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Scan 59
A dictionary of musical terms, 1898
39 lines. Read by computer on 9 September 2026. No printed page number was found. See the scan on archive.org.
1Hurdy-gurdy. An instrument of ancient origin. It consists of a flat oblong sounding-board, with four gut strings, two of which are tuned a fifth apart to form a drone bass; the other two are tuned in unison, and are so arranged that they may be shortened by the pressure of the keys. The instrument is thus capable of sounding a scale of ten or twelve notes. The strings are set in vibration by the friction of a wooden wheel charged with resin, and turned by means of a handle at one end.
2Hurry. The technical or stage name for a tremolo passage on the violin, or a roll on the drum, generally played as a preparation for the culminating point of a dramatic incident, the leading to a "picture," during stage struggles or like exciting actions.
3Hurtig (G.) Nimble, quick, agile. Allegro.
4Hydraulic organ An organ in which water was employed to regulate the pressure of the wind.
5Hypate (Gk.) The longest string of the lyre, giving the lowest sound.
6Hyper (Gk.) Above. A prefix to the names of modes one fourth above the authentic; as Hyper-Eolian, &c.
7Hyper-diapason. Super-octave.
8Hypo (Gk.) Below. A prefix to the names of modes commencing one fourth below the authentic, otherwise called Plagal; as, Hypo-Dorian, &c.
10I.
12Iambic. Having a short and a long syllable alternately.
13Iambus. A metrical foot consisting of a short syllable and a long, –
14Iastian. Ionian.
15Idyl. (1) A poem of elegant structure, generally on a pastoral subject. (2) Music set to a poem of this character. (3) An instrumental piece which may be interpreted as an idyllic narrative.
16Il doppio movimento (I.) Double time; twice as fast.
17Il fine (I.) The end.
18Il più (I.) Literally, The most. Il più piano possibile, as soft as possible.
19Imboccatura (I.) The mouthpiece of a wind instrument.
20Imitando (I.) Imitating; as, imitando la voce, imitating the voice part.
21Imitation. The repetition of a short subject by another part. The subject is called the antecedent, and the imitation the consequent. When the consequent follows the antecedent at an exact interval, the imitation is said to be strict or canonic; when the consequent is only an imitation of the general outline of the antecedent, the imitation is called free.
22Im klagenden Ton (G.) In a mournful style.
23Im lebhaftesten Zeitmasse (G.) In the quickest possible time.
24Im legenden Ton (G.) In the style of a legend.
25Immer (G.) Always; as, immer langsam slow throughout.
26Impaziente } (I.) Impatient, impatiently.
27Impazientemente } patiently.
28Imperfect. Not perfect. (1) An imperfect interval is one which is a semitone less than perfect. (2) The imperfect consonances are the third and sixth, as opposed to the fourth and fifth. (3) An imperfect cadence is one which does not give complete rest in key. (4) An imperfect stop on an organ is one the pipes of which do not extend through the whole compass of the manual. A short stop. (5) Duple measure was formerly called imperfect, as opposed to tempus perfectum, triple time.
29Imperiosamente } (I.) With grandeur, dignity, imperiously.
30Imperioso }
31Impeto, con }
32Impetuosamente } (I.) Impetuously.
33Impetuoso }
34Impetuosità, con (I.) With impetuosity.
35Implied discord. A discord, the actual percussion of which is not found unless other parts be added to the chord.
36— intervals. Intervals not expressed in thorough-bass figuring, because one number generally implies two or more to complete the chord.
37Imponente (I.) Imposingly; in an emphatic, pompous style.
38Impresario (I.) A designer, conductor, or manager of a concert or opera party.
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