to collect musical compositions for him, and, amongst others, transcribed, between 1715 and 1720, an important collection of Cathedral Music in 6 thick 4to. vols., now in the British Museum (Harl. MSS. 7337–7342), an Evening Service, 18 anthems, and a Latin motet by Tudway himself being included in it. Another Service by him is in a MS. at Ely Cathedral, and some songs and catches were printed in the collections of the period. He died in 1730. His portrait is in the Music School at Oxford. For his Collection see p. 198 of this volume.
TÜRK, Daniel Theophil, writer on theory, born at Clausswitz near Chemnitz in Saxony, son of a musician in the service of Count Schonburg, learned first from his father, and afterwards from Homilius at the Kreuzschule in Dresden. In 1772 he went to the University of Leipzig, where he became the pupil and friend of J. A. Hiller, who procured his admittance to the opera, and the 'Grosses Concert.' About this period he produced two symphonies and a cantata. In 1776, owing to Hiller's influence, he became Cantor of S. Ulrich at Halle, and Musikdirector of the University. In 1779 he was made organist of the Frauenkirche. Turk was the author of several books on the theory of music which have become recognised text-books: 'The chief duties of an Organist' (1787); 'Clavierschule' (1789), and a Method for beginners compiled from it (1792); and 'Short Instructions for playing from figured basses' (1791); all of which passed through several editions. In 1808 he was made Doctor and Professor of Musical Theory by the University. He died after a long illness, Aug. 26, 1813. His compositions—PF. sonatas and pieces, and a cantata 'The Shepherds of Bethlehem,'—once popular, have wholly disappeared.
TULOU, Jean Louis, eminent French flute-player and composer, born in Paris, Sept. 12, 1786, son of a good bassoon-player named Jean Pierre Tulou (born in Paris 1749, died 1799); entered the Conservatoire very young, studied the flute with Wunderlich, and took the first prize in 1801. He first made his mark at the Théâtre Italien, and in 1813 succeeded his master at the Opéra. In 1816 the production of 'Le Rossignol,' an insignificant opera by Lebrun, gave him an opportunity of showing his powers in a series of passages à deux with the singer Mme. Albert, and proving himself the first flute-player in the world. Drouet himself acknowledged the superiority of a rival whose style was so pure, whose intonation was so perfect, and who drew so excellent a tone from his 4-keyed wooden flute. Very popular in society, both on account of his talent, and for his inexhaustible spirits, Tulou was prompt at repartee, and had a fund of sarcastic humour which he uttered freely on anything he disliked. His droll comments on the régime of the Restoration were resented by the Ministry in a practical form, for he was passed over in the appointment of flute-player to the Chapelle du Roi, and also in the professorship at the Conservatoire on Wunderlich's death. In consequence of this slight he left the Opéra in 1822, but returned in 1826 with the title of first flute solo. On Jan. 1, 1829, he became professor at the Conservatoire, where his class was well attended. Among his pupils may be mentioned V. Coche, Rémusat, Forestier, Donjon, Brunot, Altes, and Demersseman. Tulou frequently played at the Société des Concerts, and wrote much for his instrument, especially during the time he was teaching. His works include innumerable airs with variations, fantasias on operatic airs, concertos, and grand solos with orchestra, a few duets for two flutes, a grand trio for three flutes, solos for the Conservatoire examinations, etc. This music is all well-written for the instrument, and the accompaniments show the conscientious artist. Several pieces are still standard works. In 1856 Tulou retired from the Conservatoire and the flute-making business. His trade-mark was a nightingale, doubtless in allusion to the opera in which he made his first success. Both as performer and manufacturer he opposed Boehm's system, and would neither make nor play on any other flute than the wooden one with 5 keys. Nevertheless he took medals at the Exhibitions of 1834, 39, 44, and 49, was honourably mentioned at that of 1851 in London, and gained a medal of the first class at the Paris Exhibition of 1855. After his retirement he lived at Nantes, where he died July 23, 1865.
TUMA, Franz, distinguished church-composer, and player on the viol da gamba, born Oct. 2, 1704, at Kosteletz in Bohemia, was a pupil of Czernohorsky (Regenschori at Prague, with whom he also fulfilled an engagement as tenor-singer), and of J. J. Fux in Vienna. In 1741 he became Capellmeister to the Dowager Empress Elisabeth, on whose death in 1750 he devoted himself entirely to his muse. In 1760 he retired to the monastery of Geras, but after some years returned to Vienna, where he died, Feb. 4, 1774, in the convent of the Barmherzigen Brüder. Tuma was greatly respected by connoisseurs of music amongst the court and nobility, and received many proofs of esteem from Maria Theresa. His numerous church-compositions, still, unfortunately, in MS., are distinguished by a complete mastery of construction, and a singular appropriateness between the harmony and the words, besides striking the hearer as the emanations of a sincerely devout mind. Especially celebrated are his grand masses in D minor and E minor, which are masterpieces in the line of Bach. As a chorister in the cathedral of Vienna, Haydn had the opportunity of becoming practically acquainted with the works of this solid master.
TUNE appears to be really the same word as Tone, but in course of a long period of familiar usage it has come to have a conventional meaning which is quite different. The meaning of both forms was at first no more than 'sound,' but Tune has come to mean not only a series of sounds, but a series which appears to have a definite form of some kind, either through the balance of phrases or periods, or the regular distribution of groups of bars or cadences. It may
