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Scan 137
The New Encyclopedia Of Music And Musicians, 1929
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1means of connecting parts that are widely separated. The same result is now reached by means of electricity.
3Pochette. A pocket-violin; see Kit. G.
5Point. In notation, same as note or as dot. and also sometimes as staccato-mark; see Notation. Also, in thematic music, the entrance of a figure or subject after a pause. Also, in the bow of a violin and similar instruments, same as head; opposed to heel. G.
7The modern dot, by which the time-value of a note is increased one-half, is a vestige of a system of points used in mensural music. One of these, the point of augmentation, had exactly the same significance, that is, it changed a note from duple to triple value (from imperfection to perfection). The three other points used had to do with similar or allied rectifications required under certain circumstances to keep the rhythm complete.
9For organ-point and pedal-point, see Pedal-point.
11Polacca, Polonaise.. See Dances. G.
13Polka and Polska. See Dances. G.
15Polychord. That which has several or many strings (both adjective and noun), including instruments like the harp, most lutes, dulcimers, zithers, the harpsichord and piano, etc. The clavichord, based on the principle of the monochord, is practically a polychord with a keyboard.
17The name was applied in 1799 by Hillmer of Berlin to a 10-stringed instrument, shaped like a double-bass and played either with a bow or by plucking. The fingerboard could be lengthened or shortened to facilitate varied tunings.
19Polymorphous. In counterpoint, denoting a subject or theme that can be or is treated in several forms, as by augmentation, inversion, etc.
21Polyphony. That type or method of composition in which two or more voice-parts are combined harmoniously, but without losing their melodic individuality and independence; counterpoint; opposed both to monophony or homophony and to harmony. A work or passage in polyphony is polyphonic or polyphonous. G.
23The polyphonic period in music-history is usually taken to cover the time when a cappella music was the dominant style, namely, the 15-16th centuries. In a broader sense it extends to 1750.
25Pommer. See Bombard and Shawm.
27Ponticello. See Bridge. Also used for the break or transition between the upper and the lower vocal registers. G.
29Port. A Gaelic term for an air or tune. G.
31Portamento. An effect in performance with the voice or on certain instruments of free intonation (like the violin or the zither) in which two tones of different pitch are connected by a rapid and delicate glide or gradation covering the interval. G.
33It is distinguished from the simple legato by the fact of its touching upon pitches intermediate between the limiting tones. Though often used excessively or with exaggerated emphasis, it is a valuable element of melodic expression. It may be executed either with or without a slight anticipation of the second tone.
35Portative. That which can be carried from place to place (both adjective and noun); opposed to positive. Used specially of the small organs or regals that were common in the 16th century, but applicable to many small instruments in distinction from those of such size and weight that they are relatively fixed.
37Portative organ, see Organ and Regal.
39Posaune. See Trombone.
41Position. In harmony, either (a) the disposition of the tones of a triad or chord with reference to which of them is in the lowest voice-part (usually the bass), the first or a-position having the root of the triad or chord in the lowest part, the second or b-position the second tone of the triad or chord, etc.; or (b) the disposition of the voice-parts with reference to each other, close position being with such intervals between any parts (except bass and tenor) that outer parts, if transposed an octave would not fall between the others and open or dispersed position being the reverse of this. Chord-positions are also called inversions. Also, in violin-playing (and the playing of other instruments of the same family), the location of the left-hand on the fingerboard; see Shift. Also, in piano- or organ-playing, the attitude or method of holding the hand, the arm or even of the upper part of the body with reference to executive efficiency. G.
43In sight-singing, one who follows the movement of the notes of his part up or down without a precise sense of the tones or intervals indicated is often said to sing by position only.
45Positive. That which is fixed or stationary (both adjective and noun); opposed to portative. Used specially of large or built-in organs in distinction from small and portable ones, but also sometimes of those which were semiportable. In French and German usage, specifically, the choir-organ or a similar main division of the instrument. See Organ. G.
47Post-horn. An instrument of the bugle-class, used originally by the guard of a mail-coach as a signal and still somewhat employed by postmen or in coaching as a diversion. It has occasionally been introduced as an orchestral accessory. G.
49Postlude. In church-music, an organ-piece after the benediction; a nachspiel; opposed to prelude or vorspiel (also to interlude). Sometimes called a concluding voluntary or sortie. G.
51Pot-pourri. A loose chain of airs or scraps of various pieces strung together without much artistic skill or plan; a medley; cf. quodlibet. G.
53Præambulum. See Prelude.
55Praller, Pralltriller. Same as inverted mordent; see Embellishments. G.
57Precentor. In English cathedrals and collegiate churches, an official deputed to have charge of the choir; the English equivalent of the German cantor. Hence the term cantoris, for the precentor's side of a divided choir (the left side, facing the altar). Also extended to any choir-leader or choirmaster. G.
59In the older foundations the precentor ranked next to the dean and was often charged with duties of school-instruction. In recent foundations he may be only a minor canon. The term is not uncommon in various ecclesiastical connections on the Continent. One who assists him is sometimes called a succentor or subcantor. Also sometimes extended to one who leads congregational singing.
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