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Dictionary of Music and Musicians THE NEW GROVE 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 Ubrary of Congress Cataloging in Publication Data The New Grove dictionary of music and musicians. -2nd ed. The new Grove dictionary of music and musicians I edited by 1. Music- Dictionaries 2. Musicians -Dictionaries Stanley Sadie; executive editor, John Tyrrell. -2nd ed. I. Sadie, Stanley, 1930- p. em. ISBN 0-333-60800-3 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 While his music is deliberately academic and Heterophony (from Gk. heteros: 'other', 'different' and in general, he combines a fluent contra punta! phone: 'voice'). Term coined by Plato, of uncertain (developed from his study of Baroque music) with a meaning; now used to describe simultaneous variation of individual tonal harmonic style. His slow move­ a single melody. Plato used the word (Laws, vii, p.812) have a delicately woven poetry, together with- in when discussing the unsuitability of music for lyre and for voices- a very smooth melodic line. His first voice in musical education. It is not clear if he meant that successes were with the Concerto grosso and the the 'other voice' (the lyre) provided a contrasting melody, a harmonization of the vocal part or deliberate variations Symphony, both first conducted by Furtwangler. on it. Thus its meaning could range from reference to WORKS minute discrepancies in singing or playing in unison or (selective list) octaves (even, for instance, those produced unintention­ op.11, 1935-6; op.29, 1943; op.62, 1954; op.109, ally within the first violins of an orchestra) to the most 129, 1986 complex of contrapuntal writing. works incl. Pf Conc.,op.21, 1939; Cone. grosso, op.18, In modern times the term is frequently used, particularly Konzertante Musik, op.39, 2 strorch, 1947;2 Pf Cone., 1950; Regnart-Variationen, op.65, 1955; Cone. for Orch, in ethnomusicology, to describe simultaneous variation, 1957; Sinfonietta, op.73, str, 1959; Konzertante accidental or deliberate, of what is identified as the same Variationen iiber ein Thema von Robert Schumann, op.88,pf, melody. Ex.l, from Beethoven's Missa solemnis, illus­ 1971-2: Kammerkonzert, op.92, ob, small orch, 1973; Vc trates the practice of distributing the same melody among op.96, 1975; Vn Cone., op.100, 1976; Sinfonietta no.2, different voice or instrument partswithdifferentrhythmic op.104, 1978; Sinfonietta no.3, op.117, fl, ob, cl, bn, pf, densities. While this is a common enough occurrence 1982-3; Sinfonietta no.4, op.122, 2 hn, 4 tpt, 2 trbn, tuba, between the cello and double bass parts in European orchestral writing, it is basic to some non-European with orch incl. Fiedellieder, op.22, 1939-40; music, for example the gamelan music of south-east Asia ~eittna<:hts:karltat:e, op.27, 1942-3; Psalmen-Triptychon, op.36, (see INDONESIA). Vom Wesen und Vergehen, op.45, 1948; Struwwelpeter­ op.49, 1949; Weihnachtsgeschichte, op.54, 1950-51; vom dankbarenSamariter op.57, 1952; Passionsmusik Ex..1 Beethoven: Missa solemnis, Credo 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 A~:::: II~ ~ publisher: Schott ( Mainz) vn2~ J 11 J ij ;. J J ;j ;) : 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 bs' cui uid bs' Tha cui d ea rbs' PAGE3 Verizon Wireless Exhibit 1043-0003 466 Heterophony The term 'heterophony' is also used in discussion of Buryat Mongol shaman's drum in the possession of the much accompanied vocal music of the Middle East and Mongolian academic Tsoloo is decorated with represen­ East Asia, where the instrument provides an embellished tations