseph, nr. Pressburg, Hun- gary, 1831; Berlin, 1907. Violinist. Johns, Clayton. Newcastle, Del., 1857. Pianist and composer. 98 NOTED NAMES IN MUSIC. Jommelll, Nicola, nr. Naples, 1714- 1774. Composer Joseffy, Kafael. Hungary, 1853. Pianist. Kalkbrenner, Friedrich. Germany, 1788; nr. Paris, 1849. Pianist and composer, Karganov, Genari. Caucasus, 1858- 1890. Russian composer. Kaun, Hugo. Berlin, 1863. Composer. Keliey, Edgar Stillman. Sparta, Wis- consin, 1857. Composer. Kiel, Friedrich. Puderbach, 1821; Berlin, 1885. Composer. Kienzl, Wilhelm. Waizenkirchen, Austria, 1857. Opera composer. Kirchner, Theodor. Neukirchen, 1824; Hamburg, 1903. Composer. Kjerulf, Halfdan. Christiania, 1818- 1868. Composer. Klein, Bruno Oscar. Osnabriick, 1858. Composer. Klelnmichel, Richard. Posen, 1846 Charlottenberg, 1901. Pianist, com- poser. Kllndworth, Karl. Hanover, 1830 Pianist and teacher. Kneisel, Franz. Koumania, 1865 Violinist. Kocian, JaroslaT. Bohemia, 1884 Violinist. Kbhler, Louis. Brunswick, 1820 Kbnigsberg, 1886. Pianist and com- poser. Kontski, Antolne de. Cracow, 1817 Ivanitchi, 1899. Pianist and com- poser. Krehbiel, Henry Edward. Ann Arbor, 1854. Critic and litterateur. Kreutzer, Conradin. Mbsskirch, Baden 1780; Riga, 1849. Opera composer Kreutzer, Rodolphe. Versailles, 1766 Geneva, 1831. Violinist. Kroeger, Ernest R. St. Louis, 1862 Pianist and composer. Kubelik, Jan. nr. Prague, 1880 Violinist. Kiicken, Friedrich Wilhelm. Bleckede Hanover, 1810; Schwerin, 1882 Song composer. Kuhlau, Friedrich. Hanover, 1786 Copenhagen, 1832. Composer. Kullak, Theodor. Posen, 1818; Berlin 1882. Pianist and teacher. Lachner, Franz. Rain, Bavaria, 1804 Munich, 1890. Composer. Lalo, Edouard. Lille, 1823; Paris, 1892 Composer. Lamoureux, Charles. Bordeaux, 1834 Paris, 1899. Conductor. Lamperti, Francesco. Savona, Italy, 1813; Como, 1892. Singing master. I Lang, Benjamin Johnson, Salem, Mass., 1837; Boston, 1909. Pianist and conductor. Lange, Gustav. Schwerstedt, 1830; Wernigerode, 1889. Pianist and composer. Lassen, Ednard. Copenhagen, 1830— 1904. Composer. Lasso, Orlando di. Mons, Belgium, 1520 (?); Munich, 1594(?). Composer. Lecocq, Charles. Paris, 1832. Ope- retta composer. Lehmann, Ijlli. Wiirzburg, 1848. Dra- matic soprano. Lehmann, Liza (Mrs. Bedford). London, 1862. Song composer. Lekeu, Guillaume. Belgium, 1870; Angers, 1894. Composer. Lemare, Edwin H. Isle of Wight, 1865. Organist. Leonard, Hubert. nr. Li^ge, 1819; Paris, 1890. Violinist and teacher. Leoncavallo, Ruggiero. Naples, 1858. Opera composer. Leroux, Xavier. Velletri (Papal States), 1863. Composer. Leschetizky, Theodor. Austrian Poland, 1830. Pianist and teacher. Liadov, Anatol. St. Petersburg, 1855. Composer. Lichner, Heinrich, Harpersdorf, 1829; Breslau, 1898. Composer. Liebling, Emil. Pless, Silesia, 1851. Pianist and composer. Lind, Jenny. Stockholm, 