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Scan 6
SA Dictionary Of Music, 1904
8 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1in the same bar before a note of the same name. The combination ♯♯ and ♭♭ is used when a double sharp is to be brought back to a single sharp, or a double flat to a single flat. All sharps or flats required for any particular scale are grouped at the beginning of a piece, and form Key Signatures. In the strict sense, therefore, accidentals indicate notes foreign to the key, and therefore needing to be indicated. An accidental has application only in the bar in which it occurs, and only to the note before which it stands, and any others of the same name in the remaining part of the bar. When an accidental stands before the last note of one bar, and the same note occurs as the 1st in the next bar, the accidental is considered by a good number of theorists to apply to the latter as well as to the former note. Anyhow, if the latter of the two notes is not to be affected by the accidental, for the sake of avoiding any doubt on the matter, a ♯ is put before the second note. In the case of a change of Key Signature the sign ♭ is repeated as many times as is needed to cancel the sharps or flats of the preceding Signature, which are not required in the new one. Where the sharps or flats of the preceding Signature are likewise required in the new one, all of them are repeated with the extra sharps or flats to complete the latter.
3Accompaniment. This term is used for one or more parts of secondary importance in a piece, the office of which is to fill in the harmonic or rhythmic design, or to support the one or more parts in which the main interest is centred. Some instruments are of such a nature that almost always when used in a Band or Orchestra, the part allotted them is of the character of an accompaniment, the meaning and value of the part being almost entirely due to the accessory effect they secure for the chief parts, where greater interest and a more striking individuality are displayed. Accompaniment, whether rendered by one or more instruments or voices, must always be made in volume of tone, speed, style and general treatment truly subordinate to the part or parts entrusted with the principal share of the music. This is also true of a whole Band when playing as an accompaniment for congregational singing. It is evident that the proper rendering of accompaniment demands a considerable measure of self-effacement, for its purpose will be quite destroyed if the rendering is marked by such self-assertion and obtrusiveness as diverts the attention from the main part of the music to merely subordinate and quite secondary details in the arrangement.
5Accordion. A portable instrument, invented at Vienna by Damian, in 1829. The instrument consists of a pair of hand-bellows, to one side of which is affixed a key-board, varying according to the size of the instrument, from a few up to as many as fifty keys. The sounds are produced by wind passing through valves, operated upon by the keys, to free metal reeds. The left hand works the bellows, and the right hand the keys. On the lower side of the bellows are two keys which, when pressed, allow wind to pass to several reeds at once, so as to produce a chord as accompaniment to the melody played by the right hand, one key producing a tonic, and the other a dominant harmony. Only one scale is possible on the instrument, and so its musical value is small. It is a development of the mouth-organ.
7Acoustics. Pronounced akow-stiks. The science of hearing and sound. Sound is the effect on our ears of certain forms of vibrations of bodies, which may be solid, liquid or gaseous. Musical sound is the result of regular, noise of irregular vibration. Musical sounds differ in loudness, pitch and quality, or timbre. Loudness depends on the greater or less energy by which the sound is produced, so that loudness of sound is represented by the amplitude of the vibrations causing it. The nature and density of the body transmitting the
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