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MUSICAL NOTATION , a pictorial method of representing sounds to the See also:ear through the See also:medium of the See also:eye. It is probable that the earliest attempts at notation were made by the See also:Hindus and See also:Chinese, from whom the See also:legacy was transferred to See also:Greece. The exact nature of the See also:Greek notation is a subject of dispute, different explanations assigning 168o, 162o, 990, or 138 signals to their alphabetical method of delineation. To Boethius we owe the certainty that the Greek notation was not adopted by the Latins, although it is not certain whether he was the first to apply the fifteen letters of the See also:Roman See also:alphabet to the See also:scale of sounds included within the two octaves, or whether he was only the first to make See also:record of that application. The reduction of the scale to the See also:octave is ascribed to St See also:- GREGORY
- GREGORY (Gregorius)
- GREGORY (Grigorii) GRIGORIEVICH ORLOV, COUNT (1734-1783)
- GREGORY, EDWARD JOHN (1850-19o9)
- GREGORY, OLINTHUS GILBERT (1774—1841)
- GREGORY, ST (c. 213-C. 270)
- GREGORY, ST, OF NAZIANZUS (329–389)
- GREGORY, ST, OF NYSSA (c.331—c. 396)
- GREGORY, ST, OF TOURS (538-594)
Gregory, as also the naming of the seven notes, but it is not safe to assume that such an ascription is accurate or final. Indications of a See also:- SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)
scheme of notation based, not on the alphabet, but on the use of dashes, hooks, curves, dots and strokes are found to exist as See also:early as the 6th See also:century, while specimens in See also:illustration of this different method do not appear until the 8th. The origin of these signs, known as neumes (ve6µa-ra, or nods), is the full stop (punctus), the See also:comma (virga), and the See also:mound or undulating See also:line (clivus), the first indicating a See also:short See also:sound, the second a See also:long sound, and the third a See also:group of two notes. The musical intervals were suggested by the distance of these signals from the words of the See also:text. The variety of neumes employed at different times, and the fluctuations due to See also:handwriting, have made them extremely difficult to decipher. In the loth century a marked advance is shown by the use of a red line traced horizontally above the text to give the See also:singer a fixed See also:note (F.= fa), thus helping him to approximate the intervals. To this was added a second line in yellow (for C=ut), and finally a See also:staff arose from the further addition of two See also:black lines over these. The difficulty of the subject is complicated for the student by the fact that an incredible variety of notations coexisted at one See also:period, all more or less representing attempts in the direction of the See also:modern See also:system. A variety of experiments resulted in the See also:assignment of the four-lined staff to sacred See also:music and of the five-lined staff to See also:secular music. The yellow and red See also:colours were replaced by the use of the letters F and C (fa and ut) on the lines. This use of letters to indicate clef is forestalled in a See also:manuscript of Guido of See also:Arezzo's Micrologus, dating from the 12th century, in which is the famous hymn to St See also:John, printed with neumes on a staff of three lines (see GUID0 OF AREZZO). The use of letters for indicating clefs has survived to the See also:present See also:day, our clef signatures being modified forms of the letters C, F and G, which have passed through a multitude of shapes. Before the 12th century there is no trace of a measured notation (i.e. of a numerical See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time See also:division separating the component parts of a piece of music). It is at the time of Franco of See also:Cologne 2 that measured music takes its rise, together with the black notation in See also:place of neumes, which disappeared altogether by the end of the 14th century. See also:Writing four See also:hundred years after St Gregory, Cottonius complains bitterly of the defects in the system of neumes: " The same marks which See also:Master Trudo sang as thirds, were sung as fourths by Master See also:Albinus; while Master Salomo asserts that fifths are the notes meant, so at last there were as many methods of singing as teachers of the See also:art." Possibly the reckless multiplication of lines in the staff may have contributed to the obscurity of which Cottonius complains. In the black notation, which led to the modern system, the square note with a tail (1) is the long sound; the square note
2 The principles of Franco are found in the See also:treatises of See also:Walter Odington, a See also:- MONK (O.Eng. munuc; this with the Teutonic forms, e.g. Du. monnik, Ger. Witch, and the Romanic, e.g. Fr. moine, Ital. monacho and Span. monje, are from the Lat. monachus, adaptedfrom Gr. µovaXos, one living alone, a solitary; Own, alone)
- MONK (or MONCK), GEORGE
- MONK, JAMES HENRY (1784-1856)
- MONK, MARIA (c. 1817—1850)
monk of See also:Evesham who became See also:archbishop of See also:Canterbury I See S. de Caus, See also:Las forces mouvantes; and See also:article See also:BARREL See also:ORGAN. in 1228.
