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Scan 57
A dictionary of musical terms, 1889
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1six, or even eight minims being included in a bar which, by the signature, should contain only four. In modern music-printing and engraving, care is taken that the bars in the separate lines forming a score shall stand exactly over one another. The neglect of this in early publications in score adds greatly to the difficulty of reading them.
3Barbet. [Barbiton.]
5Barbiton. An ancient Greek instrument said to have been invented by Anacreon; it was in the form of a lyre, and had seven strings. The name was applied to instruments of the violin class in the 16th and 17th centuries.
7Barcarolle (Fr.) A simple melody, composed in imitation of the songs of the Venetian gondoliers, many of which are of striking beauty. Apolloni Salvadore, a Venetian barber and fiddler in 1720, is named as the composer of several popular tunes of this class.
9Bard. A name given to hereditary poets and minstrels by all the Celtic nations. In their songs and poems the bards recorded the deeds and prowess of the warriors, kings, and people, at festive and social gatherings; and at religious assemblies they celebrated the acts and fame of the gods and heroes, accompanying their songs with the harp and crow or crwth. The power, reputation, and influence of the bards were very great, and the favour of kings, princes, and nobles was accorded to them. They, like the Aoidoi of ancient Greece, were the historians, poets, and chroniclers of their time; they incited their armies to courage in the hour of battle, and by their heroic strains roused the fury and valour of the warriors. In time of peace they were ambassadors, heralds, and the depositaries of all historical tradition, and of much of the learning that was at that time possessed by the community. As an institution they kept longest influence in England, Scotland, and Wales. In the last-named country their privileges were fixed by King Howel Dha, A.D. 940, and a century and a half later Griffith ap Conan revised and reformed the whole system. The Eisteddvodau, as the congregations of Welsh bards are called, were held from time to time until the conquest of Wales by Edward I., in 1284, when the bards were persecuted, and as some authors declare, were put to death. Although the power of the bards was broken, still their Eisteddvodau were encouraged by the rulers of succeeding generations, until the time of Queen Elizabeth, who was the last monarch who made any concessions to the bards of Wales. The preservation of such of their literature that has survived them is owing to several learned societies who have made this object their peculiar study. An Eisteddfod as now understood is a curious compound of heterogeneous matter, for although it is held for the purpose of encouraging national art in music and poetry, its judges appear to be satisfied with the least worthy effusions common to London concert-rooms, provided they are given through the medium of the Cambrian tongue. Little is known of the bards in Scotland beyond the fact that they were similar in constitution to the bards in Ireland, who, like those of Wales, were a hereditary community. The Irish bards were divided into three classes, the Filhedha, the Braitheamain, and the Senachaidhe. The first sang the sacred and heroic songs, and were employed as heralds and counsellors, the second recited and expounded the laws, and the third were the chroniclers and recorders. They were endowed with many privileges and had great influence, and their power over the minds of the people was so strong that severe measures had frequently to be resorted to, to check their sway. In England bardism took a more refined and less exciting form than that which was acceptable to those nations of more strictly Celtic origin. [Minstrel.] [Ballad.]
11Bardone. [Viola di Bardone.]
13Barem (Ger.) An organ-stop, consisting of closed flute-pipes of 8 ft. or 16 ft. pitch, of a soft character of tone.
15Barginet, Berginet, Bargaret, or Bergeret. Shepherd's songs, to accompany dances. Songs relating to pastoral matters.
17"A bargaret in praising the daisie.
18For, as methought, among her notes swete,
19She said, 'Si douce est le Margarite.'"
20CHAUCER.—Floure and Leafe.
22Baribasso. A deep bass voice.
24Bariolage (Fr.) A medley. A cadenza, or series of cadenzas, whose appearance forms a design upon the music paper, "a waistcoat pattern" as it is called by performers.
26Baritenor. A deep tenor.
28Baritone. A brass instrument of deep tone. [Metal Wind-Instruments.]
30Bariton, or Baryton. [Viola di Bardone.]
32Bariton Clarinet. An instrument used in military bands, the tone of which is between the clarinet and bassoon.
34Baritone Clef. The F clef placed upon the third line of the stave.
36It is not now used, but was frequently employed in vocal music of the 16th and 17th centuries. Purcell's Song, "Let the dreadful engines," was originally written in this clef, and it was also used occasionally for horn parts by Handel, Cooke, and other writers in the 18th century.
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