Page:A Dictionary of Music and Musicians vol 1.djvu/758

 HOMOPHONE (ὁμόφωνος) [App. p.679 "Homophony"], voices or instruments sounding alike unison. The term is sometimes applied to music written in what was formerly called the Monodic style. [See ../Monodia.] But it is now ordinarily employed for music in plain harmony, the parts all sounding together, as opposed to the Polyphonic treatment, in which the several voices or parts move independently of each other or in imitation. Thus in Elijah, 'Cast thy burden' would in this laxer sense be called homophonic, while 'He that shall endure to the end' is polyphonic after the 6th bar. [.] [ G. ]

HOOK,, born at Norwich in 1746, studied music under Garland, organist of the cathedral. When a very young man he came to London and composed some songs which were sung at Richmond and Ranelagh, and which he published as his Op. 1. In 1769 he was engaged at Marylebone Gardens as organist and composer, and continued there until 1773. In 1774 he was engaged at Vauxhall Gardens in the same capacities, and continued there until 1820. He was for long organist of St. John's, Horsleydown. During his engagements at Marylebone and Vauxhall he is said to have composed upwards of 2000 songs, cantatas, catches, etc. He gained prize medals at the Catch Club, in 1772, for his catch, 'One morning Dame Turner,' and in 1780 for 'Come, kiss me, dear Dolly.' In 1776 Hook brought out 'The Ascension,' an oratorio. He composed the music for the following dramatic pieces; 'Dido,' 1771; 'The Divorce,' composed in 1771 for Marylebone, but not produced until 1781 at Drury Lane; 'Trick upon Trick,' 'Il Dilettante' and 'Cupid's Revenge,' 1772; 'Apollo and Daphne,' 1773; 'The Lady of the Manor,' 1778; 'Too civil by half,' 1783; 'The Double Disguise,' 1784; 'The Fair Peruvian,' 1786; 'Jack of Newbury,' 1795; 'Diamond cut Diamond,' 1797; ' Wilmore Castle,' 1800; 'The Soldier's Return,' 1805; 'Tekeli,' and 'Catch him who can,' 1806; 'Music Mad' and 'The Fortress,' 1807; 'The Siege of St. Quintin,' 1808; 'Killing no Murder' and 'Safe and Sound,' 1809. Besides these he composed music for the following, the dates of production of which are uncertain: 'The Wedding,' 'Love and Virtue,' 'The Cryer of Vauxhall,' 'The Pledge,' 'Coralie,' 'Blanche and Edgar,' and 'The Country Wake.' Many of his songs were published in collections, as 'The Feast of Anacreon,' 'Hours of Love,' etc., but the greater number were issued singly. Hook composed several concertos for the organ or harpsichord, and sonatas for the pianoforte, and was author of 'Guida di Musica,' a book of instruction for the pianoforte. Several of his glees, catches and rounds are printed in Warren's Collections. Hook died at Boulogne in 1827. Several members of his family were eminent in literature. His first wife, Miss Madden (died Oct. 19, 1795), was authoress of 'The Double Disguise.' His son, James Hook, D.D., Dean of Worcester (born 1772, died 1828), was author of the words of 'Jack of Newbury,' 'Diamond cut Diamond,' etc. His younger son Theodore Edward (born 1788, died 1841), was the well-known humourist; and his grandson, Walter Farquhar Hook, D.D., Dean of Chichester (born 1798, died 1875), son of James, was the famous divine.[ W. H. H. ]

HOOPER,, born at Halberton, Devon, probably about 1553, became connected with the choir of Westminster Abbey about 1582, and on Dec. 3, 1588, was appointed Master of the Children. He was one of the ten composers who harmonised the tunes for 'The Whole Booke of Psalms,' published by Este in 1592. On March 1, 1603–4 he was sworn a Gentleman of the Chapel Royal, and on May 9, 1606, was appointed organist of Westminster Abbey. Three anthems by him are printed in Barnard's collection, and six others, and a set of Preces Psalms and Responses are contained in Barnard's MS. collections in the Sacred Harmonic Society's library, and two anthems in the Tudway Collection (Harl. MSS. 7337 and 7340). He contributed two pieces to Leighton's 'Teares or Lamentacions,' 1614. He died July 14, 1621, and was buried July 16, in the cloisters of Westminster.

His eldest son, a lay vicar of Westminster, died Dec. 1651.[ W. H. H. ]

HOPKINS,, born in Westminster, June 30, 1818, became in 1826 a chorister of the Chapel Royal under William Hawes. On quitting the choir in 1833 he studied under Thomas Forbes Walmisley. In 1834 he was chosen organist of Mitcham Church, in 38 organist of St. Peter's, Islington, and in 41 of St. Luke's, Berwick Street. In 43 he was appointed organist of the Temple Church, the musical service of which under his care has acquired great reputation. As an accompanyist he is quite unrivalled. Hopkins has composed several church services, anthems, chants, and psalm tunes. His anthems, 'Out of the deep,' and 'God is gone up,' obtained the Gresham prize medals in 1838 and 1840 respectively. He is also composer of 'May day' (duet) and 'Welcome' (trio), and author of 'The Organ, its History and Construction,' an excellent treatise published in conjunction with Dr. Rimbault's 'History of the Organ' in 1855; 2nd edit. 1870; 3rd edit. 1877. He edited Bonnet's 'Madrigals,' and Weelkes' 'First Set of Madrigals' for the Musical Antiquarian Society, and the music portion of 'The Temple Church Choral Service.'

, his younger brother, born in Westminster in 1822, was a chorister of St. Paul's from Sept. 1831 to Sept. 1838. In August 1838 (before quitting the choir) he was appointed to succeed his brother as organist of Mitcham Church. He afterwards became successively organist of St. Stephen's, Islington, June 1839; St. Benet's, Paul's Wharf, July 1841; Trinity Church, Islington, May 1843; St. Mark's, Jersey, Feb. 1845; St. Michael's, Chester Square, 1846; and Epsom Church, Jan. 1854. In May 1856 he succeeded his cousin, John Larkin Hopkins, as organist of Rochester Cathedral, which he still holds. John Hopkins has composed services, anthems, chants, hymn