Page:The New International Encyclopædia 1st ed. v. 17.djvu/762

SCOPAS. 092 SCORE. 'I I'— 'ivciy ill 1879 of llie fiii;^intiit8 .~iiili)tiiH'M lit TefjcH liiist af- I'.i- till' iinul.vsii* of the nt.yle of ."MOpllH, lirill IL'Ilclt'lOll it JIOSHilllc to iccof^tiizc oopit'S of liiM work in siieli (iKiires ns tlio Meleiifjer (if till- Viiticiiii (imii'li liollor ii'IiicmciiIc-iI in a Hliitiu- in tin' Kofjg Art Mnscnni at llarviinl I'ni- vcrnily nnd n lii'inl in the Villa Medici), and the wnli'd' .Marx fornierlv in tlic Villa Lmlovisi. To him almi Hcrnii In lirlnn;^' a t,V|>e iif llerciilcN, of wlilcli |ierhn|iH the Im-»1 I'xaiiiplc is the Inist from Oenxiino in Ihc lirilisli Miisi'iiin. To tlicsc may lie added a line female lieail from the nniitli slope of the Aeropolin, and a tor.-to of .ICsculapiiis from the I'irienM. Iioth in the National Mnsenm at Athens. All these works are eharaeterized by (he hroad anil rather short faee, in marked eon- trast to the lon^ oval of I he Hermes of I'rax- ileles, the deep-set eye. and espeeiiilly liy the in- tensity of expression. To pnidiiee tliis ell'eet. the work is eoneenlrated on cerluiii I'ealiires such as eyes and month, wliile in the works of I'mxilejes the wholc' surface is carefully linislicd. Consult especially (Iriief in UiimiKche Miltli('ilun(i<n, W. (Ifoiiie, 188!l) ; also Urliehs, NL-o/xis' l/ctini unit llVrfo; (Creifswald, 180:i) ; Weil, in Hau- nieister's DrnKmiiUr (Irs klaxnisclicii .Micriums (.Iniiich, 1HH!») ; Treu, AUinusrhe !lillliciliinf/en, vi. (.Athens. 1881); Filitwilntjler. Manlrr/iifcra of (Irci-lc Sciiliiliin: trans, hv K. Sellers ( I.onilon, 18II.5). SCORE (AS. scor, score, twenty, from AS., (•IKJ. .sivri/H, (Jer. Hchcren, Kng. shciir ; connected with (!k. Keipiiv. kiArein, to cut, Lat. curtua, short). In music, the arraiif^enient of the vari- ous voices or inslrinnenls, employed in a com- position, in siii-li a manner that all tones uliieli are to lie sounded lo;;etlicr are written vertically. Hefore the seventeenth eeiitiiry compositions were not Kein'rally printed in scores, lint in part-liooks, each hook (umtaininj,' only one part or voic(> of a composition. (,Sec I'aht'-Book.) In the case of oiKiiii music, however, an imperalive need was felt at an ('arly time to write all those tones which were to lie struck lo^jelher one aliove the other; hi'iice the oifjan-talilatiire. (See Tahi.a- Ti;ill0.) Ilucliald ((|,v.), who lived in (he tenth century, wrote his works in scores. There seems to he little douht that friini the earliest times composers wrote their works originally in score. There are two noteworthy exam|ilcs of early scores: one a printed score of madrif^als com- posed hy Cipriano de Rore. and prinfed in l.'>77 by (iardano in Venice; the oilier an original manuscript where all four voices are written on one sdilV, (he not<>s,of the diirerent voices being distinguished by diirerent colors and forms. As to iirclicxlnil si'ores, it is probable that all iiinsie writlcn for a comliinal ion of orchestral instruments was published only in score form. Some of the earliest spi'cimcns of such scores are those of de lieaujoyeanlx's liiitlcl nirnuiiic dc la lioyne (Paris, 1082), Peri's hhirydicc ( I'Morence, 1000), Cavaliere's Atiiinu c mrpo (Rome, KiOO), and Monteverde's (>rf_ri> (Venice, IfiOO). (See (tiii'iiioHinA.) The guiding principle at first was to place the highest instruiiK'nts at (he (op and the lowest at (he lioKom of the page. lint as the wood and brass instruments were gradually per- fected and became jiarts of (he orclicslni. (his lirineiple could no longer be stricdy followed. Ucnce, a new plan was adopted. Instruments of the same group or family ro kept together. If voices were employed with the orchestra, they were kept together, but for some time great con- fusion jirevailed as to their position relative to the instruments. Uacli generally wrote the in- strumental parts above the voices and the organ parts bcdow the voices. Handel followed the same principle very closely, but placed the 'celll and basses below the voices. Both masters wroti' the brass instruments above thir wood-wind. The score-reader must kee|) in his mind a differ- ent grouping of instruments for t'Vf^ry score; but even without this, score-reading presents enough dillicnlties. IJeethoven, therefore, established a certain fixed order in which he arranged his scores, so that the same instruments are always writlcn in the same place. He adopted what was then known as the (ierman system, i.e.. the wood- wind highest, next the brass, then instruments of percussion, and the strings lowest. The Italian system did'ered by placing violins and violas highest, then the wood and brass, the 'celli and basses lowest, a system not to be ciimmcndcil, I a use it separates the strings, which conslilute the foundation of the orchestra. Although later masters, espeiially Berlioz, Liszt, and Wagner, have introduced ,a great number of new instru- ments, they adhere in general to Beethoven's grouping. .s the military band lias no strings, the scores written for such a combination of instruments naturally dill'er from full orchestral scores. But (he principle of grouping remains the same. For the convenience of musicians, and also to enable amateurs to study the great or- cliesdal coniiiositions by playing them in a re- duced form upon the piano, all the full .scores are arranged for this instrument. Such a reduced score of a purely instruniental composition is called pianoforte score, of a vocal work with orchestra a vocal score. In the latter the voices appear as in the full score, but the orchestra is reduced to the two staves of the piano. Such ar- rangenir'iils require much skill and experience. There is also the compressed score, used for vocal composition, in which the four voices are compressed into two staves (soprano and alto on the treble, tenor and bass on the bass stalf). A SMpitlemenlary score is used when the number of voices or instruments is .so large that (here is not room enough for all staves on one page. Then some group is prinfed separately and adiled at (he end of the full score. Score-Keadino and Pi-ayino from Score. One of the principal requirements of a good orchestral conductor is the ability to read an orchestral score and to reproduce it at sight upon the piano. ( See CoNnrrroR. ) This ability can be obtained only tlirough constant praclice. The lirsl requirement toward this result is thor- ough familiarity with the f clefs. (See Clef.) The beginning should be n^ide with a eaiijielhi choruses for four mixed voices, where the tenor jiart (written in (he treble clef) is to be trans- jiosed an octave lower. Then easy string quar- tets should be played (requiring the use of (he alto clef in the violas). The next step would be to works of ehamlier-music writlcn for one trans- posing ins(rumen(, like (he clarinet or horn. .After a certain degree of skill has been attained in playing such scores the student is ready for works scored for a small orchestra. It is com-