By John S. Sainsbury
The writer John Sainsbury produced this two-volume biographical dictionary of musicians in 1824. The e-book, as he recognizes on his identify web page, borrows from the formerly released works of Choron and Fayolle (in French), Gerber (in German), Orloff (Russian, writing in French), and his impressive English predecessors, Dr Burney and Sir John Hawkings. It features a 'summary of the background of music', in addition to biographies and memoirs of musicians. the variety of the knowledge supplied is titanic, together with the main imprecise in addition to the main well-known: fourteen pages on Mozart are by means of paragraphs on his spouse Constanza and at the now thoroughly forgotten B. F. Mozin, a French piano instructor and composer, whereas Beethoven is defined whilst nonetheless residing and composing, albeit stricken through deafness. This paintings is a mine of knowledge on musical lifestyles and perceptions of tune heritage within the early 19th century.
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Extra info for A Dictionary of Musicians, from the Earliest Ages to the Present Time. Volume 1
Some ignorant writers have attributed the origin of this idea to Rameau. In this they are mistaken, and to be convinced of their error, they have only to glance at the writings of Zarlino, Berardi, and others, when they will find that the above idea, which is indeed founded in truth, had long been familiar to the ancients. What may with truth, however, be attributed to Rameau is, his having endeavoured to include all the laws of harmony in those laws which govern the principal chords. To this end, he names these chords fundamental chords; the note which acts as bass he calls the fundamental note; and finally he terms fundamental bass that hypothetical bass which is formed solely by the fundamental note.
Gregory, we have nothing further to relate concerning it. With regard to thefaitx-bourdon, we have already traced its origin; and from this style is derived composition with many parts. This is the most simple style of all, and consists of a counterpoint of note against note, in which the bass bears only perfect chords; it has not received any alteration since the period when the rules of simple VOL. i. d SUMMARY OF THE composition were unalterably fixed, which may be traced to a more remote period than the Flemish school.
All Zarlino's doctrine was established on the practice of the masters of the Flemish school, of whom he himself was a pupil. In this he was followed by Artusi, Zacconi, and others, who wrote towards the close of the sixteenth century. D. P. Ceroni, who published at Naples, in 1613, his " Melopeo y Maestro," narrowed the boundaries of the doctrines of music. He modified his instructions according to those of Palestrina and other masters of the Roman school. Galeazzo Sabbatini, who, in 1644, gave rules for thoroughbass, wrote on the same principles.