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Scan 143
The New Encyclopedia Of Music And Musicians, 1929
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1R.
2As an abbreviation, r. stands for right, R for response (in liturgical service-books); also, in Tonic Sol-fa notation, r stands for ray (re).
4Racket, Ranket. An old instrument sounded by a double reed, resembling the bombard, but with a cylindrical body in which is cut a small cylindrical bore much doubled upon itself, so as to be over 3 feet long, with about 8 fingerholes. The reeds were enclosed in a pirouette. Although its total size was small (less than a foot long and 2–4 in. in diameter) the long bore gave low tones, like those of the later bassoon, but weak in intensity. It was made in several sizes so as to form a family. Also called corvelas and wurst-fagott. G.
6Radiating Keyboard. See under Pedal.
8Rag-time. A popular term for dance-music in which 'snaps' are frequent or which makes much more of rough accent and rapid movement than of melody and harmony. Often used indiscriminately of all sorts of crude, noisy music. G.
10Rank. In organ-making, a row or set of pipes, especially one of the several rows that are combined in mixtures; see Organ-Stops.
12Rant. Same as reel or as country-dance; see Dances.
14Ranz des Vaches. A melody or signal played on the alpenhorn by Swiss herdsmen or occasionally sung. Its form varies in the different cantons, the most famous being that of Appenzell. Also called kuhreigen. G.
16Rastral, Rastrum. A five-pointed pen for ruling staffs; a music-pen.
18Rataplan, Rat-a-tat, Rat-tat-too. Imitative terms for drum-sounds. G.
20Ravanastron. A very ancient Hindu viol with usually but one string.
22Re, Ray. See Solmization. G.
24Real Fugue. See Fugue.
26Rebec, Rebeck. A small viol with a pear-shaped body, tapering to a short neck, and 3 gut-strings. The body was solid except toward the lower end, where it was hollowed and fitted with a belly. G.
28The form is of Oriental origin, introduced into Europe by way of Spain at least as early as the 8th century. It was the parent of various medieval forms. The name appears in many guises, such as rebab, ribeba, ribeca, ribible, etc.
30Recall. The demand by an audience for the reappearance of a performer or the repetition of a number, effected through some form of applause; see Encore. Also one of the bugle-signals used in military manoeuvres.
32Recessional. See under Procession.
34Recapitulation. Same as renrise.
36Recital. An entertainment or exposition somewhat less elaborate than a concert, usually by a single performer or devoted to works by a single composer or in a single form. The performer is often called the recitalist. G.
38Recitation, Reciting-tone or note. In both Gregorian and Anglican chants, one of the two tones on which several or many syllables are sung in monotone. In Gregorian forms it is the same in both halves of the chant and is the dominant of the mode used. In Anglican forms it may be any tone and not the same in the two halves. G.
40Recitative. Vocal declamation with the singing-voice, but without the fixed rhythm or the balanced phrases of formal song, usually without much accompaniment. G.
42Recitative first appears about 1000 as the original type for dramatic utterance by an actor in the opera or the oratorio. In its forms then, as well as much later, it was mostly supported by occasional chords or simple harmonies on a basso continuo. It thus became a customary element in both opera and oratorio, especially as a kind of prelude to arias. To it was allotted the dialogue or monologue needed to advance the story, while to the aria was given the more ample lyric expression of emotion. If but lightly accompanied, it was called secco, but if with a fuller accompaniment, stromentato. In the latter case it tended to pass over into an intermediate form known as the arioso or into the aria parlante. In the modern opera the sharp distinction between recitative and aria is usually avoided, but passages in recitative are not infrequent.
44The original recitative was evolved during attempts to recover the lost art of dramatic declamation as practiced in ancient Greece. Much of the free declamation in Gregorian music doubtless embodies features derived from Greek song. Rude recitative is also found in ethnic music in various parts of the world.
46Recorder. An important form of direct flute in widespread use until the 18th century. It was made in at least six sizes, the largest over 8 feet long, the smallest about 1 foot. In the large sizes there was an attached metal crook for blowing. The number of finger-holes was normally 8. The tone was mellow and capable of much variety. Often called flute à bec or flute douce.
48Recte et retro. Same as cancrizans. G.
50Redowa. See Dances. G.
52Redundant. Same as augmented.
54Reed. A thin, elastic strip or tongue of cane, wood or metal, fixed at one end and capable of being thrown into vibration at the other end by a stream of air, so as to produce tone. This device is characteristic of numerous musical instruments, called reed-instruments or simply reeds. The principle involved also appears in some forms of tone-production where there is no reed apparent in the above sense. G.
56The typical reed is single and may be either free or beating (or striking). In either case the reed is adjusted to a slot-like aperture through which the air-stream passes, the balance between the current and the elasticity of the reed causing it to vibrate. A free reed is smaller than the aperture and swings freely in it, while a beating reed is larger and strikes against the edges. In a double reed two reeds are opposed and each is in a sense beating with reference to the other, the aperture being between them. Double reeds are found in shawms, bombard, oboes, bassoons, etc.; almost all other reed-instruments have single reeds. Free reeds are not found in any important solo-instruments, but
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