User:Kosboot/Sandbox, User:Kosboot/sandbox2

m:Learning_patterns

Sutro: Women in Music and Law https://books.google.com/books?id=LGJIAAAAYAAJ&dq=sutro%20women%20and%20the%20law&pg=PA27#v=onepage&q=sutro%20women%20and%20the%20law&f=false

Kathi Meyer-Baer

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Kathi Meyer-Baer was a musicologist, librarian and bibliographer, "arguably the most significant, and surely the most productive, female musicologist of her generation."[1]

Katharina Gertrud Meyer was born to a prosperous Jewish family in Berlin on July 27, 1892.[1] She attended a girls' gymnasium and later attened She studied piano with Frieda Kwast-Hodapp. She attended the University of Berlin studying in particular with Hermann Kretzschmar and Johannes Wolf. Her dissertation Der chorische Gesang der Frauen was initially rejected by Kretzschmar who provided no reason, so in 1915 she transferred to Leipzig University and submitted it to Hugo Riemann who accepted it immediately. As she had taken a second major in acoustics, she took exams with Johannes Wiener, who congratulated her upon passage of the exams.and was awarded the Ph.D. in 1916.[1]. Her dissertation was published the following year.


She was the first woman to earn a Ph.D. as a musicologist.[1]

She worked as the resident musicologist for bibliophile Paul Hirsch.[1]


"In the end, she had no choice but to live her life as an independent scholar. She did so with grace, courage, perseverance, and enormous productivity."[1]


References

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  • Josephson, David (2008). ""Why Then All the Difficulties!": A Life of Kathi Meyer-Baer". Notes. 65. JSTOR 27669837.

Notes

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  1. ^ a b c d e f Josephson, p. 228.

Luigi Bordese

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Luigi Bordese (1815—1886) was an Italian composer who spent most of his career in Paris composing operas.

Luigi Bordese was born in Naples and was educated at the Naples Conservatory.[1] From 1834 he resided in Paris where he composed numerous operas.[1] When his operas no longer met with success, he directed his energies toward vocal pedagogy, publishing a number of vocal exercises.[2] Of his many operas, Fetis described his output as containing more craft than art.[2]



In RILM encyclopedias

Fetis

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  • BORDÈSE, Luigi By: Fétis, F. J., Pougin, Arthur M., Biographie universelle des musiciens et bibliographie générale de la musique, 1878 0101, Vol. 1, Issue Supplément et complément
  • 30 leçons de chant à 2 voix (Choudens);
  • 36 leçons de chant faciles et graduées (Gérard);
  • L’Art de vocaliser, d’après Rossini (id.);
  • Messe solennelle de Gloria, à 3 voix, chœur et orgue (Schonenberger);
  • Messe du Saint Esprit, à 2 voix, chœur et orgue (id.);
  • messe de Requiem à 2 voix (id);
  • Messe complète à 3 voix (id.);
  • La Semaine religieuse des demoiselles, 8 motets à 1 voix (id.);
  • Nouveau mois de Marie, 12 prières à la Vierge, à 1 ou 2 voix (id.);
  • 100 Chants sacrés à 4 voix d’hommes, avec accompagnement d’orgue ou d’harmonium (id.);
  • Le Trésor musical des enfants, 90 chants et prières à 1 ou 2 voix (id.);
  • Bouquet musical et religieux, 10 morceaux à plusieurs voix, pour le mois de Marie (id.),
  • Solennités religieuses, 101 solos, duos et trios pour différentes voix, sur paroles latines, avec accompagnement d’orgue ou d’harmonium (id.);
  • Fiori d’Italia, 14 chants (id.);
  • Frère et sœur, Fais ce que dois, le Moulin des oiseaux, Oreste et Pylade, Fort comme un Turc, les Orphelines, Royal-Dindon, le Miracle des Roses, la Fête des Fleurs, les Deux Turennes, Assaut de Soubrettes, opérettes pour pensionnats; Noë, David chantant devant Saül, les rois Mages, Bethléem, la Prophétie, Judas, Jérusalem, l’Aveugle de Jéricho, scènes bibliques; le Pêcheur roi, Faust, Jocelyn, la Vision de Jeanne d’Arc, le Doigt de Dieu, l’Enfant égaré, la Jeune Martyre, Cora, la Jeune Négresse, Charlotte corday, la Vierge de Vaucouleurs, Chimène, Clotilde, reine des Francs, Jeanne Grey, le Songe de lady Macbeth, Jeanne d’Arc à Rouen, Sapho, scènes dramatiques et lyriques; les Fêtes bénies, album de *12 chants religieux à 1, 2 ou 3 voix; 3 hymnes
  • Sacrées, pour 2 voix égales; 4 mélodies religieuses; 6 chœurs pour distributions de prix; 21 chants célestes, à 3 voix; les Femmes de la Bible, 12 morceaux à 1 voix. Enfin, à tout cela, il faut ajouter encore plusieurs centaines de mélodies, *Romances, chansons, airs, cavatines, duos, trios, chœurs, motets, morceaux de genre, etc. M. Bordèse avait fait recevoir en 1867, au Théâtre-Italien de Paris, un opéra semi-sérieux en 3 actes, la Fioraia, qui n’a pas été représenté.

Bio dict

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  • Biographical Dictionary of Musicians: With a Bibliography of English Writings on Music
  • BORDÈSE (Luigi). Italian comp., Naples, 1815. S. at Naples Cons. Went to Paris, 1834. Resided there from 1834. He has composed a number of light operas, such as Zelimo e Zoraide, 1834; La Mantille, 1837; L’Automate de Vaucanson, 1840; Jeanne de Naples, 1840; Les Deux Bambins, 1848, which have achieved temporary popularity.

Stieger

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  • Opernlexikon / Opera catalogue / Lexique des opéras / Dizionario operistico. II: Komponisten 1977. p. 135-136 Language: German. ISBN: 978-3-7952-0203-3.

|| [Titel des Werkes] [Gattung des Werkes] [Anzahl der Akte] [Textautor(en)] [Nähere Aufführungsdaten]

  • I promessi sposi || Oper || Checcherini, Gius. Checcherini || Neapel inv. 1830 t. Nuovo
  • Zelimo e Zoraide = Il califo riconosciuto || für Turin1834, aber n.g.
  • La mantille || Opéra comique ||1 || Planard u. Goubeaux, Hautefeuille || Paris || 31.12.1837 Op.com.
  • L'automate de Vaucouson || Opéra comique || 1 || Leuven || Paris || 9.1840 || Op.com.
  • La reine Jeanne (de Naples) || Oper || 3 || Leuven u. Brunswick (m.Monpou ) || Paris || 2.10.1840 Op.com.
  • I Quindici || Oper || Tarantini, Leopoldo Tarantini || Neapel ||1842|| t.S.Carlo
  • I Gemelli di Preston || Oper || 2|| Giacchetti, G. Giacchetti || Turin || 11.1842 t. Carignano
  • Le Sultan Saladin || Opéra comique ||1 || Dupin || Paris || 8.2.1847 Op.com.
  • Les deux Bambins ||Opéra comique ||1|| Leuven u. Brunswick || Paris || 4.12.1848 Op.com.
  • Frère et soeur ||Operette ||Plouvier ||Paris ||1854 priv.
  • Les deux comtesses ||Operette Flan, Marc Alex. Flan ||Paris ||1861 priv.
  • La Fioraia ||Oper ||3 || ||1867für Paris, n.g.
  • Les mensonges de la marquise || Operette ||1 ||Tourte, F. Tourte ||Paris ||1882
  • Fais ce que dois || Operette || || ||
  • Le moulin des oiseaux || Operette || Plouvier u.a. || in Nancy || 21.2.1898
  • Oreste et Pylade ||Opéra comique ||1 ||Flan u.a. in ||Paris 23.10.1892 Rue de Turenne
  • Fort comme un Turc ||Operette ||1 ||Flan u.a. ||in Le Havre ||16.5.1897
  • Les orphelines || || || ||
  • Royal Dindon ||Operette ||1 ||Flan u.a. in ||Paris ||5.6.1887 Salle Horticulture
  • Le miracle des roses || || || ||
  • La fete des fleurs Operette 1 Joly, A. Joly
  • Les deux Turenne Operette 1 u.a. in Orleans 24.2.1887
  • Assaut des Soubrettes Operette Flan
  • Un concert chez les demoiselles de Saint-Cyr Operette
  • L'esprit et le coeur Operette 1 Flan
  • Fleur des champs Operette 1 Nac, Paul Nac 1888
  • Le malade malgré lui Opéra comique 1 u.a. in Creuzot 6.7.1896
  • Le marché aux domestiques(servantes) Operette 1 Trefeu u.a. in Creuzot 3.2.1889
  • Chien et chat Operette
  • Judith et Suzon Operette Tourte, F. Tourte
  • La poule noire Operette Tourte, F. Tourte
  • Le Sultan Aboul-Azor Operette

Dramatische und lyrische Szenen: [Titel des Werkes] [Gattung des Werkes] [Anzahl der Akte] [Textautor(en)] [Nähere Aufführungsdaten]

  • Le pecheur roi
  • Faust
  • Jocelyn
  • La Vision de Jeanne d'Arc
  • Le Doigt de Dieu
  • L'Enfant egaré
  • La jeune Martyre
  • Cora
  • La jeune Negresse
  • Charlotte Corday
  • La vierge de Vaucoulais
  • Chimène
  • Clotilde reine de France
  • Jeanne Grey
  • Le songe de Lady Macbeth
  • Jeanne d'Arc à Rouen
  • Sapho
  • Attila Camp, A. de Camp 1882

Biblische Szenen:

  • Noé
  • David chantant devant Saul
  • Les rois mages
  • Bethléem
  • La Prophetie
  • Judas
  • Jérusalem
  • L'aveugle de Jéricho

