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 148
Scan 148
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
14 lines. Read by computer on 16 September 2026. No printed page number was found. See the scan on archive.org.
1orchestration, the art of writing music for performance by an orchestra; the science of combining, in an effective manner, the instr.s constituting the orchestra. [The best treatises on the instr.s and on orchestration are by Gevaert, Berlioz, and Riemann.]
3Orchestre. (Fr.) Orchestra…A grand orchestre, for full orchestra.
5Orchestri'na di ca'mera. One of various small keyboard free-reed instr.s, each constructed with the compass and timbre of some orchestral instrument which it was intended to replace, such as the clarinet, oboe, or bassoon; inv. by W. E. Evans, about 1860.
7Orchestri'no. A kind of piano-violin imitating in tone the violin, viola d'amore, and 'cello; inv. by Pouleau of Paris in 1808.
9Orches'trion. The modern o. is a large stationary barrel-organ (q. v.), generally with a self-acting mechanism, and imitating, by means of a variety of stops, various orchestral instr.s.—The orch. of Abbé Vogler (inv. towards the end of the 18th century) was a "simplified" organ, in which the complicated key-action and registers were abolished, the pipes standing directly behind the keys governing them, while the mixtures and numerous other adjuncts were done away with; it also had a Venetian swell, and for the 16-foot stops he substituted a combination of an 8-foot stop and a fifth (5 1/3-ft.)—an idea still of utility.
11Ordina'rio. (It.) Common, ordinary… Tempo o., common (4-4) time.
13Or'gan. (Lat. or'ganum; Ger. Or'gel; Fr. orgue; It. or'gano.) The largest and most powerful among musical instr.s, and of great antiquity, trustworthy accounts reaching back to the 2nd century B. C. Up to the 10th century A. D. the organ appears to have been a very primitive instr., with a diatonic compass of 2 octaves at most; the pipes were all flue-pipes, constructed in much the same manner as at present; reed-pipes were not introduced until the 15th century. But as early as 980 we hear of an organ at Winchester, England, which had 400 pipes and 2 manuals, each with a compass of 20 keys, and with 10 pipes to each key. The keys of the early organs were so broad, and the whole action so clumsy, that in playing the plain-song melodies the clenched fists, or even the elbows, were used to depress them. Improvement has been steady, and chiefly due to German, English, and French organ-builders.—The pipe-organ (see also Reed-organ) is a keyboard wind-instr. consisting of few or many sets of pipes controlled by one or more keyboards. It has 3 distinct mechanisms: (1) The wind-supply, incl. bellows, windtrunk, windchest, etc.; (2) the pipes, called collectively the pipe-work; (3) the keyboards, pedals, and stops, called collectively the action, and under the player's direct control.—(1) The wind (compressed air) is obtained from a weighted storage-bellows filled by feeders; from the storage-bellows the wind is driven, by pressure of the weights on the storage-bellows, through a hollow wooden canal, the windtrunk, into the windchest, a wooden wind-reservoir beneath the soundboard on which the pipes are set; the wind passes up through the soundboard by way of grooves separated by bars, and leading directly to the pipes; the grooves are closed below by pallets (air-tight valves) opened by depressing the keys, and above by sliders opened by pulling out the draw-stops.—(2) The pipes are divided into 2 principal groups, flue-pipes and reed-pipes (which see; also comp. Stop). They are held in position over the soundboard by the upper-board, into which the noses of the pipes are inserted, and the pipe-rack, a board pierced with holes to admit the feet of the pipes and to support the latter. Each set of pipes (a stop or register) is ranged in one or more rows above a slider, which is a long, narrow strip of wood with holes corresponding in size and relative position to those in the feet of the pipes, and pushed back and forth by a draw-stop; when the latter is on (out, or drawn) the slider-holes come exactly under the pipe-feet, so that wind can pass from the grooves into the pipes; when the draw-stop is off (i. e. in) the slider-holes are out of position, and the pipes cannot speak.—(3) The action: (a) The draw-stop action is that acting upon the sliders by means of a system of levers; combination-pedals (see Pedal) are compound draw-stops…(b) The keyboard-action acts upon the pallets closing the grooves; when a key is depressed, its rear end rises, forcing up
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