Scan 54
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.
1that some further combination is required after it; also called discord; opposed to consonance and concord. See Preparation and Resolution. G.
3Among intervals, major and minor seconds, with all augmented or diminished intervals, are dissonances. In early medieval theory major and minor thirds and sixths were regarded as more or less dissonant.
5Progress toward true composition was made possible through the recognition of the necessity of dissonance in combination with consonance.
7Distinctio. In Gregorian music, a pause or break corresponding to the construction of the text, or the phrase marked off by such a pause.
9In an ordinary verse in the Psalter three such pauses are customary, making four phrases or tone-groups, each of which has some sort of a termination or cadence. The first of these is called the intonation. This fourfold partition of the verse is analogous to that in the Anglican chant.
11Dital. A finger-lever in some forms of lute or guitar by pressing which a string can be shortened so as to raise its pitch by a semi-tone; opposed to pedal.
13Dital harp, a harp-lute, invented by Light of London about 1795 and improved in 1818, with 12-18 strings, each provided with a dital.
15Dithyramb. In Greek poetry, a lyric form of exalted or excited quality and versified in lines of varying length and meter. Hence a composition, vocal or instrumental, of irregular metrical construction and expressive of excited or hilarious feeling.
17Ditone. In Greek theory, an interval equal to two 'tones' (§1), analogous to the modern major third, but slightly greater.
19Divertimento, Divertissement. In general, any light and amusing piece, usually instrumental, whether comparatively artless or a form of skillful salon-music, especially if used in a variety in connection with other music. Specifically, in the opera, any entertainment inserted without direct relation to the action; an entr'acte; including ballets, many intermezzi, etc. Also, in a fugue or other extended work, an episode, especially if of comparatively light quality. As an extended instrumental form, see Cassation and Serenata. G.
21Divided. Denoting that which is separated (by exception) into two; as divided part or voices, with those who usually play or sing in unison separated into two groups, for a time proceeding independently (marked divisi, with a due or unisono at the end of the passage), and divided stop, in organ-making, a stop that is separated into two parts, treble and bass, with two stop-knobs. G.
23Division. An old name for a passage (or the tone-groups composing it) made up of rapid short tones or notes, so called because utilizing divisions of the beats; a coloratura-passage. Such a passage, if vocal, is executed upon one or a few syllables and on a single breath. G.
25Division-viol, a viol with a fretted fingerboard, especially the viola da gamba.
27Dixit Dominus. An antiphon (from Psalm 110) used in several liturgies at Vespers, and often taken for musical setting.
29The text begins, 'Dixit Dominus Domino meo, sede a dextris meis'; cf. Matt. xxii.44, Mark xii.36, Luke xx.41.
30Do, Doh. See Solmization.
31Doctor of Music. (Mus.D.). See Degrees.
32Dodechordon. A 12-stringed instrument; also called bissex.
33Dodecuplet, Duodecimole. A 12-note group occupying the time of 8; see Note-Groups.
34Dominant. The name for an important central tone in a mode or scale. In the Gregorian system it was the chief reciting-tone, especially for the Psalter, and in the authentic modes was normally the fifth above the final, but in the plagal modes otherwise placed (see Modes). In the modern system it is the fifth above the tonic or key-note (see Scale), serving as a secondary and contrasting harmonic center as compared with the latter (see Harmony). A triad or chord of which it is the root is called a dominant triad or chord, and such chords, with their derivatives, constitute dominant harmony. In an extended work a section in the key of the dominant is called a dominant section. G.
36The duality of structure in modern music that results from using the tonic and the dominant as contrasted centers for both melody and harmony is conspicuous, not only in elaborate forms like the fugue and the sonata, but in almost every form. In conjunction with other dualities, such as major and minor, consonance and dissonance, duple and triple rhythm, etc., it constitutes an inexhaustible source of interest and expressiveness.
38Domra. An old Slavic lute with 3 or more strings, played with a plectrum. It is said to have been made in the 16-17th centuries in three sizes, forming a family. It is the probable ancestor of the modern balalaika.
40Dona nobis. See Agnus Dei.
41Dot. See Notation. G.
42Double. As a noun, a repeat, a variation or an added tone (see below, under verb); also, in an organ, a 16-foot stop, in an opera-troupe, a substitute singer, and (plural), in English bell-ring- ing, changes rung on five bells. As an adjective or prefix, denoting an instrument sounding an octave lower than the standard form; also a tone or note an octave higher or lower than that indicated; also same as duple. As a verb, to perform with the addition of the higher or lower octave of the tone or tones indicated. G.
44For double bar, dot, flat, sharp, etc., see Notation. For double canon, counterpoint, fugue, concerto, sonata, chorus, etc., see the nouns. In playing the violin and similar instruments, double-stopping is the stopping of two strings at once in producing two part effects. In playing the flute and some other wind-instruments, double-tonguing is the production of staccato effects by rapid movements of the tongue-tip.
46Doublé. See Embellishments.
48Double-Bass. The largest and lowest-toned member of the viol-family (except rare forms like the octobass), having either 3 or 4 strings, in the former case usually tuned g3-d2-a2 (Italian usage) or a3-d2-g2 (English) and in the latter e3-a3-d2-g2. It has the flat back and the sloping shoulders of the old viols, but in other respects is analogous to the violin. Also called contrabass or bass-viol. G.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.