1820; Mal- vern Wells, 1887. Soprano. Liszt, Franz. Raiding, Hungary, 1811; Bayreuth, 1886. Pianist and com- poser. Litolff, Henry Charles. London, 1818; Paris, 1891. Pianist and composer. Loeffler, Charles Martin. Miihlhausen, Alsatia, 1861. Violinist and com- poser. Loeschhorn, Albert. Berlin, 1819- 1905. Pianist and composer. Loewe, Carl. nr. Halle, 1796; Kiel, 1869. Song and ballad composer. Loomis, Harvey Worthington. Brook- lyn, 1865. Composer. Lortzing, Albert. Berlin, 1803-1851. Opera composer. Lotti, Antonio. Hanover (7), 1667 ; Ven- ice, 1740. Organist and composer. Lully, Jean-Baptiste. Florence, 1633; Paris, 1687. Opera composer. Lvoff, Alexis von. Reval, Russia, 1799; Kovno, 1870. Violinist and composer. Russian Hymn. MacCunn, Hamish. Greenock, 1868. Scotch composer. NOTED NAMES IN MUSIC. 99 MacDowellf Edward Alexander. New York, 1861-1908. Pianist and com- poser. Macfarren, Sir George Alexander. Lon- don, 1813-1887. Composer. Mackenzie* Sir Alex. Campbell. Edin- burgh, 1847. Scotch composer. Mahler, Gustav. Kalescht, Bohemia, 1860. Conductor, composer. Malibran, Maria Felicita. Paris, 1808; Manchester, 1836. Soprano. Mancinelli, Luigi. Orvieto, 1848. Com- poser and conductor. Manney, Charles Fonteyn. Brooklyn, N. Y., 1872. Composer. Marcello, Benedetto. Venice, 1686; Brescia, 1739. Composer. Marchesi, Mathilde. Prankfort-a.-M., 1826. Singing teacher. Mario, Giuseppe. Cagliari, 1810; Rome, 1883. Dramatic tenor. Marmontel, Antoine-Francois. Cler- mont-Ferrand, 1816; 'Paris, 1898. Pianist. Marsehner, Heinrich. Zittau, Saxony, 1795; Hanover, 1861. Opera com- poser. Martini, Giovanni B. (Padre Martini). Bologna, 1706-1784. Composer. Martucci, Giuseppe. Capua, 1856. Composer. Mascagni, Pietro. Leghorn, 1863. Opera composer. Mason, Daniel Gregory. Brookline, Mass., 1873. Litterateur and composer. Mason, Lowell. Medfield, Mass., 1792; Orange, N. J., 1872. Pioneer in American music. Mason, William. Boston, 1829; New . York, 1908. Pianist, composer. Massenet, Jules. Monteaux, 1842. Opera composer. Mathews, W. S. B. New London, N. H., 1837. Litterateur and educator. Maurcl, Victor. Marseilles, 1848. Dra- matic baritone. Mehul, Etienne-Nlcolas. Givet, 1763; Paris, 1817. Opera composer. Melba, Nellie (Mitchell). Melbourne, 1865. Soprano. Mendelssohn, Felix. Hamburg, 1809; Leipzig, 1847. Composer. Mercadante, Saverio. Altamura, 1795; Naples, 1870. Opera composer. Merkel, Gustav. Saxony, 1827; Dres- den, 1885. Organist and composer. Meyerbeer, Giacomo (Jacob Liebmann Beer). Berlin, 1791; Paris, 1864. Opera composer. Meyer-Helmund. Erik. St. Petersburg, 1861. Composer. Mills, Sebastian Bach. England, 1838; Wiesbaden, 1898. Pianist, Milliicker, Karl. Vienna, 1842; Baden, 1899. Operetta composer. Moligue, Wilhelm Bernhard. Nurem- berg, 1802; Kannstadt, 1869. Violin- ist and composer. Monteverde, Claudio. Cremona, 