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Scan 71
Dictionary of music, 1900
28 lines. Read by computer on 3 September 2026. Printed page 63. See the scan on archive.org.
1(vols. 2–3) of the work commenced (vol. 1, 1862) by K. S. Meister; he also brought out a complete revision of the first volume in 1886; and besides, in 1888, "Niederländische geistliche Lieder nebst ihre Singweisen aus Handschriften des 15 Jahrh." B. contributes articles to the Allg. Deutsche Biographie, Monatshefte für Musikgeschichte, etc.
3Bausch, Ludwig Christian August, b. Jan. 15, 1805, Naumburg, d. May 26, 1871, Leipzig; an instrument-maker in Dresden (1826), Dessau (1828), Leipzig (1839), Wiesbaden (1862), and from 1863 again in Leipzig. He became specially famous as a maker of violin bows and restorer of old violins. During his last years he worked together with his son, Ludwig, b. 1829, who, after a long residence in New York, set up business on his own account in Leipzig, and died shortly before his father (April 7, 1871). His brother Otto, who inherited the business, was born in 1841, and died already, Dec. 30, 1874. The business then passed into the hands of A. Paulus, in Markneukirchen.
5Baxoncello, (Span.), Open Diapason (organ stop). B. de 13 = Open Diapason 8 feet, B. de 26 = Open Diapason 16 feet. But, on the other hand, Open D. 32 feet = Flauto de 52, Open D. 4 feet = Octava, Open D. 2 feet = Quincena, Open D. 1 foot = Flauto en 22 (triple octave).
7Bazin, François Emanuel Joseph, b. Sept. 4, 1816, Marseilles, d. July, 1878, Paris. He studied at the Paris Conservatoire, received the Prix de Rome in 1840, was appointed professor of singing on his return from Italy in 1844, and later on professor of harmony; in 1871 he became professor of composition, as successor to A. Thomas, who was advanced to the post of director; and in 1872 he succeeded Carafa as member of the Académie. Of his nine operas, not one remained in the repertoire. He published a "Cours d'Harmonie théorique et pratique."
9Bazuin (Dutch), trombone.
11Bazzini, Antonio, an eminent violinist and composer, b. March 11, 1818, Brescia, where he studied under maestro Faustino Camisani; in 1836 he played before Paganini, who advised him to travel. B., after many short journeys (1841–45), went to Germany—making an especially long stay in Leipzig, then at the zenith of its musical fame—and became an enthusiast of German art, and especially of Bach and Beethoven. After a stay of many years in Italy, he went in 1848 to Spain and France, and settled in Paris in 1852. In 1864 he returned to Brescia in order to devote himself entirely to composition, but in 1873 accepted a call to Milan Conservatorio as professor of composition, and in 1880 became director of that institution. As a composer, Bazzini occupies a special position among the Italians; the freedom and grace of his melodies are thoroughly Italian, but the careful workmanship and harmonic wealth betray the influence of Germany. Among his works his three quartets and quintet for strings stand highest, yet he has made successful ventures in choral and in orchestral composition: La Resurrezione di Christo, the symphony-cantata Senacheribbo, the 51st and 56th Psalms, overtures to Alfieri's Saul and Shakespeare's King Lear, and a symphonic poem, Francesca da Rimini. On the other hand, he had no success with the opera Turandot (produced at La Scala, Milan, in 1867).
13Bazzino, (1) Francesco Maria, eminent theorist, b. 1593, Lovero (Venetia), d. April 15, 1660, Bergamo. He wrote for the theorbo, but also canzonette, an oratorio, etc.—(2) Natale, d. 1639, published masses, motets, psalms, etc.
15b b, double-flat. (See Chromatic Signs.)
17Bearbeitung (Ger.), revision or adaptation.
19Beards are small projections placed on both sides of the mouth, or directly under the same, or even on both places, in the lip-pipes of the organ, to promote better speech, especially in the case of pipes of narrow measure. A distinction is made between side-beards and crossbeards.
21Bear-pipe (Ger. Bärpfife, Barpip, Bärpipe, etc.). A reed-pipe stop in old organs, probably named after some instrument now obsolete. The tubes of peculiar construction were almost covered, and they gave out a somewhat growling tone. Praetorius describes the pipes as sounding inwardly ("Sie klingen in sich hinein").
23Beat, (1) a melodic ornament, by some described as a mordent, by others as a battement.—(2) The movement of the hand or foot in marking the time, and the corresponding division of the bar.
25Beating Reeds. (See Reed and Reed-pipes.)
27Beats (Ger. Schwebungen, Schläge, Stösse; Fr. Battements) are those striking reinforcements of intensity at regular intervals which occur when two notes of slightly different pitch are sounded together. For instance, if 436 is the vibration number per second of the one note, and 438 that of the other, the difference per half-second amounts to one vibration, i.e., the first of every 218 vibrations of the former note begins at the same moment as the first of every 217th of the other, or, otherwise expressed, at every 217th and 218th vibration, respectively, the maximum of intensity occurs (the greatest amplitude), producing striking reinforcements of sound (beats). If the number of beats per second reaches the figure which answers to the vibration number of the lowest clearly perceptible sound (about thirty per second), the beats pass from a grating to a low buzzing sound, and generate a combination tone (q.v.). The slower B., which can easily be counted (from two to four per second), offers valuable assistance in fixing the temperament of keyed instruments. (See Tuning, 3.)
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