type, but that the cost of printing from the plate is greater than from the types. If therefore a small number of copies only is required, say 1000, it is cheaper to engrave. But if several thousands are likely to be sold, then the type system is most profitable.
III. Lithography has in a few instances been used to multiply manuscript music, which is transferred to the stone from a paper copy written with a special ink. This may be useful when a few copies are wanted on an emergency, as any copyist would be able to write on the transfer paper. But by employing trained copyists, accustomed to write backwards, the music may be written at once on the stone; and in this way Breitkopf & Härtel of Leipzig have produced useful editions of Mozart's operas and other works, both notes and words being very clear and neat. Alfieri's edition of Palestrina (6 vols., Rome, 1841–45) is a splendid specimen of lithographed music.
For part of the above information the writer is indebted to a series of articles by Dr. Chryeander in the Musical Times of 1877.
[App. p.727 "A new process for printing music is that called 'Gravure Chimique,' examples of which have been occasionally seen in the French 'Figaro.' The music is first punched on a pewter plate in the ordinary way, from which a paper proof is taken and transferred to a zinc plate. Nitric acid is then applied, which dissolves the zinc where it is not protected by the ink, and leaves the notes in relief. This stereotype plate is then used to print from in the ordinary typographic press. Mr. Lefman, 57 Rue d'Hauteville, Paris, who kindly explained the process to the writer, also informed him that these clichés, of the ordinary music size, can be made for 50 francs (£2) each. [See also Scheurmann, vol. iii. p. 248.]
Mr. Augener, of Newgate Street, London, has produced some beautiful specimens of music-printing. The music is first punched on pewter plates in the usual way, and is then transferred to a stone, from which it is printed. The ornamental title-pages are equal to the finest copperplate engravings."]
MUSIC SCHOOL, THE, Oxford, is situated on the south side of the Schools quadrangle, under the Bodleian Library. This building was rebuilt in its present form at the beginning of the 17th century, but the interior of the Music School was altered in 1780 by the architect Wyatt under the direction of the then Professor of Music, Dr. Philip Hayes. The expenses of these alterations were defrayed by a grant of £50 from the University and by the proceeds of three choral concerts given at the following Commemoration, at one of which Dr. Hayes's oratorio 'Prophecy' was performed. The Music School was formerly used for the performance of the exercises for the Degree of Mus. Bac. and Mus. Doc., but during the last ten years the orchestra has been removed, and the room is now used for the University Examinations. The collection of music (noticed in the article Musical Libraries) which belongs to the Music School is no longer preserved there, having been recently removed to the Radcliffe Library; but the building still contains a valuable collection of portraits of mueicians, etc., of which the following is a list:—
| C. F. Abel. Dr. J. Bull. |
Sir John Hawkins. James Hasletine. |
[App. p.727 "Add that the portraits, of which a list is given, have been lately moved to the New Schools. They were exhibited at the Inventions Exhibition in 1885, when Salomon's portrait was identified. See Add. MS. 23071, fol. 65, for a list of them in 1733–4."]
In Anthony à Wood's account of the University, he states that the Music School also possessed busts of King Alfred, Dr. W. Hayes, and H. Purcell, as well as portraits of W. Hine, Dr. Parsons, Salomon, and John Weldon. The busts are no longer in the School, but there aro four unidentified portraits, which are possibly those of the above-named musicians.
MUSIK, KÖNIGLICHE HOCHSCHULE FÜR. The Royal High School for Music at Berlin was established in its present form in 1875, on the reorganisation of the Royal Academy of Arts. It was formed by the amalgamation of two distinct bodies. The first of these, which constitutes the 'Abtheilung für musikalische Composition' of the present School, was founded in March 1833. In 1869 the 'Abtheilung für Ausübende Tonkunst' (consisting only of Instrumental classes for violin, violoncello, and piano) was added under the direction of Professor Joachim. In 1871 an Organ class, in 1872 classes for Brass Instruments, Double Bass, and Solo Vocalists, and in 1873 a Choral class were added; and in 1874 a full chorus was organised. The High School thus consists of two departments. The first of these is devoted solely to instruction in Composition. There are four Professors, and the number of pupils in the summer term of 1878 (the report for which is the last issued) was 18. The second department is devoted to executive music, and is under the direction of Professor Joachim. There are 36 professors, and instruction is given in the violin, violoncello, quartet playing, pianoforte (both as a principal and a secondary subject), playing from score, organ, double bass, flute, oboe, clarinet, bassoon, horn, trumpet, ensemble playing, solo playing with orchestral accompaniment, orchestral playing, solo singing, part singing, choral singing, training choruses, theory of vocal instruction, declamation and acting, Italian, pianoforte (with regard to vocal music), theory, and history. The number of pupils in the summer term of 1878 was 208. This division receives from the State a grant of 149,868 marks (£7493). The receipts are estimated at 41,760 marks (£2088), so that the institution costs the State about £5400. One fifth of the number of pupils receive free instruction, awarded according to progress or talent, and a yearly sum of 1200 marks is devoted to the assistance of needy and deserving pupils. The orchestra consists of 70 or 80 performers, amongst whom are 10 professional leaders, each with a salary of 600 marks (£30). Since 1872 the pupils of the High School have given three or four public concerts every year, and since 1876 semi-public concerts and occasional dramatic and operatic performances have been given by the pupils twice a month.—The Royal Institution for Church Music, although unconnected with the High School for Music, may be noticed here. This Institution was founded in 1822, and was placed under the direction of the Royal Academy of Arts in 1875, since when the Director of the Institution is a member of the Senate of the Academy. The Institution is devoted to the education of organists, cantors, and music masters for high-grade schools and seminaries. There are four professors, giving instruction in the organ, pianoforte, violin, singing, harmony, counterpoint and form, organ construction, and criticism
