Scan 95
The New Encyclopedia of Music and Musicians, 1924
54 lines. Read by computer on 16 September 2026. Printed page 73. See the scan on archive.org.
1(about 1560 and simplified later by G. B. Doni), used over 30 keys to the octave (distributed in several rows or keyboards) in the effort to make possible the rendering of music in the three ancient Greek genera. In recent times many efforts have been made to devise something practical for playing in just or pure temperament, with provision for the theoretical difference, for example, between tones known as g-sharp and a-flat, etc. More significant are inventions designed to do away with the marked irregularities of fingering and other manipulation that arise from the arbitrary irregularity of the usual keyboard. In 1843 a 'sequential keyboard' was proposed by W. A. B. Lunn of England, having six upper and six lower keys in each octave, so that but two scale-fingerings were required. A somewhat similar plan later attracted much notice in Germany. The notable Jankó keyboard was patented in 1882 by the Hungarian Paul von Jankó. This has six rows of keys, ingeniously compacted so that the hand can pass readily from one to another and with the same pitch triplicated, so that the player can select different keys at will, and with the span of the octave reduced. In 1921 Emanuel Moór brought forward an arrangement of two keyboards, of which the upper gives tones an octave above those of the lower and open to use either independently or coupled.
3The entire mechanism set in motion from the keyboard is known as the key-action or action. As the individual key is a rocking-lever pivoted at the middle on a pin, so that when the front half is depressed the back half rises, the former is sometimes called the key-head and the latter the key-tail. The visible part of the head is faced with real or imitation ivory (white keys) or with real or imitation ebony (black keys).
5In most grand-pianos the entire keyboard can be shifted slightly to one side by means of a foot-lever (the soft pedal), so that the hammers strike less than the full number of unison-strings and thus give tones of reduced volume.
7Keyship. See Key and Tonality.
9Kin. A Chinese instrument of the zither-class, consisting of a long board with arched top, over which are stretched 5–7 silk-strings, sometimes more.
11King. A name used by Engel for a Chinese instrument consisting of a graduated series of stone or metal plates mounted on a frame so that they can be sounded by means of hammers.
13Kinnor. An ancient Hebrew instrument, probably some form of lyre, like the Arab kissar.
15In the English Bible the word is regularly rendered 'harp.'
17Klang. See Clang.
19Kissar. A widely-diffused Arab instrument of the lyre-class, having a body of tortoise-shell or wood and 5 or more strings carried by a wooden yoke.
21Kit. A miniature violin with but 3 strings, made for the use of dancing-masters so that it could be carried in the pocket, (whence the French name pochette). G.
23Kithara. The Greek name for the lyre and the source of manifold medieval and modern names for instruments of the lyre-, lute- and zither-classes. See Cither.
25Klavier. See Clavier.
27Used in many compound names for instruments in which a keyboard appears as the means of playing, such as klavier-harfe, klavier-harmonium (a piano with harmonium-reeds), klavier-oboe, klavier-violola, klavier-violoncello, etc.
29Knee-lever, Knee-stop, Knee-swell. In the harmonium or reed-organ, a lever under the keyboard that can be moved by a sidewise pressure of the knee, usually so as to vary the loudness of the tones or, if two levers are provided, to draw all the stops.
31Knell. In English bell-ringing, a solemn ringing or tolling of a church-bell as a signal of death or as a token of respect in connection with a funeral. G.
33Knot. See Rose.
35Kobsa. An old Russian instrument of the lute-class, having from two to several strings.
37Kosakisch, Kosatschek. See Dances.
39Koto. A Japanese instrument of the zither-class, resembling the Chinese kin, but usually with more strings and with the pitch of these fixed by the placing of movable bridges on the face of the body. G (Japanese Music).
41Krakowiak. See cracovienne under Dances. G.
43Krummhorn, Cromorne. An obsolete instrument of the bombard-family or class, having a double-reed mouthpiece enclosed in a pirouette, a limited compass and a peculiarly pathetic tone. The lower end of the tube was curved back upon itself (whence the name). Sometimes it was made in several sizes, forming a family. G.
45The name has been corrupted into cormorne, cremona (!), etc.
47Kuhreigen. See Ranz des Vaches.
49Kunstlied. See Volkslied and Song.
51Kyrie eleison ('Lord, have mercy'). An acclamation of penitence and entreaty, forming the first number in the musical Mass of the Roman Catholic Church (after the Introit) and also used in litanies and other offices. G.
53The text (a transliteration from the Greek) is 'Kyrie eleison, Christe eleison, Kyrie eleison,' each phrase repeated thrice. In the Holy Communion of the Anglican Church it is represented by the response after the Commandments, 'Lord, have mercy upon us and incline our hearts to keep this law.'
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