Drexel 5612

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Serial number Modern pagination Original pagination Title Composer Scribe Final Printed source
1 1 1 The Princes Mask Anonymous [Gibbons?] 1 Musica Britannica xx no. 44
[2] 1 1 A Masque Anonymous [Gibbons?] 1 Fitzwilliam Virginal Book II p. 266
[3] 1 1 A Mask / The Jolly Sheapperd Anonymous [Gibbons?] 1 G-C Anne Cromwell's Virginal Book 1638 no. 30
4 2-3 2-3 The Scotish Gigg Anonymous 1
5 4 4 Captaine Pipers Pavion [Based on Dowland] 1
6 4 4 The Galliard [Based on Dowland] 1
7 5 5 Bates Mask Anonymous 1
8 5 5 A Mask / The Jolly Sheapperd /finis E 1
[9] 6 6 Coranto Doc:Bull Finish [Bull] 1 Musica Britannica XIX no. 79
[10] 7-13 The Quadaran Pavion Doc:Bull /Finish Doc:Bull 1 Musica Britannica xix no. 127b and 127c
[11] 14 Prelude Dr:Bull [Bull] 2 Musica Britannica xix no. 120
[12] 15 11 Paven /Tho[mas] Weelke[s] 2 M.H. Glyn Weelkes, Pieces…p.6
13 15 11 Alman I Anonymous 2
[14] 16 12 A Pavion [Byrd] 1 Musica Britannica XXVIII no. 72a
[15] 17 [End of the galliard] /finis Mr Bird 1 Musica Britannica XXVIII no. 72b
[16] 17-19 -17 A Pavion /finis Doc:Bull 1 Musica Britannica xix no. 129a "Lord Lumley"
[17] 20-21 18-19 The Galliard /Doc:Bull 1 Musica Britannica xix no. 132a "Regina I"
[18] 22-27 20-25 Mr Gibbons Peascod time /finis Mr Gibbons 1 Musica Britannica xx no. 30
[19] 27 25 A maske Anonymous 2 C Anne Cromwell's Virginal Book 1638 no. 21
20 28 26 A Toy:I Anonymous 1
21 28-29 26-27 A Toy Anonymous 1
22 29 27 A toy Anonymous 1
[23] 30 The Merie Anonymous 1 English Pastime Music, 1630-1660 no. 72
[24] 31-33 29-31 Dr. Bull Go from my window goe [Bull] 2 Musica Britannica xix no. 123
25 34-35 -33 The nine Muses:I /finis Mr est 1 A
36 The:2:muse 1 A
37 35 The:3:muse 1 A
38 The:4:muse 1 A
39 37 The:5:muse 1 A
40 The:6:muse 1 A
41 39 The.7.muse 1 A
42 The 8 muse 1 A
[26] 43 41 The Lord of Salisbury his Pavin /finis Or Gibbons 1 Musica Britannica xx no. 18
[27] 44-45 -43 The Galiardo [Gibbons] 1 Musica Britannica xx no. 19
[28] 46-49 -47 D; Bull Paven [Bull] 2 A Musica Britannica xix no. 86a "Fantastic"
29 49 47 Saraband [?] Anonymous 3
30 49 47 Current price [Anonymous: John Price?] 3 A
31 50 The highlanders marche [Anonymous] 3 F
[32] 51 27 Volluntarie 4 parts [Anon: Weelkes?] 1 A Glyn Weelkes pieces…p. 4
[33] 52 28 Voluntarie 4 parts /Mr Wilkes 1 A Glyn Weelkes pieces…p. 2
[34] 53 29 An Almayn /G[e]orge Farnaby 1 Musica Britannica xxiv no. 22
35 53 29 An Almayn /Mr Hoop[er] 1
[36] 54 30 Coranto /Mr Gibbons 1 Musica Britannica xx no. 40
[37] A Almayne [Anon] Partenia In-Violata no. 16
[38] 55 31 The thumping galliard /Doc Bull 1 Musica Britannica xix no. 90
[39] 56 32 A Toy D B /Doc:Bull 1 Musica Britannica xix no. 93 "The Duek of Brunswicks Alman"
[40] 56-57 32-33 A Toy Mr Curch /Finis mr Tompkins [Farnaby] 1 Musica Britannica xxiv no. 28
41 57 33 The Tobacco pipe [Anon] 1
42 58-59 34-35 A Galliard mr Tompkins /Mr Tompkins 1 Musica Britannica v no. 58 "Hunting Galliard"
[43] 59 35 The man in the moone Anon 1 English Pastime Music, 1630-1660 no. 18
[44] 60 36 A Coranto Doc:Bull Doc:Bull 1 Musica Britannica xix no. 97 "The Duches of Brunswicks Toye"
[45] 60 36 The [E]arle of [Sa]llisburis A Pavion /Mr Bird 1 Musica Britannica xxvii no. 15a
[46] 61 37 The Galliard /Mr Bird 1 Musica Britannica xxvii no. 15b
47 61 37 Mr Warwicks maske [Anon] 1
[48] 62-63 38-39 A Pavion Mr Bird Mr Bird 1 Musica Britannica xxvii no. 14a
[49] 64 40 The Galliard /Finis Mr Bird 1 Musica Britannica xxvii no. 14b
[50] 65 41 The Ladie Folliotts Galliard /Finis Mr Tompkins 1 Musica Britannica v no. 59
[51] 66-67 42-43 A Pavon Mr Bird /Mr Bird [?] 1 S.D. Tuttle William Byrd, Forty-five pieces…p. 40
[52] 68-69 44-45 The Galliard Mr Bird /Finis mr Bird [?] 1 S.D. Tuttle William Byrd, Forty-five pieces…p. 44
[53] 70-71 46-47 What if a day /Finis Mr Tompkins 1 Musica Britannica v no. 64
54 72-79 48-55 O Lord in thee is all my trust John Amner 1
72 48 Mr Amner:I
72-73 48-49 Vers:2
73 49 Vers:3 /Forward
74 50 Vers:4:
75 51 Vers:5: /Forward
76 52 Vers:6: /forward
77 53 Vers:7: /forward
78-79 54-55 Vers:8: /Finis Mr Amner
55 79 55 Voluntarie 3 parts [Anon] 1
56 80 56 [No title, incomplete] [Anon] ? D
57 80 56 Voluntarie 2 parts [Anon] 1
58 81 57 Volluntarie 3 parts [Anon] 1 D
59 82 58 the princes delight [Anon] 1 C
[60] 82-85 58- galliard mr tomkins [Gibbons] 2 Musica Britannica xx no. 24
[61] 86-89 A paven by mr D:Bull [Bull] 4 Musica Britannica xix no. 88a
[62] 90-92 The galliard [Bull] 4 Musica Britannica xix no. 88b
[63] 92-94 Mr: Gibbons Ground [Gibbons] 2 Musica Britannica xx no. 26
95 59 blank
[64] 96-97 60-61 A Pavion Mr Birds [Byrd] 1 Musica Britannica xxvii no. 23a
[65] 98-99 62-63 The Galliard /finis Mr Bird 1 Musica Britannica xxvii no. 23b
66 99 63 Alman [Anon] 2 G-E
[67] 100-02 64-66 Sr Wil: Peter A Pavion [Byrd] 1 G Musica Britannica xxvii no. 3a
[68] 102-03 66- Preludiū /Or: Gib[bons] 1 Musica Britannica xx no. 2
[69] 104-05 Pav: D:Bull [Bull] 2 G Musica Britannica xix no. 128a "Trumpet Pavan"
[70] 106-10 Galliard Doc:Bull [one continuous piece; the second half begins m. 41] [Bull] 2 G Musica Britannica xix no. 132b and 132 "Regina II" and "Regina III"
111 67 blank
[71] 112 68 [No title] [Anon] 1 C Anne Cromwell's Virginal Book 1638 no. 17
72 112 68 Pritty Dolley:Re [Anon] 1 C-D
73 113 69 A Mask [Anon] 1
74 113 69 Doe then [Anon] 1
75 113 69 A Toy [Anon] 1
76 114 70 A Mask [Anon] 1
[77] 114 70 Mr Birds Gigg [Byrd] 1 Musica Britannica xxvii no. 45
[78] 115 71 Ayre Mr Gibbons [Gibbons] 1 Musica Britannica xx no. 35
[79] 115 71 A Toy Mr Gibbons [Gibbons] 1 A Musica Britannica xx no. 34
[80] 116 72 A Mask Mr Gibbons [Gibbons] 1 Musica Britannica xx no. 45 "The Temple Mask"
[81] 117 73 A Galliard [Gibbons] 1 Musica Britannica xx no. 25
[82] 118-19 74-75 The Queens Command mr Gibbons [Gibbons] 1 Musica Britannica xx no. 28
[83] 120-21 76-77 The Itlian Grounde Mr Gibbons [Gibbons] 1 Musica Britannica xx no. 27
84 121 77 Sarabran /T. Holms 1
85 122 78 Allmaine /Mr T Holmes 1
86 123 A Maske [Anon] 1
124-25 blank
87 126-28 Misere[re] D:Bull ["William Jauncy of the Clos in Salbery"] [Bull] 2 G Musica Britannica xiv no. 34
129 BLANK
[88] 130-31 -79 [No title] [Anon: Bull] 2 G Musica Britannica xiv no. 38 "Salvator Mundi"
[89] 132-33 80-81 A Pavion mr Birde [Byrd] 1 Musica Britannica xxvii no. 29a
[90] 134 82 The Galliard [Byrd] 1 Musica Britannica xxvii no. 29b
135 blank
[91] 136-37 84-85 Mr Bird a Pavion /Finis Mr Bird 1 Musica Britannica xxvii no. 31a
[92] 138-39 86-87 The Galliard [Byrd] 1 Musica Britannica xxvii no. 31b
[93] 140-41 88-89 A Pavion Mr Bird [Byrd] 1 Musica Britannica xxvii no. 33a
[94] 142 90 The Galliard M B [Byrd] 1 Musica Britannica xxvii no. 33b
95 143 91 /the virgyne [Anon] 5 D
[96] 144-46 92-94 [No title] [Bull] 6 A Musica Britannica xiv no. 42 "Veni Redemptor Gentium I"
[97] 147 The Nightingall [Anon] 1 English Pastime Music, 1630-1660 no. 15, Elizabeth Rogers Virginal Book no. 20
[98] 148 The Mock Nightingall [Anon] 1 D Elizabeth Rogers Virginal Book no. 47
[99] 148 A man had 3 sones [Anon] 1 G English Pastime Music, 1630-1660 no. 53
100 149 Almaine [Mr: Mels] 2 Bb
101 149 /theSaraband Mr:Mels Mels 2 Bb
102 150-51 90-91 the nightingall [Anon] 5
103 151 91 the mock nightingall [Anon] 5 D
[104] 152 92 a french Ayr [Anon] 5 D Elizabeth Rogers Virginal Book no. 50
105 152 92 An Almayne [Anon] 5 G
106 153 93 the mayde [Anon] 5
107 154 94 My pleasur [Anon\ 5 F
108 154-55 94-95 mr lawes flat tune [William Lawes] 5 G
109 155 95 the Gentlewoman [Anon] 5 G
[110] 156-57 96-97 Mall Simes [Anon] 1 Monumenta Musica Neerlandica III p. 69
111 157 97 A Toy /E 1
112 157 97 Little Dick [Anon] 1
[113] 158 98 Why aske you [Bull] 1 Musica Britannica xix no. 63
114 159 99 Tom A Bedlam [Anon] 1
[115] 159 99 Williams his Love [Anon] 1 Songs and Dance for the Stuart Masque, 1601-41 p. 158
116 160 100 Barowfostus Dreame [Anon] 1
[117] 160 100 A Mask [Gibbons] 1 Musica Britannica xx no. 41 "Nann's Mask or French Allmaine"
[118] 161 101 Almayne Mr Gibbons [Gibbons] 1 Musica Britannica xx no. 33
119 161 101 Hay Makers Mask [Anon] 1
[120] 161 101 A Mask [Gibbons] 1 Musica Britannica xx no. 42 "Welcome Home"
121 162 102 A Mask [Anon] 1
122 162 102 A Toy /Finis Tho Holmes 1
[123] 163 103 My Lady Hattons Galliard [Gibbons] 1 Musica Britannica xx no. 20
[124] 163 103 A Mask [R. Johnson] 1 English Pastime Music, 1630-1660 no. 95
[125] 164 104 A Mask [Anon] 1 English Pastime Music, 1630-1660 no. 86
126 164 104 A Mask [Anon] 1
127 164-65 104-05 An Allmaine Mr Hooper [Anon] 1
[128] 165 105 A Mask [Anon] 1 English Pastime Music, 1630-1660 no. 83
[129] 165 105 The pleasnt widdow [Anon] 1
130 166 106 [No title] [Anon] 7
131 166 106 The Mock Widdow [Anon] 1
[132] 167 107 A Toy [Anon] 1 Anne Cromwell's Virginal Book 1638 no. 41
133 167 107 A toy [Anon] 1
[134] 168 108 [No title] [Anon] 1 Anne Cromwell's Virginal Book 1638 no. 27
[135] 168-69 108-09 Mr Blithman innomi[ne] [William Blitheman] 2 Musica Britannica I no. 93
[136] 170-71 110-11 3 parts Mr:Gibbons = no. 168D [Gibbons] 2
[137] 171-73 111-13 [No title] [Bull] 2 Musica Britannica xix no. 66a "Pavana"
138 174 114 Alman law [Anon] 2
139 174 114 Corante [Anon] 2
140 174-75 114-15 Almaine [Anon] 2
141 175 115 [No title][Corante] [Anon] 2
142 175 115 Mells Alman [Anon] 2
143 176 106 [116] Cora[nte] [Anon] 2
144 176 106 [116] Saraband [?] [Anon] 2
145 176 106 [116] [No title] [Anon] 2
146 177 107 [117] [No title] [Anon] 2
147 177 107 [117] [No title] [Anon] 2
148 178 108 [118] a mask [Anon] 2
149 178 108 [118] A Toy [Anon] 2 Bb
150 179 109 [119] [No title] [Anon] 2
151 179 109 [119] [No title] [Anon] 2 A
152 180 120 [No title] [Anon] 1
153 180 120 [No title; but=no. 155 in different key] [Anon] 2 F
[154] 180-81 120-21 The milke maide [Anon] 2 C Anne Cromwell's Virginal Book 1638 no. 31
155 181 121 Blewcapp [Anon] 2 Bb
156 181 121 the Twins [Anon] 2 C
157 181 121 The noble Shirve [Anon] 2
[158] 182 122 The Boone Companion [Anon] 1 Anne Cromwell's Virginal Book 1638 no. 18
159 182-83 122-107 [No title] Lenord Mells 1
160 183 107 New hidd parke [Anon] 1
161 183 107 [No title] [Anon] 2
162 184-85 108-09 The Earle of Hartfords Muse A Pavion: Joh:Bartlet [John Bartlet] 1
[163] 186-87 110-11 Lacrimae A Pavion Jo:Do: [Anon: Based on Dowland] 1 English Pastime Music, 1630-1660 no. 66
164 188-89 112-13 James his Galliard [Anon: Based on Harding's Galliard] 1
[165] 190-91 114-15 The Princes Galliard. Doc Bull [Bull] 1 Musica Britannica xix no. 113
[166] 192-93 116-17 Bonny sweete Robin mr Bird [Bull or Barnaby] 1 Musica Britannica xix no. 65 Musica Britannica xxiv no. 35 [with a 5th seciton]
[167] 194-95 118-19 Lulla by Mr Bird [Thomas Byrd?] 1 E.H. Fellowes, Collected Works of William Byrd XX, part iii, p. 146
168A-H 196-206, 215 120-130, 131 [No title: 8 fantasies out of 9 that appear elsewhere] [Gibbons; the name added by a lter hand] 6
168A 196-97 120-21 [Gibbons] 6
168B 197-98 121-22 [Gibbons] 6
168C 198-99 122-23 [Gibbons] 6
168D 200-01 124-25 [= no. 136] [Gibbons] 6
168E 201-02 125-26 [Gibbons] 6
168F 202-04 126-28 [Gibbons] 6
168G 204-05 128-29 [Gibbons] 6 G
168H 206, 215 130, 131 [Gibbons] 6 G
[169] 199 123 Hidd Parke [Anon] 1 Monumenta Musica Neerlandica III p. 66
170 207 [No title; incomplete] [Anon] 3 F
171 207 maske [Anon] 3 A
208 132 blank
172 209 A Pavion [Anon] 1
173 210 [No title] [Anon] 1
[174] 211-12 Pavin Mr Orlando Gibbons [letters cropped at the top] [Gibbons] 2 G Musica Britannica xx no. 16
175 213 [No title] [Anon] 3 C
176 213 [No title] [Anon] 2 C
177 214 [No title] [Anon] 2 G
178 214-15 -131 [No title] [Anon] 2 G
[179] 216-17 132-33 A Pavion /Finis Mr Morlie [Byrd] 1 Musica Britannica xxviii no. 60a "Phillippa Tregian"
[180] 218-19 134-35 The Galliard /Frinis mr Morly [Byrd] 1 Musica Britannica xxviii no. 60b
181 219 135 [No title; "John Jauncy" at the foot of p 219] [Anon] 3
[182] 220-22 136-38 A Pavion /Mr Bird [Morley] 1 Fitzwilliam Virginal Book II p. 209
183 222-24 138-40 A Pavion Solus com sola [Anon: Based on Dowland] 1
184 225 141 Sweet Lusesina le[nd me thine ayde] [Anon] 1
185 225 141 Coran[to] [Anon] 2 D
186 226-27 142-143 Amavitt [Anon: Arr. From Christopher Tye] 1 A
187 227 143 a mask [Anon] 2 A
188 227 143 [No title] [Anon] 2 A
189 228 144 [Example of a tuning system] 5
190 228 144 Coran[to] Gyles Tomkins Gyles Tompkins 2 A
191 228 144 [No title] [Anon] 2 D

