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Scan 129
Goves Dictionary Of Music And Musicians, 1920
21 lines. Read by computer on 11 September 2026. Printed page 117. See the scan on archive.org.
1BABCOCK, ALPHEUS and LEWIS (d. 1817). See Register, 3.
2BABCOCK, S. See TUNE-BOOKS, 1795.
3BACHMANN, ALBERTO ABRAHAM (b. 1875). See Register, 10.
4BACON, GEORGE (d. 1856). See Register, 3.
6BACON PIANO COMPANY, THE, of New York, makers of uprights, grands and player-pianos, have had a long history. In 1789 John Jacob Astor, dealer in furs, began importing pianos from England, simply to make his trading reciprocal. In 1802 this importing business passed to John and Michael Paff and then to William Dubois. In 1821 the later was joined by Robert Stodard (see Register, 3), and they began manufacturing. In 1836 the firm was reorganized as Dubois, Bacon & Chambers, George Bacon having come in. In 1841 it became Bacon & Raven, and in 1856 Raven & Bacon, including Francis Bacon, who was George Bacon's son. The present president is W. P. H. Bacon, who represents still another generation.
8BAERMANN, CARL, JR. (July 9, 1839, Munich, Germany : Jan. 17, 1913, Newton, Mass.). See article in Vol. i. 162. He held the title of Royal Professor from the king of Bavaria. His work in Boston from 1881 earned him the greatest esteem. Among his best-known pupils are Mrs. Beach and F. S. Converse. A series of twelve piano-studies are published by André of Offenbach; other piano-pieces, including a suite, are in manuscript. A festival-march for orchestra has been played in Munich. See Elson, Hist. of American Music, pp. 287-9. [R.7]
10BAIER, VICTOR (b. 1861). See Register, 7.
11BAILEY, ARCHIBOLD A. See STATE UNIVERSITIES (Iowa State C.).
12BAILEY, DANIEL (1725?-1799). See TUNE-BOOKS, 1764.
13BAILEY, HERBERT MEAD (b. 1886). See COLLEGES, 3 (Huron C., S. D.).
14BAIRD, T. D. See TUNE-BOOKS, 1816.
15BAKER, BENJAMIN FRANKLIN (July 16, 1811, Wenham, Mass. : March 11, 1889, Boston), succeeded Mason as teacher of music in the Boston public schools in 1841-47, having been for ten years a singer or director in church-choirs in Salem and Boston. He was also active in 'convention' work. He was vice-president of the Handel and Haydn Society in 1841-47, and soloist at numerous concerts. In 1851 he founded the Boston Music School, becoming principal and head of the vocal department. At the dissolution of this school in 1868 he retired from active musical work. He wrote three cantatas, 'The Storm King,' 'The Burning Ship' and 'Camillus, the Roman Conqueror,' and other vocal compositions. He compiled several volumes of glees and anthems, was author of Thorough-Bass and Harmony, 1870, and edited the 'Boston Musical Journal.' See TUNE-BOOKS, 1842. [R.3]
17BAKER, E. H. See TUNE-BOOKS, 1846.
18BAKER, THEODORE (June 3, 1851, New York), was educated in New York and in or near Boston, early serving as organist in Concord, Mass. After a short business experience, in 1871-2 he journeyed across the continent to Olympia, Wash., looking for a suitable opening for a career. Not finding this, in 1874 he went to Germany for study, first under Oscar Paul at Leipzig and from 1878 at the University there, receiving the degree of Ph.D. in 1881. His thesis (title below) was based upon investigations made in 1880 among the Seneca Indians of New York State, when he was initiated into the tribe and given remarkable facilities for observing tribal songs and dances, supplemented by further researches at the Indian Training School at Carlisle, Pa., and extended reading in the literature of early exploration and settlement. This thesis was the first thoroughgoing study of Indian music and marked an epoch in both matter and method. Shown by Gilbert to MacDowell after 1890, it provided the latter with suggestions for his 'Indian Suite.' Baker lived in Germany until 1890. Since 1892 he has been with the firm of G. Schirmer in New York as literary editor. Besides putting the stamp of his culture upon thousands of its publications, he has translated many works of importance and edited two masterly dictionaries.
20His works include Ueber die Musik der nord-amerikanischen Wilden, 1882, Dictionary of Musical Terms, 1895 (18th ed., 1918), Pronouncing Pocket-Manual of Musical Terms, 1905, Biographical Dictionary of Musicians, 1900, supplement, 1905 (3rd ed. 1919), The Musician's Calendar and Birthday-Book, 1915-17. Translations: O. Paul, Manual of Harmony, 1885, L. Bussler, Elements of Notation and Harmony, 1890, Elementary Harmony, 1891, J. C. Lobe, Catechism of Composition, 1891, A. Kullak, The Aesthetics of Pianoforte-Playing, 1892, S. Jadassohn, Manual of Harmony, 1893, C. F. Weitzmann, History of Pianoforte-Playing, 1893, F. Kullak, Beethoven's Piano-Playing, 1901, M. Brée, The Groundwork of the Leschetizky Method, 1902, S. Jadassohn, Manual of Single, Double and Quadruple Counterpoint, 1902, G. B. Lamperti, The Techniques of Bel Canto, 1905, M. Loewengard, Harmony Modernized, 1910, F. Busoni, A New Aesthetic of Music, 1911, E. F. Richter, Manual of Harmony, 1912, V. d'Indy, Beethoven, 1913, P. Bona, Complete Method for Rhythmical Articulation, O. Klauwell, On Musical Execution. With two exceptions all the above were published by Schirmer. Among translated articles, mention should be made of many prepared for 'The Musical Quarterly.' [R.5]
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