Books › A dictionary of musical terms, 1907 › scan 70
Scan 70
A dictionary of musical terms, 1907
54 lines. Read by computer on 9 September 2026. Printed page 60. See the scan on archive.org.
1Do'i (It.) Same as Due.
3Doigt (Fr.) Finger…Doigté, fingered. …Doigté, or doigter, fingering; doigtes fourchus, cross-fingerings.
5Dol'can. See Dukia'na.
7Dol'ce (It.) 1. Sweet, soft, suave; dolcemen'te, sweetly, softly.—2. A sweet-toned organ-stop.
9Dolcez'za (It.) Sweetness, softness; con d., softly, gently.
11Dolcian' (Ger.), Dolcia'na, Dolcia'no (It.) 1. A species of bassoon in vogue during the 16th and 17th centuries.—2. In the organ, a reed-stop of 8 or 16-foot pitch; a fagotto.
13Dolcia'to (It.) See Raddolciato.
15Dolcis'simo (It.) Very sweetly, softly. …Also, a very soft-toned 8-foot flute-stop in the organ.
17Dolen'do, Dolen'te (It.) Doleful, plaintive, sad…Dolentemen'te, dolefully, etc.
19Dolo're (It.) Pain, grief; con dolore, in a style expressive of pain or grief; pathetically (also dolorosamen'te, doloro'so).
21Dolz'flöte (Ger.; Fr. flûte douce; It. fla'uto dol'ce.) 1. An obsolete transverse flute, having a half-plug within the embouchure.—2. In the organ, an open flute-stop of rather narrow scale and 8-foot pitch.
23Dom'chor (Ger.) Cathedral-choir.
25Dom'inant. 1. (Ger., Fr., and It. Dominan'te.) The fifth tone in the major or minor scale…D. chord, (a) the dominant triad; (b) the dom. chord of the 7th…D. section, of a movement, a section written in the key of the dominant, lying between and contrasting with two others in the key of the tonic. …D. triad, that having the dominant as root.—2. The reciting-tone in the Gregorian modes.
27Dona nobis pacem. See Mass.
29Doodlesack. See Ger. Dudelsack.
31Do'po (It.) After.
33Dop'pel- (Ger.) Double…Dop'pel-B, Dop'pelbe, the double-flat…Dop'pelblatt, double reed…Dop'pelchor, double chorus…Dop'pelfagott, double-bassoon. …Dop'pelflöte (Dui flöte), (It. fla'uto dop'pio), an organ-register of 8-foot stopped pipes, each pipe having 2 mouths, 2 windways, etc., one on either side (behind and in front) like the Bi-fara, but at exactly the same height, so that the tone does not beat, but is merely reinforced…Dop'pelflügel, see Vis-à-vis…Dop'pelfuge, a double fugue or canon…Dop'pelgeige, viola d'amore. …Dop'pelgriff, double-stop (on the violin), paired notes (on keyboard-instr.s; e. g. thirds, sixths, and octaves)…Dop'peloktave, double octave…Dop'-pelpunkt, double dot (♩)…Dop'pelquintpommer, a large variety of bombard…Dop'pelschlag, a turn…Dop'-pelzunge, double-tonguing.
35Dop'pio (It.) Double…D. movimen'to, twice as fast…D. no'te, d. valo're, twice as slow (absolute time-value of notes is doubled)…D. peda'le (in organ-playing), the pedal-part in octaves…Doppio signifies, with names of instr.s, larger in size and consequently deeper in tone.
37Do'rian or Dor'ic mode. See Mode.
39Dot. (Ger. Punkt; Fr. point; It. pun'to.) 1. A dot set after a note prolongs its time-value by half (♩ = ♪); a second dot or third dot prolongs the time-value of the dot immediately preceding it by half (♩…= ♪).
41(The dot after a note upon a line is preferably written above the line when the next note is higher, below the line when it is lower:
43[Music example: ♩ = ♪])
45The dot of prolongation was formerly often set in the next measure, quite away from the note; e. g.
47[Music example: × ×]
49which we now write:
51[Music example: ×]
53—2. A dot set over or under a note indicates that it is to be executed staccato: (♩ ♩); a slur connecting several such dots calls for the mezzo-staccato. (Sometimes, especially in earlier authors, the staccato-dot calls rather for a sforzando than a staccato)—3. In old music, several dots set above a note indicate that it is to be subdivided into so many short notes (♩ = ♪ ♪ ♪ ♪); now used over a tremolo-sign in violin-music to mark
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