1567; Venice, 1643. Composer. Moriey, Thomas. England, 1557 (?); London, 1604. Composer and con- trapuntist. Moscheles, Ignaz. Prague, 1794; Leip- zig, 1870. Pianist. Moszkowski, Moritz. Breslau, 1854. Pianist and composer. Mottl, Felix, nr. Vienna, 1856. Con- ductor. Moussorgski, Modest Petrovitch. Toro- petz, 1839; St. Petersburg, 1881. Composer. Mozart, Wolfgang Amadeus. Salz- burg, 1756; Vienna, 1791. Composer. Muck, Karl, Dr. Darmstadt, 1859. Conductor. Napravnik, Edward. Bohemia, 1839. Composer. Nessler, Victor E. Baldenheim, 1841 ; Strassburg, 1890. Opera composer. Nevada, Emma (Wixon). Austin, Nevada, 1860 (?). Soprano. Nevin, Ethelbert. nr. Pittsburg, 1862; New Haven, 1901. Composer. Nicod^, Jean-IiOuis. nr. Posen, 1853. Pianist and composer. Nicolai, Otto. Konigsberg, 1810; Ber- lin, 1849. Opera composer. Niemann, Albert, nr. Magdeburg, 1831. Dramatic tenor. Nikisch, Arthur. Hungary, 1855. Con- ductor. Nilsson, Christine. Sweden, 1843. Soprano. Nordica, Lillian. Farmington, Me., 1859. Dramatic soprano. Nordraak, Rikard. Christiania, 1842; Berlin, 1866. Composer. Offenbach, Jacques. Cologne, 1819; Paris, 1880. Creator of Op6ra Bouffe. Okeghem, Joannes. East Flanders, 1430 (7); Tours, 1495 (?). Founder of Netherland School. Fachma&n, Vladimir de. Odessa, 1848. Pianist. Paderewski, Ignaz Jan. Podolia, Po- land, 1859. Pianist and composer. Faganini, Nlccolbr Genoa, 1782; Nice, 1840. Violinist. Page, N. Clifford. San Francisco, 1866. Composer. 100 NOTED NAMES IN MUSIC. Faine, John Knowles. Portland, Me., 1839; Boston, 1906. Composer and teacher. Paisiello, Giovanni. Taranto, 1741 ; Naples, 1816. Opera composer. Palestrina, Giovanni Perluigi da. Fales- trina, 1515 (?); Rome, 1594. Com- poser. Fanofka, Heinrich. Breslau, 1807; Florence, 1887. Violinist and sing- ing master. Fanseron, Auguste-Matliieu. Paris, 1796—1859. Singing master. Farepa-Rosa, Euphrosyne. Edinburgh, 1836; London, 1874. Soprano. Parker, Horatio W. Auburndale, Mass., 1863. Organist and com- poser. Parry, Sir Charles Hubert H. Bourne- mouth, Eng., 1848. Composer. Fatti, Adelina. Madrid, 1843. Soprano. Paur, Emil. Czernowitz, 1855. Con- ductor. ' Ferabo, Ernst. Wiesbaden, 1845. Pianist. Fergolesi, Giovanni Battista. Jesi, 1710; nr. Naples, 1736. Composer. Peri.Jacopo. Florence, 1560 (7)-1630(7). The first opera composer. Perosi, Don Lorenzo. Tortona, 1872. Composer. Ferry, Edward Baxter. Haverhill, Mass., 1855. Lecturer-pianist. Fessard, Emile L. H. Montmartre, 1843. Composer. Fhillipp, Isidor. Pesth, 1863. Pianist. Picclnni, Nicola. Bari, 1728; nr. Paris, 1800. Opera composer. Piernf, Gabriel. Metz, 1863. Com- poser. Plaidy, Louis. Hubertsburg, 1810; Grimma, 1874. Piano teacher. Planquette, Robert. Paris, 1850-1903. Operetta composer. Pleyel, Ignaz-Joseph. nr. Vienna, 1757; nr. Paris, 1831. Coinposer and piano maker. Pohlig, Carl. Teplitz, Bohemia, 1861. Composer and conductor. Ponchielli, Amilcarc. nr. Cremona, 1834; Milan, 1886. Opera composer. Popper, David. Prague, 1845. 