`
`Dictionary of Music
`and Musicians
`
`SECOND EDITION
`
`Edited by
`
`Stanley Sadie
`
`Executive Editor
`
`John Tyrrell
`
`VOLUME 11
`
`Harpege to Hutton
`
`~
`GROVE
`
`PAGE 1
`
`Verizon Wireless
`Exhibit 1043-0001
`
`
`
`© Macmillan Publishers Limited 2001
`
`All rights reserved. No part of this publication may be reproduced,
`in any form, or by any means, without permission
`
`First Edition of A Dictionary of Music and Musicians, planned and edited by
`SIR GEORGE GROVE, DCL, in four volumes, with an Appendix edited by J.A Fuller Maitland,
`and an index by Mrs Edmond Wodehouse, 1878, 1880, 1883, 1889
`Reprinted 1890, 1900
`
`Second Edition, edited by J.A FULLER MAITLAND, in five volumes, 1904-10
`
`Third Edition, edited by H.C. COLLES, in five volumes, 1927
`
`Fourth Edition, edited by H. C. COLLES, in five volumes, with Supplementary Volume, 1940
`
`Fifth Edition, edited by ERIC BLOM, in nine volumes, 1954; with Supplementary Volume 1961
`Reprinted 1961, 1973, 1975
`
`American Supplement, edited by WALDO SELDEN PRATT, in one volume, 1920
`Reprinted with new material, 1928; many later reprints
`
`The New Grove Dictionary of Music and Musicians TM first edition
`edited by STANLEY SADIE in twenty volumes, 1980
`Reprinted 1981, 1984, 1985, 1986, 1987, 1988, 1989, 1990, 1991, 1992, 1993, 1994, 1995
`Reprinted in paperback 1995, 1996, 1997, 1998
`
`The New Grove Dictionary of Music and Musicians™ second edition
`edited by STANLEY SADIE I executive editor jOHN TYRRELL,
`published in twenty-nine volumes in the year 2001
`
`This edition is distributed within the United Kingdom and Europe by Macmillan Publishers Limited
`London, and within the United States and Canada by Grove's Dictionaries Inc., New York
`
`Grove, Grove's, The New Grove and The New Grove Dictionary of Music and Musicians are trademarks of Macmillan
`Publishers Limited, London and its associated companies.
`Macmillan Publishers Limited, London and its associated companies are the proprietors of the trademarks Grove's,
`The New Grove and The New Grove Dictionary of Music and Musicians throughout the world.
`
`Text keyboarded by Alden Bookset, Oxford, England
`Database management by Semantico, Brighton, England
`Pagination by Clowes Group, Suffolk, England
`Printed and bound by Quebecor World, Taunton, Massachusetts, USA
`
`British Library Cataloguing in Publication Data
`The New Grove dictionary of music and musicians. -2nd ed.
`1. Music- Dictionaries 2. Musicians -Dictionaries
`I. Sadie, Stanley, 1930-
`ISBN 0-333-60800-3
`
`Ubrary of Congress Cataloging in Publication Data
`The new Grove dictionary of music and musicians I edited by
`Stanley Sadie; executive editor, John Tyrrell. -2nd ed.
`p. em.
`Includes bibliographical references and index.
`ISBN 1-56159-239-0 (cloth: alk.paper)
`1. Music-Encyclopedias. 2. Music-Bio-bibliography.
`I. Sadie, Stanley. II. Tyrrell, John.
`ML100 .N48 2000
`780'.3-dc21
`
`00-0055156
`
`PAGE2
`
`Verizon Wireless
`Exhibit 1043-0002
`
`
`
`Heterophony
`
`465
`
`Heterophony (from Gk. heteros: 'other', 'different' and
`phone: 'voice'). Term coined by Plato, of uncertain
`meaning; now used to describe simultaneous variation of
`a single melody. Plato used the word (Laws, vii, p.812)
`when discussing the unsuitability of music for lyre and
`voice in musical education. It is not clear if he meant that
`the 'other voice' (the lyre) provided a contrasting melody,
`a harmonization of the vocal part or deliberate variations
`on it. Thus its meaning could range from reference to
`minute discrepancies in singing or playing in unison or
`octaves (even, for instance, those produced unintention(cid:173)
`ally within the first violins of an orchestra) to the most
`complex of contrapuntal writing.
`In modern times the term is frequently used, particularly
`in ethnomusicology, to describe simultaneous variation,
`accidental or deliberate, of what is identified as the same
`melody. Ex.l, from Beethoven's Missa solemnis, illus(cid:173)
`trates the practice of distributing the same melody among
`different voice or instrument partswithdifferentrhythmic
`densities. While this is a common enough occurrence
`between the cello and double bass parts in European
`orchestral writing, it is basic to some non-European
`music, for example the gamelan music of south-east Asia
`(see INDONESIA).
