Scan 61
The New Encyclopedia Of Music And Musicians, 1929
69 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1F. The alphabetic symbol and name for a certain tone or note and for the scale or key associated with it; see Notation. G.
3As an abbreviation, f stands for forte and ff for fortissimo; also in c. f. for cantus firmus and in pf. for pianoforte, and, in Tonic Sol-Fa notation, f for fah.
5Fa, Fah. See Solmization.
7Fabliau. A Troubadour ballad or romance; hence sometimes taken as the name of a short lyric instrumental piece.
9Faburden. See Faux-Bourdon.
11Fackeltanz. See Dances. G.
13Fagott, Fagotto. See Bassoon.
15Fa-la. In the 16–17th centuries, a dance-like part-song with refrains sung to fa, la or similar nonsense-syllables, probably derived from earlier solo-songs. G.
17Fall. The closing strain or cadence of a melody. Also the hinged part of a piano-top that covers the keyboard; a fly.
19False. Of pitch or intonation, denoting that which is incorrect or inexact; opposed to just or true. Of intervals, especially the octave, fifth and fourth, same as imperfect (i.e., augmented or diminished). In general, in either composition or performance, a tone or note that is incorrect or wrong structurally or in manner of production.
21False Relation, in harmony or counterpoint, the contradictory effect produced when a tone in any part is succeeded in the next chord by one of its chromatic alterations or substitutes (sharp or flat) in another part; also called inharmonic or cross-relation. The contradiction arises from the fact that two such tones imply contrasted tonalities. It is not felt when the passage from one tone to the other occurs in the same part, since thus one tonality passes normally into the other. G.
23Falsetto. The smallest and highest register in the voice, whether male or female (usually applied to the former); so called because, until trained, it is apt to sound unnatural and even grotesque; see Register and Voice. G.
25In ecclesiastical music and in part-singing by men's voices generally, except where boy-choristers are used, parts higher than the tenor are taken by singers who use this register (falsettists or male altos).
27In many cases the skillful cultivation of this register induces marked improvement in the larger registers.
29Fancy. An old name for a short instrumental piece of an impromptu character; a fantasia or fantasy. If contrapuntal, it was usually not based on a derived subject. G.
31Fandango. See Dances. G.
33Fanfare. A prolonged trumpet-call or flourish, as in courtly assemblies, martial exercises, hunting-parties and the like; often introduced into operas and other dramatic works. G.
35Fantasia. Fantasy. Fantaisie. Fantasie. In early instrumental music, a short impromptu or fancy. Later a contrapuntal piece in which imitation was free rather than strict and the form somewhat irregular or even capricious. In modern usage, either a piece founded on operatic or similar themes (like a potpourri or para-
37phrase) or a free composition somewhat like an overture or a symphonic poem, but less regular in form than the former and shorter and less significant than the latter. Also written phantasie, phantasy. G.
39Free Fantasia, in a fugue- or sonata-form, same as development.
41A fugue is often preceded by a fantasia as a prelude. Fantasy-Piece (Fantasiestück, Phantasiestück), a name often used for a brief imaginative or sentimental piece for the piano or other instrument.
43Farandole. See Dances. G.
45Farce. A short play, with or without music, of grotesque or broadly comical character. G.
47The term (meaning 'stuffing') was originally applied to an odd form of canticle, once used at church-festivals, the text of which was a mixture of Latin and the vernacular.
49Faux-Bourdon, Falso-Bordone, Faburden. In medieval music, a general term for discant or rudimentary harmony that consisted mainly of a series of thirds and sixths superposed upon a cantus firmus, but with some deviations from this parallelism for variety and completeness of effect. Later extended to any simple note-to-note counterpoint with considerable, but not exclusive, use of parallel or similar motion. G.
51The upper of the three voices was called the treble and the middle one the men, and the three voices were sometimes covered by the general term sights. one of two readings
52The upper of the three voices was called the treble and the middle one the mena, and the three voices were sometimes covered by the general term sights. one of two readings
54The earliest extant reference to faburdens is in England from the 15th century, but the practice in extemporized part-singing must be much older. It is often thought that this and related practices are to be counted as the initial effort toward true harmony as well as toward simple counterpoint.
56The term sometimes came to be loosely applied to the monotoning of the Psalms and even to a burden or a refrain.
58Feeder. See bellows under Organ and Reed-Organ.
60Feminine Ending or Rhyme. In versification, a line-ending or rhyme with the accent on the penult or antepenult instead of the final syllable. Extended to analogous endings or rhymes at the close of musical phrases, the chief accent preceding the last tone or note. Opposed to masculine ending or rhyme.
62Ferial. In liturgics, denoting that which pertains to any ordinary day or season in the calendar, for which no special office or service is appointed; opposed to festal. G.
64Fermata. See Notation. G.
66Festal. In liturgics, denoting that which pertains to a feast or similar marked day in the calendar, for which a special office or service is appointed; opposed to ferial. Also, in general, pertaining to or in the style of a festival or jubilation of any kind; as a festal march or cantata.
68Festival. In modern usage, a series of large concerts on two or more successive days, employing combined choral and orchestral forces, with eminent soloists and often a guest-conductor, especially such recurrent series as become an institution by being held annually or at some other interval and by attracting hearers from
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