'Cellist and composer. Porpora, Nicolo. Naples, 1686-1766 (?). Singing master. Povpell, Maud. Peru, 111., 1868. Vio- linist. Frout, Dr. Ebenezer. Northampton- shire, Eng., 1835. Theorist and com- poser. Puccini, Glocomo. Lucca, 1858. Opera composer. Fugno, Raoul. Montronge, 1852. Pianist; Purcell, Henry. London, 1658-1695. Composer. Rachmaninoff, Sergei V. Novgorod, 1873. Composer and pianist. Raff, Joachim. Lachen, Switz., 1822; Frankfort, 1882. Composer. Bameau, Jean-Philippe. Dijon, 1683; Paris, 1764. Opera composer and theorist. Bandegger, Alberto. Trieste, 1832. Composer and singing master. Reger, max. Brand, Bavaria, 1873. Composer. Reinecke, Carl. Altona, 1824. Com- poser, pianist and teacher. Beisenauer, Alfred. Konigsberg, 1863; Libau, 1907. Pianist. Biemann, Hugo. nr. Sondershausen, 1849. Theorist. Beyer, Louis Etienne. Marseilles, 1823; Toulouse, 1909. Opera com- poser and critic. Rheinberger, Joseph. Vaduz, 1837; Munich, 1901. Organist and cdm- poser. Bichter, Ernst Friedrieh. Gross- Schonau, 1808; Leipzig, 1879. Theo- rist and composer. Richter, Hans. Raab, Hungary, 1843. Conductor. Bies, Franz. . Berlin, 1846. Composer and publisher. Biraski-Korsakov, Nicolal. Tikhvin, Novgorod, 1844-1908. Composer and conductor. Binck, Johann. Elgersburg, 1770; Darmstadt, 1846. Organist and com- poser. Rogers, James H. Fair Haven, Conn., 1857. Organist and composer. Rode, Pierre. Bordeaux, 1774; nr. Damazon, 1830. Violinist. Rohtgen, Julius. Leipzig, 1855. Com- poser and pianist. Ropartz, J. Guy. Guingamp, France, 1864. Composer. Rosenthal, Moriz. Lemberg, 1862. Pianist. Rossini, Gioachino Antonio. Pesaro, 1792; Paris, 1868. Opera composer. Rousseau, Samuel Alexandre. Aisue, 1853; Paris, 1904. Composer and organist. Rubinstein, Anton. Wechwotynecz, 1830; St. Petersburg, 1894. Com- poser and pianist. Ruckers, Hans. Antwerp, 15 — ; 1640 (?). Maker of spinets and clavi- chords. NOTED NAMES IN MUSIC. 101 Sacchlnl. Antonio M. G. nr. Naples, 1734; Paris, 1786. Opera composer. Salnt-Saens, Camille. Paris, 1835. Organist, pianist, composer. Salicri, Antonio. Legnago, 1750; Vienna, 1825. Composer. Sarasate, Pablo de. Pamplona, Spain, 1844; Biarritz, 1908. Violinist. ' Sauret, Eraile. Dun-Le-Roi, 1852. Violinist. Scarlatti, Alessandro. Sicily, 1659; Naples, 1725. Founder of Neapoli- tan School. Scarlatti, Domenlco. Naples, 1683(?)