��Shudi, who was in partnership with John Broad- wood from 1773 to about 1782, and died in 1803. A list of the existing harpsichords by Shudi and Shudi & Broadwood, as far as is known (1882), is here appended ; all but one are Double
��harpsichords. The price of a Single harpsichord, about 1770, was 35 guineas; with Octava (i.e. Octave string), 40 guineas; with Octava and Swell, 50 guineas. A Double harpsichord with Swell, was 80 guineas. 1
�H. M. the Queen, Windsor Castle.
�Removed from Kew Palace in 1875.
�F. Fairley, Esq., Newcastle-on-Tyne.
�A single keyboard. 5 oct., F-F, with lowest F sharp omitted. 2 stops.
�Emperor of Germany, Potsdam.
�Made for Frederick the Great, and described by Burney.
�Made for Frederick the Great. (Both of 5. oct., C F.)
�Burkat Shudi et Johannes
�W. Dale, Esq.
�Was in David Hartley's family, estops, 2 pedals, as have
� � �Broadwood.
� �nearly all these instruments.
�John Broadwood & Sons.
�Played upon by Moscheles and by Mr. Ernst Pauer in
� � � � �their historical performances.
�Burkat Shudi et Johannes
�Ditto. Lent to the Rev. Sir F. A. G.
�Bought of Mr. T. W. Taphouse, 1861.
� � �Broadwood.
�Ouseley, Bart., Tenbury.
�M.Victor Mahillon, Brussels.
�Sent to 'the Empress' (Maria Theresa) Aug. 20, 1773.
� � � � �Obtained by M. Victor Mahillon from Vienna.
� �Messrs. Price & Sons, Yeovil.
�Made for Lady Stoverdale, Redlinch, Bruton.
� �Musikverein, Vienna.
�Was Joseph Haydn's, and subsequently Herbeck's.
� �T. W. Taphouse, Esq., Oxford.
�5 oct., F F., 7 stops, 2 pedals. Came from Mrs. Anson'i.
� � � � �Sudbury Rectory, Derby.
� �C. Harford Lloyd, Esq,, Gloucester.
�5 oct., F F. Restored by Mr. Taphouse.
� �Stephen Stratton, Esq., Birmingham.
�Belonged to the Wrottesley family. r^ J JJ 1
��SHUTTLE WORTH, OBADIAH, son of Thos. Shuttleworth of Spitaln'elds, who had acquired some money by vending MS. copies of Corelli's works before they were published in England. He was an excellent violinist, and was principal violin at the Swan Tavern concerts, Cornhill, from their commencement in 1728 until his death. He was also a skilful organist, and in 1724 succeeded Philip Hart as organist of St. Michael's, Cornhill, and a few years afterwards was appointed one of the organists of the Temple Church. He composed 12 concertos and some sonatas for the violin, which he kept in MS., his only printed compositions being two concertos adapted from the first and eleventh concertos of Corelli. He died about 1735. [W.H.H.]
SI. The syllable used, in the musical termin- ology of Italy and France, to designate the note B ; and adapted, in systems of Solmisation which advocate the employment of a movable starting-point, to the seventh degree of the Scale.
The method invented by Guido d'Arezzo, in the earlier half of the nth century, recognised the use of six syllables only ut, re, mi, fa, sol, la suggested by the initial and post-caesural syllables of the Hymn, ' Ut queant laxis ' ; the completion of the Octave being provided for by the introduction of certain changes in the position of the root-syllable, ut? Until the mediaeval theory of the Scale was revolutionised by the discovery of the functions of the Leading-Note, this method answered its purpose perfectly; but when the Ecclesiastical Modes were abandoned in favour of our modern form of tonality, it became absolutely necessary to add another syllable to the series. This syllable is said to have been first used, about 1590, by Erycius Puteanus, of Dord- recht, the author of a treatise on Music, entitled 'Musathena'; and tradition asserts that it was formed from the initial syllable of the fourth
i The altered value of money should be borne in mind ia com- paring these prices with those of modern pianofortes, i See UEXACHCRD ; MUTATION ; SOLMISATION.
��verse 'Sancte Joannes' of the Hymn already alluded to, by the substitution of i for a. This account, however, has not been universally re- ceived. Mersennus 3 attributes the invention to a French musician, named Le Maire, who la- boured for thirty years to bring it into practice, but in vain, though it was generally adopted after his death. Brossard 4 gives substantially the same account. Bourdelot 5 attributes the discovery to a certain nameless Cordelier, of the Convent of Ave Maria, in France, about the year 1675; but tells us that the Abbe de la Louette, Maitre de Chapelle at Notre Dame de Paris, ac- corded the honour to a Singing-Master, named Metru, who flourished in Paris about the year 1676. In confirmation of these traditions, Bour- delot assures us that he once knew a Lutenist, named Le Moine, who remembered both Metru and the Cordelier, as having practised the new system towards the close of the I7th century whence it has been conjectured that one of these bold innovators may possibly have invented, and the other adopted it, if indeed both did not avail themselves of an earlier discovery.
Mersennus tells us that some French professors- of his time used the syllable za, to express Bb, reserving si for Bt). Loulie, writing some sixty years later, rejected za, but retained the use of si. 9 The Spanish musician, Andrea Lorente, of Alcala, used bi to denote BQ ; 7 while in the latter half of the 1 7th century, our own countryman, Dr. Wallis, thought it extraordinary that the verse, Sancte Johannes,' did not suggest to Guido himself the use of the syllable sa and this, not- withstanding the patent fact that the addition of a seventh syllable would have struck at the- very root of the Guidonian system ! [W.S.R.]
3 'Harmonic Universelle (Paris, 1636), p. 183.
< ' Dictionaire de Musique." (Amsterdam, 1703.)
5 ' Histoire de la Musique,' compiled from the MSS. of the Abb*- Bourdelot, and those of his nephew, Bonnet Bourdelot, and subse- quently published by Bonnet, Paymaster to the Lords of the Parlia- ment of Paris. (Paris, 1705 and 1715. Amsterdam, 1725, 1743.)
' Elements ou Principes de Musique.' (Amsterdam, 169;!.)
7 Porque de la Musica.' (1672.)