1-5 of 5 results  for:

  • Music Business, Institutions and Organizations x
  • Pre- and Early Medieval (before 800) x
Clear all

Article

Margaret Dean-Smith

In 

Article

Margaret Dean-Smith

In 

Article

Margaret Dean-Smith

In 

Article

Margaret Dean-Smith

revised by Nicholas Temperley

English family of music publishers and booksellers.

(b Norwich, 1623; d London, between Dec 24, 1686 and Feb 7, 1687). Publisher, bookseller, and vicar-choral of St Paul’s Cathedral. During the period 1651–84 he dominated the music publishing trade (then virtually confined to London) in a business to which his son (2) Henry Playford succeeded. For the printing of his books he engaged the services of Thomas Harper (successor to Thomas Snodham, who had inherited the business of Thomas East), William Godbid (successor to Harper) and his own nephew (3) John Playford the younger, who, apprenticed to Godbid, entered into business in 1679 with the latter’s widow Anne. The format, style and printing of Playford’s books, together with evidence from the stationers’ registers, suggest with some certainty that they were printed with East’s types, although for title-pages, other than those engraved, a less florid style than the earlier borders was preferred. In many instances Playford adopted East’s device and its surrounding motto, ‘Laetificat cor musica’...

Article

James W. McKinnon and Robert Anderson

(Lat.; Gk., usually plural, kroupezai or kroupala)

Ancient percussion instrument consisting of foot-activated clappers (it is classified as an idiophone). It took the form of a sandal with a thick wooden sole hinged to a similarly shaped block of wood on the ground. To each of the wooden parts hollowed clappers of varying materials were attached.

The Hittite word h̬uh̬upal may refer to some such instrument, which was comparatively rare in Greece but became relatively prominent in Rome with the general expansion of instrumental usage there. It found a place in the orgiastic music of Dionysiac festivals, but it was most commonly used by a tibia player to emphasize dance rhythms when accompanying a group of pantomimi, or acting as leader to such a theatrical instrumental ensemble (see also Greece §I 5., (i), (b)). This player was called the scabillarius, and the Roman organization of theatrical musicians, the collegium scabillariorum, was named after him. The scabellum appears also with some frequency in Roman representations of cult music....