- 1757. Composer. Seharwenka, Fhilipp. Posen, 1847. Pianist and composer. Scliarwenlia, Xaver. Posen, 1850. Pianist and composer. Sclielling, Ernest. Belvedere, N. J., 1876. Composer and pianist. Seliillings, Max. Diiren, 1868. Com- poser. Schoenefeld, Henry. Milwaukee, Wis., 1857. Pianist and composer. Schubert, Franz, nr. Vienna, 1797; Vienna, 1828. Composer. Scliucli, Ernst von. Graz, 1847. Conductor. Schuett, Eduard. St. Petersburg, 1856. Composer and pianist. Schumann, Georg. Saxony, 1866. Composer. Schumann, Robert. Zwickau, 1810; nr. Bonn, 1856. Composer. Schumann, Clara. Leipzig, 1819; Frankfort-a-M, 1896. Pianist. (Wife of Robert S.) Schumann-Heink, Ernestine. nr. Prague, 1861. Dramatic contralto. Schiitz, Heinrich. Kostritz, 1585; Dresden, 1672. " Father of Ger- man Music." Schytte, Ludwig. Aarhus, Denmark, 1850. Pianist and composer. Scriabine, Alexander. Moscow, 1872. Pianist and composer. Scidl, Anton. Pesth, 1850; New York, 1898. Wagnerian conductor. Seiss, Isidor. Dresden, 1840. Pianist and composer. Sembricb, Marcelia. Wisnewozyk, Galicia, 1858. Soprano. Serov, Alexander N. St. Petersburg, 1820-1871. Composer and critic. Servais, Adrien-Francois. Hal, nr. ^ Brussels, 1807-1866. 'Cellist. Sevcik, Ottakar. Horazdowitz, Bohe- mia, 1852. Violinist and teacher. Sgambati, Giovanni. Rome, 1843. Pianist and composer. Shakespeare, Wm. Croydon, Eng., 1849. Tenor and singing master. Shelley, Harry Rowe. New Haven, 1858. Composer. Sherwood, Wm. Hall. Lyons, N. Y., 1854. Pianist. Sibelius, Jan. Finland, 1865. Com- poser. Sieber, Ferdinand. Vienna, 1822; Ber- lin, 1895. Singing master. Sinding, Christian. Kongberg, Norway, 1856. Composer. Sitt, Hans. Prague, 1850. Violinist. Sivori, Ernesto Camillo. Genoa, 1815- 1894. Violinist. Sjiigren, Emil. Stockholm, 1853. Composer. Smart, Henry. London, 1813-1879. Organist and composer. Smetana, Friedrich. Bohemia, 1824; Prague, 1884. Composer. Smith, Wilson G. Elyria, O., 1855. Composer and pianist. Sontag, Henriette. Coblenz, 1806; Mexico, 1854. Soprano. Sousa, John Philip. Washington, D. C, 1856. Bandmaster and composer. Spindier, Fritz. Wiirzbach, 1817; nr. Dresden, 1905. Pianist and com- poser. Spohr, Louis. Brunswick, 1784; Cassel, 1859. Violinist and composer. Spontini, Gasparo. Majolati, 1774- 1851. Opera composer. Stainer, Sir John. London, 1840-1901. Organist and composer. Stanford, Sir Charles Villiers. Dublin, 1852. Composer. SteherbatcheCr, 'Nicolai de. Russia, 1853. Composer. Sternberg, Constantin von. St. Peters- burg, 1852. Pianist and composer. Stock, Frederick. Julich, Ger., 1872. Conductor. Stradella, Alessandro. Naples, 1645(7); Genoa, 1681 (?). Composer. Stradivari, Antonio. Cremona, 1649 (?)- 1737. Violin maker. Strauss, Johann (Sr.). Vienna, 1804- 1849. "Fatherof the Waltz." Strauss, Johann. Vienna, 1825-1899. "Waltz King " and operetta composer. Strauss, Richard. Munich, 1864. Composer. Strong, Templeton. New York, 1855. Composer. Strube, Gustav. Ballenstedt, 1867. Violinist and composer. Suk, Josef. Krecovic, Bohemia, 1874. Violinist and composer. Sullivan, Sir Arthur. London, 1842- 1900. Operetta composer. 