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Scan 156
The New Encyclopedia Of Music And Musicians, 1929
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1ent of a particular incident. Also used in the ecific sense of scena.
2Schablone. A critical term for music conducted without inspiration in accordance with mere model or stencil-pattern; cf. Kapellzister-Musik. G.
3Scherzo. A passage or piece of a playful, quaint or humorous character. Specifically, ch a movement as one of the constituents of sonata, symphony or similar complex work. he term was first used in this way by Beethoven or the bright, rapid and even fiery form that he introduced in place of the older minuet. From the latter it often takes a triple rhythm, as well as the form of a dance (including a trio or alternativo). G.
4Schisma. In acoustics, the smallest interval recognized as a unit (not perceptible by the ear), being that between the pure third above the eighth fifth of any tone and the octave of that one (represented by the difference between b-harp and c), having the vibration-ratio 32805:2768.
5This minute interval, which is less than a hundredth part of a major second or whole tone, nearly corresponds to the difference between the tempered and the true fifth; hence the latter is also sometimes called a chisma.
6Schleifer. See Ländler under Dances.
7Schola Cantorum. A name originally applied to a singing-school connected with a cathedral, monastery or church; a choir-school or maîtrise; see Maîtrise.
8Scholarships. See Prizes.
9School. Either an institution like a conservatory or music-school, or a method of teaching, especially when expressed in a text-book for students, or a style of composition or performance, such as may be taught or acquired by study.
10School-Music. A general term for the application of music as part of the discipline in a school of elementary or secondary grade. It necessarily involves instruction by classes instead of individually and is primarily vocal, though not necessarily debarred from extending to the use of instruments. It may include not only the rudiments of sight-singing, but the groundwork of harmony and form, besides practice in part-singing and orchestral playing.
11The clear recognition of this specialty in musical pedagogy came early in the 19th century in connection with the development in several countries of organized systems of public schools. Among the pioneers were the Swiss publisher Nägeli, the Lutheran pastor Natorp, the university director Naue, the French leaders Choron and Wilhem and the English organist Kemp. All these were active from about 1810. Before long more or less effective methods were in use in Switzerland, Germany, France, England and the United States. In France the Galin-Paris-Chevé method reached its full statement about 1850. In England Hullah's classes and the Tonic Sol-fa method were under way from soon after 1840. In America Lowell Mason had secured recognition in Boston as early as 1837. All these early efforts were much influenced by the pedagogical ideas of Pestalozzi, whose experiments with free schools had begun in Switzerland as far back as 1775 and were well established before 1800.
12For two or three decades advance was slow and often hindered by ignorant prejudice. In the last half-century, however, the magnitude and significance of the movement have been shown not only in various extensive associations of specialists in this field, but in an accumulating body of literature, including textbooks, manuals of method and collections of many grades.
13Schottische. See Dances. G.
14Science of Music. See Musicology and Theory.
15Scordatura. In stringed instruments of the lute- and viol-classes, any irregular or unusual series of pitches to which one or more of the strings are tuned; opposed to accordatura. As such special tunings are generally adopted by individual players for their own effects, they are sometimes called collectively solo-pitch. G.
16Score. A written or printed draft of any work in which the several parts are arranged one above another on two or more staffs that are braced together and barred so as to match vertically. G.
17Piano-music is written thus on two staffs, one for the right hand, the other for the left. Organ-music is similar, but usually has a third staff below for the pedal-part. A vocal or instrumental solo with accompaniment for piano or organ likewise has three staffs, the solo-part being at the top. Plain 4-part vocal harmony, as in a hymn-tune and some part-songs, is often written in short, close or compressed score, that is, with the two upper parts together on one staff and the two lower parts together on the other. But all more elaborate choral music, with that for a chamber- or orchestral ensemble, is properly written in long, open or extended score, that is, with a staff for every part, vocal or instrumental. In the case of a large concerted work, with vocal soloists and chorus as well as orchestra, the total number of staffs is very large, the customary order (from the top) being wood-wind (flutes, oboes, clarinets, bassoons), brass-wind (horns, trumpets, trombones, percussives), the upper strings (violins, violas), solo-voices and chorus-parts, the lower strings ('cellos, basses) and the organ (if used). Such a score is a full orchestral score or conducting-score. If there are too many parts to be got into a page, some may be added in a supplementary score or partitino. When a complex work like an opera or oratorio is published in condensed form for private use, the vocal parts are usually given by themselves, but the accompaniment is transcribed and arranged in short score for the piano; such an edition is called a vocal score or piano-score (though the latter is sometimes used for a piano-transcription without separate vocal parts).
18The art of using extended scores is known as score-reading. It involves not only great quickness of eye, but usually skill in interpreting more than one kind of clef. In much vocal music a different clef is used for each voice and in the orchestra the clarinets and several brass-instruments are written in the key of C, but sound in various keys according to the pitch of the instrument, while the viola-part regularly uses the alto-clef (see Clef).
19The term scoring is used for the physical process of preparing a written score in full form or for the allotment and adjustment of materials to instruments and voices (partly equivalent to instrumentation), or for the modification of details required in making an arrangement or transcription.
20Scotch Catch or Snap. The note-pattern in a melody; so called because occurring in the strathspey and in some Scottish songs. It has been used somewhat widely since the 18th century. G.
21Scroll. In instruments of the viol-class, especially the violin and its relatives, the convoluted top in which the head or peg-box terminates. In the older viols a carved human head or face was common in this position.
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