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Scan 39
Pronouncing dictionary and condensed encyclopedia of musical terms, instruments, composers, and important works, 1895
67 lines. Read by computer on 12 September 2026. No printed page number was found. See the scan on archive.org.
1Intermezzo (Ital. een-tèr-màt'-sô). An interlude, or intermediate piece between two others. An interlude, a name frequently employed by Schumann to designate short and not very important pieces. An I. was originally of a light and pleasing character.
3Interval, difference of pitch between tones. Intervals are named from the number of degrees of the scale they include. A second is the interval between any tone of the scale and the next above or below. A third takes to the next tone but one, etc. The representation of an interval is determined by its nature. A second is represented by two notes on adjacent degrees of the staff; a third by two notes on successive lines, or successive spaces, etc. Intervals which sound alike, as the minor third and augmented second, are introduced and resolved differently. Like different words of the same sound, they can not be determined when standing alone, as ail and ale; plain and plane; so and sew; can to be able, and can a receptacle. The manner of their use explains their meaning, and the true spelling thereupon follows. The principal intervals in perfect intonation are represented by mathematical ratios, those of the tempered scale are not easy to determine, and almost impossible to produce on different instruments twice alike, owing to the difficulty of tuning. (See "Temperament," and "Scale ratios.") The ratios of the principal intervals, beginning with the most consonant, are octave 2:1; per fifth 3:2; per fourth 4:3, maj. third 5:4; min. third 6:5; maj. second 8:7, 9:8, and 10:9, according to its place in the scale; min. second 14:13, 15:14, 16:15.
5Intervals, Perfect. The unison, octave, 4th and 5th which occur between the tonic and the 4th, 5th, and 8th of the major scale. These are called perfect because they have perfect "complements," and because they are the only consonant intervals of those denominations.
7Intervals, Major. Seconds, 3ds, 6ths, 7ths, and 9ths, between the tonic of the major scale and the corresponding diatonic tones.
9Intervals, Minor. Seconds, 3ds, 6ths, 7ths, and 9ths, a chromatic semi-tone smaller than the major intervals of the same name.
11Intervals, Augmented. A chromatic semi-tone larger than major or perfect intervals.
13Intervals, Diminished. A chromatic semi-tone smaller than perfect or minor intervals.
15Interrupted Cadence, called also evaded cadence, a cadence that is interrupted by the unexpected entrance of some other chord (usually the sixth degree) where the tonic was expected.
17Intonare (Ital. een-tô-nä'-rë), To pitch the voice; to sound the key note; to intone.
19Intrada (Ital. een-trä'-dä). An introduction.
21Intrepido (Ital. een-trä'-pê-dô). Intrepid, bold.
23Introduction, a short preparatory movement.
25Intonation, the pitch. Also the introductory notes of the Plain Song where the precentor is hunting for the key.
27Introit (In-trô'-It, or Fr. ähn-trwâ'). Entrance, a hymn or anthem sung while the priest enters within the rails at the communion table, or at the opening of the service. Anciently sung while the faithful were entering the church.
29Invention, a name given by J. S. Bach to certain small piano-forte pieces in two and three parts.
31Inversion, a turning upside down. In harmony the change from an interval to its complement. Also the substitution of the 3rd, 5th, or 7th of a chord as bass, instead of the root, the natural bass. In counterpoint the interchange of voices, the higher becoming the lower, and vice versa, at some pre-contrived interval, which may be the octave, ninth, tenth, or twelfth. In melody the repetition of a motive or phrase, with its ups and downs reversed. In the inversion of a chord, the "combination tone" remains unchanged, hence the identity of the chord is unaffected by it.
33Ionic Key { One of the church keys, having the tones C D E F G A B C, being in fact our major scale.
34Ionian Mode } which has had 18 composers. Among them Sarti, Jommelli, Hasse and Gluck.
36Ipermestra, an opera libretto, by Metastasio, Iphigenie en Aulide, "Iphigenia in Aulis," tragic opera in 3 acts, by Gluck. 1774.
38Iphigenie en Tauride, "Iphigenia in Tauris," tragic opera in 4 acts, by Gluck. 1779.
40Irene (i-reen). An English version of Gounod's "Reine de Saba." 1865.
42Irlandais (Fr. eer-lähn-dä'). An air or dance tune in the Irish style.
44Irish Music, is noted chiefly for its sweet and pathetic melody, and for its wild and devil-may-care dance tunes.
46Irresoluto (Ital. ee-rä-zô-loo'-tô). Irresolute, wavering.
48Isochronous, in equal time.
50Isotonic System, a system of tuning in absolutely equal temperament.
52Istesso (Ital. ees-tä'-sô). The same.
54Isouard, Nicolo, a prolific French composer of operas, distinguished by melody and freedom from vulgarity. 1775-1818.
56Israel in Egypt, the 5th of Handel's oratorios. 1728. This work contains a greater number of bare-faced plagiarisms from other composers than was perhaps ever offered in a great work by a man of genius. It is distinguished, nevertheless, for grandeur and monotony.
58Italian Music was formerly noted for its scientific cleverness, and always for its melody and pleasing quality. See Lessons xxxix and xli.
60Italiana in Algieri, L', "The Italian in Algiers." Comic opera by Rossini. 1813.
62Italian Sixth, a name sometimes given the chord of the augmented sixth and maj. third, as Db F B.
64Ite, Missa Est, "Go! Mass is finished." The dismissal anthem in the Mass.
66Jack, an upright piece of wood standing on a key of the harpsichord, bearing on its upper end a transverse piece of crow-quill to twang the string in passing, when the key is pressed by the finger. In the piano the Jack is the upright lever of the action, communicating the motion from the key to the hammer.
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