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Scan 826
Dictionary of music, 1900
32 lines. Read by computer on 3 September 2026. Printed page 818. See the scan on archive.org.
1Umlauft, Paul, b. Oct. 27, 1853, Meissen, pupil of the Leipzig Conservatorium, holder of the Mozart Scholarship from 1879-83, published various vocal pieces, among which "Agandecca" for male chorus, solo and orchestra, and "Mittelhochdeutsches Liederspiel" (4 solo voices with pf.). His Evanthia gained a prize at the Coburg Competition for one-act operas in 1893.
3Un (uno, Ital., "one"); un poco, a little; una corda, with soft pedal (in pianoforte playing), see Corda.
5Unca (Lat. "hook"), the small flag of the quaver ↓, also the quaver itself; bis unca ♮ (semi-quaver), etc.
7Unda maris. (See Tremulant.)
9Undertones (undertone series), is the name given to that series of tones which, as opposed to the upper tone series, extends downwards; and these are as necessary for the explanation of the consonance of the minor chord, as the upper tone series for that of the major chord (see Clang). The compiler of this dictionary has made repeated attempts to show the existence of U. answering to the upper-tone series; in his "Musikalische Logik" he has demonstrated their subjective origin in the ear (1873); and, from various signs, he thinks himself justified in believing in their objective existence (cf. "Die objektive Existenz der U. in der Schallwelle," 1876, and "Musikalische Syntaxis," 1877). In his "Katechismus der Musikwissenschaft," p. 79, he has shown, by proof, finally, of a scientific character, why, in spite of the commensurability of the vibration forms, a tone, by summation of its vibrations, cannot produce the under series; and thus the question may be considered finally solved. Each tone, of necessity, produces the whole series of undertones; but each, according to its ordinal number, so many times; the second, twice, the third, three times, etc., proceeding exactly thus, so that by interference, they neutralise one another.
11Unequal Counterpoint, antithesis to Equal (note against note), florid or syncopated (see Counterpoint).
13Unequal Temperament. (See Temperament.)
15Unfretted (Ger. Bundfrei), a term used in connection with a clavichord which had a special string for each key. (Cf. Pianoforte.)
17Ungarisch. (See Hungarian.)
19Unger, (1) Johann Friedrich, b. 1716, Brunswick, d. there, Feb. 9, 1781, as councillor and private secretary to the Duke. He was the first who attempted to record the notes played on a keyboard by means of a mechanical apparatus applied to the latter (see Melograph). He claimed right of priority over the mechanician Hohlfeld, who, in 1752, according to the statement of Euler, had constructed an instrument of a similar character, and described his invention in "Entwurf einer Maschine, wodurch alles, was auf dem Klavier gespielt wird, sich von selber in Noten setzt" (1774).
21(2) Karoline (named in Italy, Carlotta Ungher), celebrated stage vocalist, b. Oct. 28, 1803, Stuhlweissenburg, (Hungary), d. Mar. 23, 1877, at her villa near Florence. She was trained at Vienna, and by Ronconi at Milan, sang at Vienna, Naples, Milan, Turin, Rome, 1833 at Paris, but only with moderate success, and then again in Italy, until in 1840 she married at Florence a certain person of the name of Sabatier. She was of imposing appearance and had a powerful voice, though not free from sharpness in the higher register.
23(3) Georg, the Siegfried of Wagner's "Nibelungen" at Bayreuth in 1876 and elsewhere, b. March 6, 1837, Leipzig, d. there Feb. 2, 1887. At first he studied theology, but already in 1867 made his début at Leipzig, and then sang without much success at Cassel, Zürich, Bremen, Neustrelitz, Brünn, Elberfeld and Mannheim, until Wagner selected him as the representative of the youthful hero for the Bayreuth Festivals. U. studied the part under Hey at Munich, and his impersonation of Siegfried proved most gratifying. He was engaged at Leipzig from 1877-81.
25Ungher-Sabatier. (See Unger, 2.)
27Unions. (See Societies, Musical.)
29Unison (Ger. "Einklang"), the term applied to the doubling of the same sound. Two instruments play in U. when they give out the same notes. But in a canon in U. (cf. Canon), the same notes are not played simultaneously, but one after the other. It is usual to assert that the U. is not an interval, inasmuch as there is no difference between the parts or voices; such a definition is, however, mathematically bad. The U. is the zero point, the neutral point from which intervals, both above and below, are reckoned. (Cf. Prime and Unisonus.)
31Unisonus (Lat.) Unison, (see Interval); unisono, all' unisono (Ital., in unison), i.e. giving out the same sound—as, for instance, when several players perform the same piece on different pianofortes, as practice in keeping exact time, and gaining smooth technique; this method is of advantage, but if constantly employed, is open to objection; for the teacher may be able to train a number of pupils at the same time, but he cannot have sufficient control over them; by this means all individuality of interpretation is stifled. On the other hand, it is indispensable, and of the highest importance that orchestral players should be trained in unison playing. The term unisono is also used when several orchestral instruments have to play the same notes in various octave positions—for instance, when in a score only the bass part is written out, and over the 'cello line is written c. b. (col basso) al un. (unisono), or when the piccolo flute is to play in octaves with the ordinary flutes (in both cases, how-
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