Scan 122
Groves Dictionary Of Music And Musicians,vol.2, 1906
20 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1ought only to be applied to the simultaneous sounding of two 'stopped' notes; it is, however, indiscriminately used for any double sounds, whether produced with or without the aid of the OPEN STRINGS (q.v.). (See FINGERING, VIOLIN.)
2P. D.
3DOUBLE TONGUEING, a method of articulation applicable to the flute, the cornet-à-pistons, and some other brass instruments. The oboe, bassoon and clarinet are susceptible only of single tongueing, which signifies the starting of the reed-vibrations by a sharp touch from the tip of the tongue similar to the percussion action in harmoniums. It requires long practice to give the necessary rapidity to the tongue muscles co-operating for this end. Single tongueing is phonetically represented by a succession of the lingual letter T, as in the word 'rat-tat-tat.' Double tongueing aims at alternating the linguodental explosive T with another explosive consonant produced differently, such as the linguo-palatals D or K, thus relieving the muscles by alternate instead of repeated action. The introduction of the mouthpiece into the cavity of the mouth itself prevents such an alternation in the three instruments above named, but it is possible in the flute and cornet. Any intermediate vowel sound may be employed. The words commonly recommended for double tongueing are 'tucker' or 'ticker.' Triple tongueing is also possible; and even four blows of the tongue against the teeth and palate have been achieved and termed quadruple tongueing. Indeed the system may be farther extended by employing words such as 'Tikatakataka,' in which dental and palatal explosives are judiciously alternated.
4The term 'double tongued' is applied to certain reed stops on the organ which have two tongues instead of one.
5W. H. S.
6DOUBLE TOUCH, see ORGAN.
7DOURLEN, VICTOR CHARLES PAUL (b. Dunkerque, Nov. 3, 1780; d. Battignolles, near Paris, Jan. 8, 1864), studied at the Paris Conservatoire where, in 1800, he was entrusted with a class for elementary singing. In 1805 he gained the Prix de Rome for composition. In 1812 he became assistant teacher of harmony, for which he obtained the full professorship in 1816 and was pensioned in 1842. He composed several opéras-comiques for the Théâtre Feydeau, chamber music (trios and sonatas for various instruments), a pianoforte concerto, etc., and some books on harmony on the lines of Catel's method: Traité d'harmonie; Traité d'accompagnement; Principes d'harmonie.
8E. v. d. s.
9DOW, DANIEL (b. Perthshire, 1732; d. Edinburgh, Jan. 20, 1783), lived as a teacher at Edinburgh and published two important collections of ancient Scottish music (ports, salutations, pibrochs, reels, strathspeys), as well as some books of new minuets, reels and strathspeys, including many of his own composition.
10E. v. d. s.
11DOWDING, EMILY, from 1796 to 1814 organist at the Temple Church, London, and probably the first woman organist in England.
12E. v. d. s.
13DOWLAND, (1) JOHN (1563–1626), lutenist and composer, is said by Fuller, on hearsay evidence, to have been a native of Westminster,1 but the name is not found in the parish registers before 1628, when there is an entry of the burial of a Matthew Dowland. He has been claimed as an Irishman,2 mainly on the strength of the dedication of a song in his 'PilgrimesSolace'(1612)'to my loving countryman, Mr. John Forster the younger, merchant of Dublin in Ireland.'3 But the assumption that the names Dolan, Dowling, Dulling, etc., are the same as Dowland is hardly admissible. Among the accounts4 of Trinity College, Dublin, there are entries for commons and sizings of 'Sr' (the designation of all Bachelors of Arts) 'Dowland,' dated May 4, 1605. The name does not occur in Burtchaell and Sadleir's Alumni Dublinenses, and no degrees in music were granted there until a much later period. That Dowland was in England in the winter of 1603–4 is known from the preface to his 'Lachrymae,' which was registered at Stationers' Hall on Apr. 2, 1604, but it is unsafe to conclude that the badly written entries in the Trinity College accounts refer to him, even if the name read as 'Dowland' is correct, as to which there seems some doubt. Moreover, in the preface to his 'Pilgrimes Solace' he addresses the public as 'my loving countrymen,' so that the expression merely seems to distinguish Englishmen from the foreigners among whom he had lived for so long. His birth must have taken place in 1563, for in his 'Observations belonging to Lute-playing,' which appeared in his son Robert's 'Varietie of Lute-Lessons' (1610), he refers to Hans Gerle's 'Booke of Tableture,' printed 1533, and adds 'myselfe was borne but thirty yeares after Hans Gerles Booke was printed,' while in his 'Pilgrimes Solace,' which appeared in 1612, he says: 'I am now entered into the fiftieth yeare of mine age.' Nothing is known as to his education, but before he was twenty he was in the service of Sir Henry Cobham, who in 1579 succeeded Sir Amyas Paulet as English Ambassador at Paris. In a remarkable letter5 written from Nurem-
151 The statements in Q.-L. (iii. 230) as to his being a son of John Johnson, and in the service of Sir George Carey, are inaccurate, and have been made from a misreading of the articles on Dowland in the Mus. T. for Dec. 1896 and Feb. 1897.
162 See the preface to Fellowes's edition of Dowland's First Book of Airs.
173 This John Forster was probably the son of the John Forster who was Sheriff of Dublin in 1578–79 and Mayor in 1589; he may be identified as the John Forster who was admitted, as the son of a freeman, to the franchise in 1592. (See J. T. Gilbert, Calendar of Ancient Records of Dublin, ii. 106, 137, etc.)
184 Partly printed in Appendix V. of The Particular Book of Trinity College (1904), p. 236.
195 Printed in vol. v. of the Calendar of the Marquis of Salisbury's Papers at Hatfield, and again with elucidations in the Mus. T. for Dec. 1896 and Feb. 1897.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.