Scan 374
The MacMillan EncyclopEdia Of Music And Musicians In One Volume-I, 1938
16 lines. Read by computer on 16 September 2026. Printed page 371. See the scan on archive.org.
1the first conservatory there was likewise founded by a Flemish musician, Adrian Willaert, at about the time the first school at Naples was founded. From this beginning, four great conservatories originated: L’Ospedale della Pietà, dei Mendicanti, degl’ Incurabili, L’Ospedaletto de’ S.S. Giovanni e Paolo. These conservatories have now ceased to exist, but the Reale Conservatorio di Musica is still functioning in Milan. Chapel schools of music were also opened for the choirs of the large cathedrals, the first of that type being founded in the 6th century by Pope Gregory the Great for the Pontifical Chapel at Rome. Later schools of greater scope in musical education, such as the Thomasschule at Leipzig and the Kreuzschule at Dresden, came into existence. At these, the boys served as choristers while their training would equip them to be cultivated musicians later in life. Until the beginning of the 19th century, each boy received individual professional training from one of the masters, an arrangement similar to that of the apprentice in the guilds. It was in Paris that the École Royale de Chant et de Déclamation was established to train musicians for the Opéra; in 1795 this school became the Conservatorio Nationale de Musique, and included the training of players for the national army bands. Its influence was so great that similar institutions were started at Bologna in 1804, at Milan in 1807, and at Naples in 1808, a consolidation of the several existing schools accomplished by the founding of the Collegio Reale di Musica. Schools were also created at Prague in 1811, at Brussels in 1813, at Vienna in 1817, at London, England, in 1823, at The Hague in 1826 and at Liége in 1827. In 1843, Mendelssohn established the Leipzig Conservatorium, more modern than its predecessors, and its influence was to be felt throughout the Continent, Great Britain and the Americas. Instrumental training was recognized quite as much as vocal; composition and the preparatory training of teachers received their proper consideration. Musical conservatories of varying size and rank have been established in all the large cities and countries of Europe; in America and Great Britain the conservatories are fewer in number, and usually privately owned, while the majority on the Continent are subsidized by the State. The curriculum of these schools include courses for the study of all orchestral instruments, the piano, and the training of singers for opera and concert work; also various theoretical studies such as harmony, counterpoint, form and analysis, musical history and appreciation, orchestral and recital practice. Such institutions are often an affiliated part of a great university, as the Eastman School of Music of the University of Rochester, and have the power of conferring degrees in music. In addition to collections of musical instruments, most conservatories possess a library of music, records and books about music. The names of all the great musical conservatories in the world are given in another article in this work.
3Conservatory of Music (Paris), see Conservatoire de Musique (Paris).
4Consilium, see Conseil, Jean.
5Consilium, Jacques, 16th century French composer; his name is presumed to have been Latinized by the collectors of motets, after the fashion of the day, and his works are to be found in collections published in Paris, Nuremberg, Leyden and Augsburg.
6Consolante (It.), consoling, soothing.
7Console, the name applied to that part of the organ under the immediate control of the performer; it includes the manuals, drawstops, pedals and accessories. The console can be located at any desired distance from the actual pipes and bellows.
8Consoli, Achille, Italian conductor, born Catania, Sept. 23, 1886. He studied in Palermo, became an opera director in Italy, and both North and South America, and a symphonic conductor in Vienna.
9Consolini, Angelo, Italian violinist and composer, born at Bologna in 1864; died there in March, 1934. He was also a fine viola and viola d’amore player, wrote violin studies, and edited classic violin and viola music.
10Consolo, Ernesto, English-Italian pianist and teacher, born at London, Sept. 15, 1864; died Mar. 21, 1931; pupil of Sgambati and Reinecke.
11Consolo, Federigo, Italian violinist and composer, born at Ancona in 1841; died Florence, Dec. 14, 1906; pupil of Giorgetti, Vieuxtemps, Fétis and Liszt. A nervous affliction forced him to abandon playing, and he took up composition and historical research. He composed a violin concerto, a piano concerto, and published a work on the transliteration of neumes into modern notation.
12Consonance, the pleasing result to the human sense of hearing when certain combinations of musical tones are sounded simultaneously. In the theory of music, consonance is applied to intervals which are final in themselves and require no resolution; these are all perfect intervals (primes, fourths, fifths and octaves), classified as perfect consonances, and all major and minor thirds and sixths which are termed imperfect consonances.
13Consort, the name given in England during the 16th and 17th centuries to a group of instrumentalists playing together; their performance was also referred to as a “consort.” A “whole consort” was achieved by all playing upon instruments of the same kind, as viols; a “broken consort” consisted of various types of instruments as wind and string. See Chest of Viols.
14Constantin, Louis, French violinist, born about 1585; died at Paris in Oct. 1657; one of the best virtuosi of the early French school and highly praised by Mersenne. He was also a composer, taking part as a youth in the music at the court of Louis XIII.
15Constantin, Titus Charles, French conductor and composer, born Marseilles, Jan. 7, 1835; died Pau,
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