List of music theory software

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Programs

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Name Developer Operating system environment Latest release Features
Artusi Artusi Inc. web N/A Harmony, Fundamentals, Ear-training
Auralia Rising Software 6 Ear-training
Counterpointer Ars Nova Software 2.040 (June 28, 2014) Counterpoint, both species and free
EarMaster EarMaster Mac, Win 7 Ear-training; includes some theory
Harmonia Illiac Software Theory
Mastering Music Datasonics Learning areas include performing, composing, publishing and musicianship
Music Lessons MiBAC Ceased operations in 2012
Music Theory Tutor eMedia Music Corporation Mac, Win Theory
Musition Rising Software 6 Theory
PicardyLearning Picardy Mac, Win Theory and ear-training
Practica Musica Ars Nova Software Mac, Win, Linux 6 Theory
Practical Music Theory Know-How Groove3 Theory; 12 videos
uTheory uTheory.com Theory and ear-training

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Joseph Muller

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From Internet MUS document:

Born of German-Belgian parents, Joseph Muller (b. Frankfurt-am-Main, 1877?; d. Closter, NJ, May 9, 1939), who started collecting during his student days, studied violin at the Brussels Conservatory, where, as a student of Alexandre Cornélis, he won first prize (with distinction) in July 1895; but his love of travel led him to a career as a ship's steward. During his many travels he sought out print dealers worldwide, adding to his growing collection. He collected music manuscripts and letters in addition to portraits (not surprisingly he was especially attracted to those of string players). His interest in music and collecting led him to do extensive research, making him an authority on early music and early American music in particular. In his 1935 publication The Star-Spangled Banner: Words and music issued between 1814-1864 (New York: G. A. Baker & Co.), Muller compiled an annotated and richly illustrated bibliography, tracing variant early publications of the text and tune of our national anthem.

An amateur artist, Muller drew copies of prints and, to a lesser degree, made portraits from life (usually at the back of a concert hall). Some of these drawings are included in the Muller Collection as well.

Carmella Ponselle

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Carmella Ponselle (June 7, 1892—June 13, 1977[3]) was a soprano. She was the elder sister of soprano Rosa Ponselle.

Born in Schenectady, New York. Together with her sister they appeared as the Ponzillo Sisters in 1916-1917. Her serious career began in 1923 singing Amneris in Aida at the Polo Grounds.[3] Her Metropolitan Opera debut began on with a Sunday evening concert on January 11, 1925 where she sang "O don fatale" and the Aida-Amneris duet.[4] Her role debut occurred on December 5, 1925 again in the role of Amneris. Other roles included Santuzza in Cavalleria Rusticana, Laura in La Gioconda in which she appeared with her sister Rosa.[5]


References

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  1. ^ a b James Duff Brown, Biographical Dictionary of Musicians: With a Bibliography of English Writings on Music (Paisley and London: A. Gardner, 1886), p.
  2. ^ a b François-Joseph Fetis, Biographie universelle des musiciens et bibliographie génèrale de la musique, Supplément et complément (Paris: Firman-Didot, 1878), v.1, p. 109.
  3. ^ a b Kutsch 2003, p. 3729.
  4. ^ "Ponselle, Carmela," Metropolitan Opera Database (accessed 12 March 2020).
  5. ^ "Ponselle, Carmela," Metropolitan Opera Database (accessed 12 March 2020).

Sources

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  • Kutsch, K. J.; Riemens, Leo (2003). Großes Sängerlexikon (Vierte, erweiterte und aktualisierte Auflage ed.). München: K. G. Sauer. ISBN 9783598115981.

Herman Lieber

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Rabbi and cantor. Held positions in Hamburg, Zurich and New York. Born and educated in Germany, immigrated to tthe United States in 1939.[1]

Was the first rabbi of Congregation Ahavath Torah (founded in 1938). Rabbi until 1959.[2]

Lieber died on February 27, 1981.[3]

Family: Wife: Sary, children Susie, Miriam, Esther.[3]

References

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  1. ^ Zemiros Ashkenaz arranged and sung by Herman lieber, accompanied by Ottto Seyfert. Copyright 2007.
  2. ^ "History of the Shul, Ahavath Torah" website of Congregation Shaare Hatikva Ahavath Torah v'Tikvoh Chadoshoh (accessed March 4, 2020).
  3. ^ a b "Lieber, Herman," (paid obituary) New York Times (March 1, 1981), p. 36.

Dorothy Lawton

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Auxiliary cadence

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Drexel 5609

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Drexel 5609


Drexel 5609 is a British music manuscript. It is an eighteenth-century collection of seventeenth-century keyboard music compiled from various sources, including British Library Add. ms. 10337 (the Elizabeth Rogers' Virginal Book), Fitzwilliam Museum Music Ms. 168 (the Fitzwilliam Virginal Book), and Elizabeth Plume's Virginal Book. Also included are keyboard arrangements of works composed for other instruments or voices and instruments.[1]

Belonging to the New York Public Library, it forms part of the Drexel Collection, housed in the Music Division of the New York Public Library for the Performing Arts. Following traditional library practice, its name is derived from its call number.[2]

Physical description

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The manuscript measures 30.5 x 24 cm.

From RISM: https://opac.rism.info/search?id=000105070&View=rism

Disbound ms., individual leaves separated at the folds and encapsulated in mylar sleeves; the sleeves have been bound into two albums with cloth-covered boards, fastened with screws, each laid into a four-fold conservation box. (A photocopy of the old case, dated September 17, 1936 and now discarded, is laid into the container of album 1.) The ms. contains principally pieces for keyb compiled from various sources, including Elizabeth Rogers Virginal Book, the Fitzwilliam Virginal Book, and Elizabeth Plume's Virginal Book. Also included are arrangements for keyb of pieces composed for other instruments or voices and instruments Score: 278p.


Dating

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RISM: 1750-1799

Provenance

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In the publication "Popular Music of the Olden Time," William Chappell makes reference to "This tune is in Sir John Hawkins's Transcripts of Music for the Virginals."[3] In a 1967 article John Ward quotes Chappell and adds that it is assumed that this work of Hawkins is Drexel 5609.[4]


It is not known how the manuscript came into the possession of Edward Francis Rimbault. A musicologist and a voracious collector of British manuscripts, it is not surprising that the manuscript would become one of Rimbault's holdings. After his death in 1876, the manuscript was listed as lot 1391 in the 1877 auction catalog of his estate.[5][6] Purchased for ₤75,[7] the manuscript was one of about 600 lots acquired by Philadelphia-born financier Joseph W. Drexel, who had already amassed a large music library. Upon Drexel's death, he bequeathed his music library to The Lenox Library. When the Lenox Library merged with the Astor Library to become the New York Public Library, the Drexel Collection became the basis for one of its founding units, the Music Division. Today, Drexel 5609 is part of the Drexel Collection in the Music Division, now located at the New York Public Library for the Performing Arts at Lincoln Center.

Historical context

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  • Organization
  • Handwriting
  • Musical content and style
  • Significance

Other content

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PMOT = Popular music of olden time

The version of Greensleeves in Drexel 5609 is one of two versions that include a romanesca for the form of both divsions of the song.[8][9]

John M. Ward noticed the resemblance between the untitled song on page 37 and the song "I would I were in my own country."[10]


Musicologist John Wendland noted that the Renaissance tune Madre non mi far Monaca is associated with many other titles, including The Queen's Almaine which appears in Drexel 5609, page 113.[11]

Issue of meaning of the word "thumpe." It is a form of pizzicato. The piece "Thumpe at my cousin" is in Drexel 56096, pages 134-135. The Queen of Bohemia's Dumpe, page 122.

List of songs

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RISM entry for entire volume: https://opac.rism.info/search?id=000105070&View=rism

WooldridgeC 1893 = OEPM = Old English popular music by William Chappell, 1893.


