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Scan 146
The New Encyclopedia Of Music And Musicians, 1929
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1final section, in which the subject or theme is taken up for statement in the original key; the recapitulation. G.
3Requiem. The Mass for the Dead or Requiem Mass; see Mass. G.
5Its name comes from the opening antiphon, 'Requiem aeternam dona eis, Domine.' Its principal divisions are Requiem and Kyrie, the sequence Dies Iræ (18 stanzas) and Requiem, Domine Jesu Christe, Sanctus, Benedictus, Agnus Dei and Lux Æterna.
7Resolution. In harmony, the act or process of passing from a dissonance to a consonance, or the consonance itself that follows a dissonance; applied either to a particular voice-part in which the dissonance occurs or to the chord-succession as a whole. In either case the dissonance is said to resolve in the following consonance. Cf. preparation and percussion. G.
9Resonance, Resonation. See under Acoustics and Vocalization.
11Resonance-box, in instruments, same as body, at least when the substance of the body and the air contained within it are important factors in determining the sonority and character of the tone. The term is used technically of many forms that are not obviously box-like. In the voice there are several resonance-cavities, such as the pharynx, the mouth and the nose, the shape or adjustment of which can be altered at will in connection with phonation and articulation; in addition, the cavity of the chest, with its residual air, exercises a large influence upon the tone.
13Resonator. Same as resonance-box or resonance-cavity.
15In acoustical investigation, a special form of hollow metallic sphere, made in different sizes and carefully adjusted to respond to particular pitches. It is used in the analysis of compound tones to determine their constituents.
17Respond, Response, Responsory. In church-music, a sentence, verse or Psalm either regularly coupled with a preceding sentence or verse or interjected during or after the reading of a lection. All such formulae are more or less taken for musical settings. G.
19In the couplet-forms the first member is the verse or versicle and the second the respond; often marked V and R respectively.
21Rest. See Notation. G.
23Resultant Tone. See Combination-Tone. G.
25Retardation. See Anticipation and Suspension. G.
27Retrograde. See under Imitation.
29Reveille. The military signal at daybreak.
31Reverie, Revery. An instrumental work of a dreamy or contemplative character.
33Reversion. See Imitation.
35Reversed motion, same as contrary motion; see Motion.
37Rhapsody, Rhapsodie, Rapsodie. A term introduced by Liszt for an instrumental fantasia based upon national melodies. It has not always been used exactly in this sense. G.
39In ancient Greek usage a rhapsody was a poem or ballad sung by a rhapsode; out of a chain of these an epic like the Iliad was composed. This narrative sense is somewhat reflected in modern musical usage.
41Rhythm. Music is emphatically a time-art rather than a space-art, like architecture or painting. But it is analogous to the space-arts in depending for the intelligibility and grace of its constructions upon elements of proportion and grouping. Indeed, since time is never static and cannot be viewed as a fixed object, music, like dancing and versification, requires the more careful organization of its time-structure if its processes are to have order and balance.
43Modern music rests on the assumption that for its artistic purposes the indefinite lapse of time is to be regarded in small equal portions (very much as a jeweler's clock breaks up a minute into seconds or half-seconds). Only so can the fact of advance or progress be mentally realized. What is thus felt is not duration as such, but its on-go or flow, its momentum and the energy that it expresses. This is shown by the fact that the rate or rapidity of the time-portions may be made greater or less without much affecting the sense of steady, resistless progress. It is this characteristic common to music, dancing and versification that is best called by the term rhythm, which means 'a steady flowing.' G.
45The unfortunate confusion between the terms rhythm and meter in current usage has been mentioned under Acoustics and Meter. It is largely a question of nomenclature. The phenomena are the same, whatever one chooses to call them, but if Greek words are used, the sense of their Greek stems should be respected.
47In music, then, as in dancing and (less obviously) in verse, time is first of all regarded as broken up into a series of equal beats or pulses, quick or slow. These are then differentiated and gathered into groups by means of an extra stress at equal intervals, such groups in music being called measures (in verse, feet). Where stress falls is the accented beat as opposed to unaccented ones or the strong beat as opposed to weak ones. If every second beat is accented, the rhythm is duple; if every third beat, triple; if every fourth beat, quadruple; and so on. Practically, primary or simple rhythms are best regarded as either duple or triple, since all others tend more or less to resolve into derivatives of these.
49In 'counting time' it is usual to call the accented beat '1' ('1 2' or '1 2 3'), and in 'beating time' to mark the accented beat by a 'down-beat' (down-up or down-side-up). In written music the place of the accented beat is now always marked by a bar just before it.
51But it is important to note that each of these primary forms of rhythm varies according to how the group is formed about the accent. Thus in duple rhythm two varieties are possible, one with the accented beat first ('1 2'), and the other with the accented beat last ('2 1'), the measure in the former case having an initial stress, in the latter a terminal stress. Thus in triple rhythm three varieties are possible ('1 2 3' or '3 1 2' or '2 3 1'), the measure-stress being respectively initial, median or terminal.
53It is unfortunate that the traditional notation and its use tend to obscure this point, giving the impression that 'measures' always begin with an accent. Hence come needless explanations of 'incomplete measures' at the beginning and end of phrases.
55The working of the general principle of simple or primary rhythm may be graphically represented in many ways. For example, indefinite time may be shown as a line which the imposition of beats breaks up into small equal portions, these latter being the
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