`
`Ex..1 Beethoven: Missa solemnis, Credo
`
`A~:::: II~ i ;. ~ ; ; :
`
`vn2~
`
`J 11
`
`J
`
`j
`
`J J
`
`j
`
`)
`
`While his music is deliberately academic and
`in general, he combines a fluent contra punta!
`(developed from his study of Baroque music) with a
`individual tonal harmonic style. His slow move(cid:173)
`have a delicately woven poetry, together with- in
`for voices- a very smooth melodic line. His first
`successes were with the Concerto grosso and the
`Symphony, both first conducted by Furtwangler.
`WORKS
`(selective list)
`
`op.11, 1935-6; op.29, 1943; op.62, 1954; op.109,
`129, 1986
`works incl. Pf Conc.,op.21, 1939; Cone. grosso, op.18,
`Konzertante Musik, op.39, 2 strorch, 1947;2 Pf Cone.,
`1950; Regnart-Variationen, op.65, 1955; Cone. for Orch,
`1957; Sinfonietta, op.73, str, 1959; Konzertante
`Variationen iiber ein Thema von Robert Schumann, op.88,pf,
`1971-2: Kammerkonzert, op.92, ob, small orch, 1973; Vc
`op.96, 1975; Vn Cone., op.100, 1976; Sinfonietta no.2,
`op.104, 1978; Sinfonietta no.3, op.117, fl, ob, cl, bn, pf,
`1982-3; Sinfonietta no.4, op.122, 2 hn, 4 tpt, 2 trbn, tuba,
`
`with orch incl. Fiedellieder, op.22, 1939-40;
`~eittna<:hts:karltat:e, op.27, 1942-3; Psalmen-Triptychon, op.36,
`Vom Wesen und Vergehen, op.45, 1948; Struwwelpeter(cid:173)
`op.49, 1949; Weihnachtsgeschichte, op.54, 1950-51;
`vom dankbarenSamariter op.57, 1952; Passionsmusik
`dem Evangelisten Lukas, op.103, 1977; Messe, op.l13,
`
`2 pf qts, 2 str trios, other chbr works; pieces for pf, org,
`song cycles, many sacred and secular choruses
`publisher: Schott ( Mainz)
`
`BIBLIOGRAPHY
`Musik und Musiker der Gegenwart (Essen, 1949)
`Musikder Gegenwart (Mainz, 1949)
`nattsg<:scht6plrte Tonalitiit', Musica, vii ( 19 53), 56-60
`Orj,elnnusik Kurt Hessenbergs: Gedanken zum 80. Geburtstag
`Komponiste:n', Musica sacra, cviii/4 ( 1988), 329-35
`ed.: Kurt Hessenberg: Beitriige zu Leben und Werk (Mainz,
`[incl. list of works]
`
`KLAUS KIRCHBERG
`
`cui
`
`d- gea
`
`bs'
`
`Tha
`
`cui
`
`ui
`
`::~
`
`- bs'
`
`d-gea
`
`-
`
`ro
`
`cui
`
`uid
`
`bs'
`
`bs'
`
`Tha
`
`cui
`
`d
`
`ea
`
`rbs'
`
`PAGE3
`
`Verizon Wireless
`Exhibit 1043-0003
`
`
`
`466 Heterophony
`
`The term 'heterophony' is also used in discussion of
`much accompanied vocal music of the Middle East and
`East Asia, where the instrument provides an embellished
`version of the vocal part. One instance is the relationship
`between lyra and voice in the performance of Kleftic
`ballads (see GREECE, §IV, 1(iv)). Heterophony is also
`likely to occur frequently in group singing within orally
`transmitted monophonic traditions, as in ex.2, where the
`highly individual and ornamental treatment given to a
`straightforward metrical psalm tune is explained as the
`work of 'individual people, who in the singing fellowship
`reserve the freedom to bear witness to their relation to
`God on a personal basis' (Knudsen).
`BIBLIOGRAPHY
`
`MGG2 (R. Schumacher)
`G. Adler: 'Uber Heterophonie',]bMP 1908, 17-27
`T. Knudsen: 'Ornamenta!Hymn/PsalmSinginginDenmark, the
`Faroe Islands and the Hebrides', DFS Information (1968), no.2,
`10
`W.P. Mahn: 'On the Meaning and Inventionofthe Term
`"Dis phony'", EthM, xvi (1972), 247-9
`
`PETER COOKE
`
`Hetes,jan. See HATAS family.