[12]


Page Title Composer Add. 10337 Fitzwilliam Virginal Book Elizabeth Rogers' Virginal Book Remarks and concordance
1 Sir Tho.s ffairfax Marche John Tollett no. 1
1 Nanno maske Orlando Gibbons no. 2 Differs only slightly from Orlando Gibbons' "French Alman" in Elizabeth Rogers' Virginal Book
2 Almaygne anonymous no. 3
2 or Mountains ever bred &c anonymous no. 4 Another tune of "The fairest nymph [!] the valleys" published in WooldridgeC 1893 (section "The earlier ballads") v.1, p. 170-171
3 The Scots March anonymous no. 5
3 Prince Ruperts March anonymous no. 6 Not the same tune as "Prince Ruppert's march" published in WooldridgeC 1893 (section "Dance tunes") vol.1, p. 317
4 One of y.e: Symphonies anonymous no. 7
4 One of the Symphonies William Lawes Transcription of one of the symphonies in Lawes' "Triumph of Peace"
5 Selebrand anonymous no. 9
5 When the King enjoys his own again Maas: When ye Kinge Inioyeth his owne againe anonymous page 252 no. 10 Not the same tune as "When the king enjoys his own again" published in WooldridgeC 1893 (section "The earlier ballads"), where "Elizabeth Rogers Virginal Book" is given as source; see Wooldridge, v.1, p. 210-211
6 Almaygne anonymous no. 11
6 A Trumpet tune anonymous no. 12
7 Essex last good night anonymous no. 13 Entitled "Essex's last Goodnight" in Elizabeth Rogers' Virginal Book; At tail of 2nd system, p.7, outer margin: "Hawkin's Hist. / mentions this tune / vol. V p.17" ;  ; Compare with tune "Essex's last good-night" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 132
7 Almaygne per Tho.s Strengthfield Thomas Strengthfeild no. 14
8 The Corrant to y.e last Almaygne per Tho.s Strenthfield Thomas Strengthfeild no. 15
9 Ruperts Retreat anonymous no. 16
10 Almaygne per Tho.s Strengthfield Thomas Strengthfeild no. 17
10 Corrente to y.e former Almaygne per Tho.s Strengthfield Thomas Strengthfeild no. 18
10 [no title] anonymous no. 19
11 The Nightingale Henry Loosemore At head of 1st system, p.11, inner margin: "See / the same / Tune in / [illegible] 21 / AA, 4 / 11"
11 Corrant Beare anonymous no. 21
12 Selebrand Beare anonymous page 321 no. 22
12 Corrant Beare anonymous page 337 no. 23
12 Almaygne anonymous no. 24
12 Maas: The Lady Hattens Allmaine anonymous page 252
13 Corrant anonymous no. 25
13-14 Corrant Beare anonymous no. 26
14 Corran[t] Beare anonymous no. 27
14-24 The Battaile William Byrd nos. 28-39 p.14, outer margin: "Collated from D.r Burney's MS." ; At tail of p.14: "See Hawkin's Hist. Vol 4.th p./ some mention of a similar thing" ; At head of 1st system of The Marche of the horsemen, p.16: "treble octave lower / this part" ; At tail of 5th system, p.14: "the end of / the March to the / horsemen / to come" ; At head of Bagpipes & drone, p.19: "2 treble octave lower" ; At head of 1st system, p.20: "The Drum"  ; 4th measure, p.20: "and Flute / tacet / treble" ; At head of 3rd system, p.20: "thus all / through this part [followed by music incipit]" ; At tail of 3rd system, p.24: "The Victory to come in her[e] / from th other / MS." ; At tail of p.24: "The End of y.e Battell" ;
25 The Soldiers delight anonymous no. 40
26 Corrant anonymous no. 41
26 Selebrand anonymous page 335 no. 42
26-27 A Maske anonymous no. 43
27 Corrant anonymous no .44
27 Selebrand anonymous , no. 45
28 Corrant anonymous no. 51
28 Corrant anonymous no. 52
29 Maske anonymous no. 53
30 Corrant anonymous no. 54
30-31 Almaygne anonymous no. 55
31 Lupus Ayre Thomas Lupo no. 56
32-33 Almaygne M.r Johnson Orlando Gibbons no. 58
33 Mock-Nightingale
34 What if the King should come to y.e City anonymous no. 60
34-35 The King’s Complaint anonymous no. 61
35 Almaygne anonymous no. 62
35 [no title] anonymous no. 63
36 Selebrand anonymous no. 64
36 My Delight anonymous no. 65
36 A Selebrand anonymous no. 71
37 The ffinex anonymous no. 72
37 The spaynard anonymous no. 69
37 [no title] anonymous no. 70
38 An Irish toy anonymous no. 67
38 Almayne anonymous no. 68
38-39 A Scots tune anonymous no. 66 Same tune as Prince Ruperts March - on page XXX
39 The faithfull Brothers anonymous no. 73
39 A Corrant anonymous no. 74 from Musick's Handmaid (1678), no. 43
40-41 pipe anonymous no. 77
41 Almayne anonymous no. 78
42 Corrant per Tho.s Strengthfield Thomas Strengthfeild no. 79
42 Selebrand anonymous no. 80
43 Almaygne anonymous no. 83
43 Almaygne anonymous no. 81
43 Corrant [incomplete] anonymous no. 82
44 [no title] anonymous no. 85
44 Selebrand T.S. Thomas Strengthfeild no. 86
45 Love is strange anonymous no. 87
45 Glory of y.e North anonymous no. 89 Compare with tune "The glory of the north" published in WooldridgeC 1893 (section "Dance tunes"), in which "Elizabeth Rogers Virginal Book" is mentioned as source - Wooldridge 1893, v.1, p. 323
46 Almayne Mercure John Mercure no. 88
46-47 [no title] anonymous no. 90
47 Merceur John Mercure no. 91
47 Corrant anonymous no. 91
48 Corrant anonymous no. 93
48 Philli Porter's Lamentation Philip Porter no. 94
49 As you like it Henry Loosemore
49 [no title] Arcangelo Corelli
50-51 The King's hunting Jigg John Bull From the "Fitzwilliam Virginal Book" the last variation missing
52 The Czar anonymous At tail of p.52, inner margin: "See this Tune / as it was sung in its [illegible] / of the 1.st vol. of vocal songs. / The Szar was introduced in the / opera called The Wonders in the Sun or the Kingdom / of Birds, in July 1706. Composed by Battista Drag[hi] / The Szar of Moscovy came to Englan[d] / A.d. 1697. [struck-through:] Q.ry [?] whether this tune / had any allusion & the Tune / seems to be called after him / [illegible] it bears in / according to [illegible] Country dance Book"
53 Barley Straw anonymous At tail of p.52: "Vide Hawkins Vol 4.th / p.427"
53 Packington's Pound anonymous Fitzwilliam Virginal Book no.178 , v.1, p. 259; Compare with tune "Packington's pound" published in WooldridgeC 1893 (section "Dance tunes"), where Fitzwilliam Virginal Book is mentioned as source
56 Punk's Delight anonymous
56 The Phoenix anonymous At tail of p.56: "There was a - Theatre formerly in Drury Lane London / entitled the Phoenix. about A.D. 1630"
57 [no title] anonymous
57 The rich Jew anonymous page 100 verso
57 Packington's pound anonymous page 101 recto "Fitzwilliam Virginal Book", no.178; Compare with tune "Packington's pound" published in WooldridgeC 1893 (section "Dance tunes"), where "Fitzwilliam Virginal Book" is mentioned as source, v.1, p. 259
58-59 The Battell William Byrd At tail of 3rd system, p.63: "supleatur Bassus ad hunc modum / et c/ tempore + chordis lotem hanc / partem sine ulla pausa in Basso" ; p.63, outer margin: "Continue the same Bass all through to the pause" ; At tail of p.67, outer margin: "more to the horsemen / should be plaid after th[is] / *" ; At head of p.68, outer margin: "Corrected / from Dr. Burney MS. / from here / half of the next page" ; At tail of 3rd system, outer margin, p.69: "here ends / y.e Battel / by W.m Byrd"
70-71 Churchyards galliard anonymous page 100 recto
71 Green sleeves anonymous page 101 recto at tail of p. 71, outer margin: "See Dancing Master / p. 186"
72-76 [no title] William Byrd
77-78 Galliard Richard Clarke page 104 verso At tail of 6th and 7th measures, p.77: "vide hoc aliter supra ad / hanc nota L / see the same above at the mark L." ; At tail of 3rd system, p.78, inner margin: "Rich.d Clarke"
78-80 Phillida anonymous
80 [no title] Richard Clarke page 108 recto At tail of 6th system, p.80, inner margin: "R. Cr:"
81-85 Why aske you John Bull page 108 verso At head of p.81: "D.r Bull See End X" ; At tail of 3rd systlem, p.85, outer margin: "D.r / Bull" ; Cf. entry no.156 in "Fitzwilliam Virginal Book"
85-87 Why aske yee? Paulo aliter A little otherwise John Bull Some fingerings indicated (p.86) ; At tail of 1st system, outer margin: "D.r Bull" ; Cf. entry no.156 in "Fitzwilliam Virginal Book"
87-88 A Toy John Lugge At tail of 4th system, p.88: "John Lugge"
88-89 Lachryma John Dowland page 115 verso At head of 5th system, p.88: "See / notes / to Shakespear / Copied"; At tail of 5th measure, p.89: "O.rg. By Dowland / See Hawkins Hist. Vol. III / page 325"
90 The Spanish Pavan John Bull page 6 recto "Fitzwilliam Virginal Book", no.139; Compare with tune "The Spanish pavan" published in WooldridgeC 1893 v.1, page 251 (section "Dance tunes"), where also the "Fitzwilliam Virginal Book" is mentioned as source;
90 The Woode so wilde William Byrd Incomplete: Some variations from version in Fitzwilliam Virginal Book (no.67), especially changing the octave in left hand; At head of 3rd system, p.90: "This is in Queen Elizabeth's Book, with variations to it p.7A"
90-91 Excuse mee anonymous page 117 verso
91 Farewell deare love anonymous page 118 recto
92 Welladay anonymous page 118 recto
92 Mal Sims Giles Farnaby page 118 verso At head of last measure, 3rd system, p.92: "vide hoc aliter / post" ; At head of 1st measure, 4th system, p.92: "secunda vice sic" ; At tail of 1st meausre, 4th system, p.92: "2.a vice sic / 2.nd time thus" ; At tail of measures 5-7 of 5th system, p.92: "vide hoc aliter post / see what follows differently" ; At tail of p.92: "2.a vice sic / 2nd time thus" ; Similar to Farnaby's "Mal Sims" in "Fitzwilliam Virginal Book" (no.271)
93 Goe from my window anonymous Pencil annotations attribute the piece to John Munday, though there are too many differences from the Munday and Morely settings of this tune to justify the attribution; At head of p.93, outer margin: "In 2.nd Elizabeth's Book. / by John Munday"; Compare with tune "Go from my windows" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 146
94-95 y.e Lady Layton's Allmaine anonymous page 120 verso
96-97 Little Pegge of Ramsie Dr. Bull John Bull At tail of 1st system, p.97, outer margin: "M.r / D.r Bull"
97 A Toy Lugge, John Some fingering indications; At tail of 6th system, outer margin: "M.r / Lugge"
98-99 The merry Cuckold anonymous page 123 verso
99 [no title] anonymous
100 Williams his Allmaine Williams page 124 verso
101 Your shining eyes & golden hair anonymous
101 Away with these self loving lads John Dowland
102 Come away, come sweet Love anonymous
102 Now is the Month of Maying Thomas Morley
102 Good morrow Valentine anonymous page 15 recto
103 What if a day or a Month or a year R. Cr. page 15 recto
103 Wilsons Wilde John Wilson At tail of p.103: "See Page 11 of Playfords Musicks / Delight for y.e [illegible] it is / printed on [illegible] in [illegible]"; At tail of p.103, outer margin: "probably this was the composition / of D.r Wilson, a famous Lutist to / King Charles the first, about the year 1644"
104 Pepper anonymous
104 Pepper's Black anonymous Not the same tune as "Pepper's black" published in WooldridgeC 1893 (section "Dance tunes"), v.1, p. 290
104-105 A Scottish Jigg anonymous At tail of 4th system, p.104: "Suppleatur Bassus ad hunc modum ptotn [?]"
106 Thomas, You cannot anonymous page 18 verso At head of p.106, inner margin: "See the same air in page 53 of this Book. / + in the book of Dances / p.263"; Compare with tune "Thomas, you cannot" published in WooldridgeC 1893, v.2, p.17-18
106-107 Barrow ffaustus dream anonymous page 19 recto At head of 3rd system, p.106: "This is Tune 2.n Elizabeths Book. p.35 in 2A 1"; Fitzwilliam Virginal Book, no.18
107 The Skipping Jigg anonymous page 4 recto Maas: The princes Jegg
108 With my love my life was anonymous
108-109 Tell me Susan anonymous page 23 recto
109 Fortune my foe anonymous At tail of p.109, outer margin: "2.d whether this is to / same tune call'd the / Tune of Fortune"
110 Johnson's Galliard anonymous page 25 recto
110-113 Welladay anonymous page 25 recto
113 Almaine anonymous
114-115 A Pavine anonymous page 27 verso
115 Good Night good rest anonymous
115 Go to bed & sleep anonymous
116 April is my Mistress face Thomas Morley
116-117 Since my Tears anonymous
117 How is the gentle Season anonymous
118-119 The fields a broad with spangled flowers anonymous
119 Trench=more anonymous page 32 recto At tail of p.119: "This is mentioned in Hawkins Vol. IV p.392: - Tune Trenchmore included in Playford's Dancing Master of 1698"; See dance tune "Trenchmore" published in WooldridgeC 1893, v.1, p. 226
120-121 A French Coranto anonymous page 33 recto
121 Another French Coranto anonymous page 34 recto
122 The Queen of Bohemia's Dumpe anonymous page 35 recto Ward, John M. "he Dolfull Domps" in JAMS summer 1951, p. 111-121
122-123 The Nightingale Henry Loosemore page 35 verso
123 The Spanish Gypsie anonymous Not the same tune as "The Spanish Gypsy" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 186
123 A Dance anonymous page 36 recto
124 [no title] Acc. To Maas: 37 recto
124-125 The fairest Nymphs the Valleys anonymous page 36 verso
125 The Canaries anonymous page 37 verso p.125, inner margin: "The Canaries is also in an old oblong Book called / Short Rules on the Treble Violin. 1679" ; At tail of p.125, outer margin: "There is a Tune called the / Canaries in H. Purcells opera of Diaclasain [?Theodosius?] / but this is not the same air"
126 A Coranto Henry Loosemore page 38 recto
126 [no title] anonymous page 38 verso
126 Allmayne - acc. To Maas page 2 recto
127 The fairest Nymphs the Valleys anonymous
127 [no title] acc. To Maas page 38 recto
128 [no title] R. Cr. At head of 1st system: "see these Bars better below / vide hoc melius infra / port finem ad hanc nota X .L." ; At tail of 3rd system, p.128: "R. Cr: Dec.m 17. / 1635 perge ut supra ad hanc nota .L"
128 Coranto anonymous
128 Maas: Allmaine page 336 recto
128-129 The Queens Maske anonymous
129 The King's morisco anonymous At tail of 2nd system, p.129, outer margin: "This is / in 2.nd [illegible] / Book p.398 / See another / in [?illegible? Toellum?]/ MS"
130 [no title] anonymous page 46 recto
130 A Scottish Jigge anonymous page 46 verso
130-132 A Paven anonymous page 46 verso
132-133 The Galliard anonymous
134 [no title] anonymous Almost identical to the beginning of the piece on p.126 of the same ms (entry no.146)
134 A Short Coranto anonymous
134 Allmayne acc. To Maas from Res. 1186bis
134-135 Dumpe at my Cozen anonymous page 52 verso Maas call this "Jumpe at my Cozen"
135 My Love Shee dwells not here anonymous page 52 verso
136 [no title] anonymous page 53 verso
136 [no title] anonymous
136 Over the Mountains anonymous page 54 recto At tail of p.136: "See, probably the words to the above tune in Ritsons p.t Vol. of Songs p.79"
137 M:rs mine well may you fare anonymous page 54 verso
137 Admist the fairest Mountaine toppes anonymous page 54 verso
138 [no title] anonymous page 55 recto
138 [no title] page 55 recto 2 untitled works acc. To Maas
138-139 When Daphne did from Phoebus flie anonymous page 55 verso
139 When all ye Gods had made a feast page 56 recto
139 [no title] anonymous
140 A 1000 Kisses winne my heart from me anonymous page 56 verso
140 What if I live for love of thee anonymous page 57 recto
141 With my Love my life was nestled anonymous page 57 recto
141-142 Troy towne anonymous page 57 verso At tail of p.141, partially cut off: "See the above Song in D.r Wilson's p.t vol. / [illegible]" ; At tail of 7th measure: "vide alias supra / another way above" ; Not the same tune as "Troy town" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 183
142 John come Kiss me now William Byrd At tail of 4th system, p.142: "See this in John Playfords Musicks / Delight for the cithern Page 4 / it is a small oblong book + Printed / on 4 [illegible]" ; Fitzwilliam Virginal Book, no.70
142 Now cease my wandering Eyes anonymous
143 [no title] anonymous page 59 verso
143 In sad & ashie weeds anonymous page 59 verso Compare with tune "In sad and ashy weeds I sigh I pine I grieve I mourne" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 156
144 [no title] anonymous
144-145 The Nightingale Henry Loosemore page 62 verso At head of 5th system, p.144, outer margin: "see p.21, / the same tune / p.11"
145 The Mock=Nightingale Silver [conjecture] At tail of 6th system, p. 145: M.r Silver
146 The Lady Weston's Allmaine anonymous page 64 recto
146 Say pretty wanton anonymous page 64 recto
146-147 My Lord Willbee's welcome home anonymous x / in another / Copy" ; At tail of last measure, p.146, inner margin: "oct lower" ; Compare with tune "Lord Willoughby's welcome home" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 152
148 A Coranto Richard Leveridge [conjectured] page 65 verso At tail of 4th system, p.148: "M.r Lever [= Leveridge?]"
148 A Lute Lesson anonymous page 66 recto
149 Who dare say y.t I lay with her anonymous
149 Shee rould it in her Apron anonymous
150 Can you not hitt it my good man? anonymous page 67 verso
150 The netherland anonymous page 68 recto
150-151 I gott y.e Coate anonymous page 68 verso
151 Tutte Venite ornati anonymous page 69 verso transcription of Gastold, Balletti a cinque (1591)
152 Vezzosette Nymphe belle &c. R. Cr. page 69 verso At tail of 3rd system, inner margin: "R. Cr"
152 [no title] anonymous page 70 verso
153 Thomas, you cannot anonymous page 71 verso At head of p.153, outer margin: "See this amoung my Songs"  ; Not the same tune as "Thomas, you cannot" published in WooldridgeC 1893, v.2, p. 17-18
153 Open y.e door to three anonymous page 71 verso
154 ffaire maide are you walking anonymous page 72 recto At head of first system, p.154, outer margin: "Light's Love"
154 [no title] anonymous page 78 recto
155 A Voluntaire M.r Gibbons Christopher Gibbons [ascertained]
155 The revolto anonymous
156 The Bells of Osney anonymous At head of p.156, inner margin: "See another in Book / with brown paper Cover" ; At tail of 2nd system, p.156: "Formerly the 6 Bells of Osney abbey near Ox[ford] / were very famous for their musical sound. Their names w[ere] / Douce, Clement, Austin, Hamtecter [?] (potius Hantcleri [?]) / Gabriel, & John. / Hearns Collection of Disco [?] / by Antic [?] names Numb XI. / + Hawkins Hist. Book IV, p.[illegible]"
156 The Bells of Osney anonymous At 3rd system, p.156, struck-through, outer margin: "in the County / of Oxford"
156 The Morris anonymous page 92 verso
156 Q. M. Dumpe anonymous Incomplete: Illegible inscription at head of 5th system, p.156, outer margin
157 Love lyes a bleeding anonymous At head of p.157: "all these are from a MS. Book of Elizabeth Plume Virginal Book dated July 20.th / 1695"
157 The King's trumpet tune anonymous At head of 3rd system, p. 157: "Delight"
158 The Duke of Yorkes hornepipe anonymous
158 Gen: Moncks March anonymous
159 Moncks Countrye-Daunce anonymous
159 The Lady Carews Daunce anonymous
160 Parthenia anonymous Caption title, struck though: "The Kind's Delight" ; Included in Playford's Musick's hand-main (1663, 1668, 1678) ; Compare with tune "Parthenia" published in WooldridgeC 1893 (section "Dance tunes"), v.1, p. 295
160-161 Kin Charles his March from Dover anonymous At tail of p.160: "See a particular account of K. Charles 23.d Journey from / dover to Whitehall, in A.d. 1660, in the Harkian Miscellany / Volume III. p.357"
161 The Kings welcome to White Hall anonymous At head of 2nd system, p.161, outer margin: "Q.ry Charles the 2.nd" ; At tail of 5th system, p.161, outer margin: "See what Kings lived at / Whitehall / See Hawkins Hist. / Vol IV. P. 546" ; At tail of p.161: "Whitehall was the town residence of our princes / from Henry VIII. down to William + Mary"
162 The Nightingale Loosemore, Henry At head of first system, p.162, outer margin: "See / page 21. / 44 + p.11"
163 A Minuet anonymous
165 Barrels Sabel anonymous At head of p.165, outer margin: "These are Copied from / a Quarto MS. without a Cover"
165 [no title] anonymous The piece has been struck-through
166 Finger's Sabel anonymous
167 [no title] [Bonduca, excerpts; arr - The British heroine, Excerpts] Henry Purcell At tail of 4th system, p.167: "Io. Armes"; see Zimmermann, 574 / 3
168 Cannary M.r Hen: Purcell Henry Purcell The music is a keyboard arrangement of the "Third act tune" in "The Indian Queen"; see Zimmermann, p. 360
168 Rogadon
169 Hornpipe Henry Purcell Arrangement of The Hornpipe in Abdelazer
169 Trumpet Minuet Henry Purcell Attrib to Purcell; see Zimmerman p. 426
173 Jigge William Lawes
173 Sir Edw. d Golding K.t. Almaine At tail of p.173: "These two sheets are transcribed from the Court airs, printed by Playford in 1655"
174 Country Dance Edward Golding
174 M.r W.m Laws Temple Mask William Lawes
175 Jigg M.r W.m Gregory William Gregory
175-176 [no title] Silas Taylor
176-177 [no title] Silas Taylor
177 Pavan Almaine M.r John Carwarden John Carwarden
178 Almaine Mr. John Carwarden John Carwarden
178 J. Carrwarden Coranto John Carwarden
179 Coranto John Carwarden
179 Saraband M.r John Carwarden
180 Jigge M.r John Carwarden
181 A Toy Henry Loosemore
182 A Toy Henry Loosemore
182 A Toy Henry Loosemore
184 The Hurdy Gurdy anonymous Dance steps pasted in
185 The Scotch King’s March anonymous At head of p. 185: "Copied from an ancient MS. / written on a six lined staff"
185 The King of France’s Dance anonymous
187 Excuse me Page 187: “from a printed Country Dance Book”
187 Green sleeves anonymous page 101
188 Mad Robin anonymous Probably the tune "Mad Robin" published in WooldridgeC 1893 v.2, p. 56
188 Mad Moll anonymous Simliar to the tune "Mad Moll" or "The virgin queen" published in WooldridgeC 1893, v.2, p. 74
188 Moll Peatly anonymous At head of 5th system, p.188: "See also the same tune in Durfey's Pills [?] Vol. 2 p.46"
189 Of Noble Race was Shinkin anonymous
189 Parson upon Dorothy anonymous
189 Rummer anonymous
190 The Knott anonymous
190 Buff Coat anonymous Compare with similar tune "The Buff Coat has no fellow" published in WooldridgeC 1893, v.2, p.1
191 Bobbing Joe anonymous Compare with tune "Bobbing Joe" published in WooldridgeC 1893, v.1, p.312
191 Cheshire Rounds anonymous
191 Anfield Common anonymous
192 Hunt the Squirrel anonymous
192 Joan Sanderson, or the Cushion Dance anonymous Extensive notes: https://opac.rism.info/search?id=000105324
194 Joan’s Placket anonymous
194 Newmarket anonymous
195 New Market (Second Part) anonymous

