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Scan 111
A dictionary of musical terms, 1889
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1in motion by the current of air, caused by a bellows placed in the body of the instrument connecting the two ends in which the metal tongues or springs are fixed and worked by the player, both hands being in such a position that the wrists move the bellows while the fingers are free to press the stops or keys which cause it to sound. The compass of the concertina is of three and a half octaves with intermediate semitones from fiddle G:
3Each note in this scale is double, that is to say, is capable of being produced by the inspiration or respiration of the bellows. [Accordion.]
5Concertina (Ger.) An instrument of shape similar to the English concertina, but of less finished appearance and more limited compass. The bellows excites the vibration of the free metallic reeds as in the English concertina, but the scale instead of being double is single, that is, the respiratory note is different to the inspiratory note, and has only those chromatic notes necessary for the modulation of melody into the tonic or dominant of the scale in which the instrument is tuned. There is also an escape valve to allow the passage of superfluous air, a contrivance not necessary on the English concertina, where the notes are of double sound. The German concertina is capable of being performed only in the one key in which it is tuned, the English concertina can be played in any key.
7Concertino (It.) (1) The principal instrument in a concerto, as violino concertino. (2) The diminutive of concerto.
9Concerto (It.) (1) A concert. (2) A composition for the display of the qualities of some especial instrument, accompanied by others of a similar or dissimilar character. A concerto may be for a solo violin, or violoncello with an accompaniment for strings, or wind; or it may be for a pianoforte, violin, or any wind instrument, and a full band. Those for pianoforte, violin, or organ, are generally made of more classical character than those for any wind instrument, as in many cases the last named are constructed by the performers themselves with the object of exhibiting their own accomplishments, and their artistic taste. In a work by Scipio Bargaglia, published in Venice, 1587, "Trattimenti ossia divertimenti da Sonare," the word concerto is applied to a piece for a solo instrument with accompaniment, probably for the first time. The concerto is usually constructed in symphonic form, but without a minuet or scherzo. Though the early concertos show some deviation from the plan now accepted, they were, however, designed according to rules or plans, accepted or allowed from time to time. The concertos of Corelli, Torelli, Bach, Tartini, and writers of the periods in which those masters lived are only different from their suites in that a solo instrument has the accompaniment of other instruments.
11Torelli (1683-1708) was the first writer who suggested an extension of the number of instruments employed in a concerto, and by this means pointed the way to the symphony. He called this sort of composition "Concerto Grosso." In his plan he gives certain phrases to one or more solo instruments which are repeated by the full band employed. Handel constructed his, "Concerti Grossi" on the same model. Vivaldi (1690-1743) further developed the idea; Gossec, Haydn, and Mozart settled the form as it stands at present, and Beethoven, Weber, and Mendelssohn have left noble examples of their musical powers in their works of this class.
13Concerto spirituale (It.) Concert spirituel (Fr.) A concert formed of a miscellaneous selection of vocal and instrumental pieces with words of a sacred character. The concerts spirituels in Paris were founded in the year 1725.
15Concertmeister (Ger.) The leader of the band, the conductor.
17Concert-spieler (Ger.) A performer; a solo-player; the player of a concerto.
19Concertstück (Ger.) A concert piece; a concerto.
21Concha (Lat.) A trumpet in the conventional form of a shell fish; Triton's horn; a conch.
23Concitato (It.) Moved, disturbed, agitated. Concord. [Harmony.]
25Conductor. (1) A director or leader of an orchestra or chorus. It is supposed that a leader or a fugleman was employed by the Assyrians, to regulate the rhythm of the songs or dances; he was armed with two sticks, one of which he beat against the other, and so marked the time or accent.
27Among the Greeks the Coryphæus or exarchus led the dance, and in everything requiring united action, a leader or conductor by his voice or certain understood gestures secured the desired result. The word in connection with music has several applications. It signifies one who directs with a bâton the performance of a band of players. It is also applied to one who accompanies vocal or instrumental pieces on the pianoforte. A conductor, as an independent time beater, was not known until the end of the last century. The player who sat at the harpsichord gave the time to the leader of the band, who, directing his subordinates, was called conductor. [Orchestra.]
29(2) The inventor or leader of a chime, or
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