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Scan 736
Dictionary of music, 1900
24 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. Printed page 728. See the scan on archive.org.
1least their beginnings) are old Gregorian, viz. the extended jubilations of the Hallelujahs; the necessity of placing words under them, so that each syllable had one, or at most two notes, shows that already in the 9th century the jubilation was taken in considerably slower time, also that the inconveniently long appendage (sequentia = tail) was no longer understood. Notker Balbulus was the most diligent composer of sequences. In 1568, with exception of a few still in use, sequences were abolished by Pius V.; they had inconveniently increased in number, so that in many missals each Mass had its S. The only sequences in general use are: the Easter S., "Victimae paschali laudes"; the one for Whitsuntide, "Veni Sancte Spiritus"; the one for the festival of Corpus Christi, "Lauda Sion salvatorem"; the "Sequentia de septem doloribus Mariae Virginis" ("Stabat mater dolorosa"); and the Requiem S., "Dies irae."—(2) In harmony and composition, the pushing forward of a motive, long or short as the case may be, through a scale, so that it rises or falls by degrees; if a S. in several parts is strictly carried out in all the voices, certain formations, which otherwise are decidedly reprehensible, become endurable, nay, indispensable (for example, the doubling of the leading note and of dissonances, etc.). For a long time the S. proved misleading to theorists, until at last Fétis discovered its true nature, and insisted that it is not really an harmonic, but a melodic formation, and that so long, therefore, as the S. lasts, the harmonic development is suspended. A S. is of ordinary occurrence, but as a means of breaking rhythmical symmetry, i.e. of considerably lengthening phrases (generally the second half of a period), must be used with caution; for so long as a S. lasts no effect of a close is possible. (Cf. CLOSE.)
3Seraffi, Giuseppe, famous organ builder, b. Nov., 1750, Bergamo, d. there 1817; he sprang from a family for many years connected with organ building, and transmitted his art to his sons, of whom Carlo (b. 1786) especially distinguished himself. Giuseppe S. himself published the description of the organs which he built in 1808 for Como (Annunziata) and Milan (Crocifisso); also another pamphlet, "Sugli organi" (1816).
5Serafin, Santo and Georgio (uncle and nephew), esteemed violin-makers at Venice about 1710-50, whose instruments, in imitation of those of Stainer, and afterwards of Amati, are highly prized. one of two readings
6Serafin, Santo and Georgio (uncle and nephew), esteemed violin-makers at Venice about 1710–50, whose instruments, in imitation of those of Stainer, and afterwards of Amati, are highly prized. one of two readings
8Serena (Ital. "Evening"), term for the evening songs of the Troubadours, just as their morning songs are called Alba ("dawn").
10Serenade (Serenata, "evening music"), for voice or only instruments. The latter form has of late become the more usual, although the former has not entirely disappeared. A definite form of instrumental S. has been evolved, not in any way connected with the original meaning of the term. In the older serenades (Haydn, Mozart) wind-instruments (oboes, bassoons, horns, clarinets) were freely introduced, as was indeed suitable for open-air music; but the more the S. became familiar to the concert-hall, the more the strings gained the upper hand. Then it was characteristic of the earlier S. that all instruments were concertante, no ripieno parts; even this distinction is no longer applicable to the most modern serenades. The only thing retained from the past in serenades, is that they have more movements than is usual in a sonata or symphony, and that these movements are less developed, altogether lighter, and of freer structure than those of the symphony and the suite. As a rule, the S. has several movements of the minuet kind, and, as more solid substance, one or two slow movements. Originally the opening and closing movements were march-like in form. (Cf. SERENATA.)
12Serenata, a favourite form of vocal composition during the last century; it stands in close relationship to the opera, especially to the Pastorale; but, as a rule, it is not intended for representation on the stage, and, finally, can scarcely be distinguished from the cantata. Pieces of this kind, for which Pasquini, Metastasio, and others wrote so many poems for the court at Vienna, and which were set to music in so many different ways by composers, have generally parts for only a few characters.
14Serinda. (See RAVANASTRON.)
16Serinette (Fr.), a small barrel-organ, used for training greenfinches (serin).
18Sering, Friedrich Wilhelm, composer, b. Nov. 26, 1822, Finsterwalde (Niederlausitz), teacher at the seminaries at Köpenick and Franzburg, in 1855 teacher of music at the seminary at Barby, in 1871 principal teacher at the college at Strassburg, where he founded a German "Gesangverein." S. composed and published an oratorio, Christi Einzug in Jerusalem, an "Adventskantate," the 72nd Psalm with pf., motets, choruses for male voices (Hohenzollernlied), etc.; he also wrote a "Gesanglehre für Volksschulen," "Die Choralfiguration, theoretisch-praktisch," and an "Elementar Vio- linschule."
20Serio (serioso), serious; opera seria, the serious, grand, tragic, heroic opera, in contradistinction to comic opera (opera buffa). (See SEMISERIO.)
22Sermisy, Claude de (generally shortened to Claudin; he must not be confounded with Claudin Lejeune, whose name is always given in full), French contrapuntist, royal chapel singer, and afterwards maître de chapelle to François I. and Henri II. of France, from about 1530-60. Pieces (Masses, motets, chansons) of one of two readings
23Sermisy, Claude de (generally shortened to Claudin; he must not be confounded with Claudin Lejeune, whose name is always given in full), French contrapuntist, royal chapel singer, and afterwards maître de chapelle to François I. and Henri II. of France, from about 1530–60. Pieces (Masses, motets, chansons) of one of two readings
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