See also

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Notes

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  1. ^ RISM Online Catalog.
  2. ^ Resource Description and Access, rule 6.2.2.7, option c (access by subscription).
  3. ^ William Chappell, G.A. Macfarren, Popular music of the olden time : a collection of ancient songs, ballads, and dance tunes, illustrative of the national music of England : with short introductions to the different reigns, and notices of the airs from writers of the sixteenth and seventeenth centuries : also a short account of the minstrels (London: Cramer, Beale & Chappell, 1859?), vol. 2, p. 456.
  4. ^ Ward 1967, p. 47.
  5. ^ Catalogue of the Valuable Library of the Late Edward Francis Rimbault, Comprising an Extensive and Rare Collection of Ancient Music, Printed and in Manuscript ... which will be sold by auction, by Messrs. Sotheby, Wilkinson & Hodge ... on Tuesday, the 31st of July, 1877, and five following days (London: Sotheby, Wilkinson & Hodge, 1877), p. 92, lot 1391. OCLC 11988908
  6. ^ Bailey 2000, p. 51.
  7. ^ Catalog of the Music Library of Edward Francis Rimbault sold at London 31 July-7 August 1877 with the library of Dr. Rainbeau (Buren: Frits Knuf), 1975), p. 92.
  8. ^ Ward 1967, p. 45.
  9. ^ The other manuscript is PC Ms. Rés 1186, folio 101, in the Bibliothèque nationale de France.
  10. ^ Ward 1967, p. 48.
  11. ^ John Wendland, ""Madre non mi far Monaca": The Biography of a Renaissance Folksong," Acta Musicologica, Vol. 48, Fasc. 2 (Jul.-Dec., 1976), pp. 194, 202 url=https://www.jstor.org/stable/932314.
  12. ^ Chappell, William and Wooldridge, H. Ellis. Old English popular music (London: Chappell & Co.), [1893].

