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Scan 68
Grove's Dictionary of Music and Musicians, 1927
41 lines. Read by computer on 10 September 2026, twice; the two readings disagreed in places. Printed page 32. See the scan on archive.org.
1Adventu Dom. usque ad Festum Paschatis 4 et 5 vocibus compositae ab Euricio Dedekind Neoistadino. Scholae Lüneburg ad D. Joannem Cantore. Ulyssae, 1592, 8vo. (Göhler.) An 'Alter pars Evangeliorum' appeared without date.
3(3) HENNING (b. probably Neustadt, 1583; d. circa 1630), a son of Friedrich Dedekind (author of Grobianus; pastor of St. Michael's, Lüneburg), was cantor at the School in Langensalza, Thuringia, in 1588; Prediger there in 1614; and Pfarrer at Gebsee, Thuringia, in 1622.
5LIST OF WORKS
71. ΔΩΔΕΚΑΤΟΝΟΝ Musicum Triciniorum novis iisdemque lepedissimis exemplis illustratum. Neue auserlesene Tricinia, auf tretlich lustige Texte gesetzt, aus etlichen guten, doch bisher nicht publicirten Autoribus zusammen gelesen und jetzt erstmals den Liebhabern der Music zu gefallen in den Druck verfertiget, von Henningo Dedekindo, Musicae Studioso. Erfurt, Georg Baumann, 1588, obi. 4to. In the dedication to Ernst and August, Fürsten of Braunschweig and Lüneburg, Henning Dedekind expresses gratitude both for the favour shown to him, and for that shown by their father Wilhelm to his father 'Friderico Dedekindo, deren ich auch, als ein Erbe, nicht wenig genossen haben … datum in der Churf. Sächs. Stadt Langensalz am Sontag Palmarum … anno 1588. Henningus Dedekindus, Cantor daselbe.' Three partbooks, in the Berlin Königl. Bibl.
92. Eine Kinder-Musik, für die jetzt allererst anfangenden Knaben in richtige Fragen und grundliche Antworten gebracht. Erfurt, Georg Baumann, 1589, 8vo.
113. Praecursor metricus musicae artis … non tam in usum discipulorum quam in gratiam praecceptorum, conscriptus … ad mundinas Lipsicas vernas anni hujus 1590. Erfurt, Georg Baumann, 1590, 8vo.
134. Studentenleben, darinn allerlei akademische Studenten-Händel mit deutsch poetischen Farben entworfen, in fünf Stimmen gesetzt von Musophilus Dedekind. Erfurt, Joh. Birckner (1627).
155. Jägerleben, darinn die Jägergesellschaft beneben allerlei in Wald und Feld gewöhnlichen Wildjagden mit deutsch poetischen Farben entworfen und repräsentirt; mit fünf Stimmen auf allerlei Instrumente zu gebrauchen, componirt von Musophilus Dedekind. Erfurt, Fried. Melchior Dedekind (1628).
176. ΔΩΔΕΚΑΕ musicarum deliciarum Soldaten-Leben darinnen allerlei martialische Kriegshandel und der ganze Soldatenstand auch was in Feldlagern und Kriegszügen vorlefft, mit deutsch poetischen Farben eigentlich abgerissen und mit fünf Stimmen zum Gebrauch für allerlei Instrumente vorgesetzt von Musophilus Dedekind. Erfurt, bei Fried. Melchior Dedekinden, 1628, 4to.
19Zahn gives a melody by Musophilus Dedekind, 'Gott Vater aller Güteigkeit,' from the 'Gothaer Cantional' II., 1648, p. 324; he suggests that Musophilus may be Henning Dedekind. The MS. of a Kyrie and Gloria from a 6-part Mass, 'In excelsio throno,' by Henning Dedekind, is in the Breslau Stadtibibl. (MS. 100. Six folio partbooks). The title-page of a non-musical work by Henning Dedekind is of interest as it includes the names of father and son:
21Metamorphosis truculenta et subita, quae accidit anno 1585, irbente Apolline descripta und publicata per Henningum Dedekindum, neostadianum Saxonem, accessorunt epigrammata tria M. Friderici Dedekindi senioris, Pastoris ad D. Michaelum, Lüneberg.
