Chevé, Emile. (1804-1864). 800 Duos Gradués, INSCRIBED.. Paris: Chez Les Auteurs. 1849. First edition. Servant de complément a la Méthode Elementaire de Musique Vocale. Half-title; Title; dedication; But et Plan de l'ouvrage, vii - xvi; 1-383. Full leather with gilt-edged pages, 4 raised bands and gilt-stamped spine. Boldly inscribed on the half-title in the year of its publication. In very fine condition.
Emil Chevé "abandoned a medical career to devote himself to the development of a method of teaching sight-singing founded on that of Pierre Galin. Working with his wife and with his brother-in-law Aimé Paris, Chevé helped to elaborate the Galin-Paris-Chevé Method of which he became the most active propagandist...A system of teaching sight-singing...it was based on the figure-notation proposed by Rousseau in 1742 but with later modifications...The central feature of the method is a notation of numerals from 1 to 7, with 1 representing the major tonic. Allowing a compass of three octaves for vocal music, the lower and upper octaves respectively are marked by the insertion of dots below or above the numerals...these devices were first made widely known in Méthode élémentaire de musique vocale (1844), published jointly by Chevé and his wife. In spite of considerable opposition from professional musicians in France, the method gained wide popularity there during the second half of the 19th century, largely through the vigorous propaganda of Emile Chevé. It was employed in many schools, teacher-training colleges and in the Ecole Polytechnique, as well as in the army and navy by 1875. By that time it had also been adopted in Switzerland, the Netherlands and Russia. Also introduced at that time into a few English private schools by Andrade, the method had its formal introduction to the professional musician in Britain when George Bullen read a paper on the subject to the members of the Musical Association in 1878." (Grove Online)
Emil Chevé "abandoned a medical career to devote himself to the development of a method of teaching sight-singing founded on that of Pierre Galin. Working with his wife and with his brother-in-law Aimé Paris, Chevé helped to elaborate the Galin-Paris-Chevé Method of which he became the most active propagandist...A system of teaching sight-singing...it was based on the figure-notation proposed by Rousseau in 1742 but with later modifications...The central feature of the method is a notation of numerals from 1 to 7, with 1 representing the major tonic. Allowing a compass of three octaves for vocal music, the lower and upper octaves respectively are marked by the insertion of dots below or above the numerals...these devices were first made widely known in Méthode élémentaire de musique vocale (1844), published jointly by Chevé and his wife. In spite of considerable opposition from professional musicians in France, the method gained wide popularity there during the second half of the 19th century, largely through the vigorous propaganda of Emile Chevé. It was employed in many schools, teacher-training colleges and in the Ecole Polytechnique, as well as in the army and navy by 1875. By that time it had also been adopted in Switzerland, the Netherlands and Russia. Also introduced at that time into a few English private schools by Andrade, the method had its formal introduction to the professional musician in Britain when George Bullen read a paper on the subject to the members of the Musical Association in 1878." (Grove Online)
Chevé, Emile. (1804-1864). 800 Duos Gradués, INSCRIBED.. Paris: Chez Les Auteurs. 1849. First edition. Servant de complément a la Méthode Elementaire de Musique Vocale. Half-title; Title; dedication; But et Plan de l'ouvrage, vii - xvi; 1-383. Full leather with gilt-edged pages, 4 raised bands and gilt-stamped spine. Boldly inscribed on the half-title in the year of its publication. In very fine condition.
Emil Chevé "abandoned a medical career to devote himself to the development of a method of teaching sight-singing founded on that of Pierre Galin. Working with his wife and with his brother-in-law Aimé Paris, Chevé helped to elaborate the Galin-Paris-Chevé Method of which he became the most active propagandist...A system of teaching sight-singing...it was based on the figure-notation proposed by Rousseau in 1742 but with later modifications...The central feature of the method is a notation of numerals from 1 to 7, with 1 representing the major tonic. Allowing a compass of three octaves for vocal music, the lower and upper octaves respectively are marked by the insertion of dots below or above the numerals...these devices were first made widely known in Méthode élémentaire de musique vocale (1844), published jointly by Chevé and his wife. In spite of considerable opposition from professional musicians in France, the method gained wide popularity there during the second half of the 19th century, largely through the vigorous propaganda of Emile Chevé. It was employed in many schools, teacher-training colleges and in the Ecole Polytechnique, as well as in the army and navy by 1875. By that time it had also been adopted in Switzerland, the Netherlands and Russia. Also introduced at that time into a few English private schools by Andrade, the method had its formal introduction to the professional musician in Britain when George Bullen read a paper on the subject to the members of the Musical Association in 1878." (Grove Online)
Emil Chevé "abandoned a medical career to devote himself to the development of a method of teaching sight-singing founded on that of Pierre Galin. Working with his wife and with his brother-in-law Aimé Paris, Chevé helped to elaborate the Galin-Paris-Chevé Method of which he became the most active propagandist...A system of teaching sight-singing...it was based on the figure-notation proposed by Rousseau in 1742 but with later modifications...The central feature of the method is a notation of numerals from 1 to 7, with 1 representing the major tonic. Allowing a compass of three octaves for vocal music, the lower and upper octaves respectively are marked by the insertion of dots below or above the numerals...these devices were first made widely known in Méthode élémentaire de musique vocale (1844), published jointly by Chevé and his wife. In spite of considerable opposition from professional musicians in France, the method gained wide popularity there during the second half of the 19th century, largely through the vigorous propaganda of Emile Chevé. It was employed in many schools, teacher-training colleges and in the Ecole Polytechnique, as well as in the army and navy by 1875. By that time it had also been adopted in Switzerland, the Netherlands and Russia. Also introduced at that time into a few English private schools by Andrade, the method had its formal introduction to the professional musician in Britain when George Bullen read a paper on the subject to the members of the Musical Association in 1878." (Grove Online)