Books › A dictionary of musical terms, 1889 › scan 136
Scan 136
A dictionary of musical terms, 1889
41 lines. Read by computer on 9 September 2026. No printed page number was found. See the scan on archive.org.
1to "cantoris" the cantor's or præcentor's side. [Cathedral Music.]
3Deceptive cadence. [Cadence.]
4Décidé (Fr.) Firmly, with decision.
5Decima (Lat.) A 10th, an interval of a 10th; decima plena de tonis, a major 10th; decima non plena de tonis, a minor 10th; decima quarta, a 14th or octave of the 7th; decima quinta, a 15th or double octave; decima tertia, a 13th or octave of the 6th.
6Decimole. [Decuplet.]
7Decisio. [Apotome.]
8Deciso (It.) Determined, decided, with firmness.
9Decke (Ger.) (1) Cover, an upper or lower plate of a resonance box. (2) The cover of stopped metal organ pipes; e.g., lieblich gedeckt (or gedackt), the sweet toned stopped-diapason.
10Declamando (It.) In a declamatory style.
11Declamation. The proper rhetorical rendering of words set to music. [Recitative.]
12Décomposé (Fr.) Unconnected, incoherent.
13Décoration (Fr.) Signature of a piece of music.
14Decres., abb. of Decrescendo.
15Decrescendo (It.) Decreasing gradually the volume of tone. Indicated in music by the abbreviations Dec., Decres., or the sign
17Decuplet. A group of ten notes played in the time of eight or four.
18Dedication. An address or inscription to a patron or friend, prefixed to a work.
19Dedications frequently form a valuable guide to the historian, as by them it can be ascertained whether the author designed to honour any special individual, or, in the case of early works, whether a production was issued at the "cost and charges" of any particular patron.
20Before the time when an author could command a large sale amongst the general public, it was not an uncommon practice to dedicate a book to one who had borne the chief expense in the production, and the ingenuity of the author was exercised in finding expressions sufficiently flattering in return for money expended or presented. The character of these addresses became at one time somewhat fulsome, as may be seen by the following, prefixed to Clifford's "Divine Services and Anthems:" London, 1663; the first book of its kind printed in England:
21"To the Reverend Walter Jones, Doctor in Divinity and Sub-Dean of his Majesties Chappel-Royal, &c.:
22"Sir,—Under your able patronage I have presumed to shelter this my weak endeavor, which if for no other reason than the well-meaning devotion thereof, I was sure would not be unacceptable or troublesome to you. Be pleased therefore to intermit awhile those seraphical raptures, in the excellency whereof, and your thereto tuned piety, you are so famously happy. And vouchsafe an eare to the mean addresse of these rudiments (as it were) of Church Musick, which, like other perfections, hath suffer'd meerly through the peoples ignorance. To you therefore more especially doe I dedicate this essay, whose alone competent skill and judgement in the highest mysteries of this divine science, if it shall please you to descend and deign a favourable approbation thereunto, cannot but comand reception from others: since my knowledge at Oxford (improved further at London) of your eminency this way, cannot so far disoblige the world as not to believe you have the supreme mastery in religious musick; by which, as you charm the soul, and all its affections, no doubt you can prevail upon and perswade publick acceptance.
23"I submit this piece in this (howsoever rude) manner to your judgement, having attempted, I hope something of tendency to the churches peace and harmony, whereof though I am a smal and an unworthy member, yet a mite even from such is justly expected: For higher works God hath fitted and prepared your most artfull hand, and hath placed you in an orb from whence your melody (as of the spheres) of holiness and constant goodness in and for the church is universally heard with joy and delight. In which happiness, God Almighty long continue you here and late translate you to the angelical choire: So prayes, Reverend Sir, your most devoted and obedient Servant, JAMES CLIFFORD."
24Master Thomas Mace, in a more manly mood, dedicated his famous book called "Musick's Monument" (1676) to a higher power than a sub-dean, on the principle that a man's work should be "dedicated" to God, and only "inscribed" to a fellow-man. His "Epistle Dedicatory" runs as follows:—
25"To Thee, One-Only-Oneness, I direct my weak desires, and works; please to protect both them and me; for Thou alone art able (and none but Thee) to make us acceptable unto the world.
26"I am not of that Catholic belief
27(I mean the Roman's faith) who seek relief
28(At th' second hand) from saints; but I thus take
29My freedom, and (sans complement) thus make
30My seeming bold address: not judging it
31A crime with Thee; but rather count it fit;
32Part of my duty call'd for, which I owe
33Unto Thy goodness; therefore thus it show.
34I've wondered much to see what great ado
35Men make, to dedicate their works, unto
36High mortals, who themselves can no way save
37From the sland'rous tongues of every envious knave.
38Thou (only) art the able-true protector:
39Oh be my shield, defender and director,
40Then sure we shall be safe.
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