See also:

• METRONOME (Gr. Orpov, measure, and voµos, law)

METRONOME (Gr. Orpov, measure, and voµos, See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law)  , an See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument for denoting the See also:

• SPEED, JOHN (1552–1629)

speed at which a musical See also:

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

composition is to be performed . Its invention is generally, but falsely, ascribed to Johann See also:

• NEPOMUK (or Pollux), JOHN OF

Nepomuk Maelzel, a native of Ratisbon (1772-1838) . It consists of a pendulum swung on a See also:

• PIVOT (Fr. pivot; probably connected with Ital. pivolo, peg, pin, diminutive of piva, pipa, pipe)

pivot; below the pivot is a fixed See also:

• WEIGHT

weight, and above it is a sliding weight that regulates the velocity of the oscillations by the greater or less distance from the pivot to which it is adjusted . The silent See also:

• METRONOME (Gr. Orpov, measure, and voµos, law)

metronome is impelled by the See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch, and ceases to See also:

• BEAT (a word common in various forms to the Teutonic languages; it is connected with the similar Romanic words derived from the Late Lat. battere)

beat when this impulse See also:

• DIES, CHRISTOPH ALBERT (1755-1822)

dies; it has a See also:

• SCALE
• SCALE (1) A

scale of See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers marked on the pendulum, and the upper See also:

• PART

part of the sliding weight is placed under that number which is to indicate the quickness of a stated See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note, as M.M . (Maelzel's Metronome) (ss= or r= 72, or := ro8, or the like . The number 6o implies a second of 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 for each singleoscillation of the pendulum—numbers See also:

• LOWER

lower than this denoting slower, and higher numbers quicker beats . The scale at first extended from 50 to 16o, but now ranges from 40 to 208 . A more complicated metronome is impelled by See also:

• CLOCK

clock-See also:

• WORK

work, makes a See also:

• TICKING

ticking See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound at each beat, and continues its See also:

• ACTION

action till the See also:

• WORKS

works run down; a still more intricate See also:

• MACHINE
• MACHINE (through Fr. from Lat. form machina of Gr. µnxavil)

machine has also a See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

bell which is struck at the first of any number of beats willed by the See also:

• PERSON, OFFENCES AGAINST THE

person who regulates it, and so signifies the See also:

• ACCENT

accent as well as the time . The earliest instrument of the See also:

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

kind, a weighted pendulum of variable length, is described in a See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper by See also:

• ETIENNE, CHARLES GUILLAUME (1778-1845)

Etienne Louli6 (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1696; See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam, 1698) . Attempts were also made by Enbrayg (1732) and Gabory (1771) . See also:

• HARRISON
• HARRISON, BENJAMIN
• HARRISON, FREDERIC (1831— )
• HARRISON, JOHN (1693—1776)
• HARRISON, THOMAS (16o6-166o)
• HARRISON, THOMAS ALEXANDER (1853– )
• HARRISON, WILLIAM (1534–1593)
• HARRISON, WILLIAM HENRY (1773–1841)

Harrison, who gained the See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize awarded by the See also:

• ENGLISH

English See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government for his chronometer, published a description of an instrument for the purpose in 1775 . Davaux (1784), Pelletier, See also:

• ABEL (better ABELL), THOMAS (d. 1540)
• ABEL (Hebrew for breath)
• ABEL, KARL FRIEDRICH (1725-1787)
• ABEL, NIELS HENRIK (1802-1829)
• ABEL, SIR FREDERICK AUGUSTUS, BART

Abel Burja (1790) and Weiske (also 1i90) described their various experiments for measuring musical time .

In 1813 Gottfried See also:

• WEBER, CARL MARIA FRIEDRICH ERNEST VON (1786–1826)
• WEBER, WILHELM EDUARD (1804-1891)

Weber, the composer, theorist and essayist, proposed a weighted ribbon graduated by inches or smaller divisions, which might be held or otherwise fixed at any desired length, and would infallibly oscillate at the same speed so See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long as the impulse lasted . Stockel and Zmeskall produced each an instrument; and Maelzel made some slight modification of that by the former, about the end of 1812, which he announced as a new invention of his own, and exhibited from See also:

• CITY (through Fr. cite, from Lat. civitas)

city to city on the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

Continent . It was, as nearly as can be ascertained, in 1812 that Winkel, a mechanician of Amsterdam, devised a See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan for reducing the inconvenient length of all existing See also:

• INSTRUMENTS

instruments, on the principle of the See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double pendulum, rocking on both sides of a centre and balanced by a fixed and a variable weight . He spent three years in completing it, and it is described and commended in the See also:

• REPORT (O.Fr. report or raport, modern rapport, from O.Fr. reporter, mod. rap porter, Lat. reportare, to bring back, in poetical use only, of bringing back an account, news, &c.)

Report of the See also:

• NETHERLANDS

Netherlands See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy of Sciences (Aug . 14, 1815) . Maelzel thereupon went to Amsterdam, saw Winkel and inspected his invention, and, recognizing its See also:

• GREAT

great superiority to what he called his own, offered to buy all right and See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title to it . Winkel refused, and so Maelzel constructed a copy of the instrument, to which he added nothing but the scale of numbers, took this copy to Paris, obtained a patent for it, and in 1816 established there, in his own name, a manufactory for metronomes . When the impostor revisited Amsterdam, the inventor instituted proceedings against him for his piracy, and the Academy of Sciences decided in Winkel's favour, declaring that the graduated scale was the only point in which the instrument of Maelzel differed from his . Maelzel's scale was needlessly and arbitrarily complicated, proceeding by twos from 40 to 6o, by threes from 6o to 72, by fours from 72 to 120, by sixes from 120 to 144 and by eights from 144 to 208 . Dr See also:

• CROTCH, WILLIAM (1775-1847)

Crotch constructed a time measurer, and 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:

• SMART, CHRISTOPHER (1722-1771)
• SMART, HENRY (1813–1879)
• SMART, JOHN (c. 1740–1811)
• SMART, SIR GEORGE THOMAS (1776–1867)

Smart (the violinist, See also:

• FATHER

father of the composer of the same name) made another in 1821, both before that received as Maelzel's was known in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . In 1882 See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James See also:

• MITCHELL
• MITCHELL, DONALD GRANT (1822—1908)
• MITCHELL, MARIA (1818—1889)
• MITCHELL, SILAS WEIR (1830-)
• MITCHELL, SIR THOMAS LIVINGSTONE (1792-1855)

Mitchell, a Scotsman, made an ingenious amplification of the Maelzel clock-work, reducing to See also:

• MECHANICAL

mechanical demonstration what formerly rested wholly on the feeling of the performer . Although " Maelzel's metronome " has universal See also:

• ACCEPTANCE (Lat. acceptare, frequentative form of accipere, to receive)

acceptance, the silent metronome and still more Weber's graduated ribbon are greatly to be preferred, for the clock-work of the other is liable to be out of See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order, and needs a nicety of regulation which is almost impossible; for instance, when See also:

• SIR

Sir See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George Smart had to See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark the traditional times of the several pieces in the See also:

• DETTINGEN

Dettingen Te Deum, he tested them by twelve metronomes, no two of which beat together .

The value of the machine is exaggerated, for no living performer could execute a piece in unvaried time throughout, and no student could practise under the tyranny of its beat; and conductors of See also:

• MUSIC

music, See also:

• NAY, or NEY

nay, composers themselves, will conduct the same piece slightly slower or quicker on different occasions, according to the circumstances of performance .