Scan 37
STOKES ENCYCLOPEDIA OF MUSIC AND MUSICIANS VOLUME II, 1908
20 lines. Read by computer on 16 September 2026. No printed page number was found. See the scan on archive.org.
1Mixture. Organ stop with from two to five, but usually three ranks of pipes giving high harmonics of the ground tone, and used in combination with foundation and compound stops.
3Mizler von Kolof (Lorenz Christoph) founded the Leipsic "Association for Musical Science," 1738, of which Bach, Graun, and Handel were members; wrote on Thoroughbass; edited musical periodical; pupil of J. S. Bach; became a magistrate. B. July 25, 1711, Heidenheim, Württemburg; d. 1778, Warsaw.
5Mock Doctor. English title of Charles F. Gounod's "MÉDECIN MALGRE LUI."
7Mode. In modern music all scales are either in the MAJOR or MINOR mode. The genesis of the scale or mode and the genera by which an even greater variety of material was afforded for the construction of melody than now exists have already been explained under the head of GREEK MUSIC. The Latin people having always borrowed from the Greeks in the matter of art, it was natural for the church musicians of the early centuries of the Christian era to adapt as far as they were able the Greek theories and nomenclature of music to that used in worship. Tradition has it that St. Ambrose employed four Modes, and that St. Gregory added four Plagal to these Authentic Modes, and it is at least certain there are eight Gregorian Tones corresponding to eight Modes. These Modes differed not in tonality, for the compass of each is to be found on the white keys of the piano, but in pitch. The introduction of a chromatic in the cantus firmus or melody was alike forbidden by church law and by taste. Later the use of B flat was allowed when necessary to avoid a TRITONE, and with the growth of polyphonic music chromatics were introduced in other parts than the cantus firmus, in performance, but not in notation, a practice which gave rise to the term MUSICA FICTA. The eight Modes which served from the time of Gregory were ascending scales, and were distinguished at first by the Dominant, which served as the reciting note in most of the PLAIN-SONG melodies, and more especially in later ages by the Final, which corresponded in importance with the modern Tonic or Key Note. In an Authentic Mode, the lowest note was the Final. In the corresponding Plagal Mode, the same note served as a Final, although the compass extended a fourth lower. Where a melody required the compass of both an Authentic Mode and its Plagal, it was said to be in a Mixed Mode. Greek names were at first given the Modes, which afterwards came to be designated by number, and at the time of their chief importance, the Modes had the following names and compasses, the Dominant and Final of each being enclosed in brackets: First Authentic or Dorian, D to d (a D); Second Plagal or Hypodorian, A to a (F D); Third Authentic or Phrygian, E to e (b E); Fourth Plagal or Hypophrygian, B to b (a E); Fifth Authentic or Lydian, F to f (c F); Sixth Plagal or Hypolydian, C to c (a F); Seventh Authentic or Mixolydian, G to g (d G); Eighth Plagal or Hypomixolydian, D to d (c G). In the period of transition between the Modal and Tonal systems attempts were made to increase the number of the Modes to 12 and even 14, but these only added to the confusion of the theorists.
9Mix (Jennie Irene) wrote music criticism for the Pittsburgh "Post" and serial newspaper articles including "Informal Talks About Great Composers"; pupil of Franklin Barrett, Cleveland, Ohio. B. Feb. 7, 1870; add. Pittsburgh, Pa.
11Moderatissimo. It. Very moderate.
13Moderato. It. Moderately.
15Moderazione, con. It. With moderation.
17Modinha. Portuguese love song.
19Modulation. Change of key, as Diatonic, when accomplished by the use of chords from relative keys; Chromatic, by means of non-relative keys; Enharmonic, when effected by
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