Books › A dictionary of musical terms : containing upwards of 9,000 English, French, German, Italian, Latin and Greek words and phrases … with a supplement containing an English-Italian vocabulary for composers, 1904 › scan 118
Scan 118
A dictionary of musical terms : containing upwards of 9,000 English, French, German, Italian, Latin and Greek words and phrases … with a supplement containing an English-Italian vocabulary for composers, 1904
24 lines. Read by computer on 16 September 2026. No printed page number was found. See the scan on archive.org.
1Keyship. Tonality.
2Key-signature. See Signature.
3Key-stop. A key (digital) attached to the fingerboard of a violin so as to replace the fingers in stopping the strings; the instr. is then called a key-stop (or keyed-stop) violin. (Comp. Klavier-Violoncello.)
4Key-tone. Same as key-note.
5Key-trumpet. A trumpet provided with keys.
6Kicks (Ger.) The "goose".
7Kin. An ancient Chinese instr., consisting of a soundboard with 2 bridges, over which silk strings varying in number from 5 to 25 are stretched; they are plucked with the fingers.
8Kin'derscenen (Ger.) Scenes of Childhood (Schumann)…Kin'derstücke, pieces for children.
9Kind'lích (Ger.) Childlike; with fresh, naïve effect.
10King. An ancient Chinese instr., consisting of a graduated series of 16 sonorous stones (or plates of metal), suspended by cords and struck with a mallet.
11Kir'chenmusik (Ger.) Church-music. ..Kir'chenton (pl.-löne), a church-mode…Kir'chenstil, (a) the style of harmonic progression peculiar to the medieval church-modes; (b) the style of sacred music.
12Kis'sar. The 5-stringed Abyssinian lyre.
13Kit. (Ger. Ta'schengeige; Fr. pochette; It. sordi'no.) The small old-fashioned violin used by dancing-masters, with the accordatura c1-g1-d2, and about 16 inches in length over all.
14Ki'thara (Gk.) A harp-like instr. of the ancient Greeks; ancestor (in name) of the guitar, cither, zither, etc.
15Klang (Ger.) 1. A sound.—2. A composite musical tone (a fundamental tone with its harmonics); rendered by Tyndall "clang".—3. See Phone, §1…Klang'boden, soundboard (usually Resonanz'boden…Klang'farbe, "clang-tint", "tone-color", quality of tone. ..Klang'folge, a progression of chords, viewed from the standpoint of their tonality…Klang'figuren, Chladni's figures, see Nodal lines…Klang'geschlecht, mode…Klang'schlüssel, see Phone, §6…Klang'stufe, degree; interval…Klang'vertretung, see Phone,
16§3…Klang'verwandschaft, chord-relationship.
17Klap'pe (Ger.) Key 3…Klap'penhorn, key-bugle.
18Klarinet'te (Ger.) Clarinet.
19Klau'sel (Ger.) Clausula, cadence…Bass'klausel, the dominant-tonic skip of the bass at the close.
20Klaväoli'ne (Ger.) See Æolodicon.
21Klavi- (Ger.) See Clavi-.
22Klaviatur' (Ger.) Keyboard…Klaviatur-Harfe (or Klavier-Harfe), a piano-harp, i. e. a harp with piano-keyboard, inv. 1893 by Ignaz Lutz of Vienna; the strings are plucked or twanged by plectra (in lieu of hammers) actuated by the digitals; the effect closely resembles that of the double-action harp, the tone being even fuller. ..Klaviatur-Zither, piano-zither, i. e. a small pfte. in grand shape, the single strings of which are twanged by playing on the keyboard; inv. 1893 by Ignaz Lutz of Vienna.
23Klavier' (Ger.) 1. A keyboard.—2. A keyboard stringed instr.; specifically, in the 18th century, a clavichord; now, a pfte. of any kind…Klavier'auszug, pfte.-arrangement…Klavier – Harmonium, a combined pfte. and harmonium; that inv. 1893 by Franz Woroniecki of Przemysl, Galicia, is shaped like a small grand piano, the harmonium-mechanism being attached below and behind the body and controlled by from 5 to 10 draw-stops…Klavier'hoboe, harmoniphon…Klavier'mässig, suitable for the pfte., in pfte.-style…Klavier'-satz, (music in) pfte.-style, pfte.-music, pfte.-writing…Klavier'spiel, pfte.-playing…Klavier-Violoncello, the invention, in 1893, of Prof. de Vlaminck of Brussels. To a 'cello, fixed on a horizontal frame about the height of the knee, a keyboard is attached in such a manner, above the strings, that by manipulating it the player's left hand can effect all stops and double-stops. With the bow, all the effects on the 'cello as ordinarily played are obtainable; while purity of intonation is attained with mathematical accuracy by the aid of the tangents actuated by the keys; even the vibrato effect can be brought out.—Klavier-Viola, a viola to which a key-mechanism similar to the foregoing is applied; when played, it is set on a low table or stand.
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