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Scan 148
The New Encyclopedia Of Music And Musicians, 1929
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1the basal rhythm exactly, so that they may be said to be derived from it, and yet in effect they serve to give that rhythm a special character that by itself it does not have. It is not strange that many musicians prefer to apply the term 'rhythm' to these patterns, though in essence they correspond to the patterns of long and short syllables that the Greeks called 'meters' (see Meter).
3Even in a small form (like a hymn-tune) each phrase may have a distinct note-pattern. In part-music the note-patterns of the voices may be distinct in the same phrase. A theme may appear now in one pattern and now in another. In parallel phrases there may be a rhyme of note-patterns, with or without a distinct rhyme of melody or harmony. A climax may be built up by advancing from one pattern to another of greater complexity or agitation, just as the descent from a climax may be made evident by the reverse process. Under many circumstances, also, particular note-patterns come to possess decided physical and even moral suggestiveness. Here lies the power of the so-called 'leitmotif' and of many devices used in the higher grades of program-music.
5One of the marked features of the 'romantic' style as contrasted with the 'classical' was its eagerness to explore the field of fresh and powerful note-patterns. This impulse continued to be extremely fruitful throughout the 19th century. It is now seen to be one of the main sources of the impression of active and dynamic vitality in musical creations, just as it is also apt to be reflective or expressive of the individuality of both composer and performer. In this field lies part of that which gives 'character' to many practical effects (see Character).
7It is needless to more than remark that in this matter of patterns of action based upon a continuous rhythm the evolutions of artistic dancing and the declamation of verse offer innumerable analogies with musical effects, though at most points the latter are the more free and elastic.
9Rib. In the making of violins and similar instruments, one of the upright strips that form the sides of the body, joining the belly and the back. Ordinarily they are 5–6 in number, carefully moulded to the exact contour of the body. The joints between them and the belly and back are strengthened by the linings. G.
11Ribeba, Ribeca, Ribible. See Rebec.
13Ricercare, Ricercata. In the 16th century, an instrumental composition upon original themes, analogous to the motet, and sometimes, like some motets, on a succession of themes. It became practically synonymous with the fantasia or fancy. In the 18th century, a fugue of the most elaborate and learned description; see Fugue. G.
15In connection with his Musikalisches Opfer (1747) Bach uses the inscription Regis Iussu Cantio Et Reliqua Canonica Arte Resoluta in acrostic reference to the fact that the main theme was suggested by Frederick the Great and that he has treated it in a variety of ways.
17Ricochet. In violin-playing, a staccato produced by means of a loose, bounding stroke of the bow. G.
19Riddle-Canon. See Canon.
21Ridotto, Redoute. A ball or masquerade; hence redoutentänze, dances for such a ball. G (Redoute).
23Rigadoon, Rigaudon. See Dances. G.
25Ripieno. That which supplements, as a ripieno part in a concerted composition (as opposed to one that is solo, concertante or obbligato) or a ripieno player or singer in an orchestra or chorus (as opposed to principal or leading). Such assisting performers are ripienists. G.
27As a direction, ripieno or col ripieni is the same as tutti, that is, with all the players.
29Risposta. Same as answer or comes; opposed to proposta. G.
31Ritornello. In accompanied vocal music, a prelude, interlude or postlude on the instrument or instruments; formerly called sinfonia. In many formal arias the vocal phrases are constantly separated by such interludes. G.
33Originally, the term was the name of a short popular song, possibly with a refrain; probably same as stornello. In the early opera it was applied to instrumental interludes between scenes.
35Roi des Ménétriers ('king of the minstrels'). A title in France held from the 14th century by the superior of the Confrérie de St. Julien des Ménétriers, established in 1321. From 1407 this body was given a monopoly of professional music, all vocalists and instrumentalists being required to hold a licence from it, at first in Paris, but after 1514 throughout the kingdom. From 1658 the title was changed to Roi des Violons and the monopoly restricted to instrumentalists. After 1695 the monopoly came to an end, but the title of Roi was continued till 1773, with spasmodic attempts to enforce some degree of monopolistic authority. G.
37The most famous of the 'kings' were Louis Constantin (1629–55), the two Dumanoirs (1655–68, 1668–93) and Pierre Guignon (1741–73).
39Roll. A prolonged tone on a drum, produced by a rapid succession of blows. Applied also to an analogous effect on the tambourine. The long roll is a military signal for attack. G.
41Roller. Same as barrel in a barrel-organ or similar apparatus; see Automatic Appliances. Also, in organ-making, a mechanical device for transferring tracker-action from one direction to another. It consists of a hinged rod or staff with two projecting arms, one for receiving motion, the other for giving it. See under Tracker.
43Romance, Romanza. A ballad or song. Also an instrumental piece of lyric character; a romance sans paroles or song without words. G.
45Romanesca. See Dances.
47Romantic. A term chiefly used of composers, works and styles in the early 19th century, when, under the influence of the so-called 'romantic' movement in German literature, an effort was made to break away from the rigidity and formalism of the later 18th century. In this application it was opposed to classical as that was represented by the Viennese school of Haydn and Mozart. But it has also been extended to cover various impulsive or novel efforts that seem irregular, if not lawless, at least for the time being; opposed in this sense to classical in its most general meaning. G.
49The tendency of the romantic movement that set in soon after 1800 was not iconoclastic, but constructive. The object was to infuse more of imaginative vigor and of emotional warmth into musical expression, especially
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