23C. S.
25DEERING, see DERING.
27DEFAUW, DÉSIRÉ (b. Ghent, Sept. 5, 1885), violinist, pupil of Johan Smit. After numerous tours on the Continent he gave his first concerts in London in 1910 with the New Symphony Orchestra. During the war (1914-18) he formed the 'Allied Quartet' with Lionel Tertis, Charles Woodhouse and Emile Doehard, and was heard in many concert rooms, excelling in refinement of tone and style. He subsequently became professor at the Royal Conservatoire at Antwerp and director of the concerts given at the Théâtre des Marais, Brussels, classed among the best given in that city.
29W. W. C.
31DEFESCH, WILLIAM (d. circa 1758), a Fleming by birth, was organist of the church of Notre-Dame at Antwerp, and in 1725 succeeded Alfonso D'Eve as maitre de chapelle there, but was in 1731 dismissed on account of his ill-treatment of some of the choir-boys under his charge. He then came to England, and established himself in London, where, in 1733, he produced an oratorio entitled 'Judith,' which enjoyed some degree of popularity, and in 1745 another called 'Joseph.' He was an able violinist and led the band in the first performance of Handel's 'Occasional Oratorio,' Feb. 12, 1746. Whilst at Antwerp he composed a Mass for voices and orchestra. His published works comprise several sets of sonatas and concertos for stringed and other instruments, some solos for the violoncello, a collection of canzonets and airs, and some single songs. (See list in Q.-L.) An engraved portrait of him was published in London in 1757.
33W. H. H.
35DEGREE. The word 'degree' is used to express the intervals of notes from one another on the stave. When they are on the same line or space they are in the same degree. The interval of a second is one degree, the interval of a third two degrees, and so on, irrespective of the steps being tones or semitones, so long as they represent a further line or space in the stave. Hence also notes are in the same degree when they are natural, flat or sharp of the same note, as C and C♯, E and Eb; and they are in different degrees when, though the same note on an instrument of fixed intonation, they are called by different names, as F♯ and G♭, C and D♭♭. C. H. H. P. one of two readings
36DEGREE. The word 'degree' is used to express the intervals of notes from one another on the stave. When they are on the same line or space they are in the same degree. The interval of a second is one degree, the interval of a third two degrees, and so on, irrespective of the steps being tones or semitones, so long as they represent a further line or space in the stave. Hence also notes are in the same degree when they are natural, flat or sharp of the same note, as C and C#, E and Eb; and they are in different degrees when, though the same note on an instrument of fixed intonation, they are called by different names, as F# and Gb, C and Db. C. H. H. P. one of two readings
38DEGREES IN MUSIC. The ordinary degrees in music in Great Britain and Ireland are those of Bachelor (B.Mus. or Mus.B.) and Doctor (D.Mus. or Mus.D.); but the University of Cambridge, under its 1893 regulations, and also the University of Wales, grant three degrees—Bachelor, Master and Doctor—the 'Mastership in Music' having, it would seem, been unknown since the 13th century, when some Spanish universities granted that degree. The University of Birmingham grants the degrees of Bachelor and Master, but not that of Doctor. The degree of D.Mus. honoris causa has been occasionally given to distinguished musicians, both British and foreign, by various universities, the custom dating from 1871 at Cambridge, and from 1878 at Oxford (there were, however, earlier instances at Dublin and Durham). It has also been given, by special Decree of Convocation at Oxford, and by special Grace of the Senate at Cambridge, to distinguished musicians already connected with those universities. Honorary Masterships and Baccalaureates have also been occasionally conferred.
40In their ordinary forms, musical degrees are unknown beyond Great Britain and Ireland, certain British colonies, and the United States of America; but there have been a few examples of foreign honorary doctorates in music, Spontini and Franz having re-
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