Grove's dictionary of music and musicians

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406 SECOND SEEGR
variations
on an original theme of 104 bars
also a complete theoretical treatise ready for
publication, in two portions, first on acoustics,
second on canon. Among his published works
are an edition of Marpurg On Fuffm, with many
additions ; Orundsdtze der musik. Composition
(3 vols. B. & H.) ; twelve masses ; Practical Examples
of Accompanimentfrom Figured 5ass,op.
59 ; Practical Schoolof Thorough£ass,0TppA9, 98
preludes for the organ, in four books ; fiigues,
hymns, choral preludes ; four fugues for PF., op.
5, dedicated to Beethoven ; fugue in minor, to
the memory of Schubert, op. 43 ; etc. Sechter
completed the grand fague for orchestra in D
major, left unfinished by Mozait. o. F. p.
SECOND. The smallest interval in the scale
used for musical purposes. It is described by notes
which are next to each other on the stave or by
letters which lie next each other in the alphabet,
as A B, B 0, C Dt(, El>
Fff.
Three kinds can be practically distinguished. The
minor second, which is equal to a semitone, as
at (6) in the example ; the major second, which
is equal to a tone (but of which there are two
kinds, grave and acute—see below), as at (a) ;
and the augmented second, which is equal
to three semitones, as at (c). They are all
discords, but are characterised by different
degrees of roughness. The minor second is
extremely harsh, the major decidedly so,
though not s6 extremely, and the augmented
second but slightly. In ordinary musical usage
the last is actually the same interval as a
minor third, which is not looked upon as a
dissonance at all ; nevertheless the ear, distinguishing
relations instinctively, classifies the
combinations according to their context as
having a dissonant or consonant significance.
Thus when the context suggests the interval Ab
Bt|, the mind will not accept it as final, but as
a dissonance requiring resolution ; whereas if
the same interval could be expressed as A\^ Ob,
it might be recognised as a characteristic portion
of the minor chord of At>, and could be
accepted as final without desire for farther
motion.—The numerical ratios of the several intervals
in just intonation are given as follows :
—the minor second, 16 : 15 ; the grave major
second, 10 : 9 ; the acute major second, 9:8;
and the augmented second, 75 : 64. [See Semitone.]
0. H. H. p.
SEOONDO. The second player in a duet.
[See Peimo.]
SEDIE, DELLE, Eneico, baritone singer,
son of a merchant of Leghorn, was bom June
17, 1824. Ri the year 1848 he volimteered in
the army of Charles Albert of Piedmont, and
fought against the Austrians in the war for
Italian independence. He was taken prisoner
at the battle of Curtatone but afterwards released,
and at the close of the campaign of
the following year retired from the army with
the rank of lieutenant. Under the direction of
his fellow-citizen, Orazio Galefli, he then devoted
himself to the study of singing, and in
1851 made his d^but at Pistoia in Nabucco.
From 1854, when he made a great Success as
Eigoletto in Florence, his position was secure.
He appeared with unvarying success at Rome,
Milan, Vienna, Paris, and London, and though
possessed of so little voice as to gain the sobriquet
of II baritono senza voce, he made up by
dramatic accent and purity of style for the
shortcomings of nature. In 1867, at the
earnest request ofAuber, he accepted a professorship
at the Conservatoire of Paris on the most
^vantageous terms hitherto offered. Under
"
him a commission was appointed for the entire
remodelling of that institution, but the death
of Auber atnd the outbreak of the Franco-
Prussian War compelled the government to
abandon their intention. In 1874 he published
a large work upon the art of singing and
musical declamation, under the title of L'Art
Lyrique. Translations of this and other vocal
treatises are published in New York as A Complete
Method of Singing.
Signer Delle Sedie was Cavaliere of the Order
of the Crown of Italy, for his military services
in the campaigns of 1848, 1849 ; Cavaliere of
the Order of SS. Maurizio and Lazzaro ; and
member of many societies and academies both
ot Italy and France.
For some time he lived
in Paris, and devoted himself entirely to the
teaching of his art. He died there Nov. 28,
1907. J. 0. li.
SEEGE (Sbegbe, Segee, Saoee, Segert,
Zeokeet), Joseph Feedinand Noebeet, eminent
organist and composer, born at Repin near
Mebiik, Bohemia, March 21, 1716. Educated
at Prague, where he graduated' Master of Philosophy.
He was alto singer at St. James's
Church in that city, and, later, organist at St.
Martin's. In 1735 he was first violinist at the
TeinChuroh, but was appointed organist in 1741,
which position he retained until his death on
April 22, 1782. In addition he held the
appointment of organist at the KreuzheiTenkirche
in the Old Town for thirty-seven years
(1745 to 1782). In this church Joseph II. heard
Seegr play, and was so delighted with the
masterly performance that he at once determined
to give him a Court appointment at Vienna ; but,
sad to say, when the official document containing
this preferment arrived, Seegr was no more.
Amongst his pupils were the principal Bohemian
musicians of that time, viz. : Kozeluoh, Maschek,
Mysliwecek, Gelinek, Brixi, Kucharz, etc. That
Seegr was well known to Bach is testified by
the fact that the latter advised Count Millesimo
to place Mathias Sofka under Master Seegr,
remarking that he could not entrust him to a