`
`Hets [Khets]. Mongolian FRAME DRUM, also known as
`hengereg. Mongol shamanic drums have a single head
`stretched over a wooden frame and are held by an interior
`wooden handle. There are two such frame drums
`displayed in Ulaangom Museum, Uvs aimag ('province'),
`Mongolia. The drum-handle of one of these, belonging to
`Badalgarav shaman from Ziiiinhangai sum ('district'),
`comprises two crossed wooden sticks. In addition, a
`twisted wire stretches along the back from which hang a
`row of small percussive devices (holbogo) in the shape of
`weapons. The handle ofthesecondframedrum, belonging
`to a Tuvan shamaness, Yamaan, from present-day
`Naranbulag sum, is a single wooden stick representing
`the shaman's ancestor-spirit (ongon). The head and chest
`of the carved figure are coloured pink, its crown black,
`and its eyes and forehead bright red. The lower end of the
`figure/handle, with its red and blue patterns, give the
`impression of a costume. Along the wire that serves as
`'arms' hang eight holbogo; others are attached to the
`drum's frame and also dangle as earnings of the ongon.
`Nine anklebones are fitted around the 185 mm-deep
`frame over which deer-skin is stretched. The beaters of
`both instruments are similar: one side bears percussive
`metal devices attached to a metal strip running like a
`spine down its leaf-shape; the other is made partly of
`single and partly of double hide.
`Among Tsaatans of Hi:ivsgol aimag, north-west Mon(cid:173)
`golia, the frame and handle of the drum must be made
`from a larch tree struck by lightening. The instrument
`symbolizes the saddle animal on which the shaman travels
`or the mount that carries the invoked spirit to the shaman,
`and the animal is identified with that of the skin from
`which the single drumhead is made (Potapov). Among
`certain Mongol groups, the shamanic drum is called the
`'black stag' (Heissig). That the Dar hats of Hi:ivsgi:il aimag
`perceive the drum as a riding animal is indicated by the
`material used for it: horse-hair, reindeer's sinew, red
`cotton thread representing blood vessels, and anklebones;
`and the naming of its various parts: 'ear', 'heart',
`'backbone', 'sacrificial ribbon', 'halter', 'rein' and so on
`(Di6szegi). Drums are 'enlivened' during a special cere(cid:173)
`mony before being used for shamanizing. The skin of a
`
`Buryat Mongol shaman's drum in the possession of the
`Mongolian academic Tsoloo is decorated with represen(cid:173)
`tations of a moon and crow.
`See also MoNGOL MUSIC.
`
`BIBLIOGRAPHY
`W. Heissig: 'Shamanen und Geisterbeschwi:irer im Kiiriye-Banner',
`Folklore Studies, iii/1 (1944), 39-72
`S. Badamhatan:Hiivsgiiliin Tsaatanardynaj baidlyntoim [A sketch
`of the lifestyle of the Tsaatan (reindeer) people of Hi:ivsgol]
`(Ulaanbaatar, 1962)
`V. Di6szegi: 'EthnogenicAspects ofDarkhatShamanism',Acta
`orient alia academiae scientiarum hungarica, xvi (1963 ), 55
`S. Badamhatan: 'Hi:ivsgi:iliin Darhad Yastan' [The Darhat yastan of
`Hi:ivsgi:il], Studia ethnographica, iii/1 ( 1965), 3-157
`J.P. Potapov: 'The ShamanDrumas a Source of Ethnographical
`History', Shamanism in Siberia, ed. V. Di6szegi and M. Hoppa!
`(Budapest, 1978)
`C.A. Pegg: Mongolian Music, Dance and Ora/Narrative: Performing
`Diverse Identities (Seattle, 2001) [with CD]
`
`CAROLE PEGG
`
`Hetsch, (Karl) Ludwig Friedrich [Louis] (b Stuttgart, 26
`April 1806; d Mannheim, 28 June 1872). German
`composer, conductor and teacher. In 1824 he went to
`Tiibingen to study theology, but on leaving the seminary
`he set up as a music teacher; Princess Elisabeth of
`Wiirttemberg was among his earliest pupils. He soon
`moved back to Stuttgart where his first large-scale work,
`the opera Ryno, was produced in 1833 and published
`soon afterwards. Hetsch became director of music at
`Heidelberg in 1846, and in 1856 director of the court
`theatre at Mannheim, where he had wider scope for his
`talents and where he remained until his death. The
`University of Ttibingen gave him an honorary doctorate
`in 1867.
`One of Hetsch's lifelong friends was the poet Eduard
`Morike, with whom he shared an enthusiasm for Mozart
`and an antipathy to Wagner. His settings of the poems in
`Morike's novella Maler No/ten (1832) were published in
`an appendix to the novella, and Mi:irike dedicated his
`short story Mozart auf der Reise nach Prag (1855) to
`Hetsch. Hetsch's songs are unpretentious but have some
`melodic charm. They include settings of Der Feuerreiter
`and Das verlassene Miigdlein. Other compositions include
`a setting of Psalm 130 for soloists, chorus and orchestra
`op.9 (1846), incidental music for Die Jungfrau von
`Orleans, masses and orchestral music.
