Scan 86
Stokes Encyclopedia Of Music And Musicians Volume Ii, 1908
21 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1NOTATION
3SEGNO, ( , :S:, ⊕, §); ARPEGGIO, ( ); BRACE, ( ) CRESCENDO, ( ); DIMINUENDO, ( ); TURN ( ); TRILL (tr~~~ or w~); DIRECT (v or w); MORDENT, (W). Breathing places are indicated by (, or /// /or W); TRIPLETS, ( 3 ) etc;
5ACCIACCATURA, ( ); APPOG-
7GIATURA, ( ); Double APPOG-
9GIATURA, ( ). Other signs or
11NEUMAE employed in Notation
13LETTERS
14sh f gd sff efgfd d gg hg hi h kk hg cf
16NOTATION OF XIII CENTURY
18MODERN NOTATION
20characters are sometimes employed for special instruments. Thus in organ music, (*, ⊕, +) mean release damper pedal; ( |W| , |L| ) show where pedal is to be pressed and released; ( |L| ), heel and toe. In violin music, (w) means up bow; ( | ) down bow, etc. The notation of Greek music was accomplished by means of the letters of the alphabet arranged in conventional forms, upright, inverted, or slantwise, which served well enough for the record of melodies, although the system was complex and would have been useless had the Greeks harmonized their music. With the Roman conquest of the world the Greek system of notation disappeared, and by the fifth century the first fifteen letters of the Roman alphabet were employed to designate the degrees of the scale. The reduction in the number of letters to seven may have been effected by St. GREGORY THE GREAT. At any rate the first seven Roman letters were used in noting liturgical music, although they ceased to be written after the eighth century, by which time the system of dots, accents, and other signs known collectively as NEUMAE had come into general use. Reminders of the older system may be found in LUTE TABLATURE, of which an example is given herewith; as well as in the present names of the tones of the scale, and of the clefs. The Neumae in themselves, however, while serving their original purpose of ACCENTS admirably, and likewise showing the number of notes to be sung to a given portion of text, failed to indicate pitch, and were at best, therefore, merely aids to the memory of the singers, who were required to learn the melodies by rote and tradition. Toward the close of the eighth century, abbreviations for tempo and expression first came into use, and manuscripts preserved by the Roman Catholic Church show the first trace of the present system of notation about 900. A red line occurs in these manuscripts, drawn above the text and marked F. All neu-
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