102 NOTED NAMES IN MUSIC. Suppe> Franz von. Dalmatia, 1820; Vienna, 1895. Operetta composer. Svendsen, Johann L. Christiania, 1840; London, 1888. Composer and vio- linist. Tamagno, Francesco. Turin, 1851; Varese, 1905. Dramatic tenor. Taneieff, Sergei. Russia, 1856. Com- poser. Tapper, Thomas. Canton, Mass., 1S64. Educator. Tartini) Giuseppe. Istria, 1692; Padua, 1770. Violinist. Tausig, Carl. Warsaw, 1841; Leipzig, 1871. Pianist. Ternina, Milka. Croatia, 1864. Dra- matic soprano. Tbalberg, Slglsmund. Geneva, 1812; Naples, 1871. Pianist, composer. Thomas, Ambroise. Metz, 1811; Paris, 1896. Opera composer. Thomas, Arthur Goring. Sussex, 1850; London, 1892. Composer, Thomas, Theodore. Essen, 1835; Chicago, 1905. Conductor. Thome, Francis. Port Louis, Mauri- tius, 1850. Composer. Thomson, Cesar. Li^ge, 1857. Violinist. Tinel, Edgar. Linay, Belgium, 1854. Composer. Tchallcovsky, Peter Iljitch. Votinsk, 1840; St. Petersburg, 1893. Com- poser. Upton, George P. Boston, 1835. Critic and litterateur. Vaccai, Xircolo. Tolentino, 1790; Pesaro, 1848. Singing master. Van der Stucken, Frank. Fredericks- burg, Texas, 1858. Conductor and composer. Verdi, Giuseppe. Roncole, 1813; Milan, 1901. Opera composer. Vieuxtemps, Henri. Verviers, Belg., 1820; Algiers, 1881. Violinist. ViottI, Giovanni Battista. Fontaneto da Po, 1753; London, 1824. Violin- ist and composer. Vogler, Georg Joseph Abbe. WUrzburg, 1749; Darmstadt, 1814. Theorist and composer. Volkmann, Bobert. Saxony, 1815; Pesth, 1883. Composer. Wagner, Bichard. Leipzig, 1813; Venice, 1883. Dramatic composer. Wallace, Wm. Vincent. Waterford, Ireland, 1814; France, 1865. Com- poser. Warren, Samuel Prowse. Montreal, 1841. Organist and composer. Weber, Carl Maria von. Eutin, 1786; London, 1826. Opera composer. WegeUus, Martin. Helsingfors, Fin- land, 1846-1906. Composer and conductor. Welngartner, Felix. Dalmatia, 1863. Conductor and composer. Whiting, Arthur B. Cambridge, Mass., 1861. Pianist and composer. White, Maude Vale'rie. Dieppe, 1855. English composer. Whiting, Geo. E. Holliston, Mass., 1842. Organist and composer. Widor, Charles. Lyons, 1845. Com- poser and organist. Wieniawski, Henri. Poland, 1835; Moscow, 1880. Violinist. TVihtol, Joseph. Russia, 1863. Com- poser. Wilhelmj, August. Nassau, 1845 ; Lon- don, 1908. Violinist. Wolf, Hugo. Windisohgratz, 1860; Vienna, 1903. Composer. Wolf-Ferrari, Ermanno. Venice, 1876. Composer. Wollenhaupt, Heinrich Adolf. nr. Leipzig, 1827; New York, 1863. Pianist and composer. Wolstenholme, Win. Blackburn, Eng., 1865. Organist and composer (blind). Wood, Henry J. London, 1870. Con- ductor and composer. Tsaye, Eugene. Li6ge, 1858. Violinist. Zarlino, Gioseffo. Chioggia, 1517; Venice, 1590. Theorist. Zerrahn, Carl. Mecklenburg, 1826. Conductor. Zichy, Geza. Sztara, Hungary, 1840. Left-hand pianist. Composer. Zumpe, Hermann. Taubenheim, 1850; Munich, 1903. Conductor and cor'.- poser.