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marriage as a disgraceful mesalliance, and denounced it so violently that the unhappy bridegroom, thinking his life in danger, fled for safety to a monastery at See also:

ASSISI (anc. Asisium)

Assisi, where his See also:

CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character underwent a See also:

COMPLETE

complete See also:

CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change. He studied the theory of See also:

MUSIC

music under Padre Boemo, the organist of the monastery, and, without any assistance whatever, taught himself to See also:

PLAY

play the See also:

VIOLIN

violin in so masterly a See also:

style that his performances in the church became the wonder of the neighbourhood. For more than two years his identity remained undiscovered, but one See also:

day the See also:

wind blew aside a See also:

CURTAIN

curtain behind which he was playing, and one of his hearers recognized him and betrayed his See also:

RETREAT (O. Fr. retrete, mod. retraite, from Lat. retrahere, to draw back)

retreat to the cardinal, who, See also:

HEARING (formed from the verb " to hear," O. Eng. hyran, heron, &c., a common Teutonic verb; cf. Ger. Koren, Dutch hooren, &c.; the O. Tent. form is seen in Goth. hausjan; the initial h makes any connexion with " ear," Lat. audire, or Gr. &Kobew very doub

hearing of his changed character, readmitted him to favour and restored him to his wife. Tartini next removed to See also:

Venice, where the See also:

FINE

fine violin-playing of Veracini excited his admiration and prompted him to repair, by the aid of See also:

GOOD, JOHN MASON (1764-1827)

good instruction, the shortcomings of his own self-taught method. He See also:

LEFT

left his wife with relations and returned to See also:

Ancona, where he studied for a See also:

time. In 1721 he returned to Padua, where he was appointed See also:

SOLO, OR SOLO WHIST

solo violinist at the church of See also:

San See also:

Antonio. From 1723 to 1725 he acted as conductor of See also:

COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count Kinsky's private See also:

BAND

band in See also:

PRAGUE (Ger. Prag; Bohemian Praha)

Prague. In 1728 he founded a school for violin in Padua. The date of his presence in See also:

Rome does not seem to be clearly established, but he was in See also:

Bologna in 1739.

Afterwards he returned to his old See also:

POST

post in Padua, where he died on the 16th of See also:

FEBRUARY

February 1770. Tartini's compositions are very numerous, and faithfully illustrate his passionate and masterly style of See also:

EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution, which surpassed in brilliancy and refined See also:

TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste that of all his contemporaries. He frequently headed his pieces with an explanatory poetical See also:

MOTTO (an Italian word, from Late Lat. muttum, a low sound, a mutter or murmur, cf. mutere, to mutter; the Latin word also gives Fr. mot, word)

motto, such as " Ombra cara," or " Volgete it riso in pianto o mie pupille." Concerning that known as Il Trillo del See also:

DIAVOLO, FRA (1771-1806)

Diavolo, or The See also:

DEVIL (Gr. &a,3oXos, " slanderer," from &ctflisXX sty, to slander)

Devil's See also:

SONATA (From Ital. sonare, to sound)

Sonata, he told a curious See also:

story to See also:

LALANDE, JOSEPH JEROME LEFRANCAIS DE (1732-1807)

Lalande, in 1766. He dreamed that the devil had become his slave, and that he one day asked him if he could play the violin. The devil replied that he believed he could pick out a tune, and thereupon he played a sonata so exquisite that Tartini thought he had never heard any music to equal it. On awaking he tried to See also:

note down the See also:

composition, but succeeded very imperfectly, though the Devil's Sonata is one of his best productions. Tartini is historically important as having contributed to the See also:

SCIENCE (Lat. scientia, from scire; to learn, know)

science of See also:

ACOUSTICS (from the Gr. &eobav to hear)

acoustics as well as to musical See also:

art b his See also:

DISCOVERY

discovery (independently of Sorge, 1740, to whom the primal.), See also:

CREDIT (Lat. credere, to believe)

credit is now given) of what are still called " Tartini's tones " (see See also:

SOUND and HEARING), or See also:

DIFFERENTIAL

differential tones. The phenomenon is this: when any two notes are produced steadily and with See also:

GREAT

great intensity, a third note is heard, whose vibration number is the difference of those of the two See also:

PRIMARY

primary notes. It follows from this that any two consecutive members of a See also:

HARMONIC

harmonic See also:

SERIES (a Latin word from serere, to join)

series have the fundamental of that series for their difference See also:

TONE, THEOBALD WOLFE (1763-1798)

tone —thus, C, the See also:

FOURTH

fourth and fifth harmonic, produce C, the See also:

PRIME, PRIMER AND PRIMING

prime or generator, at the See also:

INTERVAL

interval of two octaves under the See also:

LOWER

lower of those two notes; G, the third and fifth harmonic, produce C, the second harmonic, at the interval of a 5th under the lower of those two notes. The discoverer was wont to tell his pupils that their See also:

double- stopping was not in tune unless they could hear the third note; and See also:

Henry Blagrove (1811–1872) gave the same admonition. The phenomenon has other than technical significance; an experiment by See also:

Sir F. A.

G. See also:

Ouseley showed that two pipes, tuned by measurement to so acute a See also:

pitch as to render the notes of both inaudible by human ears, when blown together produce the difference of tone of the inaudible primaries, and this verifies the fact of the See also:

INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite upward range of sound which transcends the perceptive See also:

POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of human See also:

ORGANS

organs. The obverse of this fact is that of any sound being deepened by an 8th if the length of the See also:

STRING

string pr See also:

PIPE

pipe which produces it be doubled. The law is without exception throughout the See also:

COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass in which our ears can distinguish pitch, and so, of See also:

NECESSITY (Lat. necessitas)

necessity, a string of twice the length of that whose vibrations induce the deepest perceivable sound must stir the See also:

air at such a See also:

RATE

rate as to cause a tone at an 8th below that lowest audible note. It is hence See also:

MANIFEST (Lat. manifestus, clear, open to view)

manifest that, however limited our sense of the range of musical sound, this range extends upward and downward to infinity. Tartini made his observations the basis of a theoretical See also:

SYSTEM

system which he set forth in his Trattato di Musica, secondo la See also:

VERA, AUGUSTO (1813-1885)

vera scienzia dell'Armonia (Padua, 1754) and Dei Principij dell' Armonia Musicale (Padua, 1767). He also wrote a Trattato delle Appogiature, posthumously printed in See also:

French, and an unpublished See also:

WORK

work, Delle Ragioni e delle Proporzioni, the MS. of which has been lost. TAS-DE-See also:

CHARGE, a French See also:

TERM

term in See also:

ARCHITECTURE (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

architecture, for which there is no See also:

EQUIVALENT

equivalent in See also:

ENGLISH

English, given to the lower courses of a See also:

GOTHIC

Gothic vault, which are laid in See also:

HORIZONTAL

horizontal courses and bonded into the See also:

wall, forming a solid See also:

mass; they generally rise about one-third of the height of the vault, and as they project forwards they lessen the span to be vaulted over.

End of Article: TARTINI, GIUSEPPE (1692–1770)

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