(A. J. H.; K. S.)
1SeeAllg. musik. Ztg.(Leipzig, 1821), Bd. xxiii. pp. 369-374. The cheng was made known in France by Père Amiot, who published a careful description of the instrument inMémoire sur la musique des Chinois, p. 80 seq., with excellent diagrams.2Ib., Bd. xxv. p. 152.3The essay was published inActa Acad. Petrop.(1780).4“Essai sur la naissance et sur la formation des voyelles” in Rozier’sObservations sur la physique(Paris, 1782),Supplément, xxi. 358 seq.,, with two plates. The description of the instrument begins on p. 374, § xxii.5See “Über die Erfindung der Rohrwerke mit durchschlagenden Zungen,” by Wilke, inAllg. musik. Ztg.(Leipzig, 1823), Bd. xxv. pp. 152-153 and Bd. xxvii. p. 263; also Thos. Ant. Kunz, “Orchestrion,” id., Bd. i. p. 88 and Bd. ii. pp. 514, 542; and Dr Karl Emil von Schafhäutl,Abt Georg Joseph Vogler(Augsburg, 1888), p. 37.6Data zur Akustik, eine Abhandlung vorgelesen bey der Sitzung der naturforschenden Freunde in Berlin, den 15ten Dezember 1800(Offenbach, 1801); also published inAllg. musik. Ztg.(1801), Bd. iii. pp. 517, 533, 565. See also an excellent article by the Rev. J. H. Mee on Vogler in Grove’sDictionary of Music and Musicians.7SeeData zur Akustik, and a pamphlet by Vogler, “Über die Umschaffung der St Marien Orgel in Berlin nach dem Voglerschen Simplifikations-System, eine Nachahmung des Orchestrion” (Berlin); also “Kurze Beschreibung der in der Stadtpfarrkirche zu St Peter zu München nach dem Voglerschen Simplifikations-System neuerbauten Orgel” (Munich, 1809).8SeeAllg. musik. Ztg.(1823), Bd. xxv. pp. 153 and 154 note, and 117-118 note.9A description of Mälzel’s panharmonicon before the addition of the clarinet and oboe stops with free reeds is to be found in theAllg. musik. Ztg.(1800), Bd. ii. pp. 414-415.10In the article in Grove’sDictionarythe screen is said to have been in the wind-trunk.11SeeAllg. musik. Ztg.Bd. iii. p. 523.12See J. B. Biot,Précis élémentaire de physique expérimentale(Paris, 1817), tome i. p. 386, and hisTraité de physique(Paris, 1816), tome ii. p. 172 et seq., pl. ii.; “Über die Crescendo und Diminuendo Züge an Orgeln,” by Wilke and Kaufmann,Allg. musik. Ztg.(1823), Bd. xxv. pp. 113-122; andAllg. musik. Ztg.Bd. xxiii. pp. 133-139 and 149-154, with diagrams on p. 167 which are not absolutely correct in small details.13J. B. Biot,Traité, tome ii. p. 174.14Harmonie universelle(Paris, 1636), livre v., prop. xxxv.15Wien. musik. Ztg.Bd. v. Nos. 39 and 87.16Allg. musik. Ztg.Bd. xxii. p. 505, and Bd. xxxv. p. 354.17Id. Bd. viii. pp. 526 and 715.18Id. Bd. xi. p. 625.19Allg. musik. Ztg.Bd. ii. p. 767, andWien. musik. Ztg.Bd. i. No. 501.20Id. Bd. xxxi. p. 489.21Id. Bd. xxxiv. pp. 856 and 858; andCäcilia, Bd. xiv. p. 259.
1SeeAllg. musik. Ztg.(Leipzig, 1821), Bd. xxiii. pp. 369-374. The cheng was made known in France by Père Amiot, who published a careful description of the instrument inMémoire sur la musique des Chinois, p. 80 seq., with excellent diagrams.
2Ib., Bd. xxv. p. 152.
3The essay was published inActa Acad. Petrop.(1780).
4“Essai sur la naissance et sur la formation des voyelles” in Rozier’sObservations sur la physique(Paris, 1782),Supplément, xxi. 358 seq.,, with two plates. The description of the instrument begins on p. 374, § xxii.
5See “Über die Erfindung der Rohrwerke mit durchschlagenden Zungen,” by Wilke, inAllg. musik. Ztg.(Leipzig, 1823), Bd. xxv. pp. 152-153 and Bd. xxvii. p. 263; also Thos. Ant. Kunz, “Orchestrion,” id., Bd. i. p. 88 and Bd. ii. pp. 514, 542; and Dr Karl Emil von Schafhäutl,Abt Georg Joseph Vogler(Augsburg, 1888), p. 37.
6Data zur Akustik, eine Abhandlung vorgelesen bey der Sitzung der naturforschenden Freunde in Berlin, den 15ten Dezember 1800(Offenbach, 1801); also published inAllg. musik. Ztg.(1801), Bd. iii. pp. 517, 533, 565. See also an excellent article by the Rev. J. H. Mee on Vogler in Grove’sDictionary of Music and Musicians.
7SeeData zur Akustik, and a pamphlet by Vogler, “Über die Umschaffung der St Marien Orgel in Berlin nach dem Voglerschen Simplifikations-System, eine Nachahmung des Orchestrion” (Berlin); also “Kurze Beschreibung der in der Stadtpfarrkirche zu St Peter zu München nach dem Voglerschen Simplifikations-System neuerbauten Orgel” (Munich, 1809).
8SeeAllg. musik. Ztg.(1823), Bd. xxv. pp. 153 and 154 note, and 117-118 note.
9A description of Mälzel’s panharmonicon before the addition of the clarinet and oboe stops with free reeds is to be found in theAllg. musik. Ztg.(1800), Bd. ii. pp. 414-415.
10In the article in Grove’sDictionarythe screen is said to have been in the wind-trunk.
11SeeAllg. musik. Ztg.Bd. iii. p. 523.
12See J. B. Biot,Précis élémentaire de physique expérimentale(Paris, 1817), tome i. p. 386, and hisTraité de physique(Paris, 1816), tome ii. p. 172 et seq., pl. ii.; “Über die Crescendo und Diminuendo Züge an Orgeln,” by Wilke and Kaufmann,Allg. musik. Ztg.(1823), Bd. xxv. pp. 113-122; andAllg. musik. Ztg.Bd. xxiii. pp. 133-139 and 149-154, with diagrams on p. 167 which are not absolutely correct in small details.
13J. B. Biot,Traité, tome ii. p. 174.
14Harmonie universelle(Paris, 1636), livre v., prop. xxxv.
15Wien. musik. Ztg.Bd. v. Nos. 39 and 87.
16Allg. musik. Ztg.Bd. xxii. p. 505, and Bd. xxxv. p. 354.
17Id. Bd. viii. pp. 526 and 715.
18Id. Bd. xi. p. 625.
19Allg. musik. Ztg.Bd. ii. p. 767, andWien. musik. Ztg.Bd. i. No. 501.
20Id. Bd. xxxi. p. 489.
21Id. Bd. xxxiv. pp. 856 and 858; andCäcilia, Bd. xiv. p. 259.