1-4 of 4 results  for:

  • Instrument Maker x
  • 17th c./Early to mid-Baroque (1600-1700) x
Clear all

Article

Karl-Ernst Bergunder

revised by Peter Wollny

(b Grossfurra, Thuringia, Oct 25, 1643; d Gotha, Feb 20, 1676). German composer and writer. After initially going to school in his native town he was sent in 1656 to Eisenach for three years. There he attended the town school, the staff of which included Theodor Schuchardt, a highly respected teacher of music and Latin. From 1659 to 1662 Agricola studied for his school-leaving examination at the Gymnasium of Gotha; the headmaster there was Andreas Reyher, who was the co-author of the Gothaer Schulmethodus, an educational work which set an example for the teaching of music too. In 1662–3 Agricola studied philosophy at Leipzig University and from 1663 to 1668 theology and philosophy at Wittenberg, where he was awarded a master's degree by the faculty of philosophy. His four recorded scholarly essays dating from this period are lost. He had begun to learn the fundamentals of music during his school years, and he may also have been a pupil of the Kantor of the Thomaskirche, Leipzig, Sebastian Knüpfer. He continued his musical training at Wittenberg, completing the study of composition under the guidance of Italian musicians resident there. Returning to his native Thuringia he was able to turn his musical abilities to good use in the Kapelle of the Schwarzburg-Sondershausen court until in ...

Article

Albert Cohen

(b Chaumont-en-Bassigny, Haute-Marne, c1581; d c1650). French mathematician, engineer and inventor. He lived in Toulouse and Paris. His widespread interests led to the development of novelties in such diverse areas as architecture, language, mnemotechnics and typography. In music he is credited with devising an equal-tempered scale, with adding a seventh syllable (za) to the hexachordal solmization system, with constructing a new type of lute (the Almérie – an anagram of his name), and with proposing a novel musical notation (‘musique almérique’). Although Mersenne (MersenneHU, and in his correspondence) strongly supported Le Maire's ideas, others did not, and controversy regarding his inventions spread throughout France and elsewhere in Europe.

A. Pirro: ‘Jean le Maire et l'Almérie’, BSIM, 4 (1908), 479–82 C. de Waard, ed.: Correspondance du P. Marin Mersenne (Paris, 1932–), esp. ix (1965), 563–9 A. Cohen: ‘Jean Le Maire and La Musique Almérique’, ...

Article

Joyce Lindorff

[Sancho]

(b São Martinho do Vale, Barcelos, Nov 1, 1645; d Beijing, Dec 24, 1708). Portuguese organist, theorist and organ builder. He was a Jesuit missionary; his 36-year stay in China produced far-reaching cultural exchange. His accomplishment in music, mathematics and diplomacy led to his being invited to Beijing by Emperor Kangxi. He astounded the emperor with a demonstration of musical notation, repeating Chinese melodies flawlessly after one hearing. Kangxi's subsequent creation of an academy to study ancient Chinese music culminated in the four-volume Lulu Zhengyi (‘A True Doctrine of Music’). A fifth volume, on Western music theory, was begun by Pereira and completed by Teodorico Pedrini, his successor as court musician; the whole was published in Beijing in 1713.

Pereira built several organs in Beijing for the Catholic church and for the emperor, including one which played Chinese songs mechanically. He also wrote Chinese hymns, his only known compositions. At Kangxi's behest Pereira was instrumental in negotiating the ...

Article

Patrizio Barbieri

(b Gunzing, near Lohnsburg am Inn, Germany, Nov 28, 1669, d Mainz, Germany, April 30, 1728). German priest, philosopher, editor of Latin works of Raymond Lull, and inventor of an enharmonic keyboard. While working at the court of Johann Wilhelm, Prince-Elector of the Palatinate, in Düsseldorf, Salzinger invented and built a keyboard (‘Tastatura nova perfecta’) accommodating the division of the octave into 31 equal parts. His enharmonic harpsichord is mentioned by Joseph Paris Feckler, who reports (1713) that a further two had been ordered: one for the Emperor in Augsburg, the other for the Grand Duke of Tuscany, in Florence. Details of this instrument appear in Salzinger’s ‘Revelatio secretorum artis’ (1721), which he published as an introduction to his edition of Lull’s Ars magna et major. This work tells that ‘the Most Serene Elector continuously used this harpsichord for music at court’, and that years earlier the construction of an organ with the same kind of keyboard had begun, only to be halted in ...