Scan 60
The New Encyclopedia Of Music And Musicians, 1929
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1trinsic artistic interest or sentiment that its purely technical quality is subordinate; if elaborate, often called a concert-étude. G.
3The distinction between an étude and an exercise lies in the full development of the former as a piece of lyric composition. But the distinction between the technical and the characteristic étude is not always easy to enforce. Furthermore, many short pieces that are called by other names might well be termed études, just as some notable études might be called characteristic pieces, impromptus, etc.
5Études or studies have been written abundantly for almost all the leading instruments, notably for the piano and the violin.
7Euharmonic. In acoustics, denoting tones, intervals, harmonies or instruments in pure or just intonation; opposed to tempered.
9A euharmonic organ is one fitted with more than 12 keys to the octave and tuned so as to yield scales and chords in purer or juster intonation than is possible on an ordinary instrument. See under Enharmonic.
11Euphon, Euphonium. Same as clavicylinder. Also a name for the bass-saxhorn or tuba. G.
13Even Notes, Even Tones. Notes or tones of the same time-value.
15Even-song. In the Anglican Church, an office or service for the late afternoon or evening; Evening Prayer. It corresponds in part to the Roman Catholic office of Vespers.
17Evirato. See Castrato.
19Evovae (a bastard word made up of the vowels of the words 'seculorum amen'). In Gregorian music, one of the tropes or cadential formulae used at the end of the Gloria Patri or Less Doxology (of which the above are the final words); also extended to any other analogous trope. Cf. aevia. G.
21Execution. In general, the method of using the voice in singing or the fingers, hands, etc., in playing so as properly and effectively to realize the mechanical process in detail that is intended or desired; the technique of performance. Also, specifically, the particular method or procedure used in performing a given piece or passage. The term is often used with special reference to accuracy, dexterity and the ability to overcome technical difficulties.
23A performer, especially on an instrument, is often called an executant.
25Exercise. A short figure or passage for the voice or an instrument pedagogically devised so as to advance a pupil's technique by strengthening his muscles, developing his skill by studious iteration and thus freeing his attention from elementary difficulties. Also a problem or piece of practice in harmony, counterpoint or composition, usually set in the form of a single part to which other parts are to be added or a formula or outline to be filled out. Also, in England, the technical name for a composition submitted in application for an academic degree.
27Though an exercise may be truly musical in structure, its brevity and its lack of artistic purpose keep it distinct from the étude (q.v.).
29Exotic Music. See Ethnic Music.
31Exposition. Specifically, in forms like the fugue and the sonata, that section at the outset in which the subject or subjects are set forth or proposed. G.
33Expression. In general, in all forms of fine art, the process, act or result of bringing into definite form and actual realization that which the artist's mind has conceived and projected. In music, however, usually applied specifically, not to the composer's act of original production, but to the performer's act of reproduction. Hence the process and method of putting into tonal effect by means of singing or playing the form and matter of a composition, as conceived and noted down by the composer or editor and as understood by the performer, with special attention to the expository display of its aesthetic and emotional content through judicious and skillful shading, phrasing, dynamic contrast, choice of tone-quality and the like. Signs intended to guide the performer in these regards are called marks of expression or expression-marks, some having to do with tempo or pace, some with loudness or intensity, some with general style or emotional attitude, etc.; see Terms of Performance. G.
35In ordinary usage, expression lies between execution and interpretation, being higher and broader than the former and more external and material than the latter, though blending with it. Facile execution may occur without adequate or effective expression and a brilliant and even moving expression may be an imperfect and unsatisfying interpretation. The three unite to form the art of performance. See Interpretation.
37In the harmonium, the expression-stop is a knob which, when drawn, closes the escape-valve on the bellows, so that the wind-pressure and the tone-intensity may be directly controlled by the pedaling.
39Expressive Organ, Orgue Expressif. Same as harmonium.
41Extemporize. See Improvise. G.
43Extended. Denoting that which is longer or more spread out than is usual or typical; as extended compass, interval, etc. Extended harmony, same as open or dispersed harmony. Extended position, in piano-, organ- and violin-playing, a hand-position with the thumb, forefinger or little finger stretched out sidewise; extension.
45Extraneous. Denoting that which is outside of or additional to what is usual or standard; as extraneous chromatics, chromatic signs or the pitches and tones they denote that are not required by the original key; extraneous modulation, a modulation into a remote or unrelated key.
47Extravaganza. A whimsical, farcical or fantastic instrumental piece; a burlesque or caricature. G.
49Extreme. In harmony, same as augmented (of intervals) or remote, extraneous (of keys and modulations).
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