William, a very popular English composer of music, was born at Swalwell, in the county of Durham, in 1749. His father, a teacher of singing, taught him the elements of music, and he very early showed considerable talent as a violinist. When nine years old he lost his father, and was apprenticed to a boat-builder at North Shields. His master treated him kindly, and encouraged his musical pursuits. At the end of his apprenticeship he resolved to adopt music as a profession; and having become favourably known as a violinist at Newcastle, attracted the notice of Charles Avison, who gave him instructions in harmony. Having been invited to lead the concerts at Scarborough, he there became acquainted with Borghi the violinist, and Fischer the famous oboeist, who induced him to go to London, and obtained for him an engagement as a violinist in the opera-house orchestra, then led by Giarini. Soon after he was appointed principal viola by Cramer, the new leader at the opera, and held that place for eighteen years. In 1778 he made his first essay as a dramatic composer in The Fitch of Bacon, which was very successful. He was next engaged as composer to Covent Garden Theatre, where his compositions became highly popular. In 1791 he revisited Swalwell, and showed much kindness and attention to his mother. While there he made a collection of English Border Tunes, some of which he published in his Rudiments of Thorough Bass. In the same year he visited France and Italy, and in 1792 returned to England, and composed again for Covent Garden Theatre, but soon after gave up his engagement. In 1800 he published his Introduction to Harmony, a second edition of which appeared in 1817. In that year Shield suc- ceeded Sir William Parsons as Master of the King's Band, with a yearly salary of L250. He died of dropsy on 25th January 1829, leaving a widow but no children, and was buried in the cloisters of Westminster Abbey. Shield's great popularity arose from the simplicity and appropriateness of his melodies, whether in ballad or opera-song. Always vocal and pleasing, his melodies at once caught the public ear, and became popular. Among his sea-songs, some are peculiarly excellent, such as "The Arethusa," and "For England when with Favouring Gale;" in his operas of "The Lock and Key," and "Hartford Bridge." He was not a trained and profound harmonist, as his instrumental music and accompaniments prove. He was strong in melody, but feeble in harmony. He composed thirty-four operatic works, and a great many detached songs, besides six canzonets, and a cento of ballads, rounds, &c. His instrumental compositions consist of a concerto; duets for two violins; trios for two violins and a bass. In these trios, he introduced an example of that jerking and unmanageable rhythm, §. (G. F. G.)