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Scan 82
Harvard Dictionary Of Music, 1944
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1BACH TRUMPET
3preludes ([address hidden]; 28 others; 13 doubtful): 40. — [[address hidden] preludes not included in B.-G. are reprinted in Ed. Peters, vol. 9]. — [address hidden]: 15. — [address hidden] (after Vivaldi): 38 (variant in 42). — [2 other Concertos in Ed. Peters, 9]. — [address hidden] and fugues: 15. — [address hidden] and fugues: 38. — [address hidden]: 15. — Passacaglia: 15. — [address hidden] und Fugen: 38. — [address hidden], [address hidden], [address hidden], Canzona, Allabreve, Pastorale, [address hidden]: 38. — [2 other Trios in Ed. Peters, 9].
5XIV. Art of Fugue. 25.i (original form: 47). — Musical Offering: 31.ii, — Canons: 45.i.
7Bach trumpet. See under *Clarinet trumpet.
9Backfall. English 17th-century name for the *appoggiatura. See also *Appoggiatura, Double II.
11Badinage, badinerie [F., playfulness, banter]. A dance-like piece of jocose character which occurs as a movement in the optional group of the 18th-century suites, e.g., in Bach’s Suite in B minor.
13Bagatelle [F., a trifle]. A short piece, usually for the pianoforte. The name was used by François Couperin ("Les Bagatelles," see his Pièces de Clavecin, new ed. Augener, ii, ordre 10) and, in particular, by Beethoven, whose Bagatellen (op. 33, op. 119, op. 126) mark the beginning of the extensive literature of 19th-century *character pieces.
15Bagpipe [F. musette; G. Dudelsack, Sackpfeife; It. piva, zampogna]. Generic name for a number of instruments which have one or (usually) several reed-pipes attached to a windbag from which the air is blown into the pipes; also, specifically, the name for the Irish and Scottish varieties of this family. [See the illustration on p. 152 (Clarinets).] One or two of the pipes, called chanter (chaunter), are provided with soundholes and are used for melodies, while the other, larger ones, called drones, produce one tone each and are used for the accompaniment. In the earlier, Eastern specimens, both chanter and drones are clarinets (i.e., have single reeds) while in the modern types either they are both oboes (i.e., with double reeds), as in Italy and some parts of France, or the drones are clarinets while the chanter is an oboe, as in Scotland, Ireland, Brittany. Two categories of bagpipes may be distinguished, according to whether the wind in the bag is provided from the mouth through an additional blowing-pipe, or by a small pair of bellows placed under and operated by the arm. To the former type belong the Old Irish bagpipe, the Highland bagpipe (Scotland), the biniou (Bretagne), the cornemuse (France), the Dudelsack or Sackpfeife (Germany), the zampogna and piva (Italy); to the latter: the Northumbrian bagpipe (England), the modern Irish bagpipe, the gaita (Galicia), the *musette (France). A more primitive instrument was the bladder pipe, a single or double clarinet with a bladder used as a bag [illustrated in GD, pl. LX].
17The bagpipe was not known to the Babylonians, Jews, and Greeks, but was used in Rome (tibia utricularis). Nero is reported to have played on it. In the Middle Ages it is frequently mentioned under different names (musa, chorus, symphonia, chevrette). The famous illuminations of the 13th-century Spanish MS Escorial j b 2 [see *Cantiga] show players of bagpipes [cf. GD iv, 184; ReMMA, 222]. In the British Isles the bagpipes have played, for many centuries, a prominent role in folk music and in military music. Their continental history is less interesting, except for a late 17th-century movement in France which, for a short time, raised the instrument to a standing in society and in art music [see *Musette]. See also *Pibroch.
19Lit.: Wm. H. Grattan-Flood, The Story of the Bagpipe (1907); W. L. Manson, The Highland Bagpipe (1901); G. Askew, A Bibliography of the Bagpipe (1932).
21Baguette [F., stick]. Drumstick (— de bois, wooden drumstick; — d'éponge, sponge-headed drumstick). Also the ba-
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