Works consulted

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{{Baroque music manuscript sources

[[Category:18th-century manuscripts [[Category:Baroque music manuscript sources [[Category:English manuscripts [[Category:Manuscripts in the New York Public Library [[Category:Music anthologies

Albert Mildenberg

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Composite volumes

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Marya Freund

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Sources

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  • Kutsch-Riemens
  • Alain Paris, Dictionnaire des interpretes : et de l'interpretation musicale au XX siecle. JMC 83-97 OFFSITE
  • Jacques Burdet.
  • Variety obits
  • Algemene muziek encyclopedie JMN 80-24
  • Kurzgefasstes Tonkunstler Lexikon JMM 77-37 OFFSITE
  • Ruch Muzyczny *ZAN-*M185
  • Zenei lexikon JMD 01-9 OFFSITE

Article

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Marya Freund (12 December 1876—21 May 1966) was a German soprano.

She was born in Breslau. She studied violin with Pablo de Sarasate and with Ivan Zajc. She studied voice with Julius Stockhausen, Raimund von zur-Mühlen and Ernesto Colli. She made her debut in 1909. She made concert tours of Europe and the United States. She appeared with the Leipzig Gewandhaus under Artur Nikisch, the Concertgebouw under Willem Mengelberg, the Boston Symphony Orchestra under Pierre Monteux, as well as conductors Gabriel Pierne, Wilhelm Furtwängler, Hermann Scherchen and others. She was known for Lieder interpretations as well as for pioneering contemporary music. She was particularly tied to the music of Arnold Schoenberg. She created the part of the Waldtaube in the first performance of Gurre-Lieder and was well-known for her interpretation of Pierrot Lunaire as as The Book of the Hanging Gardens as well as the soprano solo in the String_Quartets_(Schoenberg)#String_Quartet_No._2. She sang the Waldtaube again in the Viennese premiere in 1914 as well as in the French premiere in 1927 (singing the part in French). She appeared in Spain, Italy, Denmark and Austria. She sang Erik Satie's Socrate in Paris in 1925. She also sang works by Ernest Bloch, Zoltan Kodaly, Darius Milhaud, Alfredo Casella, Karol Szymanowski, Francis Poulenc, Ildelbrando Pizzetti, Serge Prokofiev, Georges Auric and Gian Francesco Malipiero. For many years she taught singing in Paris where she taught a course in the interpreation of classic, romantic and modern music. She taught masterclasses at Lausanne. Her son was bass Doda Conrad (born in 1905).

[1]

Fred S. Stone

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See fr. wikipedia.org

Tom Martelle

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Drag performer - appears on 1923 sheet music.


Judson Hall

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Judson Hall was a medium sized concert call located at 165 West 57th Street in New York City.

The former name of the hall was Carl Fischer Hall. The building was owned by the Carl Fischer publishing company. It was sold to Columbia Artists Management in 1959.[2] It was renamed Judson Hall in honor of Arthur Judson, long-time head of Columbia Artists Management.[3]

References

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  1. ^ "Freund, Marya," Grosses Sängerlexikon Vierte, erweiterte und aktualisierte Auflage (München: K.G. Saur), p. 1561-1562.
  2. ^ "Fischer Building on 57th St. Sold," New York Times (October 16, 1959), p. 50.
  3. ^ "Judson to Be New Name Of Carl Fischer Hall," New York Times (March 5, 1960), p. 13.

Drexel 5612

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References

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Drexel 5061

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Drexel 5061

References

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Drexel 5469

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Drexel 5469
Also known asHenry Loosemore's Organ-Book

References

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Chirk Castle Manuscripts

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References

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Music Theory

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  • "An area of study that tends to focus on musical materials per se, in order to explain (and/or offer generalizations about) their various principles and processes. It investigates how these materials function (or, in a more speculative vein, how they might function), so that musical “structure” can be better understood. More broadly, in the United States, music theory refers to an academic discipline with a dual focus on research and pedagogy. Regarding the latter, especially at the undergraduate level (and earlier), theory is often coterminous with a program for teaching a variety of skills, from the rudiments of melody and rhythm, to harmony, counterpoint, and form (along with their attendant “ear training” or aural perception). Related to but standing apart from these fundamentals of praxis are the various research areas of modern theory, as described under §5 below. It should be noted that music analysis plays a major role in this agenda. Although conceptually separate from theory, in that analysis often focuses on the particulars of a given composition whereas theory considers the broader systems that underlie many such works, in practice the two have a reciprocal relationship." - David Carson Berry, Grove/Oxford Music Online.
  • "Music theory is part of the written language of music. It is the written word of this aural art, music. It is not something only intended for music students. We don't have to use it only to analyze a Bach fugue. It is a living part of all music...Music is a language. It has its own vocabulary....One point I like to make to my students is that they need to have the ability to communicate with the rest of the free world. This means using the same nomenclature all musicians use." -- Harry Miedema. Intro to: Michael Miller, The Complete Idiot's Guide to Music Theory 2nd edition, New York: Alpha PUblishing/Penguin, 2005.


  • Goethschius "the only well-known American music theorist of his generation. That was partly because music theory as a scholarly discipline did not establish itself in the United States until much later. Early twentieth-century college music majors studied "harmony" and "keyboard harmony" rather than theory; and sight-singing was taught as a separate course called "solfeggio."


-John David White, Guidelines for College Teaching of Music Theory (Metuchen, N.J.: Scarecrow Press, 1981), p. 2-3.

https://books.google.com/books?id=eGZRT6WYQDQC&lpg=PP1&dq=%22music%20theory%22&pg=PA3#v=onepage&q=%22music%20theory%22&f=false

Enharmonic

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from: Stefan Kostka, Dorothy Payne, Byron Almén, Tonal Harmony: With an Introduction to Twentieth-Century Music. 7th edition. New York: McGraw-Hill, 2013. ISBN 9780078025143

Page 647:

  • Enharmonic: Notes that have the same pitch but are spelled differently. Keys can be enharmonic as well.
  • Enharmonic Modulation: A modulation in which a chord common to both keys is reinterpreted enharmonically to fit into the new key. The chord can be spelled to fit into either key, and it must be able to be heard as a sensible chord in both keys.
  • Enharmonic Reinterpretation: Technique of treating a chord as if it were spelled in a different key as part of a modulation.
  • Enharmonic Spelling: Writing a note as its enharmonic equivalent. Technique used by composers to indicate clearly the direction in which a pitch will move, and to make the music easier for the performer to read.
  • Enharmonically Equivalent Keys: Keys that sound the same but are spelled differently.

Page 393:

Drexel 5871

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Drexel 5871 (called the Drexel Manuscript by a few CD releases) is a manuscript containing Karl Friedrich Abel's 27 pieces for viola da gamba (as well as other works). Belonging to the New York Public Library, it forms part of the Music Division's Drexel Collection, located at the New York Public Library for the Performing Arts. Following traditional library practice, its name is derived from its call number.[1]


Works consulted

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  • Catalogue of the valuable library of the late Edward Francis Rimbault, comprising an extensive and rare collection of ancient music, printed and in manuscript...which will be sold by auction, by Messrs. Sotheby, Wilkinson & Hodge ... on Tuesday, the 31st of July, 1877, and five following days, London: Sotheby, Wilkinson & Hodge, 1877, p. 89, item 1361
  • Hughes, Charles W. (July 1944), "The Music for Unaccompanied Bass Viol", Music & Letters, 25 (3): 160{{citation}}: CS1 maint: year (link)
  • Knape, Walter (1993), 27 pieces for the viola da gamba : New York Public Library MS Drexel 5871, Facsimile series for scholars and musicians, vol. 21, Peer, Belgium: Alamire, p. 3, ISBN 9068530798

Elizabeth Seguin

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Elizabeth Seguin (10 July 1812—14 January 1870) was an English soprano opera singer.[2]


Sara Smythe[3]

Born Elizabeth Eleanor Seguin. Father was Ralph Arthur Seguin, mother was Sarah. baptised 2 October 1816 at Saint Mary-St Marylebone Road,St Marylebone,London[4]


birth/death dates and location.[5] She was born and died in London. Soprano. Sister of Arthur Edward Seguin, bass (wife: Anne Seguin-Childe) and William Henry Seguin, bass (wife: Miss Gooch).[2]


Seguin married the Wallachian boyar Demetrius Parepa, Baron Georgiades de Boyescu of Bucharest. Their daughter was Euphrosyne Parepa-Rosa who married Carl Rosa (1842-1889).[2]

Kutsch-Riemens: z

Seguin died at her home at 10 Warwick-crescent Paddington, Middlesex, London, leaving an estate of less than 4,000 pounds.[6]

References

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  1. ^ Resource Description and Access, rule 6.2.2.7, option c (access by subscription).
  2. ^ a b c K.J. Kutsch and Leo Riemens, Grosses Sängerlexikon, vierte, erweiterte und aktualisierte Auflage unter Mitwirkung von Hansjörg Rost (München: K.G. Saur, 2003), Band 6, p. 4334.
  3. ^ Firth and Lovell Family Tree, Ancestry.com. (access by subscription)
  4. ^ "Elizabeth Eleanor Seguin in the England, Select Births and Christenings, 1538-1975," Ancestry.com. (access by subscription)
  5. ^ Brown, James Duff, Biographical Dictionary of Musicians with a Bibliography of English Writings on Music (London: Alexander Gardner, 1886), p. 555.
  6. ^ Elizabet Parepa in "England & Wales, National Probate Calendar (Index of Wills and Administrations), 1858-1966 on Ancestry.com (access by subscription)
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Cowden

