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Scan 96
Harvard Dictionary Of Music(1950), 1950
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1BELL HARP
3in which the bell is swung round full circle, thus giving a more vigorous sound; (c) clocking, in which the clapper is moved instead of, as usual, the bell—a method which should not be used since it is likely to cause the bell to crack. Whereas in continental Europe church bells are sounded in such a way as to produce a confused musical noise, the English bells are rung in succession according to certain elaborate systems so that a "melody" is produced. This method is known as *change ringing. See also *Carillon; *Campana.
5The bell effect has been frequently required in orchestral works, the earliest known example being the two bells (probably an organ stop) in Bach's solo-cantata Schlage doch gewünschte Stunde. In the modern orchestra real bells are not used (because of their lack of definiteness in pitch), but are replaced by the "tubular bells" (*chimes; see also *Bells), i.e., a number (7 to 10) of cylindric metal tubes of different lengths, hung in a frame and struck with a hammer. Debussy's "La Cathédrale engloutie" and Busoni's "Sonatina in Diem Nativitatis Christi" contain bell effects produced on the piano-forte. See also *Campanella.
7Lit.: G. S. Tyack, A Book about Bells (1898); J. J. Raven, The Bells of England (1906); S. N. Coleman, The Book of Bells (1938; bibl.); G. Morrison, Bells—Their History and Romance (1932); W. W. Starmer, "Bells and Bell Tones" (PMA xxvii); H. Bewerunge, "On the Tuning of Bells" (ZIM vii); J. Biehle, "Die Analyse des Glockenklangs" (AMW i).
9(2) The bell-shaped opening of wind instruments such as the horn or the trumpet.
11Bell harp. A sort of psaltery invented c. 1700 by John Simcock. It took its name from the bell-shaped form of its frame. Cf. SaRM, 44.
13Bell-lyra. See under *Glockenspiel.
15Bells. Recent name for the orchestral glockenspiel [see *Percussion instruments A, 2].
17BERCEUSE
19Belly. The upper plate of the resonant box in violins, lutes, etc. Also the *soundboard of the piano.
21Be mi, Bemi. See *Hexachord III.
23Bémol [F.], bemolle [It.]. Flat. See *Pitch names; *Accidentals.
25Benedicamus Domino. A salutation of the Roman liturgy, with the response Deo gratias. It is used occasionally at the end of *Mass [cf. GR, 18*, 55*, etc.], and at the end of all Offices. For the latter purpose various melodies (toni) are provided [cf. AR, 58*]. The Benedicamus Domino plays a most important role in the history of early polyphony (Schools of St. Martial and Notre Dame; see *Ars antiqua; *Organum) since its melodies, especially the first one given in the Antiphonarium, have been very frequently used as the tenor of organa in two or three parts. In fact, the entire history of early polyphony could easily and, no doubt, quite instructively, be demonstrated by means of the numerous pieces written on this tenor [cf. HAM, nos. 28a–i]. Cf. also H. Schmidt, †Drei Benedicamus Organa (1933); AdHM, 179; ReMMA, 266; BeMMR, 97; ApNPM, passim.
27Benediction. An extra-liturgical popular service of the Roman Catholic Church, usually following Vespers and including the blessing of the congregation with the Host. "Tantum ergo" and "O salutaris hostia" are the most important hymns of Benediction [cf. AR, 88*].
29Benedictus Dominus Israel. The canticle [see *Canticum] of Zacharias. (Note that Benedictus alone will nearly always refer to *Benedictus qui venit.)
31Benedictus (qui venit). Second part of the Sanctus of the Mass. In Mass compositions it is usually treated as a separate movement [see *Mass III].
33Bequadro [It.]. Natural, the natural sign. See *Accidentals.
35Berceuse [F.]. Lullaby. Usually the name refers to instrumental pieces (piano, orchestra) in moderate 6/8 time, and
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