Nabokov, Nicolas [Nikolay]

Norwich sol-fa ladder.

A chart showing the initials of the sol-fa syllables arranged vertically (see illustration). It was devised by Sarah Glover between 1812 and 1835 for teaching her ‘Norwich sol-fa method’. It became the basis of John Curwen's ‘modulator’, from which it differs in that Glover placed the symbol for her tonic midway in the octave, which she regarded as two conjunct tetrachords: S, L, T, D and D, R, M, F. She also introduced the syllables bah and ne (shown as B and N on the ladder) to represent the 6th and 7th of the minor scale. The columns at the sides of the main column show the related keys of the subdominant and dominant respectively.

See also Tonic Sol-fa.

BIBLIOGRAPHY

B. Rainbow: The Land without Music: Musical Education in England, 1800–1860, and its Continental Antecedents (London, 1967)

BERNARR RAINBOW

Nose flute.

Any kind of flute, tubular or vessel, side- or end-blown, which is sounded by nasal breath. Such flutes have a very wide distribution, but are particularly common in the Pacific Islands and South-east Asia. Sachs suggested that the origin of nose flutes lies in the association of nasal breath with magic and religious rites. In Oceania the nose flute is pre-eminently an instrument of Polynesia and Micronesia. It is only rarely reported for mainland New Guinea but is present in the offshore D’Entrecasteaux group to the south-west and in the Bismarck Archipelago to the north-west. Southwards in Melanesia it is prominent only in areas adjacent to western Polynesia as in New Caledonia and the Loyalty Islands and in Fiji. In Micronesia it was formerly widespread in the Caroline Islands where it was present in Belau, Yap, Truk, Satowal, Nomoi, Pohnpei and Mokil. In Polynesia it was present almost everywhere except New Zealand.

For illustration see Flute, §I, fig.2h.

MERVYN McLEAN

Noseman, Jacob.

See Nozeman, Jacob.

Noske, Frits (Rudolf)

(b The Hague, 13 Dec 1920; d Airolo, 15 Sept 1993). Dutch musicologist. Brother of the violinist Willem Hendrik Noske (1918–95). He studied the cello and theory at the Royal Conservatory at The Hague and the Amsterdam Conservatory (1939–45), as well as composition with Henk Badings and Hendrik Andriessen. He studied musicology at the University of Amsterdam with Bernet Kempers and Smits van Waesberghe (1945–9), followed by a year at the Sorbonne under Masson. He then taught history of music at the Conservatory of Amsterdam. In 1954 he took the doctorate at the University of Amsterdam with a dissertation on the French song from Berlioz to Duparc. He was librarian of the Music Library at Amsterdam (Public Library and Toonkunst-Bibliotheek) from 1951 until 1954, when he was appointed its director, a post he held until 1968. From 1965 to 1968 Noske was associate professor in musicology at the University of Leiden; in 1968 he succeeded Bernet Kempers as full professor at the University of Amsterdam until his retirement (1983). From 1965 he lectured widely as a guest professor at Berlin, Vienna, Warsaw, London, Parma and several American and Australian universities.

In his thesis Noske showed a wide-ranging knowledge, not only of the 19th-century French song, but also of French literature. He prepared editions of music of the early Dutch Baroque, on which he also wrote several articles. Other areas of special interest to him were Mozart's Italian operas and Italian opera of the 19th century, musical drama, and the application of structuralism and semiotics to musical analysis. He was second secretary of the Koninklijke Nederlandse Toonkunstenaars Vereniging (1953–5) and general secretary (1955–9) and vice-president (1959–65) of the IAML.

