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Scan 106
The New Encyclopedia Of Music And Musicians, 1929
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1of expression. Undoubtedly, also, there was some impulse, as in the plan of the so-called 'concert-opera,' to construct a series that would have value as an effective example of program-making.
3The successive numbers in a compound vocal work are seldom called movements; though they are more or less analogous.
5Multiplication-Tone. See Combination-tone.
7Muniera. See Dances.
9Murky. A harpsichord-piece with the bass in broken octaves, such a bass being a murky-bass.
11Muse. The mouthpiece of a bagpipe.
13Musette. Originally a small variety of oboe or a form of bagpipe. In suites, an alternative for the gavotte; see Dances.
15Music. In general, tonal beauty or tonal forms that cause aesthetic satisfaction through the sense of hearing. Hence the art of tonal expression or the science of tonal construction and production, in which the fundamental elements of melody, harmony and rhythm are used with definite purpose and result.
17As a physical form of action, song is probably as instinctive as speech; indeed, the line between the two is not always distinct. But as the faculty of song is exercised and becomes specialized, as this is supplemented by the aid of the implements called instruments, and as, with these or by bringing individual singers into united action, complex tonal procedures are attempted and adopted into usage, a genuine fine art is seen to take shape, analogous with the other fine arts of representation, edification and literature. The harmonic aspects of music, which most strikingly differentiate it from other fine arts, are the last to appear in the evolutionary process, and when these are presented on the grandest scale, as in the modern orchestra and opera, musical art far outstrips all the other fine arts in variety and magnitude of effect and in intensity of appeal. In its simpler manifestations music is practically universal in all parts of the world and probably has been practiced in all ages of history, but its fullest development belongs only to European civilization and to the last five centuries.
19The term is also used individually and collectively (a) of compositions or tonal creations; (b) of all kinds of written or printed transcripts or scores of compositions; (c) of performances or renderings of such productions; and (d) of organized groups of performers (like choruses or orchestras).
21It is variously designated by qualifiers (a) as to general style, as popular or artistic, secular or sacred, etc.; (b) as to technical form, as melodic, harmonic or contrapuntal, classical or romantic, lyric or dramatic, etc.; (c) as to method of performance, as vocal or instrumental, solo or concerted, choral or orchestral, for the piano, the organ, the violin or any other instrument, etc.; and (d) as to intended application or use, as church-, concert-, chamber-, salon-, dance-music, etc., or ecclesiastical, operatic, military, etc.
23Music-. An element in numerous compounds, most of which are self-explanatory, though some are noted below.
25Musica Ficta or Falsa. A general term used in the a cappella period for all chromatic alterations made by singers in written scores for the purpose of securing more satisfactory harmony, especially in cadences. Through this practice, at first not regularly indicated in notation, the use of tones additional to the usual modes and of harmonic modulation were gradually established. G.
27For musica figurata, see Figuration. For musica mensurata or mensurabilis, see Mensurable Music.
29Musical. Pertaining to the art of music in any of its forms, including composition, performance, notation, etc. Also, subjectively, fond of music or expert and discriminating in regard to it.
31For musical drama, see Opera; for musical ear, see Ear; for musical glasses, see Harmonica.
33Musicale. A vocal or instrumental performance or concert, usually at a private house or small concert-room and not open to the general public.
35Music-box. An instrument consisting essentially of a metal-cylinder or barrel, revolved by clockwork, which bears on its surface small pins or pegs, so placed as to engage and twang the graduated teeth of a steel-comb that is firmly set in the frame. These teeth are carefully tuned so as to give an extended compass of tones and the pins are so set as to sound the desired tones in proper order of pitch and time. Often the same cylinder is adjusted to play several tunes in rotation. As the best instruments have been made in Switzerland, often called Swiss music-box. See Automatic Appliances. G.
37Music-chair, Music-stool. A chair or stool for one who plays upon a piano; a piano-chair or stool.
39Music-desk, Music-stand. A rack or stand to hold music for a performer, especially the stand used by the conductor of a chorus or orchestra (also conducting-stand).
41Music-Director. One who teaches music and conducts musical exercises in a school, college or other educational institution. Often extended to one who is in charge of the music of a church, whether organist or choirmaster.
43For the German usage, see under Director. See also under Professor.
45Music-Engraving. See Printing.
47Music-hall. Originally a hall intended for concerts, but the term has become associated, especially in England, with a hall where varied dramatic and musical performances of popular character are given, often with dancing, etc.
49Music-house. A firm or store devoted to the sale of musical publications or instruments.
51Musician. One who is trained and expert in any branch of music, especially one who makes composing, performing or teaching music his profession. The knowledge, skill and experience required are comprehended under the general term musicianship.
53Music-paper. Paper with ruled staffs for recording music by hand.
55Music-pen. A five-pointed pen for ruling staffs for written music.
57Music-printing. See Printing. G.
59Music-recorder. See Melograph.
61Music-school. An institution where instruction is given in one or more branches of musical
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