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Scan 109
Grove's dictionary of music and musicians, 1916
18 lines. Read by computer on 5 September 2026. Printed page 81. See the scan on archive.org.
1written on a definite plan or 'form,' and governed by rules more or less rigid, though obvious to the technical musician is news to many an amateur; and yet without understanding such facts it is impossible fully to appreciate the intention or the power of the composer. In following the scheme of the music the hearer adds to the pleasure of the sounds the pleasure of the intellect. In addition to this there are few great pieces of music in which historical or biographical facts as to the origin and progress of the work, key, etc., connecting the music with the personality of the composer, may not be stated so as to add materially to the pleasure and profit of the hearer.
3Analytical programmes do not appear to have been yet introduced into the concert-rooms abroad; but elaborate analyses of single works published as pamphlets quite independently of any special performance have been made by foreign critics, such as Wagner's of the ninth Symphony (translated and circulated in 1855, when Wagner conducted that Symphony at the Philharmonic), Liszt's of 'Tannhäuser' and 'Lohengrin,' and von Bülow's of Wagner's 'Faust Overture.'
5ANALYSIS OF COMPOUND MUSICAL SOUNDS. The separation of such sounds into their component elements, or the determination of the elements they contain. The sounds ordinarily met with in music are not simple and single notes as is commonly supposed, but are usually compounds of several sounds, namely one fundamental one (generally the most powerful) accompanied by higher harmonics, varying in number and strength in different cases. These however blend so completely into one sound that the unaided ear, unless specially trained, fails to distinguish the separate elements of which it is made up. Such a compound sound is intentionally produced artificially with the compound stops of a large organ, and if these are well in tune and well proportioned, it is often difficult to distinguish them separately.
7In acoustical investigations it is very desirable to ascertain of what simple sounds a compound one is composed, and this is done by a species of analysis similar to that so common in chemistry. In compound chemical substances the elements are usually indistinguishable by the eye, as the elements of a compound sound by the ear, and the plan is adopted of applying to the substance a test, which having a peculiar affinity for some particular element, will make known its presence in the compound. Such a test exists for elemental sounds in what the Germans call Mittönen, or sympathetic resonance.
9Certain bodies will vibrate when certain notes, corresponding to their vibratory capacity, and those only, are sounding near them, and they therefore test the presence of such notes, whether perceptible or not to the ear. For example, if we wish to find out whether the note is present in a compound sound, we have only to bring within its range a sonorous body, tuned to that note, as for example the string of a violin, and if that note is present, in sufficient force, the string will be sympathetically set in vibration. We can judge a priori by the theoretical laws of harmonics, what notes are or are not likely to be present in a certain compound sound, and by applying tests for each, in this way, the sound may be completely analysed, both (as chemists say) quantitatively and qualitatively, that is, we may not only find what notes are present but also, by proper provision in the test body, what are the relative strengths of each note.
11This method of analysis is chiefly due to Helmholtz, the test bodies preferred by him being hollow vessels (resonators) of glass or brass. Each of these has such a capacity that the air it contains will vibrate with a particular note, and by having several of these, tuned to the notes required, the presence of these notes in any compound sound may be ascertained with great facility.
13ANAPÆST. A metrical foot, consisting of two short syllables, followed by a long one.
15A remarkable instance of Anapæstic rhythm will be found in Weber's Rondo in Eb, op. 62.
17ANCIENT CONCERTS. The Ancient Concerts, or, to give them their formal title, The Concert of Antient Music, were established in 1776 by a committee consisting of the Earls of Sandwich and Exeter, Viscount Dudley and Ward, the Bishop of Durham, Sir Watkin W. Wynn, Bart., Sir R. Jebb, Bart., and Messrs. Morrice and Pelham, who were afterwards joined by Viscount Fitzwilliam and Lord Paget (afterwards Earl of Uxbridge). The performances were also known as 'The King's Concerts.' Mr. Joah Bates, the eminent amateur, was appointed conductor, the band was led by Mr. Hay, and the principal singers were Miss Harrop (afterwards Mrs. Bates), the Misses Abrams, Master Harrison (subsequently a famous tenor), the Rev. Mr. Clarke, Minor Canon of St. Paul's (tenor), Mr. Dyne (counter-tenor), and Mr. Champness (bass). The chief rules of the concerts were that no music composed within the previous twenty years should be performed, and that the directors in rotation should select the programme. Mr. Bates retained the conductorship till 1793, and directed the concert personally, except for two years, when Dr. Arnold and Mr. Knyvett acted for him. He was succeeded by Mr. Greatorex, who remained in office until his death in 1831, when Mr. Knyvett, who had been the principal alto singer for many years, was chosen to succeed him. The resolution of the directors in 1839 to change the conductor at the choice of the director for each night led to the resignation
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