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MANERIA (Ital. Maniera). A word, transferred from the terminology of antient music to that of Plain Chaunt, in which it is applied to those combinations of Authentic and Plagal Modes, having a common Final, which are more familiarly called 'Mixed Modes.' [ W. S. R. ]

MANIER, (Ger.), lit. 'manner'; derived, like our word 'manner,' through the French manière, a manner, and manier, to handle, from the Latin manus, a hand. It has two entirely distinct meanings, one dealing with the æsthetics of music, the other with its technicalities. In the first of these connections the word signifies 'mannerism,' or the faulty adherence to some peculiarity in style, bringing such peculiarity into undue prominence. It is the abuse of individuality, without which quality no composer can be truly great. The German word is always used in this sense of reproach; it never has the meaning of 'individuality.'

The second meaning of the word is the same as the French agrémens, ornaments introduced into, and built upon, the melody, whether indicated by small notes, or marks, or added at the will of the performer. [See, vol. i. p. 42, where the subject is fully treated.] [ J. A. F. M. ]

MÄNNERGESANGVEREIN, an association of men formed for the cultivation of singing in 4 parts—2 tenors and 2 basses. They sprang from the Liedertafeln, and the most important were founded by Dr. A. Schmid, in Vienna (1845), and by Franz Weber in Cologne. The latter visited England in the spring of 1860, and sang before the Queen at Windsor. (See ). [App. p.708 "Add that the Cologne Choral Union gave a set of ten concerts in St. James's Hall in June, 1883."] [ F. G. ]

MANNS,, an eminent conductor, born of poor parents at Stolzenburg, near Stettin, in North Germany, March 12, 1825. His first teacher was the Village-musician at the neighbouring village of Torgelow, from whom he learnt the violin, clarinet, and flute. His next instruction was received from Urban, the Town-musician of Elbing, near which his parents had removed, and to whom he was apprenticed. Here he had regular practice in an orchestra, especially that of the Dantzig opera company during its annual visits to Elbing; and this led to his entering one of the regimental bands of Dautzig as 1st clarinet, while he played among the 1st violins at the theatre. He now began to arrange and compose for the band, and generally to take a prominent part in the music of the place. In 1848 the Regiment was transferred to Posen, and here Mr. Manns was noticed by Wieprecht, and through his assistance transferred himself from the military band to Gungl's orchestra in Berlin, and was at length advanced to the post of conductor and solo-violin player at Kroll's Garden—the Crystal Palace of Berlin. Here, under Gyer, he worked hard at harmony and composition, and produced much dance music and other pieces which were very popular. After the destruction of Kroll's establishment by fire in 1851, Mr. Manns was chosen by Herr von Roon (the well-known war-minister), then in command of a crack infantry regiment at Königsberg, to be his bandmaster. Colonel von Roon, though not himself a musician, was very anxious that the band of his regiment should shine in the service. He accordingly gave his bandmaster every opportunity of display. At his instance Beethoven's Symphonies (not at that time so universally known as they are now) were arranged for the band, and in other ways the music of the regiment was made very prominent. It was soon afterwards moved from Königsberg to Cologne, and there enjoyed a still greater reputation. Mr. Manns, however, longed for a wider field, and wisely leaving to others the department of composition, in which his abilities were quite sufficient to have insured him considerable success, he fortunately accepted, in the spring of 1854, an engagement as sub-conductor in the band of the Crystal