Grove's dictionary of music and musicians

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404 SCRIPTORES SEASONS, THE
Vol. III.
1. Fmnco. 'AiB cantus mensurablliB.'
2. El laa Salmon. ' Scleutia artlB musicae.'
3. Marchettl of Fadua. ' Lucidarium musicae planae,' ' Pomerinm
niUBicae mensuratae.'
4. Jean de MurlB. 'Summa muaicae,' 'Musica epeculativa,' 'De
uumeris,' ' MuBlcapractlca,' 'Queatlones super partes miuicae,'
' touis,' De proportlonibua.'
5. Arnulph.
'
De ditfereutils cantorum.'
6. John Keck. ' Introductorium musicae.'
7. Adam of Fulda. 'Musica.'
8 ' CoDstitutiones capeilae PontiSciae ' (154S).
9. TeKio} i/roAriK^ seu Ars Fsallendi aut canl^andi Oraecorum.
A continuation of Gerbert was gathered by
Coussemaker under the title Scriptores de Musica
medii aevi (1864-76). It contains the following
works :
Vol. I.
1. Fra Jerome of Moiavia. 'De musica.' With extracts from
'
Positio vulgaris.' John de Garlandia,
'
De musica mensurabiil
'
; Franco of Cologne, ' Ars cantus mensujabilis '
Peter Ficard, *
Musica mensurabllis.'
2. Franco. ' Coutpendium discantus.'
3. John de Garlandia. ' Introductio musicae.'
4. ,, ,, *De musica mensurablli.'
5. Walter de Odington. ' De speculatioTie musics.'
6. Aristotle. 'De musica' (12th or 13th century).
7. Fetrus de Cruee. 'Detonia.'
8. John Balloc. * Abbreviatio Franconis.'
,
* 10. De discantu.'
9. Anonymus. * De consonantiis musicallbus.'
,,
'
Cantu mensuiabili.'
11. ,,
12. „ *
De meoBuria et discantu.'
13. „ De discantu.'
14. *
De flguris sive de notis.'
.,
15. „ 'De musica.'
16. Bobert Handle. 'Begulae.'
17. John Hanboys. * Summa super musicam.'
Vol. II.
1. Begino of Frilm. ' Tonarius.'
' 2. Hucbaid. Musica encheiriadis ' (a bit unpublished by Gerbert).
3. Ouido of Arezzo, 'De modorum formulis.'
,, ,, De sex motibus vocum.'
4. Odo. ' Intonarium.'
5. Ctuldo in Caroll>loco Abbaa. ' Opuaculum.' ^
6. Jean de Muris, ' Speculum musicae' (boolcs Ti. and vi].).
'7. A Carthusian. ' De musica plana.'
8. Anonymus. ' De musica.'
Vol. HI.
1. ' Marchettl of Fadua. ' Brevis compilatlo ' (see Oerbert).
2. John de Garlandia. ' Introductio de contrapuncto.'
3. Philip of Vitry. * Ars nova '
4. ,, ,, 'Ars contrapuncti.'
Ars perfect'
* 5. „ „
Liber musicalium.'
'
6. ,, ,,
7. Jean de Muris. 'Llbellua cautus mensurabllis,'
,, ,, 8. 'Ars contnbpuncti,'
*
9. ,, „ Ars discantus.'
10. Henry of Zeland.
'
De cantu perfecto et imperfecto.'
11. Philoppotus Andreas. ' De contrapuncto.'
12. Philip de Caserta. ' De diversis figuris.'
13. Giles de Murino. 'Cantus mensurabllis.'
14. Johannes Verulua de Anagnia. ' De musica.'
15. Theodore de Campo. ' Musica mensurabiiie.'
16. FroHdoclmus de Beldemandia. ' De contrapuncto.'
17.
Tractatus practice cantus mensurabllis.'
Do. ad modum Italicum.'
19.
Llbellus monochordl.'
Summula pronortionum.'
