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Scan 121
Grove's Dictionary of music and musicians, 1927
28 lines. Read by computer on 3 September 2026. Printed page 83. See the scan on archive.org.
1well known and suitable for congregational singing, and has no objection to consecutive fifths; though he also uses tunes of a more sophisticated type. Again, the words of many of his hymns are nothing more than parodies a lo divino of secular poems; in the example quoted by Mitjana (Encl. de la musique, Espagne, p. 1987), 'Esclarecida Madre' is a sacred version of a Spanish villancico, 'Esclarecida Juana' (Bibl. Medinaceli, MS. 13,230). The originals of many of the Italian folk-songs used by him have also been identified. Soto was responsible for the musical part of the five books of 'Laude filippine':
3Il primo libro delle laudi spirituali, a 3 v. Rome, 1583. (Rome, Vallicelliana; Berlin; B.M.)
4Il secondo libro delle laudi spirituali, a 3 et a 4 v. Rome, 1583. (Rome, Vallicell.; Florence, Riccardiana; Berlin; B.M.)
5Il terzo libro delle laudi spirituali, a 3 e 4 v. Rome, 1588. (Rome: Vallicell., Casanatense; Berlin; B.M.)
6Libro delle laudi spirituali dove in uno sono compressi i 3 libri già stampati. (Florence, Instituto musicale; Bologna, Liceo: B.M.)
7Il quarto libro delle laudi a 3 et 4 v. Rome, 1591. (Rome, Vallicell., Casanat.; Bologna, Liceo; Berlin; Brussels, Conservatoire; B.M.)
8Il quinto libro delle laudi spirituali a 3 et 4 v. del Reverendo P. Francesco Soto. Ferrara, 1598. (Rome, Vallicell.; B.M.)
10Other compositions or arrangements by Soto are to be found in Ancina's 'Tempio armonico' (Rome, 1599) and Arascione's 'Nuovi laudi ariose' (Rome, 1600). The statement that many of the Laude were composed by Palestrina is an invention of Baini. J. B. T.
12SOTTO VOCE, 'under the voice,' in an undertone; a direction of frequent occurrence in instrumental as well as vocal music. M.
14SOUBIES, ALBERT (b. Paris, May 10, 1846; d. there, Mar. 19, 1918), was educated at the Lycée Louis-le-Grand, but, after studying for the legal profession, he entered the Conservatoire, where he studied under Savard, Bazin and Guilmant. His first essay as a writer on music, a career in which he had remarkable success, was in the continuation of the Almanach Duchesne under the title of Almanach des spectacles (1874 onwards). His principal work was a history of music in a series of small volumes arranged under different countries: Allemagne et Russie occupy two volumes; L'Espagne, three more; Le Portugal, La Hongrie et la Bohême, three; Suisse and Hollande, one each; Belgique, two; États scandinaves, three; and Îles britanniques, two. Les Grands Théâtres Parisiens deals with the Comédie Française, the Opéra (for sixty-seven years), the Opéra-Comique (for sixty-nine years), the Théâtre Lyrique, 1851-70, and the Théâtre Italien. Une Première par jour was crowned, with other of Soubies's works, by the Opéra, and other non-musical books are in his list. His last work was Les Membres de l'Académie des Beaux Arts depuis la fondation de l'Institut (Paris, 1917). He collaborated with Ch. Malherbe in the Histoire de l'Opéra-Comique (1840-87), Mélanges sur Richard Wagner, L'Œuvre dramatique de Richard Wagner; with H. de Curzon in Documents inédits sur le Faust de Gounod (1912); and in a Précis de l'histoire de l'Opéra-Comique, the last under the name of B. de Lomagne. He wrote for the Soir from 1876, and for the Revue de l'Art dramatique from 1885, and was a frequent contributor to the Guide musical; the Ménestrel; Encyclopédie de la musique et Dictionnaire du Conservatoire.
16G. F.
18SOUND-BOARD (SOUNDING-BOARD). (1) In the organ the sound-board is the upper portion of the wind-chest, upon which the pipes stand.
19(2) In the pianoforte the sound-board is usually called the BELLY (q.v.).
21SOUND-HOLES (ff Holes) (Fr. ouïe; Ger. Schalloch; Ital. occhi). The two apertures in the form of italic f's which face one another in the tables of violins—and the instruments of that family—on either side of the bridge.
23These exercise a powerful influence upon the tone, regulating as they do the entire system of vibrations of the various parts of the instruments, by governing the amount of air which is contained within the body. Scientific investigation has proved that the best tonal results are arrived at when the contained mass of air in the body of a violin answers to 512 vibrations (i.e. corresponding to c''; see PITCH), and for this reason that standard of vibration has been generally adopted by all good violin-makers since the days of Stradivarius, whose violins are perfect examples of this system. The principle, however, cannot be applied by way of extension to the viola, or violoncello, a fact which was proved by those large violoncellos made by 17th century luthiers in accordance with violin measurements by mere augmentation, all of which have had to be reduced in size. According to Savart¹ the pitch of the viola being a fifth below that of the violin, and an octave above the violoncello, the instrument should contain a mass of air answering to 341.33 vibrations (f': a system, however, not generally followed); and the violoncello, being pitched a fifth plus an octave below the violin, should give 170.66 vibrations (f)—neither of which, again, can be said to be arbitrary laws.
25Savart at first questioned the necessity of curved sound-holes, but his later experiments proved that any deviation from the f form, where the belly was arched, had a disastrous effect upon the tone of the instrument. He also tested the effect of dispensing with one sound-hole by covering it with paper, with the result that the tone was immediately diminished, and the note given by the contained mass of air was flattened. A similar effect is produced when the holes are too small; but when they are too large the vibratory note of the air rises. Practically the proportions of the ff holes must depend upon the dimensions, thickness, height, etc., of the instrument, and they must be cut in strict relation to these conditions.
27¹ Mémoire sur la construction des instruments à cordes et à archet
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