year was appointed examiner in music to the Oxford Local Examinations, and also became conductor of the Oxford Choral Society. In 1886 he was appointed one of the University examiners for musical degrees. The latest addition to the list of his church music is an anthem, 'I will sing unto the Lord,' written for the Jubilee Service in Magdalen College.
ROBSON, Joseph, organ builder. See Flight, vol. i. p. 532, and Flight, vol. iv. App. p. 636.
ROCHE. Line 1, for Edward read Edmond. The facts of the case concerning the French translation of 'Tannhäuser' have only recently been made public, in M. Jullien's 'Richard Wagner' (1887). Roche, not knowing German, had recourse to the services of a friend named Lindau, and the translation, when sent to the director of the Opera, was rejected, as it was in blank verse; the necessary alteration into rhyme was made by Roche, Nuitter, and Wagner in collaboration. On this Lindau brought an action against Wagner, to enforce the mention of his name as one of the translators; the case was heard on March 6, 1861, a week before the first representation of the opera, and it was decided that no name but that of Wagner should appear in the books.
RODE, Pierre (properly Jacques Pierre Joseph). Line 2 of article, for 26 read 16. P. 142b, l. 20, add that he was solo violin at the Opéra until Nov. 17, 1799. P. 143a, l. 13 from bottom, add that three more concertos were published posthumously. (See Pougin's supplement to Fétis.)
ROGERS, Benjamin. Line 5, add that he succeeded Jewitt in the appointment to Christ Church, Dublin, in 1639. Line 4 from bottom of same column, refer, as to his degree, to Carlyle's 'Oliver Cromwell,' v. 243, 4 (People's Edition).
ROGERS, Roland, Mus. Doc., born at West Bromwich, Staffordshire, Nov. 17, 1847, where he was appointed organist of St. Peter's Church in 1858. He studied under Mr. S. Grosvenor, and in 1862 obtained by competition the post of organist at St. John's, Wolverhampton. In 1867 he similarly obtained the organistship of Tettenhall parish church, and in 1871 was appointed organist and choirmaster at Bangor Cathedral, a post which he still holds. He took the Oxford degree of Mus. B. in 1871, and that of Mus. D. in 1875. Dr. Rogers's published works are 'Prayer and Praise' a cantata, Evening Services in B♭ and D, Anthems, Partsongs, Organ Solos, and Songs; a Symphony in A, a Psalm 'De Profundis,' and several Anthems and Services are still in MS.
ROMANCE. P. 148a, l. 2, add the three pieces by Schumann, op. 28. Line 3, omit the words or some one of his followers.
ROMANTIC. P. 149b, second example, the last three dotted minims should not be tied.
ROME. The early music schools of Rome, from the time of St. Sylvester to that of Palestrina, were so closely connected with the papacy that their history, as far as it is known, may be read in the article Sistine Choir, vol. iii. p. 519.
Whether or not Guido d'Arezzo founded a school of singing at Rome in the first half of the 11th century is only a matter of conjecture; the probabilities are in favour of the theory, as it is known that Guido spent a short time, at least, at the capital about the year 1032, and that the then Pope John XIX. was so delighted with his method of teaching singing that he urged him to take up his residence in Rome, an invitation which only ill-health prevented Guido from accepting. In any case there can be no reasonable doubt that the papal choir received many valuable hints from him.
The Sistine Chapel was not the only one which had a school or college of music attached to it, though it was by far the earliest. In 1480 Sixtus IV. proposed the formation of a 'cappella musicale' in connection with the Vatican, distinct from the Sistine; his idea was not however realized till the time of Julius II., when the 'Cappella Giulia' was founded (in 1513) for 12 singers, 12 scholars, and 2 masters for music and grammar. Arcadelt was the first 'Maestro de' Putti' (in 1539), Palestrina the first 'Maestro della cappella della basilica Vaticana' (1551–4); among celebrated 'maestri' in later days were Tommaso Bai (1713–15), and Domenico Scarlatti (1715–19). The 'Cappella musicale nella protobasilica di S. Giovanni in Laterano' was founded in 1535 by Cardinal de Cupis; one of the earliest 'Maestri de' Putti' was Lasso (1541); Palestrina held the office of 'Maestro di cappella' here after his exclusion from the Vatican chapel (1555–61). The 'Cappella di Musica nella basilica Liberiana' (or Sta. Maria Maggiore) was founded about the same time as the Lateran chapel, and numbers among its 'maestri' Palestrina (1561–71), Giov. Maria Nanini (1571–1575), Alessandro Scarlatti (1703–9).
Besides these exclusively ecclesiastical schools, others were established by private individuals. The first man who is known to have kept a public music school at Rome was a foreigner, Claude Goudimel, of Vaison, near Avignon; his school is supposed to have been founded about the year 1539, and among his earliest pupils were Palestrina, Giovanni Animuccia, and Giovanni Maria Nanini. In 1549 Nicola Vicentino, the would-be restorer of the Ancient Greek Modes, opened a small private school at Rome, into which a few select pupils were admitted, whom he endeavoured to indoctrinate with his musical views. But it was not till a quarter of a century later that a public music school was opened by an Italian. Whether it was that Nanini was inspired by his master's example, or, which is still more likely, was stirred by the musical agitation of the day, is of little importance; but it is certain that the year to which the opening of his school is attributed was the same which saw the foundation of the Order of Oratorians, who in the person of their leader, St. Filippo Neri, were then doing so much for