WRITINGS

‘Het Nederlandse kinderlied in de achttiende eeuw’, TVNM, xix (1961–3), 173–85

La mélodie française de Berlioz à Duparc (diss., U. of Amsterdam, 1954; Amsterdam, 1954; Eng. trans., rev., 1970/R by R. Benton and F. Noske)

‘Bemerkungen zur Fermate’, Mf, xvii (1964), 383–8

‘The Linköping Faignient-Manuscript’, AcM, xxxvi (1964), 152–65

Beschouwingen over de periodisering der muziekgeschiedenis (Leiden, 1965)

‘Early Sources of the Dutch National Anthem, 1574–1626’, FAM, xiii (1966), 87–94

‘Musical Quotation as a Dramatic Device: the Fourth Act of “Le nozze di Figaro”’, MQ, liv (1968), 185–98

‘Social Tensions in “Le nozze di Figaro”’, ML, (1969), 45–62

Forma formans: een structuuranalytische methode, toegepast op de instrumentale muziek van Jan Pieterszoon Sweelinck (Amsterdam, 1969) [incl. Eng. summary]; Eng. trans., rev., in IRASM, vii (1976), 43–62

ed.: J.A. Ban: Zangh-bloemzel & Kort sangh-bericht (Amsterdam, 1969)

‘“Don Giovanni”: Musical Affinities and Dramatic Structure’, SM, xii (1970), 167–203

‘Verdi and the Musical Figure of Death’, Studi verdiani III: Milan 1972, 349–86

‘Verdi und die Belagerung von Haarlem’, Convivium musicorum: Festschrift Wolfgang Boetticher, ed. H. Hüschen and D.-R. Moser (Berlin, 1974), 236–45

‘Schiller e la genesi del “Macbeth” verdiano’, NRMI, x (1976), 196–203

The Signifier and the Signified: Studies in the Operas of Mozart and Verdi (The Hague, 1977/R) [collection of articles]

‘Melodic Determinants in Tonal Structures’, MZ, xvii (1981), 111–22

‘Sound and Sentiment: the Function of Music in the Gothic Novel’, ML, lxii (1981), 162–75

‘“Affectus”, “figura” and Modal Structure in Constantijn Huygens's Pathodia (1647)’, TVNM, xxxii (1982), 51–75

‘Nederlandse liedkunst in de zeventiende eeuw: Remigius Schrijver en Servaas de Koninck’, TVNM, xxxiv (1984), 49–67

‘From Idea to Sound: Philip's Monologue in Verdi's Don Carlos’, From Idea to Sound: Nieborów 1985, 77–93; repr. in Muziek & wetenschap, ii (1992), 201–25

Sweelinck (Oxford, 1988)

‘The Vocal Music of Jan Pieterszoon Sweelinck’, Musica antiqua VIII: Bydgoszcz 1988, 747–64

Music Bridging Divided Religions: the Motet in the Seventeenth-Century Dutch Republic (Wilhelmshaven, 1989) [vol.ii incl. transcr., of selected motets]

‘Sacred Music as A Miniature Drama: Two Dialogues by Carlo Donato Cossoni (1623–1700)’, Festschrift Rudolf Bockholdt, ed. N. Dubowy and S. Meyer-Eller (Pfaffenhofen, 1990), 161–82

Saints and Sinners: the Latin Musical Dialogue in the Seventeenth Century (Oxford, 1992)

EDITIONS

Dix romances françaises (Amsterdam, 1952)

Constantijn Huygens: Pathodia sacra et profana [1647] (Amsterdam, 1957; rev. 2/1976 with N. Barker)

Das ausserdeutsche Sololied 1500–1900, Mw, xvi (1958; Eng. trans., 1958)

Klavierboek Anna Maria van Eijl (1671), MMN, ii (1959, 2/1976)

Michele Mascitti: Psyche (Mainz, 1959)

C.T. Padbrué: Nederlandse madrigalen, MMN, v (1962)

Six Seventeenth-Century Carols from the Netherlands (London, 1965)

with A. Annegarn and G. Leonhardt: Jan Pieterszoon Sweelinck: Keyboard Works … and Works for Lute, Opera omnia, i/3 (Amsterdam, 1968, 2/1974)

Brevia musicae rudimenta latino-belgicae/Corte onderwijsinghe van de musike int Latijn ende Duyts; D.A. Valcooch: Den regel der Duytsche schoolmeesters [music section] (Amsterdam, 1973)

with A. Verhoeven: Herman Hollanders: Concerti ecclesiastici, MMN, xii (1979)

Jan Baptist Verrijt: Eighteen Motets from ‘Flammae divinae’ … opus V, MMN, xvi (Amsterdam, 1985)

ELLINOR BIJVOET/PAUL VAN REIJEN