Books › Grove's Dictionary of Music and Musicians, 1927 › scan 113
Scan 113
Grove's Dictionary of Music and Musicians, 1927
43 lines. Read by computer on 11 September 2026. Printed page 73. See the scan on archive.org.
1at Meaux Cathedral and became, at the age of 19, Kapellmeister at Constanz Cathedral. In 1791 he went to Paris and joined the orchestra of the Vaudeville Theatre, first as viola, then violoncello, and finally contrabass player. He then became conductor at that theatre, for which he wrote a large number of extra songs and arias for operettas, etc., which met with great success. He composed an opéra-comique, several operettas, masses, piano pieces, etc. (see Q.-L.), and retired to Soissons in 1824.
3E. v. d. s.
5DOCTOR OF MUSIC, see Degrees.
7DODD, bow-makers. (1) EDWARD (b. Sheffield, 1705; d. London, 1810) is said to have lived to the great age of 105. He was the first bow-maker of this name, and did much towards improving its design. He worked in Salisbury Court, Fleet Street, and was buried in St. Bride's Church.
9(2) JOHN (b. 1752; d. Richmond, Surrey, 1839) was the greatest of the English bow-makers. He has been known as 'The English Tourte.' He was slightly younger than François Tourte, and must have seen examples of bows made by him and by the elder Tourte, and he was the first of the English makers to adopt the fundamental improvements introduced by them. These improvements include the ferrule and the slide, and, what was even more valuable, the discovery of the principle upon which the stick of the bow curved inwardly towards the hair; before Tourte's time the stick was straight, and it was scarcely possible to get any 'spring' in bowing. Dodd used beautiful wood, and his finest bows are admirably finished. Unfortunately, a large number of his violin bows are too short for practical use, but some of his violoncello bows are very fine. The legend that he refused £1000 for the revelation of his 'secret' in bow-making has no foundation in fact. Dodd died a pauper in Richmond workhouse and was buried at Kew.
11(3) THOMAS, brother of John, made bows and also instruments, some of his violoncellos being very serviceable. He worked first in Blue Bell Alley, Southwark, then in New Street, Covent Garden, and afterwards in St. Martin's Lane. He was also a dealer in musical instruments. The instruments that bore his label were not made by him, but by some of the best workers of the period; among these were Fendt, John Lott and Tobin. He claimed to be 'the only possessor of the recipe for preparing the original Cremona oil varnish.' In later life he made harps, and introduced some new features in their construction.
13(4) EDWARD and (5) THOMAS were sons of Thomas (3), and carried on the business in St. Martin's Lane, but Edward devoted his attention to making harps rather than violins and bows.
15(6) JAMES, another brother of John, and (7) JAMES, his son, were bow-makers in London.
17E. H. F.
19DODECACHORDON (original Greek title, ΔΩΔΕΚΑΧΟΡΔΩΝ, from δώδεκα, 'twelve,' and χορδή, 'a string'). A work, published at Basle in Sept. 1547 by the famous mediæval theorist, now best known by his assumed name, Glareanus, though his true patronymic was Heinrich Loris, Latinised Henricus Loritus. (See Glareanus.)
21The Dodecachordon owes its existence to a dispute which, at the time of its publication, involved considerations of great importance to composers of the polyphonic school; and the clearness and logical consistency of the line of argument it brings to bear upon the subject render it the most valuable treatise on the later developments of the Ecclesiastical Modes that has ever been given to the world.
23According to the earlier mediæval theory four modes only were formally acknowledged: at a later date the custom began of counting the plagal modes as distinct from the authentic, and so reckoning eight modes. At a much later date, in the polyphonic period, and when musicians were accustomed to think more continually in terms of the octave, it was natural to think theoretically of fourteen modes, and even to wish to reckon so: some, regarding the modes which have B for their final as unsatisfactory, for want of a perfect fifth in their scale, rejected these two and maintained twelve modes: while the most conservative party, pointing out that the higher four of the twelve were, so far as melody is concerned, mere transpositions of the lower ones, maintained still the old numbering of eight modes (see Modes, Ecclesiastical). The ardent upholders of the twelve claimed Charlemagne as their authority, while the maintainers of the eight could base their contention on far more solid history. Unfortunately, however, they combated the position of the 9th-12th modes by untenable arguments. The complete arrangement is shown in the following scheme:
25I. Dorian.
26II. Hypodorian.
27III. Phrygian.
28IV. Hypophrygian.
29V. Lydian (or Hyperphrygian).
30VI. Hypolydian.
31VII. Mixolydian (or Hyperlydian).
32VIII. Hypomixolydian.
33IX. Aeolian.
34X. Hypoaeolian.
35XI. Locrian (or Hyperaeolian).
36XII. Hypotocrian (or Hyperphrygian).
37XIII. Ionian (or Iastian).
38XIV. Hypoionian (or HypoIastian).
40Now in all essential points Glareanus follows the system of twelve modes. He describes the Ionian and Hypoionian forms as modes XI. and XII., and simply mentions the rejected Locrian and Hypolocrian scales by name, without assigning them any definite numbers. But all editors of polyphonic music have not followed his example.
42Dr. Proske, in his Musica divina, follows the first-mentioned system, describing the Ionian and Hypoionian modes as Nos. XIII. and XIV.; and the same plan has been uniformly adopted
The computer misreads some letters and numbers. Where a name matters to you, read the scan.