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Scan 63
Harvard Dictionary Of Music, 1944
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1ARCATA
2a suite, with all the dances being in the same key.
4The rhythm of Arabic melodies is similar to that of Hindu music. Typical is an 8/8 meter with the rhythm of the measure alternating between the "European" arrangement 2+2+2+2 and the "Oriental" arrangement 2+3+3. The drums frequently provide a rhythmical counterpoint [see Ex. on p. 46].
6The main instruments of Arabian music are the short-necked lute with four or five strings, tuned in fourths and called 'ud, from which the European lute derived both its form and its name (al 'ud, lud, lute), and the long-necked lute called tanbur (originally pan-tur; Sumerian "bow-small," Greek *pandura), usually with two strings, tuned in minor seconds [see *Lute II]. The family of the bowed instruments is represented by the *rebab and the kemantche, consisting of a long stick extending through a coconut [see *Violin II]. A frequently used wind instrument is the arghool, a double shawm with two pipes, one for the melody, the other for bourdon accompaniment. For an example cf. HAM, no. 3.
8Lit.: F. S. Daniel, The Music and the Musical Instruments of the Arabs (1915; bibl.); H. G. Farmer, A History of Arabian Music to the xiiiith Century (1929; bibl.); Ph. Thornton, The Voice of Atlas (1936); D. Salvador, The Music of the Arabs (1915); R. von Erlanger, La Musique arabe (1930); LavE i.5, 2676; A. Berner, Studien zur Arabischen Musik … (1937); E. A. Beichert, Die Wissenschaft der Musik bei Al Farabi (Diss. Berlin 1936); Hefny, Ibn Sina's Musiklehre (Diss. Berlin 1931); English translation of Al Farabi (Farmer); D. Stoll, "Music in Mediaeval Bagdad" (MR i); A. Z. Idelsohn, "Die Maqamen der arabischen Musik" (SIM xv); R. Lachmann, in Wolf Festschrift (1929) and in AMW v; H. G. Farmer, in PMA lii; O. Ursprung, in ZMW xvi; B. Bartok, in ZMW ii; J. Rouanet, in RM v, viii; R. P. Thibault, in BSIM vii (1911).
10Arcata [It.]. See *Bowing (a); arcato, bowed.
12ARCICEMBALO
13Archet [F.], archetto [It.]. *Bow (of the violin).
15Architectural acoustics. The study of the acoustic properties of a room (particularly, of concert halls, radio-studios) as to *resonance, reflection, echo, etc. Recent investigations have raised this field of study from the former stage of experimentation to an important branch of science.
17Lit.: H. Bagenal, Planning for Good Acoustics (1931); A. H. Davis, The Acoustics of Buildings (1927); P. R. Heyl, Architectural Acoustics (1930); V. O. Knudsen, Architectural Acoustics (1932); P. E. Sabine, Acoustics and Architecture, (1932); F. R. Watson, Acoustics of Buildings (1930); H. H. Statham, in PMA xxxviii; A. Elson, in MQ vii.
19Archives des Maîtres de l'Orgue. See *Editions, Historical, I.
21Archlute, arciliuto [It.]. A lute with two pegboxes, one for the fingered strings, the other for the bass courses (theorboe, chitarrone). See *Lute III.
23Arcicembalo, arciorgano. A quarter-tone harpsichord of the 16th century, described by N. Vicentino in his L'antica musica (1555) and Descrizione dell'arcicorgano (1561). Each octave had 31 keys which were arranged in 6 manuals and which gave all the tones of the diatonic, chromatic, and enharmonic genera of ancient Greek theory. A simplified instrument of greater practical importance was built by the Belgian Charles Luython (1556-1620); it had 18 keys in each octave, namely — in addition to the diatonic tones — c# and db, d# and eb, f# and gb, g# and ab, bb, e#, and b#. This instrument, called Universal-clavicymbel (M. Praetorius, in his Syntagma musicum, 1624, praises it as "instrumentum perfectum si non perfectissimum"), permitted enharmonic change and modulation in all the keys, without the compromise of equal temperament. Compositions such as John Bull's Fantasia on the Hexachord (Fitzwilliam Virginal Book I, 183) [see *Hexachord IV] are evidently written for this instrument.
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