Home›Sources›The New Grove Dictionary of Music and Musicians, 2nd editionSourcesThe New Grove Dictionary of Music and Musicians, 2nd editionCitation FormatsGeneral ReferenceGeneral Reference Citation TextDivinity Atlas. "The New Grove Dictionary of Music and Musicians, 2nd edition." Accessed August 30, 2026. https://www.divinityatlas.com/sources/the-new-grove-dictionary-of-music-and-musicians-2nd-edition.Copy General ReferenceAPA StyleAPA Style Citation TextDivinity Atlas. (n.d.). The New Grove Dictionary of Music and Musicians, 2nd edition. Retrieved August 30, 2026, from https://www.divinityatlas.com/sources/the-new-grove-dictionary-of-music-and-musicians-2nd-editionCopy APA StyleBibTeXBibTeX Citation Text@misc{divinityatlas-the-new-grove-dictionary-of-music-and-mu, author = {Divinity Atlas}, title = {The New Grove Dictionary of Music and Musicians, 2nd edition}, year = {2026}, url = {https://www.divinityatlas.com/sources/the-new-grove-dictionary-of-music-and-musicians-2nd-edition}, note = {Accessed August 30, 2026} }Copy BibTeXThe New Grove Dictionary is the standard reference work for music history, with named specialist contributors writing individual entries under editorial oversight, and this atlas cites it specifically for its entries on Guido of Arezzo, the hymn Ut queant laxis and solmisation as a system of relative rather than absolute pitch. That specialist, entry-by-entry authorship under documented editorial review is the dictionary's real evidentiary basis rather than a claim resting on its long publishing history alone. This record has not independently traced further scholarly disagreement with any specific entry since this second edition. Use it for established musicological facts about a specific topic a named entry addresses; a claim about a modern popular music theory, such as the Solfeggio frequency movement's own claims, needs a separate source addressing that specific modern claim.FactsClaims Backed By This Source (143 claims)Comments (0)Reader Challenges (0 open reader challenges)FactsAssessmentReliability TierWell-attested1The standard scholarly reference for music history, used here for Guido of Arezzo, the hymn Ut queant laxis and solmisation as a system of relative rather than absolute pitch.NotesWell-attestedStandard reference for music history. Used here for Guido of Arezzo, the hymn Ut queant laxis, and solmisation as a system of relative rather than absolute pitch.CitationAuthorWell-attestedStanley Sadie and John Tyrrell (eds.)PublisherWell-attestedMacmillanPublication YearWell-attested2001Source TypeWell-attestedreferenceClaims Backed By This Source (143 claims)This source backs 143 claims across the atlas. As facts: 102 well-attested, 9 popular myth - corrected. As cited relationships: 8 holds. Plus 24 entities citing it as a general reference with no single fact or relationship attached.Disposition By TopicSacred Sound, 86 claims: 63 well-attested, 8 holds, 15 general references.Articles, 32 claims: 32 well-attested.Frequencies, 18 claims: 9 popular myth - corrected, 9 general references.Sources, 7 claims: 7 well-attested.Well-attested102ArticlesA as the Tuning StandardA Sharp as an Enharmonic NoteB as the Leading ToneC in the Letter-Name SystemC Sharp as an Enharmonic NoteD as a Scale DegreeD Sharp as an Enharmonic NoteDhrupad As Meditative Vocal FormDhrupad's Courtly History and Modern RevivalDocumenting and Preserving The SpiritualsE as a Scale DegreeF as a Scale DegreeF Sharp as an Enharmonic NoteG as a Scale DegreeG Sharp as an Enharmonic NoteGospel Music As African American Sacred SongGospel Music's Development and Key FiguresNotation and Origins of Znamenny ChantOrigins of QawwaliQawwali beyond the ShrineRagas in Devotional and Temple PracticeShape Note Singing As Accessible Sacred HarmonyShomyo As Japanese Buddhist Liturgical ChantShomyo's Continental Origins and SystematizationSpirituals As Sacred Song under SlaverySuizen As Meditation through SoundSuizen's Origins among The Wandering Komuso MonksSurvival among the Old BelieversTaize Chant As Repetitive Meditative PrayerThe Sacred Harp Tradition and Its RevivalThe Taize Community and Its Global ReachWhat a Raga Actually IsSacred SoundAnglican ChantDhrupadGospel MusicMaqam (Quranic Recitation Modes)Negro SpiritualsQawwaliRagaShakuhachi SuizenShape Note SingingShomyoTaize ChantThe Carnatic Melakarta Raga SystemTuvan Throat Singing (Khoomei)Znamenny ChantSourcesThe New Grove Dictionary of Music and Musicians, 2nd editionPopular myth - corrected9Frequencies174 Hz285 Hz396 Hz417 Hz528 Hz639 Hz741 Hz852 Hz963 HzHolds8Sacred SoundDhrupadKirtan (Bhakti Devotional Chanting)Shakuhachi SuizenShomyoThe Carnatic Melakarta Raga SystemTuvan Throat Singing (Khoomei)General References24Frequencies174 Hz285 Hz396 Hz417 Hz528 Hz639 Hz741 Hz852 Hz963 HzSacred SoundAnglican ChantDhrupadGospel MusicKirtan (Bhakti Devotional Chanting)Maqam (Quranic Recitation Modes)Negro SpiritualsQawwaliRagaShakuhachi SuizenShape Note SingingShomyoTaize ChantThe Carnatic Melakarta Raga SystemTuvan Throat Singing (Khoomei)Znamenny ChantComments (0)No comments yet. 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