without a tail (8) is the breve; and the See also:lozenge shape (1) is the semibreve. In a later development there were added the See also:double long °I and the minum (i). The breve, according to Franco of
Cologne, was the unit of measure. The development of a fixed time division was further continued by Philippe de Vitry. It has been noted with well-founded astonishment that at this time the double time (i.e. two to the See also:bar) was unknown, in spite of this being the tirne used in marching and also illustrated in the See also:process of breathing. Triple time (i.e. three to the bar) was regarded as the most perfect because it was indivisible. It was as if there See also:lay some mysterious enchantment in a number that could not be divided into equal portions without the fraction. " Triple time, " says See also:Jean de Muria, " is called perfect, according to Franco, a See also:man of much skill in his art, because it hath its name from the Blessed Trinity which is pure and true perfection." Vitry championed the rights of imperfect time and invented signs to distinguish the two. The perfect circle 0 represented the perfect or triple time; the See also:half circle C the imperfect or double-time. This C has survived in modern notation to indicate four-time, which is twice double-time; when crossed f it means double-time. The method of dividing into perfect and imperfect was described as prolation. The addition of a point to the circle or semi-circle (0 f ) indicated See also:major prolation; its See also:absence, See also:minor prolation. The substitution of See also:- WHITE
- WHITE, ANDREW DICKSON (1832– )
- WHITE, GILBERT (1720–1793)
- WHITE, HENRY KIRKE (1785-1806)
- WHITE, HUGH LAWSON (1773-1840)
- WHITE, JOSEPH BLANCO (1775-1841)
- WHITE, RICHARD GRANT (1822-1885)
- WHITE, ROBERT (1645-1704)
- WHITE, SIR GEORGE STUART (1835– )
- WHITE, SIR THOMAS (1492-1567)
- WHITE, SIR WILLIAM ARTHUR (1824--1891)
- WHITE, SIR WILLIAM HENRY (1845– )
- WHITE, THOMAS (1628-1698)
- WHITE, THOMAS (c. 1550-1624)
white for black notation began with the first See also:year of the 14th century and was fully established in the 15th century.
It has already been shown how the earlier See also:form of alphabetical notation was gradually superseded by one based on the See also:attempt to represent the relative height and See also:depth of sounds pictorially. The alphabetical nomenclature, however, became inextricably associated with the pictorial system. The two conceptions reinforced each other; and from the hexachordal scale, endowed with the solmization of ut, re, mi, fa, sal, la—which was a See also:device for identifying notes by their names when talked of, rather than by their positions when seen on a See also:page of music—arose the use of what are now known as accidentals. Of these it may here be said that the See also:flat originated from the See also:necessity of sinking the B of the scale in See also:- ORDER
- ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
- ORDER, HOLY
order to form a hexachord on the note F in such a way as to cause the semitone to fall in the right place—which in the See also:case of all hexachords was between the third and See also:fourth notes. This softened B was written in a rounded form thus: b (rotundum), while the See also:original B remained square thus: b (quadrum). The original conception of the See also:sharp was to See also:cross or lattice the square B, by which it was shown that it was neither to be softened nor to remain unchanged. The flat, which originated in the loth century, appears to have been of far earlier date than the sharp, the invention of which has been ascribed to Joaquin See also:Des Pres (1450-1521). The B-sharp was called B cancellatunz, the cross being formed thus . The
