Scan 37
Groves Dictionary Of Music And Musicians,vol.2, 1906
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1isation he made a tour of Europe in the summer of 1920. See New York.
3Walter Damrosch received the degree of Mus. D. from Columbia University, in 1914. During the war he organised a bandmasters' training school in France for the American Expeditionary Force; and after was largely concerned in founding the music school for Americans at Fontainebleau. He published a volume of his reminiscences in 1924. The following is a list of his principal compositions:
5OPERAS
6'The Scarlet Letter,' based on Hawthorne's romance, text by George Parsons Lathrop. (Boston, Feb. 11, 1896.)
7'Cyrano de Bergerac,' after Rostand's play, text by W. J. Henderson. (Metropolitan Opera House, New York, Feb. 27, 1913.)
8'The Dove of Peace,' comic opera libretto, by Wallace Irwin. (Philadelphia and New York, 1912.)
10OTHER WORKS
11Incidental music to 'Iphigenia in Aulis,' 'Medea,' and 'Electra.'
12'Manila.' To Deum. 1898.
13Violin Sonata, Songs, etc.
15H. E. K.; rev. R. A.
17DANBY, JOHN b. 1757; d. May 16, 1798, a glee composer, who between 1781 and 1794 obtained ten prizes from the Catch Club for eight glees and two canons. He published three books of his compositions, and a fourth was issued after his death. In 1787 he published an elementary work entitled La guida alla musica vocale. He held the appointment of organist at the chapel of the Spanish Embassy, near Manchester Square, for the service of which he composed some masses and motets. He died during the performance of a concert which his friends had got up for his benefit, he having long lost the use of his limbs by sleeping in a damp bed at an inn. He was buried in Old St. Pancras Churchyard.
19W. H. H.
21DANCE, see BALLET-DANCING; also COUNTRY DANCE, MORRIS DANCE and ENGLISH FOLK DANCE SOCIETY. The music of special kinds of dance is described in innumerable articles under the names of these dances.
23DANCE, WILLIAM b. London, 1755; d. June 5, 1840, an English musician whose name deserves preservation as one of the founders of the Philharmonic Society. He was a violinist at Drury Lane, 1771–74, in the orchestra of the Opera from 1775–93, and led the band at the Handel Commemoration of 1790 in the absence of Cramer. The circular proposing the meeting which led to the formation of the Philharmonic was issued by 'Messrs. Cramer, Corri & Dance,' from Dance's house, 17 Manchester Street, on Sunday, Jan. 17, 1813. He was afterwards one of the directors, and treasurer. His son, Henry, was secretary to the Society for the first year, 1813.
25DANCE RHYTHM and dance gestures have exerted the most powerful influence on music from prehistoric times till the present day. The analogy of a similar state of things among uncivilised races still existing confirms the inherent probability of the view that definiteness of any kind in music, whether of figure or phrase, was first arrived at through connexion with dancing. The beating of some kind of noisy instrument as an accompaniment to gestures in the excitement of actual war or victory, or other such exciting cause, was the first type of rhythmic music, and the telling of national and tribal stories and deeds of heroes, in the indefinite chant consisting of a monotone slightly varied with occasional cadences, which is met with among so many barbarous peoples, was the first type of vocal music. This vague approach to musical recitation must have received its first rhythmic arrangement when it came to be accompanied by rhythmic gestures, and the two processes were thereby combined, while song and dance went on together, as in mediæval times in Europe.
27The process in the development of modern music has been similar. The connexion between popular songs and dancing led to a state of definiteness in the rhythm and periods of secular music, and in course of time the tunes so produced were not only actually used by the serious composers of choral music, as the inner thread of their works, but they also exerted a modifying influence upon their style and led them by degrees to change the unrhythmic vagueness of the early state of things to a regular definite rhythmic system. The fact that serious music was more carefully recorded than secular makes the state of the art in the time of Dunstable, Tinctor, De Muris and the Francos to appear more theoretical than effective. Serious musicians were for the most part very shy of the element of dance rhythm, as if it were not good enough company for their artistic purposes. Consequently the progress of serious art till the 16th century was confined to the development of good part-writing and good progressions of harmony. The result is a finely continuous mass of tone and expressive effects of harmony in the works of these old masters up to the early years of the 16th century, but a conspicuous absence of definiteness in both the rhythms and phrases; as may be observed in the chansons mondaines of Okeghem, Josquin des Prés and Obrecht, as well as in their sacred music. But while these composers were proceeding on their dignified way, others whose names are lost to fame were busy with dance tunes which were both sung and played, and may be studied in the Orchésographie of Thoinot Arbeau, and Stafford Smith's Musica antiqua, the Berliner Liederbuch, the Walther'sches Liederbuch and elsewhere. And quite suddenly, within the space of less than a generation, the rhythmic impulse of this choral dance music passed into serious music and transformed the vague old-fashioned chanson mondaine into a lively rhythmic tune; and at the same time gave the development of the art in the direction of modern harmony a lift such as it never could
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