`BIBLIOGRAPHY
`
`ADB (Kliipsel)
`H.-H. Krummacher,H.Meyer and B. Zeller,eds.: EduardMiirike:
`Werke und Briefe, v (Stuttgart, 1969), 259-75
`GWIL YM BEECHEY
`
`Hettisch, Johann. See HAT AS family.
`
`Heuberger, Richard (Franzjoseph) (b Graz, 18June 1850;
`d Vienna, 28 Oct 1914). Austrian critic and composer.
`He gave up an engineering career in 1876 to devote
`himself to music, studying in Graz with W.A. Remy.
`Moving to Vienna, he became director of the Academ(cid:173)
`ischer Gesangverein in 1876 and the Singakademie in
`1878, was a teacher at the conservatory from 1902 and
`directed the Wiener Mannergesang-Verein, 1902-9. He
`was also a music critic, writing for the Neues Wiener
`Tagblatt from 1881, the Munich Allgemeine Zeitung
`from 1889, and succeeding Hanslick on the important
`and influential Neue freie Presse (1896-1901); he also
`edited the Musikbuch aus Osterreich (1904-6). Besides
`collections of his criticisms, he published a biography of
`
`PAGE 4
`
`success, a
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`P. Grunsky: 'EJ
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`187-98
`W.E. Studwell:
`RichardHeu
`Bibliograph;
`45-53
`
`Heudelinne [f
`poser and vi!
`pieces for tn
`deux violles (
`Rauen, his s,
`de violle was
`also reprinte
`composer's C·
`suites of the 1
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`allemande, cc
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`and the prelu
`music IS caus.
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`
`Verizon Wireless
`Exhibit 1043-0004
`
`
`
`674 Hommel
`
`Hommel, Swedish, 19th century (MusikhistoriskaMuseum, Stockholm)
`
`for a partly fretted box zither used in the Low Countries
`and adjacent parts of Germany, and in Scandinavia (see
`illustration). The hommel may have been developed in
`the Netherlands from the smaller and less dynamically
`powerful SCHEITHOLT and £PINETTE DE VOSGES, which
`examples from the early 17th century greatly resemble; in
`later instruments both the shape and the stringing were
`not standardized.
`Hommels have been trapeziform, rectangular, and in
`the shape of a fiddle, viol or half bottle. Some have a
`superimposed fretboard or fretbox (the latter, sometimes
`called a second soundbox in the Low Countries, is also
`found in Appalachian dulcimers) and up to 12 bourdons
`arranged in double or tri pie courses and attached to metal
`wrest pins instead of wooden pegs. The fretted strings are
`stopped and all the strings sounded by the same methods
`as on the epinette de Vosges; there is evidence, however,
`of hommels having sometimes been bowed in Friesland
`and the province of Holland. Some forms, with local
`names such as vlier, blokviool, krabber and pinet, are still
`played in Belgium and reproductions of earlier hommels
`are often used in modern folk groups in the Netherlands.
`See also Low COUNTRIES, §II, 3.
`
`BIBLIOGRAPHY
`C. Douwes: Grondigondersoek van toonen dermusijk (Franeker,
`1699/R)
`S. Walin: Die schwedische Hummel (Stockholm, 1953)
`F.J. de Hen: 'Folk Instruments of Belgium, Part One', GS], xxv
`(1972), 87-132
`H. Boone: 'De hommelin de Lage Landen',Brussels Museum of
`Musical Instruments Bulletin, v ( 197 5) [special issue, incl. Eng.
`and Fr. summaries]
`A. Pilipczuk: 'Die "Hummeln" in Schleswig-Holstein, Vierlanden und
`Niedersachsen', Lichtwerk-Heft, no.63 (1998), 27-33
`For further bibliography see ZITHER.
`
`JOAN RIMMER
`
`Homophony (from Gk. homophonia: 'sounding alike').
`Poly phonic music in which all melodic parts move together
`at more or less the same pace. A further distinction is
`sometimes made between homophonic textures that are
`homorhythmic (ex.1) and those in which there is a clear
`differentiation between melody and accompaniment
`(ex.2). In the latter case all the parts- whether melodic
`
`soprano, supporting bass, or accompanimental inner
`parts - work togetherto articulate an underlying succes-
`
`Ex.l Tallis: If ye love me (c1549)
`
`TREBLE
`
`ALID
`
`TENOR
`
`BASS
`
`I~ If
`A
`
`I~ If
`11
`
`I"
`
`If
`
`ye
`
`love me, __ keep my com~mand- ments,
`
`ye
`
`love me, __ keep my com-mand-ments,
`
`-
`
`love me,__ keep my com-mand-ments,
`
`*
`ye
`
`If
`
`ye
`
`love me, __ keep my com-mand-ments,
`
`sion of harmonies. Homophonic music balances the
`melodic conduct of individual parts with theharmonies
`
`Ex.2 Chopin: Nocturne in E, op.62 no.2 (1846)
`~--~- lt Lento -.
