Scan 37
The New Encyclopedia of Music and Musicians, 1924
58 lines. Read by computer on 10 September 2026. Printed page 19. See the scan on archive.org.
1Bonang. A Javanese instrument, consisting of a graduated set of small gongs mounted on a circular frame, within which the player sits or kneels; sometimes called a gong-piano.
3Bones. The popular name for small clappers of bone, ivory or wood held in pairs between the fingers and sounded by twisting or shaking the hand; also called knicky-knackers (probably derived from the French nacaire).
5Book. See Libretto.
7Boot. See reed-pipe under Pipe.
9Bourrée, Boutrade. See Dances. G.
11Bout. In instruments of the viol-class, an inward curve in the side of the body to facilitate the access of the bow to the string. In the violin-family the two opposite bouts are sharply separated sections of the ribs bent inward elliptically; together they form the waist.
13Bow. The implement by which the tone of instruments of the viol- or bow-class is produced. In its modern form, which is due to the epochal improvements of Tourte late in the 18th century, it consists of a highly elastic and slightly incurved stick of lancewood or snakewood and a flat bundle of horse-hairs (usually over 100), stretched from the bent point in the head of the stick to the nut (an adjustable block controlled by a thumb-screw) in its heel. The fricative capacity of the hairs is increased by rubbing rosin or colophony on them. The bows for the viola, 'cello and double-bass are progressively shorter, stouter and heavier than that for the violin. That for the double-bass is of the general type of all those used until about 1780 for the violin and other members of the viol-family. G.
15The right hand of the player is often called the bow-hand or arm (unless he be left-handed) and the method of applying the bow to the strings by the collective term bowing. This latter includes the choice of up- or down-strokes in the rendering of a given passage, and is also used for the marks showing the handling preferred. Instruments played by means of a bow are bow- or bowed instruments: occasionally also called fricative.
17In bells, the thickened ring just above the rim, the part against which the clapper or hammer strikes and by which the tone and tune are largely determined: also called the sound-bow.
19Bow-Zither. See Zither.
21Brace. See Notation. G.
23Branle, Bransle, Brawl. See Dances. G.
25Brass. Denoting any one of the various solo metal-instruments used in bands or orchestras or such instruments collectively, irrespective of the composition of the metal used. The brass or brass-wind in an orchestra comprises the horns, trumpets, trombones, etc. A brass-band, such as used for military purposes, includes a variety of metal-instruments (such as cornets, horns, trumpets, saxhorns, saxophones, euphoniums, bombardons, trombones, etc.), with a considerable section of wood-wind instruments (flutes, clarinets, etc.). G.
27Bratsche. The German name for the tenor-viol or viola.
29Bravo ('well done!'). An exclamation of approval and applause. G.
31Bravura. Daring, dash or display; as aria di bravura or bravura-air, an aria demanding brilliant vocalization. G.
33Break. In the voice, the pitch at which one register or quality is exchanged for another, whether instinctively or deliberately, or the imperfect tone produced when the transition is abrupt or badly managed. Also extended to a similar point of transition or transitional tone in the scale of an instrument (especially in the clarinet and certain organ-stops). It is also applied to any poorly-produced tone in the voice and in several instruments.
35Breath-mark, Breathing-mark. In vocal music, any sign inserted in the score to indicate the proper place for taking breath.
37Breve. See Notation. G.
39Alla breve, originally an indication or name for a slow quadruple rhythm, but now usually used for a broad duple rhythm, the beats in either case being marked by minims.
41Breviary. In the Roman Catholic Church, the service-book containing the prayers, lections, antiphons, responses and hymns for the Canonical Hours observed throughout each day; analogous to the Horologion of the Greco-Russian Church and (in part) to the Morning Prayer and Evening Prayer of the Anglican Church. From the Breviary come many texts much used for musical setting.
43Bridge. In a stringed instrument, a support that lifts the strings from the body, while transmitting their vibrations to the latter and at the same time defining their vibrating-length (at one end); specifically, in the harpsichord and piano the straight or curved transverse bar over which the strings pass to the wrest-pins, and in the violin and similar instruments the thin wedge set upright on the belly above the tailpiece and carrying the strings on its arched upper edge in such a way that all can be reached by the bow. G.
45In the piano the strings are held in place on the bridge by small metal pins. In the violin, etc., the bridge has two feet, the treble-foot standing nearly over the soundpost.
47Brindisi. A convivial or drinking-song. G.
49Broken Music, including broken chords and broken octaves. Terms describing effects in which chords and octaves are arpeggiated or otherwise melodized, instead of played simultaneously. Broken cadence, same as interrupted cadence; see Cadence.
51Brunette. A light popular song with a refrain, sometimes with dancing, such as was common in France in the 17th century. G.
53Buccina. A Roman trumpet, usually with a tube bent in a circle. G.
55From the term comes the German posaune (busaun). The Scandinavian lure may have been an imported buccina.
57Buffo, Buffa. Denoting that which is humorous or comically grotesque, as an opera buffa or an aria buffa. One who takes humorous parts is
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