Scan 79
The New Encyclopedia of Music and Musicians, 1924
62 lines. Read by computer on 10 September 2026. Printed page 59. See the scan on archive.org.
1H
3H. The German name and symbol for b; see Notation. G.
5As an abbreviation, h. stands for hand and (in organ-music) for heel.
7Habanera. See Dances. G.
9Half-. For half-cadence or half-close, see Cadence; for half-note or minim, see Notation; for half-shift, see Shift; for half-step, half-tone or semitone, see Interval, Step and Tone; for half-stop, see Stop and Organ.
11Hallelujah. See Alleluia. G.
13Halling. See Dances. G.
15Hammer. The implement by which the strings of any form of dulcimer are struck, or the corresponding part of the mechanism or action of a piano; see Dulcimer and Piano. G.
17In the modern piano, the hammers consist of a slender shank, hinged at one end (either directly or by means of a butt) to the action-rail and having at the other end a head, which is covered with glued layers of leather and felt. In a grand-piano the head terminates below in a heel or catcher which is caught by the check when the hammer rebounds.
19Hammerklavier, an old name for the piano.
21Hannacca. See Dances.
23Handle-Piano. A piano fitted with a studded barrel (like the barrel- or hand-organ) for actuating the hammers and played by turning a handle or crank; also called street-piano.
25Hand-Note. In playing the horn, a tone whose pitch and quality are affected by inserting the hand in the bell; a stopped tone.
27Hardanger Fiedel. An old form of viola d’amore, used in Norway, having 4 strings on the fingerboard and 4 sympathetic strings.
29Harmonic (adjective). Pertaining to or involved in harmony in general or simultaneous tones in particular; opposed to melodic and also sometimes to contrapuntal or rhythmic. Also, in acoustics, pertaining to harmonics or partial-tones. G.
31For harmonic figuration, see Broken Chords. For harmonic minor, see Minor and Scale. For harmonic stop (harmonic flute, harmonic reed, etc), see Organ.
33Harmonic (noun). Same as partial-tone or overtone; see Acoustics. Also, in instruments of the viol-, lute- and harp-classes, a tone secured after lightly touching one of the nodes of the string to be sounded, so as to force it to vibrate in segments (rather than as a whole) and to yield one of its harmonics or partial-tones rather than its fundamental or normal tone; such tones are also called harmonic or flageolet-tones (also designated flautato). G.
35If the string thus touched is ‘open,’ the harmonic is called natural, but if the string is ‘stopped’ as well as touched, the harmonic is called artificial.
37Harmonica. A term variously applied in naming different kinds of instruments. In English it is most often used in one of two senses, viz.: (a) for a graduated and tuned set of thirty or more glass bowls, mounted on a horizontal axis or spindle so that they can be kept in revolution by means of a treadle (their lower edges passing through a pan of water) and sounded by pressing the fingers against their moistened edges; and (b) for a set of small free reeds, mounted in a small wooden or metallic box, with orifices on one edge so grouped that they can be sounded by the breath (exhaled or inhaled) as they are moved from side to side between the lips. G.
39The first instrument (also called glass-harmonica or musical glasses) was devised in the above form by Benjamin Franklin in England about 1760. It embodies the principle of friction on glass which had been known and utilized for at least a century before, but not so as to be feasible for varied artistic effects. Franklin’s arrangement provided a true instrument, which continued popular for more than half a century, with several performers of great dexterity, especially after a keyboard was added (from about 1785), and with considerable music specially written for it (as by Mozart, Beethoven, J. G. Naumann, etc). Its artistic value lay in the purity and stability of its intonation, the crystalline quality of the tones, and its capacity for delicate gradations of force. At Darmstadt it was for a time regularly used in the court-orchestra.
41The second instrument (also called mouth-harmonica or mouth-organ), though commonly regarded as little more than a popular toy, is an interesting application of the principle employed in the accordion and concertina (the former called ziehharmonika in German).
43The name harmonica has also been given to several types of percussive instruments in which graded sets of wooden, glass-, stone- or metal-plates or strips are mounted so as to be struck by hand-hammers, as in the xylophone (German names include glasstabharmonika, holzharmonika, stahlharmonika, steinharmonika, etc.).
45Harmonichord. One of the many forms of bogenklavier or piano-violin. G.
47Harmonici. See under Canonici.
49Harmonicon. Same as mouth-harmonica or as orchestrion.
51Harmonicor. See Harmoniphon.
53Harmonicum. An improved form of bandonion, having an accordion-body so mounted in a case that it can be blown by means of treadles and played from an ordinary keyboard. It was invented in 1893 by Brendel and Klösser in Saxony.
55Harmonie. A German term for a group of wind-instruments (a wind-band) or music for such instruments (Harmoniemusik). G.
57Harmonietrompete, a metal-instrument intermediate in form between the horn and the trumpet, invented in Germany early in the 19th century.
59Harmoniphon. An instrument, invented in 1837 by Panis of Paris, consisting of a set of reed-pipes controlled by a keyboard and blown by means of a single mouthpiece; as it simulated the oboe-tone, it was called in Germany klavieroboe. Also a similar form with clarinet-tubes, invented by Jaulin of Paris; also called harmonicor.
61Harmonium. The English name for one type of the reed-organ (q. v.), distinguished from what is called in England the ‘American organ’ by being sounded by a compression-bellows instead of an exhaust-bellows. Also used for reed-organs in general. G.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.