Scan 63
The New Encyclopedia of Music and Musicians, 1924
30 lines. Read by computer on 16 September 2026. Printed page 43. See the scan on archive.org.
1The dulcimer-type is ancient, being depicted on Assyrian monuments and being widely distributed in the Orient under the Persian name santir (probably the fifth of the series named in Dan. iii, the word being p'santerin). Throughout the Middle Ages it and its relative, the psaltery, were common. About 1700 Hebenstreit developed a large form with 185 strings, and became noted for performances upon it. From this may have come early experiments leading to the invention of the piano.
3Dumb Piano. A device for hand-training, consisting of a small keyboard fitted with springs or weights so as to simulate the resistance of a piano-keyboard, but without tone; a digitorium.
5Dumka. A form of Russian folk-song, properly a lament. G.
7Duodecimole. Same as dodecuplet.
9Duodene. In a system proposed in 1874 by A. J. Ellis of London for the analysis and solution of acoustical problems, a group of twelve tones (starting from any tone as root or duodenal), consisting of four trines (each made up of a root, its major third above and its major third below), the roots of which are respectively the duodenal, its perfect fifth below, its perfect fifth above and a perfect fifth above that. Out of the use of this system Ellis deduced certain principles regarding the practical application of just intonation to keyboard-instruments. See Appendix xix to his translation of Helmholtz' Tonempfindungen (1874).
11Duodrama. A melodrama with two principal spoken parts. G.
13Duole. Same as couplet.
15Duology. A pair of dramas on related themes and intended to be given in succession.
17Duple. Of rhythm or measure, denoting a division into two equal parts, duple rhythm being characterized by two beats to the measure; double; opposed to triple. Also denoting a similar division of beats. See Measure, Rhythm and Time.
19Duplex Scale. In piano-making, a method of stringing, introduced by Steinway of New York, in which the sections of the treble strings that lie beyond the bridge (and are ordinarily silent) are arranged to sound sympathetically with harmonics of the main tones.
21Durchkomponiert. Of songs, denoting those in which the treatment is progressive or continuous throughout, each stanza being freshly set according to its sentiment; opposed to strophisch (one treatment for all stanzas). G.
23There is no quite satisfactory English equivalent. 'Through-composed' is a mere transference and 'progressively composed' is not entirely obvious.
25Dutera. A Turkestan instrument having 2 or 4 strings stretched over a box-shaped body and sounded either by plucking or by means of a short bow.
27Dux. In a canon or a fugue, the theme in its first or leading enunciation; opposed to comes; also called antecedent or subject.
29Dynamics, Musical. In general, that branch of theory and praxis that regards the phenomena of relative intensity or loudness as used in composition and performance. It properly includes the primary element of rhythm, so far as that rests upon accent, various aspects of phrasing and the use of nuances, so far as these utilize intensity-relations (contrasts between loud and soft and progressions from one to the other) and the bearing of these and similar tonal phenomena upon emotional or other mental effects (thus shading off into aesthetics). The term dynamics is also applied to the method or style used by a performer in treating accents and all other details of loudness in interpretation.
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