. . . If there is a gratification which I envy any people in this world it is to your country it’s music. This is the favorite
passion of my soul, & fortune has cast my lot in a country where it is in a state of deplorable barbarism . . .
letter from
Thomas Jefferson
to giovanni fabbroni, june 8, 1778.
J.1
Holden’s essay towards a rational system of music.
1815 Catalogue, page 133, no. 7, as above, but adding
8vo.
HOLDEN,
John.
An Essay towards a Rational System of Music. By John Holden . . . Entered in Stationers-Hall.
Glasgow: printed for the Author.
London: Sold by
R. Baldwin,
mdcclxx
. [Price
7s 6d. half bound.] [1770.]
MT50 .A2 H726
First Edition. Sm. oblong 4to. 78 leaves of text, 12 plates with musical notation engraved on 1 side only, text printed in double
columns.
Grove IV, 381.
Fétis V, 188.
Allibone I, 863.
Rebound in half morocco by the Library of Congress. This book has no mark of Jefferson provenance, but he marked his music
books very little if at all, and in view of the fact that all he sold to Congress in 1815 are still extant, and that only
this one and the Chart of William Jackson described below cannot be proved to be his, it seems very probable that both these
books are from his library.
John Holden, fl. 1770, Scots musician, was professor of music at the University of Glasgow. This work, of which the first part deals
with the Rudiments of Practical Music, and the second with the Theory of Music, was dedicated by the author to William Duke
of Montrose, the Chancellor of the University of Glasgow and other members of the Faculty, and was reprinted in Edinburgh
in 1807 in octavo.
[4250]
J.2
Jackson’s scheme of sounds with the preliminary discourse.
1815 Catalogue, page 133, no. 1, Jackson’s Scheme of Sounds, with a preliminary Discourse, a sheet.
JACKSON,
William.
A Scheme demonstrating the Perfection and Harmony of Sounds Wherein is discover’d the true Coincidence of Tones into Diapasons
and where all Musical Intervals unite and Incorporate to the minutest part & their exact Proportions agreeable to the Proportions
of Numbers[.] Likewise the Exact Difference betwixt greater and lesser Intervals and how they are Compounded together in Musical
Concordance. As also Where greater and lesser Tones and Semi-Tones take place in the Diatonick Scale and how greater & lesser
Semi-Tones arise in the Chromatick
