Scan 155
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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1most satisfactory account of Greek music extant. A new edition by Albert Jahn appeared, 1882.
3ARISTOTE, a 13th-century composer of whom Coussemaker republished four 3- and 4-part pieces (Eitner).
5ARISTOTELES, (1) the Greek philosopher and pupil of Plato (384–322 b.c.), wrote very little about music, but that little is of importance. The references scattered about his works have been collected by Karl von Jans in Musici scriptores Graeci (1895, pp. 3-35). The Problemata (Sect. XIX.) are, according to latest researches, of Alexandrian origin and date from the 1st or 2nd century a.d. They are in form of queries and answers, and offer most valuable information. Several new editions and translations of this latter work have appeared (see Riemann). (2) Pseudonym of the author of a 12th-century work on Mensural Music, mentioned by John de Muris as inventor of the mensural notes, together with Franco of Cologne. The treatise has been erroneously attributed to the Venerable Rede (Eitner). Coussemaker republished it together with 7 motets, but the authorship of the latter cannot be proved.
7ARISTOXENUS OF TARENTUM (4th cent. b.c.), peripatetic philosopher and a pupil of Aristotle, was the most important of Greek writers on music. Of his numerous works only two are preserved, The Elements of Harmony, and fragments of The Elements of Rhythm. He is the first who has laid a scientific foundation of music. The most important modern editions are: P. Marquard (1868, with German translation); H. S. Macran (Oxford, 1902); L. Laloy, Aristoxène de Tarent (1904); C. F. Abdy Williams, The Aristoxenian Theory (Cambridge, 1911); (Fétis; Encycl. Brit.; Eitner).
9ARIZO (ARIZU), MIGUEL DE (beginning of 17th cent.), a Spanish singer and composer of secular vocal music. Originally a choir-boy in the Chapel Royal at Madrid, in 1614 he appears as an alto; while he was still in the choir in 1629 and 1633. Two compositions by him are found in the 'Cancionero de Sablonara' at Munich, printed in 1918 by D. Jesus Aroca as 'Cancionero musical y poético del siglo XVII' (Madrid).
11ARKWRIGHT, GODFREY EDWARD PELLEW (b. Apr. 10, 1864), studied at Eton and Oxford, and was editor of the OLD ENGLISH EDITION (q.v.), an important collection of the works of old English masters (25 vols., 1889–1902); also Purcell's church music, etc., for the PURCELL SOCIETY (q.v.). From 1909–13 he was editor of The Musical Antiquary (Oxford). His catalogue of music in the library of Christ Church, Oxford, is valuable.
13ARKWRIGHT, MARIAN URSULA (b. Norwich, Jan. 25, 1863; d. Highclere, Mar. 23, 1922), composer, took the degrees of Mus.B. in 1895 and Mus.D. in 1913 at Durham. Her symphonic suite 'Winds of the World' won a prize offered by The Gentlewoman for an orchestral work by a woman. A suite for strings was written for the Australian Exhibition of Women's Work, Melbourne, 1907. Her published works include a Requiem Mass (1915); a ballad for 3 treble voices, 'The Dragon of Wantley'; and some songs, partsongs and chamber music. Several larger choral, orchestral and chamber works and an operetta, 'The Water Babies,' are unpublished. (See B. M. S. Ann., 1920.)
15ARMES, PHILIP (b. Norwich, Aug. 15, 1836; d. Durham, Feb. 10, 1908), organist, and professor of music in the University of Durham.
17The son of a schoolmaster and bass singer who held a lay-clerkship at Rochester, Armes obtained his musical education as a chorister first at Norwich (1846) and later at Rochester (1848). At the end of his choristership the Dean and Chapter of the latter cathedral presented him with a grand pianoforte as a special mark of their appreciation of his services as solo boy. In 1850 he was articled to Dr. J. L. Hopkins, organist of the cathedral. He became organist of St. Andrew's, Wells Street, London (1857), Chichester Cathedral (1861), and Durham Cathedral (1862), a post which he held till his retirement in 1907.
19Examinations for musical degrees in the University of Durham were instituted by Dr. Armes in Oct. 1890, when 81 candidates presented themselves for examination. In 1897 the charter of the University was altered, whereby Dr. Armes was made professor of music. His compositions, chiefly oratorios and works for the Church, were numerous but unimportant.
21ARMIDE, a favourite subject for operatic composition in the 17th and 18th centuries. The most famous 'Armide' is that of Gluck, produced Sept. 23, 1777, at the Académie Royale in Paris. The libretto is by Quinault, the same which was set by Lully in 1686. Produced Covent Garden, July 6, 1906; New York, Metropolitan Opera House, Nov. 14, 1910.
23ARMINGGAUD, JULES (b. Bayonne, May 3, 1820; d. Feb. 27, 1900), a violinist in the orchestra of the Paris Opéra. In 1855, with Édouard Lalo, Mas and Léon Jacquard, he established a string quartet which enjoyed a great reputation, and was subsequently transformed, by the addition of wind instruments, into the 'Société Classique.' He published some works for violin.
25ARMOURER OF NANTES, THE, opera in three acts, founded on Victor Hugo's Mary Tudor; words by J. V. Bridgman; music by Balfe; produced Covent Garden (Pyne and Harrison management), Feb. 12, 1863.
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