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Cowden Name Title Place Publisher Date Remarks
1 Johannes Tinctoris Terminorum musicae diffinitorium Treviso Gerardo de Lisa Ca. 1473
2 John Hothby [multiple manuscripts] [n.p. [n.p.] Ca. 1430-1487
3 Bartolomeus Ramos de Pareia Musica practica Bologna Enrico de Colonia 1482
4 Nicolo Burzio Musices opusculum Bologna Ugo Ruggeri [Benedetto] 1487
5 Franchinus Gaffurius Practica musice Milano Guillaume Le Signerre [G. Pietro da Lomzazzo] 1496
6 Stapulensis Jacobus Faber Musica libris demonstrata quattuor Paris Johann Higman & Wolfgang Hopyl 1496
7 Gregor Reisch Margarita philosophica Freiburg Johannes Schott 1503
8 Arnolt Schlick Spiegel der Orgelmacher und Organisten [Speyer] Peter Drach 1511
9 Sebastian Virdung Musica getutscht und auszgezogen Basel [M. Furter] 1511
10 Andreas Ornithoparchus Musicae activae micrologus Leipzig Valentin Schumann 1517
11 Giovanni Spataro Dilucide et probatissime demonstratione Bologna Hieronymus de Benedictis 1521
12 Pietro Aaron Toscanello de la musica Venezia Bernardino et Matheo de Vitale 1523
13 Martin Agricola Musica instrumentalis deudsch, ynn welcher begriffen ist, ... Wittenberg George Rhau 1529
14 Lodovico Fogliano Musica theorica Venezia G.A. [Nicolini] 1529
15 Hans Gerle Musica Teusch auf die Instrument der grossen unnd kleinen Geygen auch Lautten... Nürnberg Jronimus Formschneider 1532
16 Giovanni Maria Lanfranco Scintille di musica Brescia Lodovico Britannico 1533
17a Sylvestro di Ganassi dal Fontego Opera intitulata Fontegara Venezia [l'autore] 1535
17b Sylvestro di Ganassi dal Fontego Regola Rubertina Venezia [l'autore] 1542
18 Heinrich Glarean Dodecachordon Basel Heinrich Petri 1547
19 Adrianus Petit Coclico Compendium musices Nürnberg Johann Berg, Ulrich Neuber 1552
20 Diego Ortiz Trattado de glosas sobre clausulas y otros generos de puntos en la musica de violones Roma Valerio Dorico 1553
21 Juan Bermudo Comiença el libro llamado declaracion de instrumentos musicales Ossuna Juan de Leon 1555
22 Nicola Vincentino L'antica musica ridotta alla moderna prattica Roma Antonio Barre 1555
23 Hermann Finck Practica musica Wittenberg Georg Rhaus Erben 1556
24 Gioseffo Zarlino Le institutioni harmoniche Venezia [no publisher] 1558
25 Tomás de Santa Maria Libro llamado, arte de tañer fantasia Valladolid F. Fernandez de Cordova 1565
26 Francisco de Salinas De musica libri septem Salamanca Mathias Gast 1557
27 Vincenzo Galilei Diolog della musica antica Firenze Giorgio Marescotti 1581
28 Girolamo Dalla Casa Il vero modo di diminuir Venezia Angelo Gardano 1584
29 Giovanni Maria Artusi L'arte del contraponto ridotta in tavole Venezia Giacomo Vincenzi et Ricciardo Amadino 1586
30 Orazio Tigrini Il compendio della musica nel quale brevemente si tratta dell'arte del contrapunto, diviso in quatro libri Venezia Ricciardo Amadino 1588
31 Thoinot Arbeau Orchésographie et traité en forme de dialogue Langres Jehan des Près 1588
32 Sethus Calvisius Melopoeia sive melodiae condendae ratio Erfurt Georg Baumann 1592
33 Ricardo Rognoni Passaggi per potersi essercitare nel diminuire terminatamente con ogni sorte di instromenti, et anco diversi passaggi per la semplice voce humana Venezia Giacomo Vincenti 1592
34 Lodovico Zacconi Prattica di musica Venezia Girolamo Polo 1592
35a Girolamo Diruta Il Transilvano dialogo sopra il vero modo di sonar organi, & istromenti da penna Venezia Alessandro Vincenti 1593
35b Girolamo Diruta Seconda parte del Il Transilvano dialogo diviso in quattro libri Venezia Alessandro Vincenti 1609
36 Ercole Bottrigari Il Desiderio overo de' concerti di varii strumenti musicali, dialogo di Alemanno Benelli Venezia Ricciardo Amadino 1594
37 Giovanni Battista Bovicelli Regole, passaggi di musica, madrigali et motetti passerggiati Venezia Giacomo Vincenti 1594
38 Thomas Morley A Plaine and Easie Introduction to Practicall Musicke London Peter Short 1597
39 Joachim Burmeister Hypomnematum musicae poeticae Rostock Stephan Myliander 1599
40 Giulio Romolo Caccini Le nuove musiche Firenze Marescotti 1601
41 Girolamo Mei Discorso sopra la musica antica e moderna Venezia Gio. Battista Ciotti 1602
42 Agostino Agazzari Del sonare sopra'l basso con tutti li stromenti e dell'uso loro nel conserto dell'ill Siena Domenico Falcini 1607
43 Johannes Lippius Synopsis musicae novae omnino verae atque methodicae universae Strasbourg Carl Kieffer 1612
44 Pietro Cerone El Melopeo y maestro: Tractado de musica theorica y pratica Napoli Juan Batista Gargano y Lucrecio Nucci 1613
45 Johannes Nucius Musices poeticae sive de compositione cantus Neisse Crispinus Scharffenberg 1613
46 Michael Praetorius Syntagma musicum ex veterum et recentiorum ecclesiasticorum autorum lectione Wolfenbüttel Elias Holwein 1614/1615
Wittenberg Johann Richter
47 Salomon de Caus Institution harmonique divisée en deux parties Frankfurt am Main Jan Norton 1615
48 Joachim Thüringus Opusculum bipartitum de primordiis musicis Berlin Georg Runge 1624
49 Adriano Banchieri Armoniche conclusioni nel suono dell'organo Bologna Girolamo Mascheroni 1626
50 Giovanni Battista Doni Compendio del trattato de' generi de de' modi della musica Roma Andrea Fei 1635
51 Marin Mersenne Harmonie universelle, contenant la théorie et la pratique de la musique Paris Sébastien Cramoisy 1636
52 Charles Butler The principles of musik, in singing and setting: with the two-fold use thereof, (ecclesiasticall and civil) London John Haviland for the author 1636
53 Johann Andreas Herbst Musica practica sive instructio pro symphoniacis Nürnberg Jeremias Dümler 1642
54 Marco Scacchi Breve discorso sopra la musica moderna Warszawa Peter Elert 1649
55 Athanasius Kircher Musurgia universalis sive ars magna consoni et dissoni in X libros digesta Roma Eredi di Francesco Corbelletti 1650
Ludovico Grignani 1650
56 Marcus Meibom Antiquae musicae auctores septem Amsterdam Ludovic Elzevir 1652
57 John Playford A breefe introduction to the skill of musick for song and violl London John Playford 1654
58 Christoph Bernhard Tractatus compositionis augmentatus [only in ms.]
59 Giovanni d'Avella Regole di musica, divise in cinque trattati Roma Francesco Moneta 1657
60 Christopher Simpson The division-violist: or, an introduction to the playing upon a ground London William Godbid [John Playford] 1659
61 Giovanni Andrea Bontempi Nova quatuor vocibus componendi methodus Dresden Seyffert 1660
62 Lemme Rossi Sistema musico overo musica speculativa Perugia Angelo Laurenzi 1666
63 Leone Allacci Drammaturgia di Leone Allacci, divisa in sette indici Roma Mascardi 1666
64 Bénigne de Bacilly Remarques curieuses sur l'art de bien chanter Paris L'auteur et [Robert] Ballard 1668
65 Lorenzo Penna Li primi albori musicali per li principianti della musica figurata Bologna Giacomo Monti 1672
66 Thomas Mace Musick's Monument; or a remembrancer of the best practical musick, both divine and vicil, that has ever been known, to have been in the world London T. Ratcliffe & N. Thompson 1676
67 Wolfgang Caspar Printz Phrynis (Mytilenaeus) oder Satyrischer Componist Quedlinburg Christian Okel 1676-1677
68 Andreas Werckmeister Orgel-Probe Frankfurt und Leipzig Theodor Philipp Calvisius 1681
69 Daniel Speer Grund-richtiger, kurtz, leicht und nöthiger Unterricht der musicalischen Kunst Ulm Georg Wilhelm Kühne 1687
70 Matthias Henriksen Schacht Musicus danicus eller Danske sangmester [manuscript] 1687
71 Angelo Berardi Miscellanea musicale Bologna Giacomo Monti 1689
72 Giovanni Andrea Bontempi Historia musica, nella quale si ha piena cognitione della teorica, e della pratica antica della musica harmonica Perugia I. Costantini 1695
73 Thomáš Baltazar Janovka Clavis ad thesaurum magnae artis musicae Praha Georg Labaun 1701
74 François Raguenet Paralèle des Italiens et des François, en ce qui regarde la musique et les opéra Paris Jean Moreau 1702
75 Sébastien de Brossard Dictionnaire de musique, contenant une explication des terms grecs, latins, italians, et françois les plus usitez dans la musique Paris Christophe Ballard 1703
76 Jean Laurent Le Cerf de la Viélle Comparison de la musique italienne et de la musique français Bruxelles François Foppens 1704
77 Zaccaria Tevo Il musico testore Venezia Antonio Bortoli 1706
78 Jacques Bonnet Histoire de la musique, et des effets, depuis son origine jusqu'à present Paris Jean Cochart, Etienne Ganeau, Jacque Quillau 1715
79 François Couperin L'art de toucher le clavecin Paris L'auteur 1716
80 Bendetto Giacomo Marcello Il teatro alla moda o sia metodo sicuro e facile per ben comporre Venezia Aldiviva Licante [ca. 1720]
81 Alexander Malcolm A Treatise of Musick: Speculative, Practical and Historical Edinburgh For the author 1721
82 Jean-Philippe Rameau Traité d'l'harmonie réduite à ses principes naturels Paris Jean-Baptiste-Christophe Ballard 1722
83 Pier Francesco Tosi Opinionì de' cantori antichi, e moderni o sieno osservazioni sopra il canto figurato Bologna Lelio dalla Volpe 1723
84 Johann Joseph Fux Gradus ad Parnassum Wien Johann Peter van Ghelen 1725
85 Johann David Heinichen Der General-Bass in der Composition, oder, neue und gr:undliche Anweisung Dresden Bey den Autore [Freiberg: Christoph Matthaeus] 1728
86 Johann Mattheson Johann Matthesons Grosse General-Baß-Schule, Oder der exemplarischen Organisten-Probe Hamburg Johann Christoph Kissner 1731
87 Johann Gottfried Walther Musicalisches Lexicon oder musicalische Bibliothec Leipzig Wolffgang Deer 1732
88 Michel Pignolet de Montéclair Principes de musique. Divisez en quatre parties Paris Veuve Boivin 1736
89 Johann Adolph Scheibe Der Critische Musicus Hamburg Thomas von Wierings Erben 1738
90 Johann Mattheson Der Vollkommene Capellmeister. Das ist gründliche Anzeige aller derjenigen Sachen, die einer wissen, können und vollkommen inne haben muß, der einer Capelle mit Ehren und Nutzen vorstehen will Hamburg Christian Herold 1739
91 Leonard Euler Tentamen novae theoriae musicae ex certissimis harmoniae principiis dilucide expositae Petropoli Typographia Academiae scientiarum 1739
92 Lorenz Christoph Mizler von Kolof Neu eröffnete Musikalische Bibliothek oder Gründliche Nachright nebst unpartheyischem Urtheil von musikalischen Schriften und Büchern Leipzig Im Verlag des Verfassers und Brauns Erben 1739
93 James Grassineau A Musical Ditionary; being a collection of terms and characters, as well ancient as modern London J. Wilcox 1740
94 Francesco Geminiani The Art of Playing on the Violin: Containing all the Rules Necessary to attain to a perfection on that instrument London The author [printed by John Johnson[ 1751
95 Johann Joachim Quantz Versuch einer Anweisung die Flöte traversiere zu spielen Berlin Johann Friedrich Voss 1752
96 Jean le Rond d'Alembert Elémens de musique, théorique et pratique, suivant les principes de M. Rameau Paris David l'ainé, Le Breton, Durand 1752
97a Carl Philipp Emanuel Bach Versuch über die wahre Art das Clavier zu spielen, mit Exempeln und achtzehn Probe-Stücken in sechs Sonaten erläutert Berlin Christian Friedrich Henning 1753
97b Carl Philipp Emanuel Bach Zweyter Theil, in welchem die Lehre von dem Accompagnement und der freyen Fantasie abgehandelt wird Berlin George Ludewig Winter 1762
98 Friedrich Wilhelm Marpug Abhandlung von der Fuge, nach den Grundsätzen und Exempeln der besten deutschen und ausländischen Meister entworfen Berlin A. Haude, und J.C. Spener 1753-1754
99 Friedrich Wilhelm Marpug Historisch-kritische Beyträge zur Aufnahme der Musik Berlin J.J. Schützens Witwe [G.A. Lange] 1754
100 Giuseppe Tartini Trattato di musica secondo la vera scienza dell'armonia Padova Stamperia del seminario [Giovanni Manfrè] 1754
101 Francesco Algarotti Saggio sopra l'opera in musica [n.p.] [n.p.] 1755
102 Leopold Mozart Versuch einer gründlichen Violinschule, entworfen und mit 4. Kupfertafeln sammt einer Tabelle versehen Ausburg Verlag des Verfassers [Johann Jacob Lotter] 1756
103 François Parfaict, Claude Parfaict Dictionnaire des Théâtres de Paris Paris Chez Lambert 1756
104 Giovanni Battista Martini Storia della musica Bologna Lelio dalla Volpe 1757
105 Jakob Adlung Anleitung zu der musikalischen Gelahrtheit Erfurt J.D. Jungnicol 1758
106 John Mainwaring Memoirs of the life of the late George Frederic Handle. To which is added, a catalogue of his works, and observations upon them Londond R. & J. Dodsley 1760
107 Georg Andreas Sorge Anleitung zur Fantasie oder zu der schönen Kunst Lobenstein Verlag der Verfasser 1767
108 Jakob Adlung Musica Mechanica organoedi. Das ist: Gründlicher Unterricht von der Struktur, Gebrauch und Erhantung etc. der Orgeln, Clavicymbel, Clavichordien und anderer Instrumente Berlin Friedrich Wilhelm Birnstiel 1768
109 Jean-Jacques Rousseau Dictionnaire de musique Paris Vve. Duchesne 1768
110 Giovanni Battista Mancini Pnsieri, e riflessioni pratiche sopra il canto figurato Wien Stamparia van Ghelen 1774
111 Antonio Eximeno y Pujades Dell'origine e delle regole della musica, colla storia del suo progresso, decadenza e rinnovazione Roma Stamperia Michel'Angelo Barbiellini 1774
112 Martin Gerbert De cantu et musica sacra a prima ecclesiae aetate usque ad praesens tempus Typis San Blasianis 1774
113 Vincenzo Manfredini Regole armoniche o sieno precetti ragionati per apprendere I principi della musica Venezia Guglielmo Zerletti 1775
114 Charles Burney A General History of Music from the Earliest Ages to the Present Period. To which is prefixed, a Dissertation of the Music o the Ancients Londond For the aAuthor and sold by T. Becker, J. Robson, and G. Robinson 1776, 1782, 1789
115 John Hawkins A General History of the Science and Practice of Music London T. Payne and Son 1776
116 François Bédos de Celles L'art du facteur d'orgues Paris L.F. Delatour 1766, 1770, 1778
117 Jean-Benjamin La Borde Essaid sur la musique ancienne et modern Paris Ph.D. Pierres 1780
118 Heinrich Christoph Koch Versuch einer Anleitung zur Composition Leipzig Adam Friedrich Böhme 1782, 1783, 1793
Rudolstadt Löwe Erben und Schirach 1782, 1783, 1793
119 Esteban de Arteaga Le rivoluzioni del teatro musicale italiano della sua origine fino al presente Bologna Carlo Trenti 1783, 1785, 1788
120 Johann Nicolaus Forkel Allgemeine Geschichte der Musik Leipzig Im Schwickertschen Verlage 1788, 1801
121 Ernst Ludwig Gerber Historich-Biographiches Lexicon der Tonkünstler, welches Nachrichten von dem Leben und Werken musikalischer Schriftsteller, berühmter Compositen, Sänger, Meister auf Instrumenten, Dilettanten, Orgel- und Instrumentenmacher, enthält Leipzig Johann Gottlob Immanuel Breitkopf 1790, 1792
122 Johann Nicolaus Forkel Allgemeine Litteratur der Musik oder Anleitung zur kenntniß musikalischer Bücher, welche von den ältesten bis auf die neusten Zeiten bey den Griechen, Römern und den meisten neuern europäischen Nationen sind geschrieben worden Leipzig Schwickertschen Verlage 1792

