By G. Grove
This can be a reissue of the 1st variation of George Grove's Dictionary of song and Musicians, which has due to the fact that developed to develop into the biggest and such a lot authoritative paintings of its variety in English. The undertaking grew within the making: the name web page of quantity 1 (1879) refers to 'two volumes', yet by the point quantity four seemed in 1889 there has been additionally a 300-page appendix and a separate index quantity. The dictionary used to be a world venture, with members from Paris, Leipzig, Berlin, Vienna and Boston along these dependent in Britain. It was once 'intended to provide an excellent and lengthy stated wish' coming up from the elevated curiosity in all facets of tune, which was once 'rapidly changing into a vital department of education', and to cater for the pro whereas being available to the beginner. it's a attention-grabbing record of musical tastes and values within the overdue Victorian interval.
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Extra resources for A Dictionary of Music and Musicians (A.D. 1450-1880) (Volume 1)
Accents or marks, sometimes called pneumg, for the regulation of recitation Son, who with Thee and the Ho - ly Spi - rit and singing were in use among the ancient per om - ni - a : - cu - la sae - cu - lo - rum. A - men. Greeks and Hebrews, and are still used in the synagogues of the Jews. They are the earliest forms of notes used in the Christian Church, and liv - eth ami reign-eth e - ver one God, etc. A - men. it was not till the n t h and 12th centuries that they began to be superseded by the more definite 4.
For history and description of the different actions see CLAVICHORD, HARMONIUM, HARP, HARPSICHORD, OKGAN, and PIANOFORTE. [A. J. ] ACUTENESS. A musical sound is said to be more acute as the vibrations which produce it are more rapid. It is said to be more grave as the vibrations are slower. Thus of the two notes and the former of which is produced by 512 vibrations per second, and the latter by 256, the former is called the more acute, the latter the more grave. The application of these terms is not easy to account for.
The adagio also is generally of a more florid character, and contains more embellishments and figurated passages than the largo. The distinction between the two will be clearly seen by comparing the adagios in Beethoven's sonatas, op. 2, Nos. 1, 3, and op. 13, with his largos in the sonatas op. 2, No. 2 and op. 7. ' Thus in the autograph of Haydn's Symphony in D (Salomon, No. 6), at the end of the first movement, we find ' Segue Adagio,' though the next movement is an Andante. [E. g. Raff's Suite in C).