use of See also:key signatures constructed out of these signs of sharp and flat was of comparatively See also:late introduction. The key See also:signature states at the beginning of a piece of music the sharps and flats which it contains within the scale in which it is written. It is a device to avoid repeating the sign of sharp and flat with every fresh occasion of their occurring. The exact distinction between what were accidental sharps or flats, and what were sharps or flats in the key, was still undetermined in the time of See also:Handel, who wrote the See also:Suite in E containing the " Harmonious Black-See also:- SMITH
- SMITH, ADAM (1723–1790)
- SMITH, ALEXANDER (183o-1867)
- SMITH, ANDREW JACKSON (1815-1897)
- SMITH, CHARLES EMORY (1842–1908)
- SMITH, CHARLES FERGUSON (1807–1862)
- SMITH, CHARLOTTE (1749-1806)
- SMITH, COLVIN (1795—1875)
- SMITH, EDMUND KIRBY (1824-1893)
- SMITH, G
- SMITH, GEORGE (1789-1846)
- SMITH, GEORGE (184o-1876)
- SMITH, GEORGE ADAM (1856- )
- SMITH, GERRIT (1797–1874)
- SMITH, GOLDWIN (1823-191o)
- SMITH, HENRY BOYNTON (1815-1877)
- SMITH, HENRY JOHN STEPHEN (1826-1883)
- SMITH, HENRY PRESERVED (1847– )
- SMITH, JAMES (1775–1839)
- SMITH, JOHN (1579-1631)
- SMITH, JOHN RAPHAEL (1752–1812)
- SMITH, JOSEPH, JR
- SMITH, MORGAN LEWIS (1822–1874)
- SMITH, RICHARD BAIRD (1818-1861)
- SMITH, ROBERT (1689-1768)
- SMITH, SIR HENRY GEORGE WAKELYN
- SMITH, SIR THOMAS (1513-1577)
- SMITH, SIR WILLIAM (1813-1893)
- SMITH, SIR WILLIAM SIDNEY (1764-1840)
- SMITH, SYDNEY (1771-1845)
- SMITH, THOMAS SOUTHWOOD (1788-1861)
- SMITH, WILLIAM (1769-1839)
- SMITH, WILLIAM (c. 1730-1819)
- SMITH, WILLIAM (fl. 1596)
- SMITH, WILLIAM FARRAR (1824—1903)
- SMITH, WILLIAM HENRY (1808—1872)
- SMITH, WILLIAM HENRY (1825—1891)
- SMITH, WILLIAM ROBERTSON (1846-'894)
smith " with three sharps instead of four. The double bb (some-times written b or /3) and the double sharp X (sometimes written X, 'N or # ) are Conventions of a much later date, called into existence by the demands of modern music, while the sign of natural (q) is the outcome of the original B quadration or square B b.
The systems known as Tonic Sol Fa and the Galin-See also:Paris-Cheve methods do not belong to the subject of notation, as they are ingenious See also:mechanical substitutes for the experimentally See also:developed systems analysed above. The basis of these substitutes is the reference of all notes to key relationship and not to See also:pitch.
Eitner, Bibliographie der musik. Sammelwerke des 16. and zq. Jahrhunderts (See also:Berlin, 1879); See also:Friedrich Chrysander, " Abriss einei Geschichte des Mnsikdrucks vom 15.-19. Jahrh.," Allgemeine musik: alische Zeitung (See also:Leipzig, 1879, Nos. 11-16); W. H. See also:- JAMES
- JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
- JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
- JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
- JAMES, DAVID (1839-1893)
- JAMES, EPISTLE OF
- JAMES, GEORGE PAYNE RAINSFOP
- JAMES, HENRY (1843— )
- JAMES, JOHN ANGELL (1785-1859)
- JAMES, THOMAS (c. 1573–1629)
- JAMES, WILLIAM (1842–1910)
- JAMES, WILLIAM (d. 1827)
James Weale, A Descriptive See also:Catalogue of Rare See also:Manuscripts and Printed See also:Works, chiefly Liturgical (See also:Historical Music See also:Loan See also:Exhibition, See also:Albert See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
Hall, See also:London, See also:January—See also:October, 1885) ; (London, 1886) ; W. See also:Barclay See also:Squire, " Notes on Early Music See also:Printing," in the Zeitschrift biblio' graphica, p. IX. S. 99--122 (London, 1896) ; See also:Grove's See also:Diet. of Music.
End of Article: MUSICAL NOTATION
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