21. NiuasiuB Weyts, Carmelite. ' Bogulae muslcaei
22. Christian Saze of Flanders. ' Tractatus.'
23. Gulielmus Monachus. ' De praeceptis artis musicae.'
24. Antonlus de Leno. ' Reguie de coutraponto.'
25. John de Hothby. ' Regulae super proportlonem.'
26. ,, ,, De cantu flgurato.'
27. '
,, ,, Begulae supra contrapunctum,'
Anonymous works, 2840 (pp. 334-498).
Vol. IV.
1. John Tinctorls. (1) Expositio manus * ' ; (2) De natura ' et proprietate
tonorum' : (3) De notis ' et pausis' ; (4) De ' regulari
valore notarum
' : (5) ' Liber imperfectionum
' (6) ' Tractatus
;
alterationum ' : (7) 'Super punctis musicallbus'; (8) 'Dearte
contrapuncti'; (9) ' Proportlonale muslces'; (10) 'Dlliinitorium
muslces.'
2. Simon Tunstede. ' Quatuor principalia muslces.'
3. Johannes Qallieus. 'Ritua eanendi'; 'Introductio.'
4. Antonlus de Luca. 'Ars cantus figurati.'
6. Anonymus. ' De musica flgurata.'
For Boethius's De Institutione musica recourse
may be had to his works in Migne's Patrologia
Latimaor inT&ihnev'sBiUiotheca (ed. Friedlein).
Note also Ein anonymer MusiHractat (ed.
J. Wolf), Leipzig, 1893, and a valuable little
early tract printed by Wagner in Bassegna
Gregoriana, iv. 482 (1904). w. H. F.
8CUD0, PiBTRO, born June 6, 1806, at Venice,
was brought up in Germany. Some circumstance
led him to Paris, and in 1816 he entered Choron's
school, and studied singing there at the same
time with Duprez. He never became a good
singer, and after taking a secondary part in
Rossini's ' II Viaggio a Reims ' left the boards,
returned to Choron's school, and there picked
up a, slender knowledge of music. After the
revolution of 1830 he played second clarinet in
a military band. Returning to Paris he made
his way into society, set up as a teacher of
singing, and a composer of romances. His
knowledge of harmony and the elementary laws
of musical accent was but slight, as he himself
admits in spite of his vanity. Continuing his
career as a professor of singing, he took to
writing, and published Physiologic da rire and
Les Partis politiques en proviiice (1838). He
gradually restricted himself to musical criticism,
but as long as he wrote only for the Heime de
Paris, the Biforme, and the Ilevue i'ndipendainie,
he was unknown outside certain cliques in
Paris. As musical critic to the Bevue des Deux
MoTides, he became a man of mark, though he
was never more than a laborious writer, who
made good use of German and Italian books,
and managed by means of certain dogmatic
formulae and fine writing to conceal his want
of knowledge and ideas. Scudo's articles are
worth reading as specimens of French musical
criticism before Berlioz was known, and while
Fdtis occupied afield without a rival. They have
been mostly republished under the following
titles:
Critique et liiterature musicale (1850,
8vo ; 1852, 12mo), 2nd series (1859, 12mo) ;
La Musique aiicienne et moderne (1854, 12mo) ;
L'Annie musicale, 3 vols. (Hachette, 1860,
1861, and 1862) ; La Musique en 1868 (Hetzel,
1863) ; and Le Ohevalier Sarli (1857, 12mo), a
musical novel taken from Italian and German
sources, of which a continuation, Frid^rique,
appeared in the Mevue des Deux Mondes, but
was not republished. All his works were
printed in Paris. Scudo finally became insane,
and died Oct. 14, 1864, in an asylum at
Blois. G. c.
SEASONS, THE — Die Jahreszeiten —
Haydn's last oratorio. The book was compiled
in German from Thomson's ' Seasons ' by Van
Swieten, who induced Haydn to undertake its
composition immediately after the success of
the ' Creation ' ; and the music was written
between April 1798 and April 24, 1801, on
which day the first performance took place at
the Sohwarzenberg palace, Vienna. Haydn
always averred that,!.the strain of writing it had
hastened his death. [See Vol. ii. p. 362a.]
It is in four parts. The score was published
in 1802-3 (without date) at Vienna ; a barbarous
English version accompanied the German text.