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Scan 44
A dictionary of musical terms, 1889
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1to the Harpsichord or Spinett, by William Babell (1702); and in "A choice Collection of Lessons, being excellently Sett to the Harpsichord, viz. Old Simon the King, Moteley's Maggot, Mortlack's Grounds, and several others (by Blow and Purcell) 1705." In "A Collection of the Newest Minuets, Rigadoons, and French dances perform'd att Court and Publick entertainments," 1716. The tunes are made "proper for the Violin, Hoboy, or Flute," and in "Six Setts of Choice Opera Songs or Arietts, with their Symphonys fitted for two Flutes. The Second Parts being compleat and airy as the first, not thin and heavy as Second Trebles usually are;" in both parts their proper Variations for the Humour of the Flute (1712.)
3A little later in date, we find, "Song in the Opera of Flora, with the Humorous Scenes of Hob, designed by ye celebrated Mr. Gravelot, and engrav'd by G. Bickham, Junr. The Musick proper for ye Violin, German and Common Flute, Harpsichord, or Spinet, with a New Base, and thoro' Base to each Song" (1737). The business of arrangement, that is to say, of altering music intended for one purpose, so that it might serve another—more or less hinted at in the preceding collections—arose with the popularity of Handel's works; thus, copies of "favourite Choruses" out of Mr. Handel's celebrated oratorios "adapted for the Harpsichord or organ and a single voice," began to appear soon after his death. Such "arrangements" being part and parcel of the system of piracy which was most ingeniously and unblushingly carried on during the last century. A chorus arranged for a single voice ceasing of course to be a chorus; but, as a double security, many of these pieces were made cleverly incorrect. Thus Pitt, organist of Worcester, evaded all copyright that might have existed by arranging his "Church music" from the sacred works of Handel, by a system of dove-tailing and occasional alteration of key.
5"The beauties of Handel, consisting of his most favourite Songs, Duets, and Trios; arranged with a separate accompaniment for the pianoforte, and figured from the MS. scores of the author, by Jos. Corfe" (c. 1782) is perhaps one of the earliest collections of confessedly "arranged" music. In 1795, J. W. Holder, Mus. Doc., Oxon, one of the most talented pianoforte players of his time, published an arrangement of the choruses of Handel for four hands, which were the standard pieces of their kind for many years, being frequently played by two performers on one organ also. Giambattista Cimador (1750-1810) was probably the first who was employed by the publishers of London on purpose to make arrangements of large works for the piano-forte, or small bands, his arrangement of Twelve Symphonies by Mozart, as sestetts with a seventh part, ad libitum, being considered at the time they were made as of more than ordinary excellence. These were undertaken by Cimador out of pure love for Mozart's works, and a desire to communicate that love to the musicians of his time who thought "Mozart's symphonies too arduous and difficult."
7About the same time J. S. C. Possin (1755-1822), a musician of such singular modesty that he never would have his name printed with his works, arranged for Salomon the twelve symphonies of Haydn, known as the "Salomon set," for the pianoforte, in "an admirable manner;" indeed, says his biographer, "they were the first adaptations of orchestra music worthy of notice." From that time to the present "adaptations, arrangements, and transcriptions," have been issued in unlimited quantities, of more or less value.
9Arranger (Fr.) To arrange a piece of music. [Arrangement.]
11Arrangiren (Ger.) To arrange a piece of music. [Arrangement.]
13Arsis (Gk.) ἀρσις (from αἱρω), a raising, an elevation, as opposed to thesis (θέσις, from τιθημι), a depression or lowering.
15There are two kinds of Arsis. (1) of accent; (2) of metre.
17The former of these does not perhaps call for special attention from musicians, unless it be looked upon as a subject into which their educated ear qualifies them to enter; or unless it be considered (as it undoubtedly was by the Greeks) as an essential part of the education of those who attempt to set words to music. The latter has been explained from two opposite points of view, both of which, however, are closely connected with the former,—a slight sketch of the whole subject is therefore subjoined:
19(1) Though not accepted without dispute, the following facts seem generally to be admitted; first, that in speaking, the voice is constantly varying slightly in pitch, that is, is not absolutely on monotone; next, that the component syllables of polysyllabic words are not exactly of the same duration; lastly, that there is an emphasis on particular syllables, which is independent alike of the raising or depression of voice, and of the length of time during which any syllable is held.
21The elevation, or pitch of the voice is classically termed Accent (from ad and cantus, just as προσωδία is from πρὸς and ὁδί); the duration of syllables is called Quantity; and the metrical emphasis is called Ictus.
23Accent is of two kinds, vocabulary and
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