Scan 120
Groves Dictionary Of Music And Musicians,vol.2, 1906
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1a strong Kentish man styled 'The English Samson,' and for exhibitions of conjuring, fencing and even prize-fighting. It was again opened for the performance of plays in 1703, and finally closed in Oct. 1706. After the demolition of the theatre the site was successively occupied as a timber yard, by the New River Company's offices, and the City Gas Works. An engraving showing the river front of the theatre was prefixed to Elkanah Settle's Empress of Morocco, 1673, another, by Sutton Nicholls, was published in 1710, and a third in the Gentleman's Magazine, July 1814. W. H. H.
3D'ORTIGUE, see ORTIGUE, D'.
5DORUS-GRAS, see GRAS.
7DOT (Fr. point; Ger. Punkt; Ital. punto), (1) a point placed after a note to indicate that its length is to be increased one-half; a semibreve with the addition of a dot being thus equal to three minims, a minim with a dot to three crotchets, and so on.
9So far as regards rhythm, this is at the present time the only use of the dot, and it is necessitated by the fact that modern notation has no form of note equal to three of the next lower denomination, so that without the dot the only way of expressing notes of threefold value would be by means of the bind, thus \( \dot{p} \) instead of \( p \), \( \dot{p} \) instead of \( p \), which method would greatly add to the difficulty of reading. The sign itself is, however, derived from the early system of 'measured music' (musica mensuralis, c. 1300), in which it exercised several functions. (See POINT.)
11In modern music the dot is frequently met with doubled; the effect of a double dot is to lengthen the note by three-fourths, a minim with double dot (\( \ddot{p} \)) being equal to seven quavers, a doubly dotted crotchet (\( \ddot{p} \)) to seven semiquavers, and so on. The double dot was the invention of Leopold Mozart, who introduced it with the view of regulating the rhythm of certain adagio movements, in which it was at that time customary to prolong a dotted note slightly, for the sake of effect. Leopold Mozart disapproved of the vagueness of this method, and therefore wrote in his Violinschule (2nd edition, Augsburg, 1769):
13'It would be well if this prolongation of the dot were to be made very definite and exact; I for my part have often made it so, and have expressed my intention by means of two dots, with a proportional shortening of the next following note.'
15His son, Wolfgang Mozart, not only made frequent use of the double dot invented by his father, but in at least one instance, namely at the beginning of the symphony in D written for Hafner, employed a triple dot, adding seven-eighths to the value of the note which preceded it.
17Dots following rests lengthen them to the same extent as when applied to notes.
19In old music a dot was sometimes placed at the beginning of a bar, having reference to the last note of the preceding bar (Ex. 1); this method of writing was not convenient, as the dot might easily escape notice, and it is now superseded by the use of the bind in similar cases (Ex. 2).
21The older way of representing this was occasionally revived by Brahms (see BIND).
23Handel and Bach, and other composers of the early part of the 18th century, were accustomed to use a convention which often misleads modern students. In 6-8 or 12-8 time, where groups of dotted quavers followed by semiquavers occur in combination with triplets, they are to be regarded as equivalent to crotchets and quavers. Thus the passage
25is played
27not with the semiquaver sounded after the third note of the triplet, as it would be if the phrase occurred in more modern music.
29(2) Besides the employment of the dot as a sign of augmentation of value, it is used to indicate staccato, being placed above or below the note, and written as a round dot if the staccato is not intended to be very marked, and as a pointed dash if the notes are to be extremely short (see DASH). As an extension of this practice dots are used to denote the repetition of a single note; and they are also placed before or after a double bar as a sign of the repetition of a passage or section. In old music for the clavichord they are used as an indication of the Bebung (see ABBREVIATIONS: BEBUNG).
31F. T. and m.; rev. S. T. W.
33DOTZAUER, JUSTUS JOHANN FRIEDRICH (b. Hildburghausen, June 20, 1783; d. Mar. 6, 1860), one of the greatest players and teachers of the violoncello. His teachers were Henschkel, Gleichmann and Rüttinger—a pupil of Kittl and therefore only two removes from J. S. Bach. For the violoncello he had Kriegck of Meiningen, a famous virtuoso and teacher. He began his career in the Meiningen court band in 1801, and remained there till 1805. He then went by way of Leipzig to Berlin, where he found and profited by B. Romberg. In 1811 he entered the King's band at Dresden, and remained there till his retirement in 1852; until his death he was occupied in playing, composing, editing, and, above all, teaching. His principal pupils were Kummer, Drechsler, C. Schuberth, and his own son, C. Ludwig. His
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