GLEE  , a musical See also:

• TERM

term for a See also:

• PART

part-See also:

• SONG

song of a particular See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind . The word, as well as the thing, is essentially confined to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . The technical meaning has been explained in different ways; but there is little doubt of its derivation through the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary sense of the word (i.e. merriment, entertainment) from the A.S. gleov, gleo, corresponding to See also:

• LAT

Lat. gaudium, delectamentum, hence ludus musicus; on the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, a musical " glee " is by no means necessarily a merry See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . Gleeman (A.S . " gleoman ") is translated simply as " musicus " or " cantor," to which the less distinguished titles of " mimus, jocista, scurra," are frequently added in old dictionaries . The accomplishments and social position of the gleeman seem to have been as varied as those of the Provencal " joglar." There are See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early examples of the word " glee " being used as synonymous with See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony or concerted See also:

• MUSIC

music . The former explanation, for instance, is given in the Promptorium parvulorum, a See also:

• WORK

work of the 15th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . Glee in its See also:

• PRESENT

present meaning signifies, broadly speaking, a piece of concerted vocal music, generally unaccompanied, and for male voices, though exceptions are found to the last two restrictions . The number of voices ought not to be less than three . As regards musical See also:

• FORM (Lat. forma)

form, the glee is little distinguished from the catch,—the two terms being often used indiscriminately for the s%ir 'I/Me& See also:

• GLAZING

Glazing . same song; but there is a distinct difference between it and the See also:

• MADRIGAL (Ital. madrigale)

madrigal—one of the earliest forms of concerted music known in England . While the madrigal does not show a distinction of contrasted movements, this feature is absolutely necessary in the glee .

In the madrigal the See also:

• MOVEMENT

movement of the voices is strictly contrapuntal, while the more See also:

• MODERN

modern form allows of freer treatment and more compact harmonies . See also:

• DIFFERENCES, CALCULUS OF (Theory of Finite Differences)

Differences of tonality are fully explained by the development of the See also:

• ART

art, for while the madrigal reached its See also:

• ACME (Gr. 6.Kµii, point)

acme in See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth's See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, the glee proper was little known before the See also:

• COMMONWEALTH

Commonwealth; and its most famous representatives belong to the 18th century and the first See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter of the 19th . Among the numerous collections of the innumerable pieces of this kind, only one of the earliest and most famous may be mentioned, Catch that Catch can, a Choice Collection of Catches, Rounds and Canons, for three and four voices, published by See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• HILTON, JOHN (1804–1878)
• HILTON, WILLIAM (1786-1839)

Hilton in 1652 . The name " glee," however, appears for the first time in John Playford's Musical See also:

• COMPANION (through the O. Fr. compaignon or compagnon, from the Late Lat. companio,—cum, with, and panis, bread,—one who shares meals with another; the word has been wrongly derived from the Late Lat. compagnus, one of the same pages or district)

Companion, published twenty-one years afterwards, and reprinted again and again, with additions by later composers —See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry See also:

• PURCELL, HENRY (1658-1695)

Purcell, See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• CROFT (or CROFTS), WILLIAM (1678–1727)
• CROFT, SIR HERBERT
• CROFT, SIR JAMES (d. 1590)

Croft and John See also:

• BLOW, JOHN (1648-1708)

Blow among the number . The originator of the glee in its modern form was Dr See also:

• ARNE, THOMAS AUGUSTINE (1710-1778)

Arne, See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in 1710 . Among later See also:

• ENGLISH

English musicians famous for their glees, catches and part-songs, the following may be mentioned:—See also:

• ATTWOOD, THOMAS (1765-1838)
• ATTWOOD, THOMAS (1783-1856)

Attwood, See also:

• BOYCE, WILLIAM (1710-1779)

Boyce, See also:

• BISHOP (A.S. bisceop, from Lat. episcopus, Gr. irio-Korros, " overlooker " or " overseer ")
• BISHOP, ISABELLA (1832-1904)
• BISHOP, SIR HENRY ROWLEY (1786-1855)

