2'«« S. No 31., Aug. ?. '56.] 



NOTES AND QUERIES. 



91 



before the public. The great theorists of the 

 present day are too wise to publish, and most of 

 them bind their pupils not to divulge their teach- 

 ing until after their deaths. 



I have made the remark, that the pupil is 

 taught notes, not sounds. He is afterwards taught 

 scales or gamuts. The modern scales are the 

 standard, the natural, the transposed, the major, 

 the minor, the pathetic, the augmented, the chro- 

 matic, and the enharmonic. Should he desire to 

 go back some centuries, he must learn the dorian, 

 hypodorian, phrygian, hypophrygian, lydian, hypo- 

 lydian, mixolydian, hypomixolydian ; and if the 

 origin of these, he must study the tetrachords, 

 the tetrachordon-hypaton, meson, dies-eugmenon, 

 hyperboleon, proslambanomenos, hypate-hypaton, 

 par-hypate-hypaton ; together with the paranese, 

 and all other parts and portions of the Greek 

 scales. " The semitone makes music" was the 

 adage of the old composers ; and all this barbaric 

 jargon has been retained to mark the place of the 

 semitone in the scale. The knowledge of the 

 varieties and relations of the scale has had a slow, 

 but certain progress. The three principles which 

 govern musical composition, that is to say : 



1. Sounds, which are the matter or subject, 



2. Rhythms, which make figure or movement, 



3. Heart (or spirit), which gives life, feeling, 

 and individuality, 



are seen as strongly in the earliest music as in the 

 music of the present day. From these principles, 

 we have gained the music called the Gregorian, the 

 Glarean, the Alia Cappella, the Italian, Neapolitan, 

 French, German, Anglican, and all other national 

 schools. These schools represent certain states of 

 knowledge with respect to the analogies of sounds, 

 certain motions or figures governed by the then 

 prevailing state of language and the national 

 dance, and certain states of emotion or feeling 

 belonging to the master-spirits who were enabled 

 to leave such records in their compositions. Every 

 student in music should know every scale in 

 music that has existed, and that does exist ; but 

 in place of all this monstrous confusion of terms, 

 why not describe the semitone and its situation in 

 plain and unmistakeable language ? 



We read of intervals as if they were sounds ; 

 whereas the interval is the distance or ratio be- 

 tween one sound and another. Again, chords are 

 called harmonies ; whereas harmonia is the pro- 

 portion between one chord and another chord. 

 A chord is not an analogy until it is placed by 

 the side of some other chord. 



The student is taught the theory of dischords. 

 How few are there who know what takes place in 

 nature, when the so-called resolution of the 

 seventh is made ! In olden language, it is the 

 dislocation of the lychanos-meson (or meson-dia- 

 touos) when conjoined with the proslambanomenos. 



In these days it is the art of resolving the seventh. 

 Is not the one term quite as absurd as the other ? 

 How much could be gained if students were 

 taught, that having arrived at the two extremes 

 of the mean (G. C, F.), it is necessary to return 

 to the centre proportion, or to its equivalent? 

 The whole mystery of free sevenths, fettered 

 sevenths, and every other sort of seventh, then 

 becomes intelligible, and when the equivalents of 

 the centre are known, every possible remove is 

 laid bare and at instant command. 



H. J. Gauntlett. 

 8. Powys Place, Queen Square. 



{To he continued.') 



SUFFBAGAN BISUOPS. 



(2°o S. ii. 1.) 



I have extracted from The Wiltshire Institutions, 

 privately printed by Sir Thomas Phillipps in 1 825, 

 a list of preferments enjoyed in that county by 

 suffragan bishops, as follows : 



" ' Robertus, Iinelacensis Epus,' was instituted to the 

 vicarage of Littleton Drew in a.d. 1441. 



"'Jacobus, Dei gratia Akardensis Episcopus,' was in- 

 stituted to the Rectory of Stockton in 1447 ; William My- 

 chell was instituted to the same benefice in 1454. 



" ' Simon, Connerensis Episcopus,' was instituted to the 

 Rectory of Paulsholt in 1459. ' Simon Conneren ' ex- 

 changed Pawlesholt with Roger Newton, for the Vicarage 

 of Aldeborne in 1462. 



" ' Johannes, Tinensis Epus,' was instituted to the Rec- 

 tory of St. John's, Devizes, in 1479 ' per resig' Johannis, 

 Episcopi RofFen'.' St. John's was vacated in 1480 'per. 

 mort' Yen' Patris Johannis, Tinensis Episcopi,' who was 

 succeeded by Henry Boost, Provost of Eton College. 



" ' Augustinus Church, Liden' Epus,' was instituted to 

 the Rectory of Boscombe in 1498. Boscombe was vacated 

 in 1499 ' per resig' Augustini, Lidensis EpL' 



" ' John<'% Mayonensis Epus,' was instituted to the Vi- 

 carage of Coseham in 1504. 



" ' Ecc' Ebbysborn et Succentoria.' Francis May was 

 instituted in 1509 to these preferments ' per dim' Gul""* 

 Barton, facti Epi Salon'.' 



" ' Johannes, Syenensis Epus,' was instituted to the 

 Vicarage of Inglesham in 1518. 'Johannes Pynnock, 

 Syenensis Episcopus ' resigned Inglesham in 1520. He 

 seems to have resigned the same benefice again, in the 

 year 1524, and to the same person. The first resignation 

 may not have been completed. 



" The Rectory of Colern was vacated in 1526 ' per mort' 

 Johannis, Calipolens' Episcopi.' 



" Thomas Morley was instituted to the Rectory of 

 Blounesdon, B. S. Andrese, in 1487, and John Abendon 

 was instituted to the same benefice in 1489. 



"'Thomas Morley, sedis Merlebergen' Episcopus suf- 

 fraganeus,' was instituted to the Vicarage of Bradford, 

 CO. Wilts, and to the Rectory of Fittleton in 1540, both 

 void 'per attincturam VVillielmi Byrde, de alta prodi- 

 tione ; ' which William ' Brydde ' had been presented to 

 Bradford in 1491 by the Abbess of Shaston, and to Fittle- 

 ton in 1511 by Sir Edward Darel. Fittleton was vacated 

 ' per mortem Thomas Morley ' in 1564." 



The last bishop in Mb. Walcott's list should 



