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Scan 69
Grove's dictionary of music and musicians, 1916
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1MANERIA. A term applied in the early Middle Ages to certain systematic arrangements of the scale, analogous to the Mixed Modes of a somewhat later period. The roots of the several systems comprised in the series corresponded with the finals of the Modes; each system comprehending one Authentic and one Plagal Mode; consequently, the number of the Maneria was only half that of the Modes themselves. They were named and numbered in a barbarous mixture of Greek and Latin, thus:—Modes I. and II. were called Authentus et Plaga, Proti; III. and IV., Authentus et Plaga, Deuteri; V. and VI., Authentus et Plaga, Triti; and VII. and VIII., Authentus et Plaga, Tetarti: i.e. the Authentic and Plagal of the First, Second, Third, and Fourth Maneria. When the number of Modes was increased the pedantic faction affected to regard the Maneria of A and C as duplicates of the First and Second at a different pitch; and hence originated the confusion mentioned in DODECACHORDON. Afterwards, the necessary existence of six Maneria for the Twelve Modes was freely acknowledged. w. s. r.
3MANIER (Ger.), lit. 'manner'; derived, like our word 'manner,' through the French manière, 'a manner,' and manier, 'to handle,' from the Latin manus, 'a hand.' It has two entirely distinct meanings, one dealing with the aesthetics of music, the other with its technicalities. In the first of these connections the word signifies 'mannerism,' or the faulty adherence to some peculiarity in style, bringing such peculiarity into undue prominence. It is the abuse of individuality, without which quality no great thing can be accomplished in any art.
5The second meaning of the word is the same as the French agrémens, ornaments introduced into, and built upon, the melody, whether indicated by small notes, or marks, or added at the will of the performer. [See AGRÉMENS, vol. i. p. 52, where the subject is fully treated.] J. M.
7MANN, ARTHUR HENRY, Mus.D., was born at Norwich, May 16, 1850, and was a chorister in the cathedral under Dr. Buck. He was a Fellow of the College of Organists in 1871, and took the Mus.B. degree at Oxford in 1874 and that of Mus.D. in 1882. He held the post of organist at St. Peter's, Wolverhampton, from 1870; at Tettenhall Parish Church from 1871; and was appointed to Beverley Minster in 1875. In the following year he was elected organist and director of the choir at King's College, Cambridge. Here his work as a choir-trainer has borne good fruit. His more ambitious compositions include an oratorio, 'Ecce Homo,' 1882; and a 'Te Deum,' 1887, besides services, anthems, etc. He has written numerous hymn-tunes, which have become widely known, and has edited several successful hymn-books, as well as bringing out an edition of Tallis's famous 'Forty-part Song' (1888). He is an earnest student of the work of Handel, and made a minute study of the sketches, etc., in the Fitzwilliam Museum, contributing an important section on them to the Catalogue of Music, published in 1893. In 1894 the discovery of the original wind parts of the 'Messiah' in the Foundling Hospital—in which he was partly concerned—was followed by a performance of the oratorio with a reconstructed score, in King's College Chapel. He was appointed choirmaster of the Norwich Festival in 1902. (Brit. Mus. Biog.) M.
9MANNERS, CHARLES (real name Southcote Mansergh), was born Dec. 27, 1857, in London, the son of Colonel Mansergh, R.H.A. and J.P. for Cork and Tipperary. He was taught singing at the Academies of Music in Dublin and London, at the latter for a short time by Shakespeare, and later in Italy. In 1881 he began his career as a chorus-singer, and joined Carte's travelling company. On Nov. 25, 1882, he made a successful début as Private Willis on the production of 'Iolanthe' at the Savoy Theatre. He next sang in the provinces with the Carl Rosa Company, and appeared in 1890 at Covent Garden as Bertram in 'Roberto.' On Oct. 17, 1892, he sang the part of Prince Gremin on the production in England of Tchaikovsky's 'Eugene Onegin' under Lago at the Olympic Theatre, and later as the King in 'Lohengrin.' In 1893 he sang in America. From 1894 to 1896 he was engaged by Harris both for English and Italian opera, also by Hedmondt in the autumn of 1895, notably as the King in 'Maritana,' Mephistopheles, etc. His voice is a basso cantante of remarkably fine quality. In 1896-97 he undertook a successful English opera tour in South Africa. On his return he established the Moody-Manners Opera Company, and has made extensive tours in the
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