`
`:::;;;;-__
`
`-
`... --- ! ~ ... _ ~ _t
`
`fol
`
`.,;
`
`sostenuto
`
`that result from their interaction, but one part- often but
`not always the highest - usually dominates the entire
`texture.
`While in principle the same basic precepts govern the
`melodic behaviour of all the parts, in practice the treble
`tends to be more active than the others and to have a
`wider ambitus, and while conjunct motion is the rule in
`upper voices, leaps are common and sometimes even
`prevalent in the bass. Inner parts are used to fill in between
`the two outer voices, which form the contrapuntal
`framework of the music.
`Homophonic textures occur in most if not all European
`musical traditions. Since at least the middle ofthe Baroque
`period music theorists have regarded the homophonic
`
`PAGES
`
`arrange1
`the nor
`generall
`imitatio
`texture
`nies. A1
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`
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`same rh]
`
`Horns (C
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`(1917-2
`studied'
`his were
`and 1951
`in 19671
`Preslmcit
`In his
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`shows gr
`intense e
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`sonido, S
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`and his VIi
`musicha1
`works do
`
`Variacions:
`chbrorcl
`1952;Po
`Presfncie
`(1976); B
`1990;Ad
`
`Choral: 6 n'
`AgnusD<
`Riba), 19
`Solo vocal VI
`mort(M.
`Solo vocal VI
`hores (S. 1
`drum, 19:
`Lo.pe de v
`1962; En.
`retrobade
`1970; 3 c
`Solo vocal w
`Tagore), 1
`(Espriu), 1
`Maragall)
`no.147 de
`1974
`
`Verizon Wireless
`Exhibit 1043-0005
`
`
`
`arrangement of four voices (soprano, alto, tenor, bass) as
`the normative texture of Western music: it has been
`generally assumed that all tonal music, including melodic
`imitation, can be represented in terms of a four-part
`texture and heard as chorale-like successions of harmo(cid:173)
`nies. An important pedagogical practice has therefore
`arisen around the 371 chorale harmonizations of J.S.
`Bach, while Gottfried Weber chose a homophonic com(cid:173)
`position - the march of the priests from Mozart's Die
`Zauberflote- for the first ever roman-numeral analysis of
`a complete piece, in the third edition of the Versuch einer
`geordneten Theorie der Tonsetzkunst zum Selbstunter(cid:173)
`richt (Mainz, 1830-32, ii). This music-theoretical cate(cid:173)
`chism even now continues to form the basis of instruction
`in composition and analysis in many undergraduate music
`curricula.
`
`BRIAN HYER
`
`Homorhythmic. Having all parts or voices moving in the
`same rhythm, hence a special type of HoMOPHONY.
`
`Horns (Oller), Joaquim (b Barcelona, 21 Aug 1906).
`Catalan composer. He had cello lessons with Armengol
`(1917-22), trained to become an engineer (1922-9) and
`studied composition with Gerhard (1930-36). Works of
`his were performed at the ISCM festivals of 1937, 1939
`and 1956, and at several Barcelona festivals in the 1960s;
`in 1967 he received a prize from the city of Barcelona for
`Presencies.
`In his early compositions Horns employed a free
`counterpoint, already moving towards atonality, and
`from 1954 he used 12-note serial techniques. His music
`shows great unity and clarity of structure, achieving an
`intense expressivity with a minimum of means. He has
`contributed articles on 20th-century music to Imagen y
`sonido, Serra d'or and La vanguardia. In addition he has
`written a seminal study on the life and works of Gerhard.
`During the 1980s and 90s he received numerous awards,
`and his works have been widely performed. Although his
`music has remained loyal to modernism, most of his later
`works do not adhere to strict 12-note technique.
`
`WORKS
`ORCHESTRAL
`Variacions sabre un tema popular, chbr orch, 1943; Concertina, pf,
`chbr orch, 1946; Entre dues linies, 1948; Miisica per a cordes,
`1952; Polifonia,str, 1954; 2 invencions,str, 1959; Invenci6, 1964;
`Presencies, 1967; Simfonia breu, 1972; Climes, 1973; 2 soliloquios
`(1971l); Bifonia, 1982; Derivacions, 1990; Memorilia, sym. movt,
`1990; Adagio I para cuerdas, str orch, 1991
`
`VOCAL
`Choral: 6 nadales populars, 3vv, 1939; 10 responsoris, 1939-42;
`Agnus Dei, 1943; Antifona, 1950; Gradual, 1956; 3 estances (C.
