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Scan 126
The New Encyclopedia Of Music And Musicians, 1929
56 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1P. As an abbreviation, p stands for piano, pp for pianissimo, pf for either più forte or poco forte, mp for mezzo piano, fp for forte piano, and P. for pedal and P.F. for pianoforte.
3Pace. See Tempo.
5Pæan. An ode or song of victory or exultation. one of two readings
6Paeon. An ode or song of victory or exultation. one of two readings
8Pageant. Specifically, a half-dramatic spectacle, usually in the open air, intended to celebrate or illustrate local history, an anniversary or even a fanciful conception, and usually including vocal and instrumental music. Sometimes it has a text and the general plan of a play; sometimes it is largely or wholly made up of tableaux and pantomime. See under Masque.
10Such spectacles have been frequent in England and America since about 1905.
11The term comes from the movable or temporary stages erected for medieval plays of similar character.
13Palestrina Style. A general name for the a cappella style of polyphonic composition that was perfected in the 16th century and of which Palestrina was the ablest example.
15Pandora, Pandura. See Bandola. G.
17Panharmonion. A form of automatic orchestration, invented by the mechanician Maelzel of Vienna about 1800.
19Panmelodion. A keyboard-instrument, resembling a piano, but sounded by the friction of wheels upon metal bars. It was invented by Leppich in 1810.
21Panorgue. A small reed-organ attachment or a piano, invented by Jaulin of Paris.
23Pan's-pipes. A wind-instrument consisting of a graduated set of small reeds or wooden tubes which are sounded by blowing across the open ends; also called syrinx. G (Pandean Pipe).
25Instruments of this general sort are found in many parts of the world. It was well-known in Greek rustic life and is traditionally associated with shepherds.
27Pantaleon, Pantalon. A very large form of dulcimer, having nearly 200 strings in two sets, one of metal, the other of gut, stretched over two soundboards, placed back to back, and sounded by hammers in the player's hands. It was invented by Pantaleon Hebenstreit of Merseburg about 1700 and later exhibited by him on concert-tours with remarkable skill. It was one of the precursors of the piano. G.
29Pantomime. The general name for a theatrical entertainment or play performed by action, gesture, mimicry, dancing, etc., without words, but often with accompanying or incidental music. G.
31Parallel. See Motion and Key (tonal).
33In part-writing of every sort the use of motion in parallel octaves and fifths (if perfect) has been regarded objectionable. Octaves (or unisons) in progression cause the parts to merge and become mere duplicates—a surrendering of the principle of part-independence. To some extent all parallels, particularly if the intervals remain precisely alike (both perfect, both major, both minor), are open to the same objection, and a chain of thirds or sixths, even if major and minor be mingled, becomes at least weak. But parallel fifths has the added difficulty of either attracting the ear to the peculiarly 'hollow' sound of the interval or of suggesting a rather bald sequence of chords. Parallel dissonances, especially the harsher ones (like seconds or major sevenths) are objectionable both because of their roughness and because of the unstable harmonic poise involved, but diminished sevenths form chains that are useful in modulation.
35As applied to keys and tonalities, parallel is used in two senses, equivalent either to tonic (having the same keynote) or to relative (standing in the relation of c to a, etc.)
37In the analysis of forms, two strains or phrases (or even two figures within a phrase) are often said to be parallel when they are constructed on the same metric pattern or even when they follow similar harmonic formulæ.
39Paraphrase. An arrangement, transcription or imitation of a vocal or instrumental work in a form or for voices or instruments other than what was originally intended.
41Properly, a paraphrase differs from an arrangement in being less literal. It usually implies a considerable latitude in the treatment of thematic and other material; thus it is often synonymous with transcription or even with variation.
43Parody. A piece in which the form and style of some other work is closely imitated, but with such differences of effect that the result is a satire or caricature; a travesty.
45Very rarely the word has been used seriously, as, for example, in the a cappella period, for a mass the theme of which is borrowed from a motet.
47Occasionally, also, it is applied to the resetting of a libretto by a second composer.
49Part. (a) In an extended and complex work, one of the two or more main divisions into which the whole is divided. It is most used for the larger choral works, but sometimes for part-songs and songs. The parts of an opera are usually called acts, and those of a sonata movements.
51(b) Any one of the constituent melodic elements in vocal or instrumental composition, regarded as a consecutive series or chain of tones; a voice or voice-part (so called even when given to an instrument or performed through a keyboard). Also the voice, instrument or other agency to which the rendering of such a melody is assigned. Also the written or printed score of such a melody for the use of a singer or player. Most music except that which is absolutely solo is conceived as being laid out in parts, so that nearly all composition involves part-writing. Where performance requires the distribution of the parts among different performers, it is part-music or concerted or ensemble-music. G.
53In part-singing, the parts are designated as soprano (or treble), alto, tenor and bass (when the voices are mixed), or as first and second soprano and alto or first and second tenor and bass (when all women's or all men's). Similar terms are used for duets, trios, quintets, etc. An added solo-part may be called an obbligato part (soprano obbligato, tenor obbligato, etc.). Even an absolute solo may be spoken of as a solo-part. If there is an accompaniment, the vocal part may be designated collectively, as well as the instrumental part (piano-part, organ-part, etc.).
55In part-playing for solo instruments (as in a chamber-ensemble or an orchestra), the parts are designated by the instrument to which each is assigned, as violin-part,
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