Scan 180
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
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1Bristol under the care of Mary Carpenter, and taught singing by Manuel Garcia, receiving instruction in harmony and composition from Hiller at Bristol. She afterwards devoted herself to teaching singing and composition. Her first works were published in 1855, and comprised a Ballad, 'Tell me, the summer stars,' words by Edwin Arnold; also six songs from Longfellow, etc. A great number of her ballads became widely popular. Miss Philp was also the author of How to sing an English Ballad.
3A. C.
5PHILTRE, LE, opera in 2 acts; words by Scribe, music by Auber. Produced Opéra, June 20, 1831; in English—'The Love Spell'—Olympic, Oct. 27 the same year. Donizetti's 'L'Elisir d'amore' has the same subject. G.
7PHINOT (FINOT), DOMINICUS, a French composer of the 16th century, of whose life absolutely nothing is known, but who has left enough good work behind him to warrant him considerable respect for his attainments as a musician. It is inferred that he was a nativo of or otherwise connected with Lyons, from the fact that the volumes containing his own works only were first published there. These are two Books of Motets a 5-8 (Lyons, 1547-48), and two Books of Chansons a 4 (Lyons, 1548). A Mass of his a 4, 'Si bona suscepimus,' was published separately at Paris in 1557, and a book of Psalms and Magnificats a 4 at Venice, 1555. He is largely represented in the Nuremberg and other important collections of the time from 1538 onward. From the 'Thesaurus musicus' of 1564 Commer has reprinted in his 'Collectio musicorum Batavorum,' tom. viii., ix., the Lamentation 'Incipit Oratio,' also three motets 'Sancta Trinitas,' 'Jam non dicam,' 'Tanto tempore nobiscum,' all a 8, excellent works, written in the Venetian fashion for two choirs answering one another.
9J. R. M.
11PHIPSON, THOMAS LAMB, D.Sc., F.C.S. (b. near Birmingham, May 5, 1833; d. Putney, Feb. 22, 1908), a prominent amateur violinist and musical littérateur. His father, Samuel Ryland Phipson—who interested himself in the adoption of several scientific innovations—resided for some years in Brussels, and it was at the University there, that Dr. Phipson obtained his Doctor's degree in Science at the age of 22. Although engaged in scientific labour for over forty years, Phipson occupied his leisure in the earnest study of music, and found time to attain a proficiency as a violin virtuoso, unusual among amateurs. His published works (other than scientific treatises) comprise:
13Biographies of celebrated Violinists; Bellini and the Opera of 'La Sonnambula'; Confessions of a Violinist; Voice and Violin, and two pamphlets entitled Guido Papini and Musical Sounds produced by Carbon.
15BIBL.—C. J. BOUVERIE, Scientific and Literary works of Dr. Phipson; The Strad, May 1903; Biographie et Dictionnaire des Littérateurs et savants français contemporains; WYMAN, Biographical Dictionary
17PHRASING
19PHRASE is one of the smallest among the divisions which distinguish the form of a musical work. Where there are distinct portions marked off by closes like full stops, and half closes like stops of less emphasis, the complete divisions are generally called periods, and the lesser divisions phrases. The word is not and can hardly be used with much exactness and uniformity, for sometimes a phrase may be all, as it were, contained in one breath, and sometimes subordinate divisions may be very clearly marked. (See PHRASING.)
21C. H. H. P.
23PHRASING. A musical composition, consists of a series of short sections of various lengths, called phrases, each more or less complete in itself; and it is upon the interdependence of these phrases, and upon their connexion with each other, that the intelligibility of music depends. The phrases are analogous to the sentences of a literary composition.
25The relationship of the different phrases to each other and to the whole work forms no part of our present subject, but may be studied in the article FORM; what we have at present to do with is the proper rendering of the phrases in performance, that they may be presented to the listener in an intelligible and attractive form. The process by which this is accomplished is called phrasing, and is perhaps the most important of the various elements which go to make a good and artistic rendering of a musical composition. Rousseau¹ says of it, 'The singer who feels what he sings, and duly marks the phrases and accents, is a man of taste.' But he who can only give the values and intervals of the notes without the sense of the phrases, however accurate he may be, is a mere machine.
27Just as the intelligent reading of a literary composition depends chiefly upon two things, accentuation and punctuation, so does musical phrasing depend on the relative strength of the sounds, and upon their connexion with or separation from each other. It is this close relationship of language to music which makes their union in vocal music possible and appropriate, and accordingly when music is allied to words it is necessary that the musical accents should coincide with those of the text, while the separation of the various phrases agrees with the division of the text into separate lines or sentences. In instrumental music, although the same principles underlie its construction, there is no such definite guide as that afforded by the sense of the words in a song, and the phrasing must therefore be the result of a just appreciation on the part of the performer of the general sense of the music, and of the observance of certain marks by which phrasing is indicated.
29If we now consider more closely the causes
31¹ Dictionnaire de Musique.
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