By G. Grove
It is a reissue of the 1st version of George Grove's Dictionary of tune and Musicians, which has due to the fact advanced to develop into the biggest and so much authoritative paintings of its type in English. The venture grew within the making: the identify web page of quantity 1 (1879) refers to 'two volumes', yet by the point quantity four seemed in 1889 there has been additionally a 300-page appendix and a separate index quantity. The dictionary used to be a world venture, with participants from Paris, Leipzig, Berlin, Vienna and Boston along these dependent in Britain. It was once 'intended to provide an outstanding and lengthy said wish' coming up from the elevated curiosity in all points of track, which was once 'rapidly turning into a necessary department of education', and to cater for the pro whereas being obtainable to the novice. it's a interesting record of musical tastes and values within the past due Victorian interval.
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Extra info for A Dictionary of Music and Musicians (A.D. 1450-1880) (Volume 1)
3). dix - it quid er Si - go mon Fe - trus e rit ad no - Je sum bis... 1. 2. Written. m Played. Et vi - tarn ae - ter - umi poa - si - de - bit 6. The Sarum use was in some parts of the service more varied than the Roman, as given above from Guidetti. But the general rules were not widely different, and, from a review of the whole subject, it may be stated briefly that there are some seven ecclesiastical accents, viz. (1) The monotonic; (2) The semitonic (3) The medial Its use is now confined exclusively to the organ, where it is of great service in giving the etteet of an accent, or sforzando, to either single a final fourth notes or chords.
It is necessary to notice the remarkable instruIn French the chromatic alterations are ex- mental versions of some of the early church pressed by the words diese (sharp) and bemol services and anthems, as those by Tallis, Gibbons, ^flat) affixed to the syllables by which the notes Amner, etc. which are still to be met with in are usually called; for example, Eb is called some of the old organ and other MS. , GJ sol-diise, etc. and in Italian thebooks. These versions are so full of runs, trills, equivalents diesis and bemolle are similarly beats, and matters of that kind, and are so employed, but in German the raising of a note opposed in feeling to the quiet solidity and sober is expressed by the syllable is and the lowering dignity of the vocal parts, that even if written by es joined to the letter which represents the by the same hand, which is scarcely credible, note, thus Gj is called Gis, Gb Ges, and so on it is impossible that the former can ever have with all except Bb and Bl], which have their been designed to be used as an accompaniment own distinctive names of B and H.
The application of these is the most puzzling of all, as there is no imaginable connection between any number of vibrations per second, and any degree of elevation above the earth's surface. It is very customary to use the figure of elevation to express an idea of magnitude or superiority, as high prices, high pressure, elevation of character, and so on; and if the vibration-numbers corresponding to any note had been a matter of general knowledge in early ages, we might have assumed that the terms had been chosen on this principle.
A Dictionary of Music and Musicians (A.D. 1450-1880) (Volume 1) by G. Grove