of a moon and crow. version of the vocal part. One instance is the relationship See also MoNGOL MUSIC. between lyra and voice in the performance of Kleftic BIBLIOGRAPHY ballads (see GREECE, §IV, 1(iv)). Heterophony is also W. Heissig: 'Shamanen und Geisterbeschwi:irer im Kiiriye-Banner', likely to occur frequently in group singing within orally Folklore Studies, iii/1 (1944), 39-72 transmitted monophonic traditions, as in ex.2, where the S. Badamhatan:Hiivsgiiliin Tsaatanardynaj baidlyntoim [A sketch highly individual and ornamental treatment given to a of the lifestyle of the Tsaatan (reindeer) people of Hi:ivsgol] success, a (Ulaanbaatar, 1962) lustige Wi. straightforward metrical psalm tune is explained as the V. Di6szegi: 'EthnogenicAspects ofDarkhatShamanism',Acta work of 'individual people, who in the singing fellowship orient alia academiae scientiarum hungarica, xvi (1963 ), 55 reserve the freedom to bear witness to their relation to S. Badamhatan: 'Hi:ivsgi:iliin Darhad Yastan' [The Darhat yastan of God on a personal basis' (Knudsen). Hi:ivsgi:il], Studia ethnographica, iii/1 ( 1965), 3-157 J.P. Potapov: 'The ShamanDrumas a Source of Ethnographical BIBLIOGRAPHY History', Shamanism in Siberia, ed. V. Di6szegi and M. Hoppa! MGG2 (R. Schumacher) (Budapest, 1978) G. Adler: 'Uber Heterophonie',]bMP 1908, 17-27 C.A. Pegg: Mongolian Music, Dance and Ora/Narrative: Performing Die Abentem T. Knudsen: 'Ornamenta!Hymn/PsalmSinginginDenmark, the Diverse Identities (Seattle, 2001) [with CD] Schau man Faroe Islands and the Hebrides', DFS Information (1968), no.2, CAROLE PEGG Manuel V< 10 niiiode Ia, W.P. Mahn: 'On the Meaning and Inventionofthe Term Hetsch, (Karl) Ludwig Friedrich [Louis] (b Stuttgart, 26 Maifest] (c Der Opern "Dis phony'", EthM, xvi (1972), 247-9 April 1806; PETER COOKE d Mannheim, 28 June 1872). German Delacour a composer, conductor and teacher. In 1824 he went to Wien,S}a1 Hetes,jan. See HATAS family. Tiibingen to study theology, but on leaving the seminary Leon and "1: he set up as a music teacher; Princess Elisabeth of Vienna, An Hets [Khets]. Mongolian FRAME DRUM, also known as Wiirttemberg was among his earliest pupils. He soon Der Sechsuhr; Vienna, An hengereg. Mongol shamanic drums have a single head moved back to Stuttgart where his first large-scale work, andWillne! stretched over a wooden frame and are held by an interior the opera Ryno, was produced in 1833 and published Barfiissele ( wooden handle. There are two such frame drums soon afterwards. Hetsch became director of music at Volksoper, displayed in Ulaangom Museum, Uvs aimag ('province'), Heidelberg in 1846, and in 1856 director of the court Gaudeamw Mongolia. The drum-handle of one of these, belonging to theatre at Mannheim, where he had wider scope for his Quichotte ( Cervantes), Badalgarav shaman from Ziiiinhangai sum ('district'), talents and where he remained until his death. The comprises two crossed wooden sticks. In addition, a University of Ttibingen gave him an honorary doctorate twisted wire stretches along the back from which hang a in 1867. Im Foyer: gesa row of small percussive devices (holbogo) in the shape of One of Hetsch's lifelong friends was the poet Eduard Gegenwart M usikalische ~ weapons. The handle ofthesecondframedrum, belonging Morike, with whom he shared an enthusiasm for Mozart Franz Schuber. to a Tuvan shamaness, Yamaan, from present-day and an antipathy to Wagner. His settings of the poems in Pfordten) Naranbulag sum, is a single wooden stick representing Morike's novella Maler No/ten (1832) were published in ed.
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