Scan 62
The New Encyclopedia of Music and Musicians, 1924
44 lines. Read by computer on 16 September 2026. Printed page 42. See the scan on archive.org.
1It is the counterpart of the older violone, replacing it from the 17th century. At first it was used only to double the bass-part as taken by the viol da gamba or the 'cello, but from about 1750 was more independent. The bow used differs from that of the violin-group (see Bow).
3Doublet, Duplet. See Couplet.
5Doublophone. A union of a euphonium and a valve-trombone with a common mouthpiece and a valve turning the breath into either one or the other at will, invented in 1891 by Besson of Paris.
7Down-beat. In conducting, a downward motion of the hand to mark the first beat of a measure; opposed to up-beat and side-beat; hence the first beat or primary accent in a measure.
9Down-bow, Down-stroke. In playing the violin and similar instruments, a motion of the bow from nut to point; opposed to up-bow, up-stroke.
11Doxology. In general, any hymn or song of praise and adoration to God. Specifically, such established formulae as the Gloria in Excelsis (the Great Doxology), the Gloria Patri (the Less Doxology), the Tersanctus or Seraphic Hymn (from Is. vi. 3) and various metrical forms, or musical settings of them.
13In medieval and many modern liturgies it has been customary to sing the Gloria Patri at the end of every Psalm in course. This practice was extended to the hymns of the Breviary and later not only to metrical versions of the Psalms (from the 16th century), but to metrical hymns in general (from about 1700). These latter varied in form according to the meter of the Psalm or hymn. The familiar metrical form, beginning 'Praise God, from whom all blessings flow', is a L. M. doxology in three hymns for the students of Winchester College by Bishop Ken (c. 1675), and its traditional melody is that adapted by Bourgeois to the Genevan version of Psalm 134 (c. 1550) and from 1561 transferred to Psalm 100 (whence the name 'Old Hundredth').
15Dramatic. Denoting a work, piece or passage adapted to the text of a literary drama or stage-piece or in similar style; sometimes extended specifically to program-music or similar music in which either a plot, action, characters or events are suggested.
17In general, dramatic art, as distinguished from that which is lyric or epic, magnifies the development of a story as if enacted on a stage in such a way as powerfully to rouse the interest and emotions of an audience. Its larger musical applications are in the opera, the oratorio, the scena, the ballet, the dramatic cantata and ballad, etc.
19Often used, also, in characterizing that which is intense, thrilling or startling in a high degree, as the dramatic climax of a song.
21Draw-stop. See Organ.
23Dreher. See Dances. G.
25Drill. See Rehearsal.
27Drone. In the bagpipe, one of the 2–3 pipes of fixed pitch which sound continuously while melodies are played on the chanter; also analogous parts in other instruments, as in some other wind-instruments and in the hurdy-gurdy; or the persistent sound thus produced. G.
29This sort of effect, often called, a drone-bass, is not uncommon in instrumental (and even vocal) music. It usually consists of the tonic alone or the tonic and dominant together. It is characteristic in the musette and in many Russian and Oriental pieces.
31Drum. In general, a percussive instrument, consisting of some sort of hollow body of wood, metal or other stiff and resonant material, across an opening in which is stretched an elastic head of skin or parchment that can be so tightened that when struck by the hand or a stick a tone is produced. The forms most used in artistic music are the side-drum, played by two small drum-sticks, the bass-drum, played by a single stick with a large soft head, the tambourine (q. v.) and the kettledrums (q. v.) or timpani. The side-drum and the bass-drum are conspicuous in military music, while the kettle-drums are regularly used in the orchestra. The latter are made so as to yield varied tones of definite pitch, but the others simply to mark rhythm and accent. G.
33Drums are universal among all peoples, from those of primitive culture upward. Their materials, forms and sizes vary indefinitely—hollowed logs, dried gourds, moulded wood or metal, earthenware, metal jars, etc. Besides being used to mark rhythm for song and dance, they often have religious applications and furnish the means for remarkable signaling.
35The modern side-drum or snare-drum has a cylindrical body of thin wood or brass, both top- and bottom-heads, the tension being controlled by side-cords laced into hoops enclosing the edges, and a few strings of gut (snares) stretched tightly across the face of the lower head. The bass-drum is essentially similar, but much larger. The side-drum is suspended at the drummer's side by a strap, while the bass-drum, if carried, is usually in front, partly supported by an assistant. The side-drum is extensively employed in military service for marching and for varied signals or drum-calls. Sometimes a large form, known as a tenor-drum, is thus used.
37Dualism, Harmonic. See Scale and Harmony.
39Duet, Duo. A composition for two voices or instruments, or for two performers on a concerted instrument like the piano, in either case with or without accompaniment. Piano-duets may be either for four hands (on the same instrument) or for two pianos—the distribution of the two parts being quite different in the two cases. Also a piece, movement or passage in which two voice-parts are made prominent as a double solo, usually with accompaniment. The diminutive is duettino. G.
41Sometimes duet is mainly restricted to vocal examples and duo to instrumental ones.
43Dulcimer. In general, an instrument having several or many metal strings stretched over a resonance-box or soundboard and sounded by blows from small hammers. Specifically, a form (known since about 1500) in which the body is trapeze-shaped and the strings extend between the sloping sides over the soundboard and over two bridges resting upon it. In modern instruments the compass is 2–3 octaves and there may be 2–5 strings to the note, while the hammer-heads are made respectively hard and soft, so as to produce differences in loudness and quality. The dulcimer differs from the psaltery merely in its method of tone-production. The piano is essentially a keyboard-dulcimer as the harpsichord was a keyboard-psaltery. The German name is hackbrett, the Italian cembalo and the French tympanon. G.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.