Scan 59
The New Encyclopedia Of Music And Musicians, 1929
54 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1quartet, trio, etc., or of voices and instruments, as in performances of opera, oratorio and other concerted works. Also the particular effect produced by any such combination. G.
3The term is most used with reference to the union of a small group of soloists for the performance of what is called chamber-music; hence ensemble-music (for chamber-music), chamber-ensemble, etc. Chamber- or ensemble-music differs from orchestral music in using but one player to a part, in limiting itself to a small number of parts, usually all of the viol-family or one or two others, and in being better suited to a small room or hall.
5Entr'acte. An instrumental piece intended or suitable for use between the acts of a play or opera; an intermezzo; formerly known as act-tune or playhouse-tune, when used in the theater. Also extended to a ballet or similar divertissement. See Incidental Music, Intermezzo and Opera.
7Entrée. Specifically, one of the main divisions of an extended ballet, analogous to a scene in an act (of a play), or the music for it. Also, like intrada, an introductory procession in any stage-work, or the music for it, especially as a prelude to a ballet. Also see polonaise under Dances. Occasionally applied to the music for a church-procession. G.
9In the older operas the scene in which the chief singer or singers appeared was called the scène d'entrée and the aria in it the aria d'entrée.
11Entremes, Entremets. Originally, a short play, with or without music, at first on an allegorical or historical subject, later mostly burlesque, popular from about the 13th century and probably the precursor of the modern drama. Later sometimes used for entr'acte.
13Enunciation. See Vocalization. Also the process or result of stating or setting forth a theme or themes, as at the opening of a fugue or a sonata.
15Epic. Denoting a work or passage, literary or musical, in which a topic of exalted and heroic character is developed more or less definitely as a story or narrative, but without the personification, interplay of action and plot-interest of a drama.
17In general, epic art is distinguished from lyric art by it objectiveness, its choice of national, mythical or religious themes of grandeur and its use of elaborate and extended forms. Its musical applications are chiefly in certain oratorios (like Handel's Messiah), cantatas and choral odes, with some symphonic poems and similar instrumental works.
19Epicede, Epicedium. A funeral song; an elegy or lament.
21Epinicion. A song of triumph or victory. Also, in the Greco-Russian Church, a name for the Sanctus.
23Episode. In an extended composition, a passage or section of a parenthetical or digressive character, in some extent interrupting the ordinary succession or development and usually not employing the principal themes. Episodes are particularly noticeable in orderly forms like the fugue and the sonata and are often so treated as greatly to enhance the total effect. G.
25Epistrophe, Epode. A refrain or burden; also any concluding strain or passage that is repeated at the end of successive sections.
27Epithalamium. A nuptial or marriage-song; a piece of wedding-music.
29Equal Counterpoint. Counterpoint in tones or notes of even duration; see Counterpoint.
31Equal Temperament. See Temperament. G.
33Equal Voices. Voices of the same range and quality, those ordinarily singing together on the same part. Also extended to voices of the same sex, either women's or men's collectively; opposed to mixed voices. G.
35Equivocal. Of a chord, of more than one tonal relationship or tendency; referable to two or more keys or tonalities.
37Eroticon. A passionate love-song or an instrumental piece of similar character.
39Escapement. In piano-making, that part of the action which provides for the immediate recoil of the hammer after it strikes the string, independently of whether or not the key is released. This is usually managed by means of a notch on the under side of the hammer-butt into which the hopper slips after giving its impulse. The escapement is said to be double when a second blow of the hammer can be caused without entirely releasing the key; an action so fitted is called a repeating- or repetition-action.
41Essential. Denoting that which is fundamental, necessary or characteristic; as essential harmony, the chord-sequence of a passage, disregarding all irregular features (like passing-tones and suspensions) and all that is decorative (like embellishments); essential tone or note, in an embellishment (like a turn or a trill), the tone belonging to the melody to which the embellishment is added; opposed to auxiliary tone or note; essential seventh, either the same as leading-tone or the dominant seventh-chord.
43Establishment, Musical. See Cappella.
45Estrabillo. See under Villancico.
47Estampida. A form of dance-song or similar instrumental piece used by the Troubadours (c. 1300).
49Ethnic Music. A term sometimes used to designate all music lying outside of the historic domain of European culture, including not only music as found among primitive or nature-peoples, but in civilizations like those of the Hindus, the Chinese, the Persians, etc.; occasionally (and not so happily) called exotic music.
51The need for some term like this did not appear until, in connection with data secured by travelers and missionaries, it began to be realized that the phenomena of song and instruments in all parts of the world were not only curious, but scientifically important, even in cases where they exemplified systems and practices extremely remote from those of European music. For music among peoples of the lower grades of culture, terms like primitive or savage can be used, but these are plainly improper with regard to many forms in southern and eastern Asia.
53Étude. An instrumental piece designed to illustrate a problem or difficulty in the technique of any instrument; a study. Also extended as the name for such a piece having so much of in-
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