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Scan 66
A Cyclopaedic Dictionary of Music, 1908
71 lines. Read by computer on 12 September 2026. Printed page 50. See the scan on archive.org.
1Beat. (1) A single motion of the hand, or bâton, in beating time.
2(2) A division of a bar, or measure. (See Accent.)
3(3) The "throb" caused by interference of vibrations. (See Acoustics.)
4(4) An old "grace" or ornament:—
6Written or ; played
8Beating Time.
9(1) Duple Measure: 2, 4, Quick 6 (or 6); 2-pulse, Quick 6-pulse.
10| Down : Up |
12(2) Triple Measure: 3, 3, 3, Quick 9 (or 9); 3-pulse, Quick 9-pulse.
13| Down : Right : Up || or | Down : Left : Up |
15(3) Quadruple Measure: 4, 4 (C), 4, Quick 1 1/2 (or 1 1/4); 4-pulse, Quick 12-pulse.
16| Down : Left | Right : Up |
18There are various methods of beating Slow Compound Times. Among the best are the following:
20(4) Slow Compound Duple: 6, 6; 6-pulse.
21| Down : Left : Left | Right : Up : Up |
23(5) Slow Compound Triple: 9, 9; 9-pulse.
24| Down : dn. : dn. | Right : rt. : rt. | Up : up : up |
26(6) Slow Compound Quadruple: 1 1/2; 12-pulse.
28| Dn : dn : dn | Lt : lt : lt | Rt : rt : rt | Up : up : up |
30(7) Octuple Time.
31In Slow Quadruple Time the beat is often divided into two: e.g. "Father of Heav'n," Handel, Judas; "See what love," Mendelssohn, St. Paul. Each of these is in 4 time, with a beat to each , and should be beaten thus:—
32| Down .down : Left .left | Right .right : Up .up |
34The great point in beating time is to give a firm, decided stroke, especially on the strong and medium beats.
35"The ancient time-beaters beat time not only with the foot, but also with the right hand… Besides this beating of hands and noise of slippers they had still for striking the time, that of cockell-shells, oyster-shells, and the small bones of animals."—Rousseau.
37Beaucoup (F.). Many; much.
38Beaucoup de son. Much sound; very sonorous.
39En élargissant beaucoup. Broadening a great deal.
41BEAULIEU, Marie Désiré. B. Paris, 1791; d. 1863. Active promoter of the "Association Musicale de l'Ouest" and of the Parisian "Society for Classical Music."
42His numerous works include the operas Anacréon and Philadelphie, 3 oratorios, masses, songs, orchestral and violin pieces, &c. He also wrote treatises on Rhythm, Ancient Greek and Gregorian Melodies, The Origin of Music, &c.
44BEAUMARCHAIS, Pierre A. C. de. B. Paris, 1732; d. 1799. Poet and dramatist.
45The libretti of Rossini's Le Barbiere and Mozart's Figaro were taken from his works.
47BEAUMONT, Henry. Tenor; b. Huddersfield, 1858.
49BEAUMONT, Paul. Pen-name of Sydney Smith (q.v.).
51BEAUQUIER, Ch. French writer; b. abt. 1830. Author of "Philosophie de Musique," 1865, and many musical articles.
53Beautiful in Music, The.
54Pauer enumerates Formal beauty, Characteristic beauty, and Ideal beauty as the essentials of a real work of art.
56Be'ben (G.). To shake, to tremble; tremolo.
57Be'ber, Be'bezug. Tremolo stop; tremulant.
59Bebisat'ion (Labeceda'tion). The syllables La, Be, Ce, De, Me, Fe, Ge, used by Hitzler, 1630, in teaching sight-singing.
61Be'bung (G.). (F., Balancement; I., Tremolo.) Trembling; vibrato. The tremolo stop.
63Bécarre (F.). The natural, 4.
65Bec (F.), Bec'co (I.). A beak. The mouthpiece of a clarinet, flageolet, &c. (See Flute à bec.)
67Bec'co Polac'ca (I.). A large kind of bagpipe.
69Bech'er (G.). (1) The "bell" of an instrument.
70(2) The tube of an organ reed pipe.
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