`Riba), 1957; En Ia meva mort (B. Rossell6-Porcel), 1966
`Solo vocal with orch: 4 salms, Bar, chbr orch, 1939; Dol~ angel de Ia
`mort (M. Torres), A, orch, 1965
`Solo vocal with ens: Can~ons de J. Carner,lv, windqnt, 1935; Les
`hares (S. Espriu), lv, fl, ob, cl, 1956; Via crucis, reciter, strqt,
`drum, 1956; Mrs Death (S. Espriu),lv, fl,gui, 1961; 2 poemas de
`Lope de Vega, lv, pic, tpt, vc, 1961; Poema de J. Brossa, lv, vc, db,
`1962; En el silenci obscur (Torres), lv, cl, pf, 1965; Hares
`retrobades (J. Vinyoli), lv, cl, 1965; Les hares (Espriu), lv, str qt,
`1970; 3 Cants sense paraules, lv, 1972
`Solo vocal with pf: 2 poemas de J. Carner, 1934; Ocells perduts (R.
`Tagore), 1940; 4 nadales populars, 1951; Cementiride sinera
`(Espriu), 1952; Poema de Holder lin, 1960; Vistes al mar(].
`Maragall), 1961; El caminant i el mur (Espriu), 1962, orchd; Sonet
`no.147 de Shakespeare, 1964; Proverbi de J. Salvat-Papasseit,
`1974
`
`Honauer, Leontzi
`
`675
`
`CHAMBER AND INSTRUMENTAL
`For 5 or more insts: Sextet, wind trio, str trio, 1959; Miisica per a 7
`insts, fl, pf, str qt, db, 1960; Miisica per a 6, fl, cl, bn, pf, perc, db,
`1962; Miisica per a 8, fl, cl, tpt,pf, perc, str trio, 1964; Polifonia,
`11 wind, 1965; 4 textures, fl, ob, cl, bn, pf, perc, vn, 1966; Wind
`Octet, 1967; Heptandre, fl, ob, cl, pf, perc, vn, vc, 1969;
`Impromptu per a 10, fl, ob, cl, tpt,pf, perc, strqt, 1970; Musica
`per a 11, fl, ob, cl, tpt, trbn, pf, perc, str qt, 1971; Wind Qnt,
`1971; 2 soliloquis, fl, cl, bn, tpt, trbn,pf, perc, vn, va, vc, db,
`1974;Nonet, 1979
`Str qts: no.1, 1938; no.2, 1949; no.3, 1950; no.4, 1956; no.S, 1960;
`no.6, 1966; no. 7, 1968; no.8, 1974
`Otherworksfor2-4 insts: Duo, fl, cl, 1936; Sonata, ob, b cl, 1942;
`Duos, vns, 1953; Trio, fl, b cl, vn, 1953; Trio, a fl, ob, b cltbn,
`1954; Miisica, harp, fl, ob, b cl, 1955; 2 invencions, cl, pf, 1963; 2
`moviments, 2 vn, 1964; Str Trio, 1968;Impromptu,gui, perc,
`1971;lmpromptu, vn/vc,pf, 1971
`Pf: Variacions sabre un tema popular, 1943; Entre dues linies, 1948;
`Sonatano.2, 1955; 3 impromptus, 1955; 4 invencions, 1958;
`Impromptus 6 i 7, 1960;2 invencions, 2 pf, 1964; Impromptu 8,
`1966; Presencies, 1967; 2 soliloquis, 1972
`Other solo inst: Suite, gui, 1940; Sonata, vn, 1941; 2 moviments, vn,
`1957; 2 moviments, vc, 1957; 2moviments,gui, 1958; 2
`invencions, org, 1963; 2 soliloquis, gui, 1972; Soliloqui, vc, 1972;
`Soliloqui,fl, 1972;Soliloqui,tpt, 1972
`Principal publishers: A! puerto, Boileau, Clivis, Moeck, Seesaw
`WRlTINGS
`(selective list)
`ed., R. Reti: Tonalidad, atonalidad y pantonalidad (Madrid, 1965)
`'Consideraciones sabre Ia mllsica electroacllstica', Revista musica
`catalana, vi (1985),26-7
`Robert Gerhard y su obra (Oviedo, 1987,2/1992 as Gerhard; Eng.
`trans. in preparation)
`Records i reflexions des del darrer tram del cami (Barcelona, 1989)
`BIBLIOGRAPHY
`R. Barce: 'La vida y Ia miisica de Joaquin Horns', Estafeta literaria
`no.217 (1961), 11 only
`M. Albet: 'La miisica de Joaquin Horns', Imagen y sonido, no. 55
`(1968),55-6
`W .E. Levinsky: 'Vier katalanische Komponisten in Barcelona', Me los,
`xxxviii (1971), 92-103
`R. Barce: 'JoaquinHoms',Imagen ysonidono.107 (1972), 72-6
`M. de Celis: joaquin Horns en su terraplen', Estafeta literaria de
`sonidos, no.521 (1973) 46-7
`P. Horns Fornesa: Catcilogodelas obras de Joaquin Horns (Madrid,
`1988)
`F. Taverna-Bech: Catcilogos de compositores espafioles: Joaquim
`Horns (Madrid, 1994)
`J. Casanovas and A. Llanas: Joaquim Horns (Barcelona, 1996)
`A. MENENDEZ ALEYXANDREIANTONI PIZA
`
`Hanauer, Leontzi (b Strasbourg, 2 June 1737; d ?Stras(cid:173)
`bourg, ? 1790). Alsatian keyboard teacher and composer.