Bishop, See also:

• CROTCH, WILLIAM (1775-1847)

Crotch, See also:

• CALLCOTT, JOHN WALL (1766-1821)
• CALLCOTT, SIR AUGUSTUS WALL(1779-1844)

Callcott, See also:

• SHIELD (0. Eng. scild, cf. Du. and Ger. Schild, Dan. Skjold; the origin is doubtful, but may be referred to the root seen in " shell " or " scale "; another suggestion connects it with Icel. skjalla, to clash, rattle; it is not connected with the Indo-Ger
• SHIELD, WILLIAM (1748—1829)

Shield, See also:

• STEVENS,
• STEVENS, A
• STEVENS, ALFRED (1818-1875)
• STEVENS, ALFRED (1828-1906)
• STEVENS, HENRY (1819—1886)

Stevens, See also:

• HORSLEY, JOHN (c. 1685 – 1732)
• HORSLEY, JOHN CALLCOTT (1817-1903)
• HORSLEY, SAMUEL (1733-1806)
• HORSLEY, WILLIAM (1774–1858)

Horsley, See also:

• WEBB, MATTHEW (1848-1883)
• WEBB, SIDNEY (1859– )

Webb and Knyvett . The convivial See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of the glee led, in the 18th century, to the formation of various See also:

• SOCIETIES, LEARNED

societies, which offered prizes and medals for the best compositions of the kind and assembled for social and See also:

• ARTISTIC

artistic purposes . The most famous amongst these—The Glee See also:

• CLUB (connected with " clump ")

Club—was founded in 1787, and at first used to meet at the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of Mr See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert See also:

• SMITH
• SMITH, ADAM (1723–1790)
• SMITH, ALEXANDER (183o-1867)
• SMITH, ANDREW JACKSON (1815-1897)
• SMITH, CHARLES EMORY (1842–1908)
• SMITH, CHARLES FERGUSON (1807–1862)
• SMITH, CHARLOTTE (1749-1806)
• SMITH, COLVIN (1795—1875)
• SMITH, EDMUND KIRBY (1824-1893)
• SMITH, G
• SMITH, GEORGE (1789-1846)
• SMITH, GEORGE (184o-1876)
• SMITH, GEORGE ADAM (1856- )
• SMITH, GERRIT (1797–1874)
• SMITH, GOLDWIN (1823-191o)
• SMITH, HENRY BOYNTON (1815-1877)
• SMITH, HENRY JOHN STEPHEN (1826-1883)
• SMITH, HENRY PRESERVED (1847– )
• SMITH, JAMES (1775–1839)
• SMITH, JOHN (1579-1631)
• SMITH, JOHN RAPHAEL (1752–1812)
• SMITH, JOSEPH, JR
• SMITH, MORGAN LEWIS (1822–1874)
• SMITH, RICHARD BAIRD (1818-1861)
• SMITH, ROBERT (1689-1768)
• SMITH, SIR HENRY GEORGE WAKELYN
• SMITH, SIR THOMAS (1513-1577)
• SMITH, SIR WILLIAM (1813-1893)
• SMITH, SIR WILLIAM SIDNEY (1764-1840)
• SMITH, SYDNEY (1771-1845)
• SMITH, THOMAS SOUTHWOOD (1788-1861)
• SMITH, WILLIAM (1769-1839)
• SMITH, WILLIAM (c. 1730-1819)
• SMITH, WILLIAM (fl. 1596)
• SMITH, WILLIAM FARRAR (1824—1903)
• SMITH, WILLIAM HENRY (1808—1872)
• SMITH, WILLIAM HENRY (1825—1891)
• SMITH, WILLIAM ROBERTSON (1846-'894)

Smith, in St See also:

• PAIL

Pail's See also:

• CHURCHYARD
• CHURCHYARD, THOMAS (c. 152o-16o4)

churchyard . This club was dissolved in 1857 . A similar society—The Catch Club—was formed in 176i and is still in existence .