Scan 112
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
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1and a regular contributor to its yearbook, and a member of the musicology committee at the Hungarian Academy of Sciences. His chief research topic is Hungarian music history, with special reference to the musical life of Hungarian Protestant churches and schools, he has prepared many organ settings and choral compositions for church use
3WRITINGS
4Énekeskonyv református keresztények számára [Hymnal for reformed Christians] (Debrecen, 1948, 11/1974)
5A református gyülekezet eneklei [Hymnody of the reformed Congregation] (Budapest, 1950)
6'Halotténekcskonyveink dallamai' [The melodies of our funeral hymnbooks], Zenetudományi tanulmányok, i (1953), 287-330
7with K Bardós 'Az Eperjesi Gradual korusok es népencékdallamok [The gradual of Eperjes, choruses and popular hymns], Zenetudományi tanulmányok, vi (1957), 165 264 [with Ger summary]
8A XVI század magyar dallamai [The Hungarian melodies of the 16th century] (diss., Hungarian Academy of Sciences, 1962, Budapest, 1958) [with Ger summary]
9'Variantes des mélodies du XVIe siècle dans la musique folklorique hongroise moderne', SM, vi (1964), 67-106
10A humanista metrikus dallamok Magyarországon [The humanist metric tunes in Hungary] (Budapest, 1967) [with Ger summary]
11'Die Melodien des Lutherliedes in Ungarn', SM, x (1968), 11
12'Das Umsingen einer berühmten deutschen Singweise in Ungarn', SM xi (1969), 113
13'Maróthi György zenei ismeretei és svájci kapcsolatai' [Maróthi's musical acquisitions and Swiss connections], Magyar zenetudományi tanulmányok (1969), 103 [with Eng and Ger summaries]
14'A prágai Galszécsi-tordédi énekei' [The hymns of the Galszécsi fragment of Prague], Irodalomtörténeti közlemények (1970), 113
15Dicsérjétek az Úrat [Praise ye the Lord information about hymns] (Budapest, 1971)
16'Nachtrag zur Variation des Lutherliedes in Ungarn', SM, xiv (1972), 423
17'Szenci Molnár Albert és a magyar zenei hasbeleseg' [Szenci Molnár and Hungarian writings on music], Magyar zene, xv (1974), 350
18'Zur Metamorphose etlicher Hugenotensalmen', SM, xvi (1974), 179
19with K Bárdos 'A magyar protestans graduálok humnusai' [The hymns of the Hungarian Protestant graduals] (Budapest, 1976)
20Maróthi György és a kollegium zene [Maróthi and college music] (Budapest, 1977)
21O wahres Wort 50 Kirchenlieder aus der Reformationszeit in Ungarn (Kassel, 1977)
23VFRA LAMPLRT
25Ctesibius [Ktesibios] (fl Alexandria, 3rd century BC)
26Inventor According to Tannery and Farmer, he was active during the reign of Ptolemy Euergetes I (246-221 BC). A recent and thorough review of the evidence by Perrot strongly supports the conclusion adopted here that he was active c270 BC, the period of Ptolemy Philadelphus. He enjoyed wide fame in antiquity for his mechanical devices operated by the pressure of water or air. Often these were elaborate toys created to amuse the court: one such was a water-clock, with sounding trumpets among its ingenious fittings, made for Ptolemy's queen Arsinoë.
28The most famous and significant of Ctesibius's inventions was the HYDRAULIS, or water-organ. While some references fail to establish him precisely as its discoverer, his claim is assured by the weight of the total evidence and the lack of any satisfactory alternative theory. Farmer argued reasonably that the case for Ctesibius is strengthened by the existence of an Alexandrian treatise, surviving only in Arabic translation; this describes and illustrates a hydraulic musical device of a type much earlier than that described by Vitruvius or by Hero of Alexandria. His attempt, however, to identify the author, a certain Muristus (whose name exists in several variant forms), with Ctesibius remains highly conjectural and involves difficulties.
30No description of the hydraulis by Ctesibius himself has survived. According to reasonable modern conjecture, a lever-actuated piston forced air into a chamber partially filled with water and thence to the pipes. Lucretius (v 332-7) and Cicero (Tusculans, iii, chap. 18, §43) wrote admiringly of the hydraulis, which achieved great popularity in Rome, and in the first years of the Empire Vitruvius attempted to describe it. He spoke of a wind chest divided into four, six or eight air channels the limitation to the octave is noteworthy and gave a detailed account of a mechanism in which keys set slide valves in motion to open or close the passage of air to the pipes (x. chap 8, §§2, 6) A Roman hydraulis dating from AD 228, very close to the date of Athenaeus's description of the instrument (174a, e) has been unearthed at Aquincum, near modern Budapest. Ctesibius's invention, essentially an elaboration of the panpipes, is without question the ancestor of the immensely complex modern pipe organ
32BIBLIOGRAPHY
33P Tannery 'Athénée sur Ctesibios et l'hydraulis' Revue des études grecques ix (1896), 23
34'L'invention de l'hydraulis' Revue des études grecques, xxi (1908), 326
35H Diels Antike Technik (Leipzig 1920), 198ff
36H G Farmer The Organ of the Ancients (London 1931), 15ff 60ff 127ff
37A G Drachmann Ktesibios Philon und Heron (Copenhagen, 1948, Eng trans., 1963)
38J Perrot L'orgue de ses origines hellénistiques (Paris 1965 Eng trans. 1971) 61f, 231f, 1431f
39G Wille Musica romana (Amsterdam 1967) 205, 586
40W Walcker Mayer Die römische Orgel von Aquincum (Stuttgart, 1970)
42Cuatro. A small four-string plucked lute descended from the Spanish vihuela, see COLOMBIA, §II, 4, MEXICO, §II, 2(1), PUERTO RICO, §II, 3 4, VENEZUELA, §II, 4
44Cuba. Island republic in the West Indies
46I Art music II Folk music
481. Art music.
49The history of art music in Cuba shows that it surpassed that of any other Caribbean island, although colonial music started much later there than in large Latin American countries. Musical activity during the 16th and 17th centuries was apparently limited. At that time sacred music was concentrated at Santiago Cathedral, the earliest reference to music indicates the presence there in 1544 of Miguel Velázquez, a native organist. The post of maestro de capilla was established in 1682, with limited means, by Bishop Juan García de Palacios, and was first held by Domingo de Flores.
51Attempts to revive church music at Santiago, begun during the first half of the 18th century, were successful only during the latter part of the century, when Cuba produced its first important composer, Esteban Salas y Castro. Before his transfer to Santiago in 1764 Salas was associated with the music of the Havana parish church (which became a cathedral in 1788). His extensive output includes masses, generally in four parts with string accompaniment, Lamentations, and psalm settings, motets, litanies and numerous villancicos in the vernacular. His liturgical pieces are in a transitional style combining late Baroque and pre-Classical characteristics. Another Cuban, Francisco José Hierrezuelo, succeeded Salas at Santiago; after his resignation the Spaniard Juan Paris (1759 1845) occupied the post (1805-45). The musicologists Alejo Carpentier and Pablo Hernández Balaguer discovered several of Paris's works, which include many villancicos. By the 1830s
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