`The son of Leon Hanauer, a mus!cian at Strasbourg
`Cathedral, and Anne-Marie Zimmermann, Hanauer
`probably received his initial musical education from his
`father and his brother Fran~ois Xavier U:on (1731-88).
`Leontzi was resident in Paris by 1761, probably in the
`retinue of Prince Louis de Rohan, the coadjutor of the
`diocese of Strasbourg. Leopold Mozart's letter ofFebruary
`1764 confirms Hanauer's growing importance in Paris
`and the young Wolfgang used his sonatas op.1 no.1 (1,
`3 ), op.2 no.1 (1) and op.3 (1) in his pasticcio piano
`concertos, KV41, 37 and 40 respectively. In 1770,
`probably encouraged by Valentin Roeser, Hanauer com(cid:173)
`pleted two suites for piano and wind accompaniment.
`The four quartets and other works became widely
`available, including in Vienna, where Hanauer probably
`resided from 1771 to 1775. Between 1775 and 1785, the
`year that the Prince de Rohan was incarcerated, Hanauer
`is documented as a composer and master of the clavecin
`and pianoforte in Paris. Bemetzrieder and the Alrnanach
`musical hailed him as one of the two best teachers of the
`
`PAGE6
`
`Verizon Wireless
`Exhibit 1043-0006
`
`
`
`THE NEW GROVE
`
`Dictionary of Music
`and Musicians
`
`SECOND EDITION
`
`Edited by
`
`Stanley Sadie
`
`Executive Editor
`
`John Tyrrell
`
`VOLUME 17
`
`Monnet to Nirvana
`
`~
`GROVE
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`Verizon Wireless
`Exhibit 1 043-0007
`
`
`
`© Macmillan Publishers Limited 2001
`
`All rights reserved. No part of this publication may be reproduced,
`in any form, or by any means, without permission
`
`First Edition of A Dictionary of Music and Musicians, planned and edited by
`SIR GEORGE GROVE, DCL, in four volumes, with an Appendix edited by ].A Fuller Maitland,
`and an index by Mrs Edmond Wodehouse, 1878, 1880, 1883, 1889
`Reprinted 1890, 1900
`
`Second Edition, edited by ].A FULLER MAITLAND, in five volumes, 1904-10
`
`Third Edition, edited by H.C. COLLES, in five volumes, 1927
`
`Fourth Edition, edited by H.C. COLLES, in five volumes, with Supplementary Volume, 1940
`
`Fifth Edition, edited by ERIC BLOM, in nine volumes, 1954; with Supplementary Volume 1961
`Reprinted 1961, 1973, 1975
`
`American Supplement, edited by WALDO SELDEN PRATT, in one volume, 1920
`Reprinted with new material, 1928; many later reprints
`
`The New Grove Dictionary of Music and Musicians ™ first edition
`edited by STANLEY SADIE in twenty volumes, 1980
`Reprinted 1981, 1984, 1985, 1986, 1987, 1988, 1989, 1990, 1991, 1992, 1993, 1994, 1995
`Reprinted in paperback 1995, 1996, 1997, 1998
`
`The New Grove Dictionary of Music and Musicians™ second edition
`edited by STANLEY SADIE I executive editor JOHN TYRRELL,
`published in twenty-nine volumes in the year 2001
`
`This edition is distributed within the United Kingdom and Europe by Macmillan Publishers Limited
`London, and within the United States and Canada by Grove's Dictionaries Inc., New York
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`Grove, Grove's, The New Grove and The New Grove Dictionary of Music and Musicians are trademarks of Macmillan
`Publishers Limited, London and its associated companies.
`Macmillan Publishers Limited, London and its associated companies are the proprietors of the trademarks Grove's,
`The New Grove and The New Grove Dictionary of Music and Musicians throughout the world.
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`Text keyboarded by Alden Bookset, Oxford, England
`Database management by Semantico, Brighton, England
`Pagination by Clowes Group, Suffolk, England
`Printed and bound by Quebecor World, Taunton, Massachusetts, USA
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`British Library Cataloguing in Publication Data
`The New Grove dictionary of music and musicians.- 2nd ed.
`1. Music- Dictionaries 2. lvlusicians- Dictionaries
`I. Sadie, Stanley, 1930-
`ISBN 0-333-60800-3
`
`Library of Congress Cataloging in Publication Data
`The new Grove dictionary of music and musicians I edited by
`Stanley Sadie; executive editor, John Tyrrell.- 2nd ed.
