Scan 58
The New Encyclopedia Of Music And Musicians, 1929
44 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1piece designed to be used during the elevation or ostension of the Host in the Mass.
3Eleventh. The interval of an octave and a fourth or a tone or note at that interval. G.
5A chord of the eleventh or eleventh-chord is one ideally made up of a seventh-chord plus a ninth and an eleventh (see Chord).
7Embellishments. In general, any tones added to the essential tones of a vocal or instrumental melody, whether in the design of the composer or at the will of the performer, for decorative or other effect. Some are special forms, designed to elaborate the melody in such a way as to form an integral part of it (such as passing-tones and figurations) and are noted in full with the rest of the melody; most of these naturally bear no specific names. Some are named and have a more or less recognized form, but cannot readily be noted except by a very general sign (such as the portamento). Some have names and a somewhat precise form and method of performance, but are commonly noted by abbreviated signs or, if written out, are expressed in small notes so as to emphasize their subordinate character. It is to this last class that the general term is ordinarily applied; also called abbellimenti, agrémens, fioriture, graces, manieren, ornaments, verzierung.
9The subject of embellishments is not only extensive, but of indefinite boundaries, since melodic embellishment on the one hand shades off into procedures that are commonly regarded as parts of counterpoint and harmony (such as anticipation, suspension, etc.) and on the other touches upon the intricate field of phrasing and the minutiae of expression. It is particularly obscure as regards music for the voice or for instruments without fixed intonation (like the violin).
11In the 16th century, as composition advanced for instruments like the lute and the harpsichord, many characteristic embellishments began to accumulate, some of them doubtless simulating vocal effects and some devised to offset the lack of sustained sonority in these instruments and their rather colorless tone. By the 18th century their use had become a settled system and their proper execution a notable feature of good playing. But with the advent of the piano many of them became obsolete.
13The more important forms now in use are the appoggiatura, with the shorter acciaccatura and the double anschlag (prefacing the tone with one just above, or in the anschlag, with both the one below and that above), the mordent or inverted mordent (varying the attack of the tone by a quick alternation with it of the tone below or above), the turn or back-turn (prefacing the tone by an alternation with it of the tone above and below in a twisted or upward figure) and the trill (the prolonged and rapid alternation of the tone with the tone above). All these, in their several varieties, are understood to occur within the time of the principal tone, the trill taking the whole of that time and the others part of it, and whatever accent belongs to the principal tone is transferred to the embellishment. In some cases, however, effects like the appoggiatura and the turn, follow, instead of precede, the principal tone, being then unaccented (cf. the German term nachschlag as opposed to vorschlag).
15No attempt is here made to describe or even to list the multitude of harpsichord-graces that at one time constituted the niceties of execution (a convenient summary is given in Baker's Dict. of Musical Terms, 1900, art. 'Graces'). Some, like the backfall, were related to the appoggiatura; some, like the beat, belonged to the extensive mordent class; many, like the cadence, utilized some variation of the turn; and many more, like the relish, spread alternating tones into more or less of a trill. It should be noted that fredon is a rather inclusive term for any elaboration of a tone by a roulade or trill. Praller or pralltriller usually means an inverted mordent.
17For most of these there were manifold signs in the older keyboard-notation, the exact interpretation of which by players naturally formed a considerable part of the discipline of harpsichordists and clavichordists. Many of them were also carried over into organ-music, though others were there quite inapplicable.
19Embouchure. Same as mouthpiece. Also, in playing certain wind-instruments, the adjustment of the player's lips to the mouthpiece. G.
21Emphasis. Accent or stress. Also extended to the special distinction or prominence of a tone, chord or figure in phrasing or interpretation, whether by stress, prolongation, quickened approach or a slight pause before or after.
23Encore ('Again!', like the French 'Bis!'). The recall of a performer by prolonged applause or the music performed in response to such a recall. G.
25Originally a vocal exclamation (in use in England as early as 1711), but rarely so used now.
27Ending. See Cadence, Inflection, Coda, etc.
29English Horn. The tenor-oboe or cor anglais; see Oboe.
31English Violet. A form of viola d'amore with 14 sympathetic strings. Also a name for the obsolete tuning of the violin e1-a1-c-a.
33Engraving, Music-. See under Printing. G.
35Enharmonic. In modern usage, denoting certain facts or relations that are theoretically distinct, but in the nomenclature and notation based upon the keyboard practically identical. It is applied in two ways:
37(a) emphasizing the practical identity, as enharmonic tone or chord, a tone or chord on the keyboard that may be noted in two or more ways and thus be melodically and harmonically related differently, and enharmonic change or modulation, one that effects a theoretical altered harmonic relation and procedure simply by changing the naming and notation of a tone or chord without changing its actual sound on the keyboard.
39Thus on the keyboard a single digital serves as both g-sharp and a-flat, and may be regarded enharmonically in either way, but with diverse harmonic relations. Thus, also, the seventh-chord on the seventh degree on any minor key on the keyboard may be regarded enharmonically (by changes of naming and notation) as a similar chord in any one of three other keys and may be used as the first step in a remarkable variety of modulations. These are but single illustrations of numerous applications of the enharmonic conception that accompanies the practical use of the 12-toned scale of the keyboard.
41(b) emphasizing the theoretical distinction, as enharmonic scale, a scale that includes many or all of the theoretic tones that on the keyboard are represented by but 12 digitals, and enharmonic organ or piano, an organ or piano that aims to represent part or all of such a scale by having more than 12 digitals to the octave. G.
43Ensemble. In general, the total effect of a composition as a whole or of any combination of performers, vocal, instrumental or both. Specifically, a particular combination of voices, as in a chorus, choir, quartet, trio, etc., or of instruments, as in an orchestra, band, quintet,
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