Books › Grove's dictionary of music and musicians, 1904 › scan 140
Scan 140
Grove's dictionary of music and musicians, 1904
14 lines. Read by computer on 3 September 2026. Printed page 103. See the scan on archive.org.
1Instrumentenbau, Dec. 1, 1893; Vidal, Les Instruments à Archet; Von Wasielewski, Die Violine; Racster, Chats on Violoncellos; Hajdecki, Die Italiensche Lira da Braccio; Catalogue South Kensington Museum, 1872; Baron, Historisch-theoretische und praktische Untersuchung des Instruments der Lauten; Stoeving, Von der Violine.
3TIERCE, i.e. Tiers, third. I. A name given to the interval of the Third, whether Major or Minor.
5II. The fourth of the series of natural harmonics, being the Major Third in the third octave above the ground-tone or prime; its vibrations are five times as numerous as those of its prime.
7III. An open metal organ stop of the same pitch as the similarly named harmonic, i.e. if the note CC is held down and the Tierce-stop drawn, the E above middle C will be heard. That such a stop can only be used in combination with certain other harmonics, and then but sparingly, will be evident when it is remembered that if C, E, and G be held down there will be heard at the same time G sharp and B. Hence, the Tierce when found in a modern organ is generally incorporated as a rank of the Sesquialtera of Mixture, in which case it is of course combined with other harmonics, its near relations. Most organ-builders however, altogether exclude it. A serious difficulty is now met with, if a Tierce be introduced; it is this—modern organs are tuned to 'equal temperament,' whereas the Tierce (whether a separate stop or a rank) certainly ought to be tuned to its prime in 'just intonation,' in which case tempered and natural thirds would be heard simultaneously when the Tierce is used. Much difference of opinion exists as to the utility or effect of this stop.
9TIERCE DE PICARDIE. In polyphonic music it is essential that every composition should end with a Major Third, even though the Third of the Mode in which it is written should be minor. The Third, thus made major by an accidental sharp or natural, is called the 'Tierce de Picardie.' It is not very easy to arrive at the origin of the term; though it may perhaps be accounted for by the proximity of Picardy to Flanders, in which country the characteristic interval was in common use, at a very early period. Rousseau's explanation of the term (Dictionnaire, 'Tierce') is a very strange one, viz. that it was given 'in joke, because the use of the interval on a final chord is an old one in church music, and therefore frequent in Picardy, where there is music in many cathedrals and other churches!' [The reason for the practice of ending every composition with a major third is the presence of the major 17th as the fourth harmonic of the bass-note (see Tierce). This must jar, in sensitive ears, with the minor third (or 17th) if sounded at the same time. L. M'C. L. D. See also Musica Ficta.]
11TIERSCH, OTTO, born Sept. 1, 1838, at Kalbsrieth in Thuringia, received instruction from Toepfer of Weimar, Bellermann, Marx, and Erk; was then teacher in Stern's Conservatorium, and subsequently teacher of singing to the city of Berlin. His writings are practical, and concern themselves much with an endeavour to make the modern discoveries of Helmholtz and others, in acoustics, available in teaching singing. The principal are as follows: System und Methode der Harmonielehre (1868); Elementarbuch der musikalischen Harmonie und Modulationslehre (1874); Kurze praktische Generalbass-Harmonielehre (1876); the same for counterpoint and imitation (1879); Allgemeine Musiklehre, with Erk (1885); Die Unzulänglichkeit der heutigen Musikstudien an den Konservatorien (1883); and Rhythmik, Dynamik und Phrasierungsllehre (1886). He died in Berlin, Nov. 1, 1892. The article on 'Harmonielehre' in Mendel's Lexikon is by him. G.
13TIERSOT, JEAN BAPTISTE ELISÉE JULLIEN, was born at Bourg-en-Bresse, July 5, 1857, studied at first under the direction of his father, an excellent amateur. From 1871 he lived in Paris, and after studying medicine for a time, entered the Conservatoire in 1877 where he studied under Savard, Massenet, and César Franck. In 1883 he was appointed sub-librarian of the institution, a post which he has filled with distinction ever since. His writings on music are highly valued, and his researches into folk-lore of different countries have borne good fruit. His Histoire de la Chanson populaire en France, which obtained the Prix Bordin, in 1885, was published in 1889; another prize was won by his Rouget de Lisle, son œuvre, sa vie, which appeared in 1892. His 'Chansons populaires récueillies dans le Vivarais et le Vercors' were compiled with Vincent d'Indy, and appeared in 1892; 'Chants populaires pour les écoles' (1893–96); Les types mélodiques dans la chanson populaire française, 1894; other collections are 'Mélodies populaires des provinces de France,' 'Noëls Français,' 'Chants de la vieille France'; 'Chansons populaires récueillies dans les Alpes Françaises,' came out in 1903; his Berlioz et la Société de son temps was awarded a prize by the Académie in 1905; Notes d'Ethnographie musicale (1905); Étude sur les Maîtres Chanteurs; Musiques pittoresques (1889); Les Années romantiques; the first volume of the Correspondance générale d'Hector Berlioz; Les Fêtes et les Chants de la Révolution française (1908); Gluck (Les Maîtres de la Musique) (1909); and numerous articles in Le Ménestrel, the Revue des traditions populaires, the Revue Internationale de musique, the Sammelbände of the Int. Mus. Ges., the Temps, the Revue bleue, the Revue encyclopédique, etc., testify to his industry and skill. He has
The computer misreads some letters and numbers. Where a name matters to you, read the scan.