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Scan 134
A dictionary of musical terms, 1889
33 lines. Read by computer on 12 September 2026. No printed page number was found. See the scan on archive.org.
1D.
3D. (1) The first note of the Phrygian, afterwards called Dorian, mode.
4(2) The second note of the normal scale C.
5(3) The scale having two sharps in its signature.
6(4) The name given to a string tuned to D, e.g., the third string of the violin, the second of the viola and of the violoncello.
7(5) The name of a clef in old mensurable music, D excellens. [Clef.]
8(6) Abb. for Discantus, Dessus, Destra, &c.
9Da ballo (It.) In dance style.
10Da camera (It.) For chamber use. In the style of chamber music.
11Da cappella (It.) In the church style.
12Da capo (It.) From the beginning. An expression first used by Scarlatti in his "Theodora," signifying that the performer must recommence the piece, and conclude at the double bar marked "Fine."
13Da capo al fine (It.) From the beginning to the sign Fine.
14Da capo al segno (It.) Repeat from the sign (S) at the beginning.
15D'accord (Fr.) In tune.
16Dach (Ger.) Sounding-board. Resonance-body of an instrument.
17Da chiesa (It.) For the church. In the church style.
18Dachschweller (Ger.) Swell-box.
19Dactyl. A metrical foot, consisting of a long syllable followed by two short syllables.
20Dactylion (Gk.) An instrument invented by Henri Herz, for strengthening the fingers for pianoforte playing. [c.f. Chiroplast.]
21Daina or Dainos. A term given to some little Lithuanian love-songs.
22Daire (Turkish). A tambourine.
23Da lontano (It.) In the distance, e.g., corni da lontano, horns heard in the distance.
24Dal segno (It.) To the sign (S). [Da capo.]
25Damenisation. The syllables da, me, ni, po, tu, la, be, which Graun employed for the notes of the scale in his vocal exercises. [Solmization.]
26Damp, to. (1) On instruments played by plucking the strings, as the harp, guitar, &c., to check the vibrations by placing the hand lightly on the strings. (2) To apply mechanical dampers.
28Damper. (1) Certain moveable pieces of mechanism in a pianoforte, made of wood covered with cloth, which, after the finger has struck the key and left it, immediately check the vibrations of the strings, and prevent that confusion of sound which would result if they were allowed to continue in vibration. (2) The mute of a horn, and other brass wind-instruments.
29Dämpfer (Ger.)(1)Damper.(2)Violin-mute.
30Dancing. A graceful movement of the feet or body, intended as an expression of various emotions; with or without the accompaniment of music to regulate its rhythm.
31Dancing is mentioned by the earliest writers, both sacred and profane, as a constituent part of religious ceremonies. There are many instances named in the Bible, needless here to particularize, and the ancient Greek poets have abundant allusions to the practice in their writings. Homer mentions dancing and music at social entertainments; Aristotle tells of dancers who were able to express manners, passions, and deeds in rhythmical gestures; Herodotus, Pindar, Athenaeus, and others of later date refer to the practice. Donaldson says that all ancient dancing was "either gymnastic or mimetic; it was gymnastic when intended merely as an exercise, it was mimetic when it was designed to express some mental feeling, or to represent by corresponding gestures the words of the accompanying chorus sung."
32Athenaeus speaks of three divisions of the Greek dance: the Emmeleia (ἐμμελεία), the Sicinnis (σικιννίς), and the Cordax (κόρδαξ); the first named from the melody played to it, the second from its inventor Sicinnos, and the third probably for the reason hereinafter explained. The Emmeleia, the tragic dance, was a kind of slow dignified movement or ballet. The Sicinnis was of a grotesque character, and was performed with a peculiar shaking of the body and violent motion of the limbs. The Cordax was less decent in style than the last named. It was introduced into comedies, and was performed by actors assuming to be under the influence of wine. In addition to these there were the Pyrrhic or war dances, expressive of the pursuit and encounter of an enemy.
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