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It is a question how he came to be held in such honor. His works, outside of the Barbier and Guillaume Tell, and some performances of Moïse, belonged to the past. They still went to see Otello at the Théâtre-Italien, but that was to hear Tamberlick's C diesis. Rossini was under so little illusion that he tried to oppose the effort to have Semiramide put into the repertoire at the Opéra.

He found striking analogies between a hit in 'quarte' or 'tierce' with the intervals of music which bears those names: when he made a feint he cried out, "take care of this 'diesis'," because anciently they called the 'diesis' a feint: and when he had made the foil fly from my hand, he would add, with a sneer, that this was a pause: in a word, I never in my life saw a more insupportable pedant.

These three classes differ in their arrangement of the tetrachord. In the enharmonic, the tetrachord consists of two tones and two "dieses." A diesis is a quarter tone; hence in a semitone there are included two dieses. In the chromatic there are two semitones arranged in succession, and the third interval is a tone and a half.

Dante, in his De Vulgari Eloquentia, informs us concerning the structure of this musical setting: it might be continuous without repetition or division; or it might be in two parts, one repeating the other, in which case the stanza was also divided into two parts, the division being termed by Dante the diesis or volta; of these two parts one might be subdivided into two or even more parts, which parts, in the stanza, corresponded both in rimes and in the arrangement of the lines.

He found striking analogies between a hit in 'quarte' or 'tierce' with the intervals of music which bears those names: when he made a feint he cried out, "take care of this 'diesis'," because anciently they called the 'diesis' a feint: and when he had made the foil fly from my hand, he would add, with a sneer, that this was a pause: in a word, I never in my life saw a more insupportable pedant.