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Scan 844
Dictionary of music, 1896
28 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1red notes (see Color), and Proportions (cf. passage in Ambros); he also appears to have been the first to introduce the term contrapunctus in place of discantus.
3Vittori, Loreto, singer and composer, b. about 1588, Spoleto, pupil of the two Nanini and of Soriano at Rome. He lived for a long time as singer at the court of Cosimo II. of Medici at Florence, and in 1622 entered the Papal Chapel at Rome, in which city he died April 23, 1670. He published: "Arie a voce sola" (1639); La Galatea (Dramma in musica, 1639); La pellegrina costante, (Dramma sacro, 1647); Irene, (Cantata a voce sola, 1648). Sant' Ignazio de Loyola (oratorio) and Il pentimento della Maddalena (cantata) remained in manuscript.
5Vittoria (Victoria), Tomaso Ludovico da, one of the most distinguished representatives of the Palestrina style, was on friendly terms with Palestrina, and much of his music can scarcely be distinguished from that of the Italian maestro, b. about 1540, Avila, Spain, d. about 1608. His real name was Victoria. He went when young to Rome, where his countrymen, Escobedo and Morales, singers in the Pope's chapel, were his teachers. In 1573 he became maestro of the German College there, and in 1575, of S. Apollinaris. At the desire of Palestrina, V. is said to have laid aside his Spanish costume, and to have had his beard trimmed according to Roman fashion. The works of V. which have been preserved are: "Liber primus, qui missas, psalmos, Magnificat, ad virginem Dei Matrem salutationes aliaque complectitur," a 6–8 (1576); a book of Magnificats a 4, together with 4 antiphons to the Virgin a 5–8 (1581); "Hymni totius anni," a 4, together with 4 psalms a 8 (1581 and 1600); 2 books of masses a 4–8 (the first book dedicated to Philip II. of Spain, 1583; the second, 1592); "Officium hebdomadæ sanctæ" (1585); "Motetta festorum totius anni cum communi sanctorum," a 5–8 (1585 and frequently; 1589, together with some motets a 12); and "Officium defunctorum (Requiem) 6 vocum" (1605), his most famous work, worthy to be placed by the side of Palestrina's best productions. Eslava's "Lira sacro-Hispana" contains this Requiem and some other works by V. Among modern publications Proske's "Musica divina" is rich in pieces by V.
7Vivace (Ital. vivo, "lively"), an indication of tempo somewhat similar to Allegro; Vivacissimo (very lively) has the same meaning as presto.
9Vivaldi, Antonio, famous violinist and composer, b. at Venice, son of a violinist of St. Mark's, was for some time violinist at the court at Darmstadt, but returned to Venice in 1713, became director of the Conservatorio della Pietà, and died in 1743. V. was a priest, and on account of his red hair surnamed "Il prete rosso." His violin compositions are still held in high esteem. He published: 12 trios for violins and 'cello, Op. 1; 18 violin sonatas with bass, Op. 2 and 5 (one of which is published in Jensen's "Classische Violin Musik"); "Estro poetico" (12 Concerti for four violins, two violas, 'cello, and organ bass), Op. 3; 24 Concerti for solo violins, two ripieni violins, viola, and organ bass, Op. 4, 6, and 7; "Le quattro staggioni" (12 Concerti a 5), Op. 8; "La cetra" (6 ditto), Op. 9; 6 Concerti for flute, violin, viola, 'cello, and organ bass, Op. 10; and 12 Concerti for solo violin, two concertante violins, viola, 'cello and organ bass, Op. 11 and 22. He also wrote 29 operas, mostly for Venice. J. S. Bach arranged a number of V.'s violin concertos (6 for clavier and four for organ; Bach's A minor concerto for 4 claviers is a free arrangement of V.'s concerto in B minor for four solo violins).
11Vivier, Albert Joseph, b. Dec. 15, 1816, Huy (Belgium), pupil of Fétis at the Brussels Conservatoire (1842). In 1857 he produced a one-act opera, Padillo le tavernier, at Brussels; but he should be mentioned here specially as author of a "Traité complet d'harmonie" (1862, frequently reprinted), in which the chord formations arising from suspensions and changing-notes are sharply distinguished from principal harmonies.
13Vivo. (See Vivace.)
15Vleeshouwer, Albert de, b. June 8, 1863, Antwerp, studied under J. Blockx; he was an industrious composer (opera, L'école des pères, 1892; symphonic poem, "De wilde Jager," Idyll for orchestra, etc.).
17Vocal Music is music written only for voices (voces); but vocal music with accompaniment is also styled V. M. As the voice produces notes entirely by means of the ear, i.e. according to previous presentation (harmonic conception), many progressions permissible in instrumental music are forbidden in a cappella style, strict style, Stilo osservato. (cf. Parts, Conduct of; Style; Instrumental Music.)
19Vocalisation, "enunciation of the vowel" in singing. (cf. Vowel.)
21Vocalise (Fr.), singing exercise. (cf. Solfegio.)
23Voce (Ital.), voice; Voce pari, same as equal voices; mezza voce, with half voice; sotto voce, with soft voice.
25Voces æquales (Lat.), (equal voices) i.e. voices of only one of the two kinds: men's voices or women's (boys' voices). The term opposed to V. æ. is Voces Inæquales, full chorus, mixed chorus (plenus chorus, coro pieno), compounded of men's and women's (boys') voices.
27Vockerodt, Gottfried, rector of the Gymnasium at Gotha, b. Sept. 24, 1665, Mühlhausen-i.-Th., d. Oct. 10, 1727, Gotha. V. was of opinion that excessive enjoyment of music was injurious to the intellect, and that Nero
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