Scan 50
The New Encyclopedia of Music and Musicians, 1924
48 lines. Read by computer on 16 September 2026. Printed page 32. See the scan on archive.org.
1movement to use the solo-instrument largely in decorative embellishment and in the third movement (usually a rondo) to recur to the alternating form of the first movement, but with greater conciseness. Among later writers the form is less regularly conceived, adopting more the freedom of the fantasia.
3Concert-Piece, Concertstück. A concerto, but usually without regularity in regard to number or form of movements. Also applied to any work specially intended for concert-use, even when for a solo-instrument without orchestra. G.
5Concert-Pitch. See Pitch. G.
7Concord. Same as Consonance. G.
9Concussion-Bellows. See Winker.
11Conductor. One who directs a chorus or orchestra. In modern usage he usually does this with a baton, though sometimes only by hand-motions. G.
13The primary purpose of conducting is to indicate tempo and rhythm and to secure unanimity. In the old a cappella church-music the leader often guided the singers by means of a roll of paper (the sol-fa). Throughout the 17–18th centuries the harpsichord was regularly used with the orchestra and the composer (or other leader) not only filled out the basso continuo upon it, but controlled the whole by his playing. The use of a baton gradually came in after about 1800.
15The established method of indicating rhythm is to mark the first beat or pulse of each measure by a down-beat, the last beat or pulse by an up-beat and intermediate beats or pulses by side-beats. Subdivisions of any beat or pulse are marked by repetitions of the original motion. A conductor is therefore often loosely called a time-beater.
17But the higher function of a conductor is to interpret the intention and spirit of the music. Most of his direction in this regard must be given verbally in rehearsal and through drill under criticism. In performance, however, various points of expression are commonly indicated by movements of the hand or body. And the conductor's conception may be conveyed by general attitudes and a diffused magnetic impression.
19The modern notion of minute attention to the details of orchestral performance seems to have taken its rise in the Mannheim orchestra under Stamitz about 1750.
21The music for a conductor's use is called a conducting-score or conductor's part; see Score. It is placed on a conducting-stand or desk. But many modern conductors lead even the most elaborate works absolutely from memory.
23The conductor of a church-choir is usually called a choirmaster (or similar term) and that of a military band a bandmaster. In the Chapel Royal of England the conductor and trainer is the master of the children. In Germany the standard term for concert- and theater-conductors is Kapellmeister and in France chef d'orchestre.
25Conductus. A term occurring in the early history of polyphonic writing, apparently meaning a work or style in which subjects were drawn from secular music or freely invented (instead of being taken from Plain-Song), or perhaps a form of writing in which the voices moved simultaneously from syllable to syllable (as in a modern hymn-tune). G.
27Conical Mouthpiece. See Mouthpiece.
29Conjunct. Denoting a melody or voice-motion that passes from one degree of the scale to the next above or below (without skips); opposed to disjunct.
31In Greek theory, a tetrachord was said to be conjunct when its first tone was the same as the last of another tetrachord, but disjunct when they did not thus overlap.
33Consecutive. See Parallel. G.
35Consequent. See Canon and Fegue.
37Conservatory. An institution where the science and art of music is taught as a technical specialty; a music-school. G.
39The Italian conservatorio means 'nursery' or 'orphanage' (somewhat analogous to seminario, a 'seed-bed' or 'plant-nursery'). The term acquired a musical association in the 16–17th centuries from the fact that the boys at the four orphanages in Naples were given musical instruction as an occupational education. The same was true of four charitable institutions in Venice (though the name there was ospedale) and of one at Palermo. Quite parallel with these were the many choir-schools attached to cathedrals and other ecclesiastical foundations (called schola cantorum or maîtrises) and such more general schools as the Thomasschule at Leipzig and the Kreuzschule at Dresden. In all these music was taught in order that the scholars might serve as choristers while children and as active musicians later. Until the end of the 18th century more detailed professional training was always secured by the individual instruction of a master to whom the pupil stood in a relation like that of apprentice.
41The first institution for collective instruction in the modern sense was the École Royale de Chant et de Déclamation set up in Paris mainly to train singers and instrumentalists for the Opéra and which in 1795 became the Conservatoire Nationale de Musique. Its initial organization was due to the genius of Bernard Sarrette. Its early policy was also influenced by a desire to train players for the bands of the national army. Its influence was seen in the starting of somewhat similar schools at Bologna (1804) and Milan (1807), in the consolidation of the Naples schools into the Collegio Reale di Musica (1808), and in the founding of schools at Prague (1811) and Vienna (1817), at Brussels (1813), The Hague (1826) and Liège (1827), and also in London (1823).
43The Leipzig Conservatorium, established in 1843 by Mendelssohn, was from the first rather more distinctly professional in that its object was musicianship in a broad sense, with an emphasis on instrumental music quite as much as vocal, on discipline in composition and on the equipment of those who were to become teachers. Its influence tended to heighten the dignity and power of conservatories as centers for the diffusion of information and enthusiasm as well as for the acquisition of personal skill. It marked the beginning of a more obviously educational ideal in conservatories and music-schools generally. Its influence was profound throughout Germany, Scandinavia, England and America.
45Throughout Europe the multiplication of important institutions has been conspicuously due to municipal or governmental enterprise. Each large city and country has felt a pride in organizing technical instruction in music as in other branches of culture. The subventions and prestige thus provided have made most of these enterprises permanent and independent. This policy of public sustentation has been only slightly applied in England and is almost unknown in America. In these latter countries, as also in Europe generally, music-schools of every degree are continually being undertaken as private business ventures. Some of these have gained standing as conservatories of high rank.
47There is only a general consensus as to the contents and method of instruction. In the vocal department appear topics like voice-building, solfeggio, solo-singing (for concert or the stage) and chorus-singing; in the instrumental field the playing of the piano, the organ, the violin and usually a long list of orchestral instruments; under the head of 'theory', harmony, counterpoint, form and higher composition; and more or less in the way of music-history, acoustics, aesthetics and the art of teaching as applied to music. As compared with the methods of other academic institutions, there is usually meager emphasis upon a comprehensive curriculum (as necessary for graduation), on topics of scientific or scholastic interest and on mental breadth and ability in non-musical branches of knowledge. On the other hand, the prevailing method of intensive personal instruction secures certain results in individual
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