La solita forma

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From the article

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La solita forma (or multipartite form) is an operatic term used to define the formal design of scenes in 19th century Italian opera from the bel canto era of Rossini, Bellini, Gaetano Donizetti to the late operas of Giuseppe Verdi.[1] The English phrase "multipartite form" is most often used by American musicologist Philip Gossett, beginning with a 1974 essay,[2] where he refers to a general framework of melodramatic scene types, especially duets. Each scene gradually progresses from an opening static lyric moment to a finale through several standard musical tempos and set pieces, gradually adding characters and adding or unraveling complexity in the plot.

Because composers wrote operas in short spans of time, the standardized form of scenes ensured a time-tested dramatic and musical structure. The term itself comes from a work of criticism by Abramo Basevi[3]

Recomposed lead

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Background

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For each genre there developed certain rules about internal structure, rules that could be observed, bent, or broken, but which composers and librettists recognized.[4]

the most basic division was between poetry intended for recitative and that intended for formal numbers.[5]

Italian prosody

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The most basic division was between poetry intended for recitative and that intended for formal numbers.[6] An Italian settenario is not really a “seven-syllable” line of verse, since it can have six, seven, or eight syllables, depending on whether the line is:

  • (a) tronco (concluding with an accented syllable, a so-called masculine ending, hence six syllables);
  • (b) piano (the form according to which the poetic meter is measured, concluding with an accented syllable and an unaccented one, a so-called feminine ending, hence seven syllables); or
  • (c) sdrucciolo (concluding with an accented syllable and two unaccented syllables, hence eight syllables).[7]

Notice that, in Italian verse, the final vowel of one word and the first of the next elide and are considered a single syllable: hence “[fe]-ste al,” “Se i,” and “[gl̓oc]-chi il” are counted as single syllables. Similar considerations affect senari, ottonari, decasillabi, and endecasillabi verses (“six,” “eight,” “ten,” or “eleven” syllables, respectively, but which can normally exist in tronco, piano, or sdrucciolo forms).[8]

Verses for recitative were written in what is known as versi sciolti, poetry consisting of endecasillabi and settenari freely mixed, with only an occasional rhyme. A single line of poetry could be assigned to a single character, or divided among several characters, and grammatical units might well run on from one verse to the next.[9]

The division of a single line of verse among characters, the irregular (though not unplanned) changes in the length of lines, the occasional but not prevalent use of rhyme, all imply a musical setting in a freer, declamatory style, that is, recitative. Faced with such a text, composers usually set them accordingly.[10]

The division of a single line of verse among characters, the irregular (though not unplanned) changes in the length of lines, the occasional but not prevalent use of rhyme, all imply a musical setting in a freer, declamatory style, that is, recitative. Faced with such a text, composers usually set them accordingly.

That does not mean, however, that recitative verse, versi sciolti, can never be set lyrically. Indeed, one of the ways in which the operas of the generation of Bellini and Donizetti differ from those of Rossini and composers of his time is in the extent to which later composers pepper their recitative scenes with lyrical periods, even when the verse forms do not easily lend themselves to this practice.[11]

Verses intended for formal numbers are quite different. In the simplest case, solo arias, they consist of stanzas of rhymed poetry in a single meter, or first in one meter, then in another.[12]

Poetry in fixed meters was used not only for lyrical sections but also for dialogue falling within musical numbers (as opposed to the versi sciolti employed for dialogue falling between musical numbers). The difference is significant, and using the term “recitative” to refer indiscriminately to both kinds of music hides distinctions that are important for how we must hear and perform the passages in question. Within a musical number dialogue (or parlante as it was often called in the nineteenth century) was frequently organized into more regular rhythmic units, with the orchestra providing continuity and structure, while the vocal line fits itself into the texture more freely, following the implications of the dramatic situation.[13]

By purely poetic means, then (the use of different meters, the use of stanzas of verse for a single character, the use of dialogue, etc.), librettists—often in consultation with the composer—materially influenced the structure and character of both the entire opera and each individual piece. They provided composers with recitative verse and with formal numbers, so that the poetry shaped important musical decisions. For the most part, composers took the structural parameters implicit in the poetry, fashioning each composition accordingly and from those parameters developing the shape of the entire opera.[14]

Versi sciolti: "loose verse": an alternation of eleven- and seven-syllable lines - no stanzaic structure and only occsional rhymes.[15] Often set as recitative, with "kinetic" action - texts that moves the action forward.


Gossett's first example: "Ebben, a te, ferisci" from Rossini's Semiramide.

Four parts (as evidence by text).

  • Part 1: parallel poetic stanzas; dialogue
  • Part 2: cantabile: lyrical contemplation of the dramatic situation
  • Part 3:arioso; short melodic phrases; simple chordal background
  • Part 4: cabaletta; in aria consists of lyrical period, often concluding coloratura;

Donizetti accepts Rossini's formal model, though with different melodic style.[16]

Verdi was seeking new forms.[17] By mid 19th-century, the four parts had become two, the slow and lyrical cantabile followed by the contrasting cabaletta. Example from La Traviata, Alfredo-Violetta duet: [part one] Colpevol sono; [part 2] Parigi, o cara; [part 3] Ah non più; [part 4] Gran Dio! morir si giovine. Gossett: the text forces a change of the character of each section, although the four-part structure is maintained.[18] Despite ambivalence, Verdi maintained solita forma in Aida, example: Già i sacerdoti adunansi [part 1]; Morire! Ah! tu dei vivere! [part 2]; Di lei non più [part 3]; Chi ti salva, sciagurato [part 4; cabaletta].

Table

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Section Name of section Genre Type of language dramatic action
1 Primo tempo (Tempo d'attacco)[19] recitative versi sciolti (stanzas, dialogue) kinetic
2 Pezzo concertato/Adagio Adagio versi lirici static
3 Tempo di mezzo Tempo di mezzo versi sciolti kinetic
4 Cabaletta / stretta Cabaletta versi lirici static

Bibliography

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References

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  1. ^ Harold S. Powers, "La Solita Forma" and "The Uses of Convention" Acta Musicologia, Vol 59, Fasc. 1 (Jan–Apr 1987) pp. 65–90
  2. ^ Philip Gossett, "Verdi, Ghislanzoni, and Aida: The Uses of Convention", in Critical Inquiry 1, no. 2 (1974), pp. 291–334.
  3. ^ Basevi 1859, p. 191
  4. ^ Gossett, p. 43.
  5. ^ Gossett, p. 43.
  6. ^ Gossett, p. 43.
  7. ^ Gossett, p. 43.
  8. ^ Gossett, p. 44.
  9. ^ Gossett, p. 44.
  10. ^ Gossett, p. 44.
  11. ^ Gossett, p. 44.
  12. ^ Gossett, p. 45-46.
  13. ^ Gossett, p. 46.
  14. ^ Gossett, p. 48.
  15. ^ Basevi, p. xxvi.
  16. ^ Gossett, p. 306.
  17. ^ Gossett, p. 306.
  18. ^ Gossett, p. 308.
  19. ^ Gossett, Divas and Scholars, p. 567-68. Gossett disdains use of the idiom "tempo d'attacco" for the reason that in the 19th century Basevi was the only writer who used it. He prefers "primo tempo" because that was the term most often used by 19th century authors.

Come scritto

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Drexel

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Special Collections

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Origins

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From: Trends in Rare Book and Documents Special Collections Management. Primary Research Group Inc, 2008 ISBN 1574400959

  • Collection background and scope
  • Acquisitions and development
  • Pre-screening procedures and security
  • Outreach and publicity
  • Exhibits
  • Lending
  • Cataloging
  • Digitization and online exhibits
  • Preservation

[Special Collections, Issue 57]

http://books.google.com/books?id=8aHiAAAAMAAJ&printsec=frontcover&dq=%22special+collections%22&hl=en&sa=X&ei=UDPfUfDWNbLC4APArYG4Cw&ved=0CDAQ6AEwAA



Wikipedia articles to create related to NYPL-MUS

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People's Music League

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Infobox for manuscripts

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Drexel 4041
New York Public Library for the Performing Arts
 
TypeCommonplace book
DateUncertain
Place of originEngland
Language(s)English
Size144 leaves

Other NYPL articles to create

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  • Drexel 5609, 5611, 5612
    • Individual works listed in: Virginia Brookes, British Keyboard Music to c.1660: sources and thematic index (New York : Oxford University Press, 1996), p. 58-72.
    • Hilda Gervers, "A manuscript of dance music from seventeenth-century England : Drexel Collection Ms. 5612," Bulletin of The New York Public Library 80, no. 4 (Summer 1977), p. 503-552.
    • Candace Bailey, "New York Public Library Drexel MS 5611," Fontes Artis Musicae 47, no. 1 (Jan.-Mar. 2000), p. 51-67.
  • Drexel 5061 - "Ayres for viols"
  • Drexel 4300 - contents list and notes in Richard Charteris, "Correspondence" Music and Letters (2008), p. 698-700.
  • Vladimir Heifetz

Merrill additions

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Saturday Evening Post interview "Fannie Brice Tells Her Story" as told to Palma Wayne. Saturday Evening Post, November 21, 1925.

Publications

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  • Bulletin: bequest of Katherine Drexel Penrose: 23:11, 176 ; 24:130.
  • Publications:
    • Gibbons (Bulletin): 27:121
    • Byrd: 28:5


References

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