Scan 90
Grove's Dictionary Of Music And Musicians Vol I A. To E., 1904
19 lines. Read by computer on 11 September 2026. Printed page 72. See the scan on archive.org.
1shepherds' pandean pipes seven reeds,1 from which it appears probable as well as natural that the ancient scale consisted of seven sounds.
3These seven sounds, which served for both voices and instruments, were gradually added to, until, in the time of Aristoxenus (340 B.C.), there were fifteen, extending from A the first space of the bass stave to A the second space in the treble. Each of these sounds had its distinctive name, derived from the position and length of the different strings of the phorminx or lyre, and in order to avoid writing them in full the ancient Greek authors expressed them by certain letters of the alphabet.2 As, however, the properties of the notes varied continually with the different modes and so-called mutations, which by this time had been introduced into the musical system, these letters were written in an immense variety of forms, large and small, inverted, turned to the right or left, lying horizontally, accented in many ways, etc., so that, according to Alypius, the most intelligible of the Greek writers who wrote professedly to explain them, the musical signs in use in his day amounted to no fewer than 1240, and it appears probable that even this number was afterwards exceeded.
5The Romans, who borrowed the Greek scale, and gave Latin names to each of its fifteen sounds, did not adopt this complicated system, but employed instead the first fifteen letters of their alphabet, A to P, and later still, Gregory the Great, who was chosen Pope A.D. 590, discovering that the second half of the scale, H to P, was but a repetition of the first, A to H, abolished the last eight letters and used the first seven over again, expressing the lower octave by capitals and the upper by small letters.3
7So far the original compass of the Greek scale was preserved, and thus A was naturally applied to the first and at that time lowest note, but about the beginning of the 10th century a new note was introduced, situated one degree below the lowest A, and called (it is difficult to say why) after the Greek letter gamma,4 and written Γ. To this others were from time to time added until the lower C was reached, in the early part of the 16th century, by Lazarino. Thus the modern scale was established, and A, originally the first, became the sixth degree. F. T.
9ALSAGER, THOMAS MASSA, born 1779, died Nov. 15, 1846, one of the family of Alsager, of Alsager, Cheshire. He was for many years a proprietor and one of the leading men in the management of The Times, being especially concerned in all that related to music and the collection of mercantile and foreign news. The professionally trained musical critic, added at his suggestion to the staff of The Times, was the first employed on any daily paper. He was the intimate friend of Lamb, the Burneys, Wordsworth, Talfourd, Leigh Hunt, Mendelssohn, Moscheles, and many other celebrities. But what entitles him to mention here was his intense devotion to music, to which he gave all the leisure he could spare from a busy life. His practical ability in music was very great, and it is a fact that he could perform on all the instruments in the orchestra. The frequent private concerts given by the 'Queen Square Select Society' at his residence in London were long remembered by his many musical friends, and were the means of introducing to this country many works and foreign musicians. The great Mass in D of Beethoven was given there, for the first time in England, Dec. 24, 1832, under the direction of Moscheles (see Musical Times, 1902, p. 236). There on March 28, 1834, took place the first performance in England of Cherubini's 'Requiem,' principal soprano Mrs. H. R. Bishop; first violin M. Spagnoletti. In 1843 the society held a special musical festival in honour of Spohr, who himself led three pieces. One object of the society was to establish a taste for Beethoven's chamber music, by performing it in the most perfect manner attainable. It was divided into two classes, one called the pianoforte and the other the violin class, and separate evenings were devoted to each kind of composition, special attention being bestowed on those least known to the public. Sivori attempted quartet playing for the first time at these private concerts, which ultimately resulted in the series of chamber concerts given publicly in Harley Street in 1845 and 1846, and called the 'Beethoven Quartet Society,' the whole being due to the enthusiasm, knowledge, and munificence of Mr. Alsager.
11ALT. The notes in the octave above the treble stave, beginning with the G, are said to be IN ALT, and those in the next octave IN ALTISSIMO. [See C.]
13ALTERNBURG, JOHANN ERNST, a famous trumpet-player, born 1736, at Weissenfels, and son of Johann Caspar, also an excellent master of the same instrument. The father served in several campaigns, and was in action at Malplquet. After leaving the army he travelled much in Europe, and was admired wherever he came, and so successful that he was able to refuse an offer from Frederick Augustus of Poland to enter his service with a salary of 600 thalers. He died in 1761. His son—more celebrated than the father—after completing his education, adopted the military career, and was a field trumpeter in the army during the Seven Years' War. After the peace of Hubertsburg he became organist at Bitterfeld,
151 Before the time of Terpander (about 670 B.C.) the Greek lyre is supposed to have had but four strings. Boethius attributes its extension to seven strings to Terpander.
162 For a full description of the Greek scales see GREEK MUSIC.
173 This system of Pope Gregory forms the so-called basis of the method generally accepted for referring to notes without the use of the stave. See C.
184 The addition of the Γ is by some attributed to Guido d'Arezzo; but he speaks of it in his Micrologus (A.D. 1024) as being already in use.
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