`p. em.
`Includes bibliographical references and index.
`ISBN 1-56159-239-0 (cloth: alk.paper)
`1. Music-Encyclopedias. 2. Music-Rio-bibliography.
`I. Sadie, Stanley. II. Tyrrell, John.
`ML100 .NIB 2000
`780' .3--dc21
`
`00-0055156
`
`PAGE 8
`
`Verizon Wireless
`Exhibit 1043-0008
`
`
`
`6
`
`Monody
`
`through which in turn - possibly more than through any
`other medium -
`the new Baroque style based on the
`continuo was quickly disseminated throughout Italy; it
`took several years longer to become accepted in other
`countries. Florence was the main centre of monody up to
`about 1620, after which the initiative passed to Venetian
`composers; but monodies were written in many other
`places, especially in Rome and at courts and cathedral
`cities in northern Italy, by both professional and amateur
`composers. A high proportion were published. Volumes
`of monodies, some including one or two by other
`composers as well as pieces for two or more voices, were
`produced by over 100 composers, of whom Caccini,
`Grandi, Berti, Peri, Marco da Gagliano, Sigismondo
`D'India and Claudio Saracini are among the most
`interesting and important; some produced single volumes,
`others as many as half a.dozen in the space of a few years.
`Monodies are relatively unimportant in the work of the
`two greatest Italian composers of the period, Monteverdi
`and Frescobaldi. Nevertheless the quality of their finest
`examples and of the best songs of the other composers
`named, together with the sheer quantity of songs written
`over a comparatively short period, makes Italian monody
`the most important body of solo song of its time and
`established the fruitful tradition of solo vocal chamber
`music that lasted throughout the Baroque period in Italy.
`The term may also be applied to Italian solo motets of
`the same period (see MoTET, §III, 2(i)). They were less
`assiduously cultivated than were secular songs, but there
`are a few fine examples by Monteverdi, and composers
`such as Barbarino and Ignazio Donati published collec(cid:173)
`tions of them that show that such pieces were prompted
`and influenced by the popularity of secular monodies,
`many of whose most characteristic features inform them
`also.
`
`BIBLIOGRAPHY
`FortuneiSS; MGG2 (C.V. Palisca)
`N. Fortune: 'Italian Secular Monody from 1600 to 1635: an
`Introductory Survey', MQ, xxxix (1953 ), 171-95
`C.V. Palisca: 'Vincenzo Galilei and some Links between "Pseudo(cid:173)
`Monody" and Monody', MQ, xlvi ( 1960), 344-60; repr. in
`Studies in the History of Italian Music and Music Theory (Oxford,
`1994 ), 346-63
`N. Fortune: 'A Handlist of Printed Italian Secular Monody Books,
`1602-1635', RMARC, no.3 (1963 ), 27-50, no.4 (1964 ),98
`J. Racek: Stilprobleme deritalienischenMonodie (Prague, 1965)
`N. Fortune: 'Solo Song and Cantata',NOHM, iv (1968), 140-80
`J.W. Hill: Roman Monody, Cantata, and Opera from the Circles
`around Cardinal Montalto (Oxford, 1997)
`NIGEL FORTUNE/TIM CARTER
`
`Monogammique (Fr.). See NoTATION MONOGAMMIQUE.
`
`Monophony (from Gk. monos: 'single', and phone: 'voice').
`Music for a single voice or part, for example plainchant
`and unaccompanied solo song. The term is contrasted
`with PoL YFHONY (music in two or more independent
`parts), HETEROPHONY (the simultaneous sounding of a
`melody or line and a variation of it) and HoMOPHONY
`(which implies rhythmic similarity in a number of parts).
`For monophonic vocal forms in Western music see
`PLAINCHANT; TROUBADOURS, TROUVERES; MINNESANG;
`MEISTERGESANG; LAUDA and SoNG; see also ESTAMPIE.
`Monophonic music is also important in non-Western and
`traditional cultures, where it may have an improvised or
`drone accompaniment.
`
`Monopoli, Giacomo. See INSANGUINE, GIACOMO.
`
`Monosoff[Pancaldo], Sonya (b Cleveland, 11 June 1927).
`American violinist. After training at the Juilliard School,
`where her instrumental teacher was Louis Persinger and
`her chamber music coaches were Felix Salmond and Hans
`Letz, she became a founding member of the New York
`Pro Musica under Noah Greenberg. In :l963 she founded
`and directed the Baroque Players of New York, later
`called the Chamber Players. An advocate of Baroque and
`Classical music played on period instruments, she has
`increasingly devoted her energies to playing and lecturing
`on early music. She has recorded sonatas by Bach, Biber,
`Carelli, and Geminiani, and, with fortepiano, several
`Mozart sonatas; the Carelli recording in part