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Scan 152
The New Encyclopedia Of Music And Musicians, 1929
49 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1S
2S. As an abbreviation, S. stands for segno, sinistra, solo, soprano, sordini and subito, and, in Tonic Sol-fa notation, s stands for sol (soh).
4Sabot. In the modern harp, if provided with pedals, one of the revolving disks by which the strings may be temporarily shortened and their pitch raised either one or two semitones; see Harp.
6Saccade. In playing the violin and allied instruments, a pressure-stroke of the bow that affects two or more strings at once.
8Sackbut, Sacbut, Sagbut. A medieval instrument of the trumpet-class, having a slide like that of a trombone. G.
10The word in Dan. iii which in the English versions is rendered 'sackbut' is Greek and certainly does not mean a trombone; see Sambuca.
12Sacred Music. Music designed or fitted for use in connection with church-services or at least dealing with sacred topics or expressing devotional feeling; opposed to secular music. As church-music it may be adapted to use by the congregation, the choir or the organ. Other sacred music includes most oratorios, many cantatas, part-songs and songs with religious words and many instrumental works in which religious sentiment is embodied. See Church-Music.
14Sacring-Bell. A bell rung at certain points in the Roman Catholic Mass, especially at the Elevation or the Sanctus.
16Sacrist. In some cathedrals, one deputed to copy and care for the music for the choir.
18Saitenorgel. A keyboard-instrument, invented by Gümbel of Kroffdorf (near Giessen) in 1890, which unites features from the piano and the harmonium in a novel way.
20To the stringing of a grand piano a supplemental string is added for each key and with this is connected a harmonium-reed (tuned in unison) carrying a leather-head that serves as a small hammer, so that so long as the reed sounds the tone of the string is produced and the tone of the other unisons excited sympathetically. By mechanical adjustments the instrument may be used simply as a piano, simply as a harmonium, and as both together, with several varieties of tone-color.
22Salon-Music. A term introduced in the 19th century for music designed for the drawing-room rather than the concert-hall and appealing more to the dilettante than the connoisseur. It is applied chiefly to instrumental pieces of a sentimental or merely 'pretty' kind, but can be used of many popular songs. Usually it carries an implication of inferiority, though properly many short works by undoubted masters belong to the class thus designated. As a term, it resembles chamber-music in its original sense and also the German Hausmusik, though not the same in meaning with either.
24Saltarello, Salterello. See Dances. Also the note-pattern , which is characteristic of the dance. Also a counterpoint moving in sextuple rhythm. Also a harpsichord-jack. In the second sense also spelled salteretto. G.
26Sambuca, Sambuke. An ancient instrument of Oriental origin, probably a harp of some kind. In medieval usage the term was applied to a variety of forms, sometimes of the psaltery-class, sometimes wind-instruments.
28In Dan. iii this word in the English versions is unfortunately translated 'sackbut.'
30Samisen. A Japanese instrument of the lute- or banjo-class, having a rectangular body with belly and back of parchment and 3 strings, played by means of a large wooden plectrum tipped with ivory. It is one of the commonest and most popular of Japanese forms.
32Sampogna. See Zampogna.
34Sanctus. In the Roman Catholic Mass, the ascription, or its musical setting, that concludes the Preface and precedes the Benedictus; also called Tersanctus and Seraphic Hymn.
36The text is 'Sanctus, sanctus, sanctus, Dominus Deus Hostium; pleni sunt coeli et terra gloriae tuae; hosanna in excelsis.' G.
38Sängerbund. A name used for many German clubs for the practice and promotion of part-singing; see Liedertafel.
40Saraband. See Dances. G.
42Sarrusophone. A complete family of about eight brass-wind instruments, sounded by means of a double-reed mouthpiece, like that of the oboe or the bassoon, and with 16–20 keys arranged on the Boehm principle. The tube has a conical bore and in the larger varieties is much convoluted because of its extreme length. The type was invented in 1856 by the French band-master Sarrus and later improved by the instrument-maker Gautrot. Its plan resembles that of the saxophone. Its use is in military bands. G.
44Saxhorn. An extensive family of seven or more brass-wind instruments of the key-bugle class, but greatly improved in proportions and accuracy of intonation. The cup-mouthpiece is broad and the scale of the tube wide toward the bell. There are usually 3 rotary or piston-valves, occasionally more, giving a range of about 2 octaves. The original form was direct, but one modification is reversed so that the bell is 'over the shoulder,' directing the sound backward. The type was perfected by the Belgian instrument-maker Adolphe Sax about 1845 and then adopted by the French military bands, followed by those of many other countries. Sometimes also called saxcornet or saxotromba. G.
46The different sizes are known by various names, including (for the lower forms) baryton, euphonium, and bombardon. Saxhorns have been made of wood as well as metal.
48Saxophone. A complete family of about eight brass-wind instruments, sounded by means of a single-reed mouthpiece, like that of the clarinet or the basset-horn, and with 18–20 keys so disposed as to give a range of 2–3 octaves. The tube has a conical or parabolic bore and in the
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