Scan 87
Stokes Encyclopedia Of Music And Musicians Volume Ii, 1908
23 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1mae placed on this red line were then understood to represent f, while such as appeared above the line were of higher pitch, and those below the line, of lower pitch. The next advance in notation was the addition of a second line, this time of yellow, to indicate c'. HUCBALD, a monk of St. Amand in the tenth century, invented a staff of many lines in which the spaces indicated the tones and semitones of the scale, the text being written in the spaces. He complicated his system by reverting to the Greek tetrachordal characters, and it soon fell into disuse. Early in the eleventh century, GUIDO of Arezzo either invented the four line staff or adapted the idea from some other churchman, whereon as with us, notes were written on both lines and spaces. By the thirteenth century the fifth line was added, and the neumae had begun to disappear before the Large, the Double Long, the Long and the Breve, prototypes of the notes now in use. The next important step in the development of notation was the adoption of the Bar from Lute Tablature, and with it a more definite rhythmic form than had been possible or indeed needful in earlier notation. Then came the abandonment of the church MODES for the modern Major and Minor Scales, since which time the tendency has been to simplify as far as possible whatever difficulties remained in the recording of music. Thus the GRACES which proved so troublesome to students a few generations ago have nearly all become obsolete. The first full score of record is that of Peri's "Euridice," 1600. In that work the vocal part is given above the instrumental accompaniment, and the parts are united by bars. A page from Beethoven's NINTH SYMPHONY, full score, and a page from Debussy's PELLÉAS ET MÉLISANDE, are here reproduced as interesting specimens of classic and present day notation in music.
3Note. Character representing a musical tone; hence the tone represented:
4Notazione Musicale. It. Musical NOTATION.
6Notker ("Baebulus") wrote on Plain Song and the Roman letters used in notation, essays reprinted by Gerbert; monk of St. Gall and composer. B. about 840; d. 912.
8Notot (Joseph) composed four symphonies, three piano concertos, so-
10Specimen of Lute TABLATURE
12Translation:—
14natas; played organ, Arras and Paris; settled in London on outbreak of French Revolution; pupil of Leclerc. B. 1755, Arras; d. England.
16Nottebohm (Martin Gustav) wrote "Beethoveniana" and other valuable works on that composer and on Schubert; edited Bach, Handel, Mozart, Beethoven, Mendelssohn. B. Nov. 12, 1817, near Arnsberg, Westphalia; d. Oct. 29, 1882, Gratz.
18Notturno. It. At first a serenade, the name is now indiscriminately applied to compositions of quiet, simple style. Developed by John Field on lines further taken up by Chopin.
20Notula. L. Notes employed in writing ligatures.
22Nourrit (Louis) sang ten. in opera, debut as Renaud in "Armide," Paris
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