Scan 83
The New Encyclopedia Of Music And Musicians, 1929
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1ing impulse both within and without the circle of European culture. These greater museums, with their catalogues and the many technical discussions that they have stimulated, have set the whole subject in its true place as one of the significant branches of ethnological craftsmanship, quite aside from its special interest to the musician. In addition to these permanent collections, many temporary exhibitions of instruments have been arranged, sometimes as features in international expositions. G (Musical Instruments).
3Of the many permanent collections now found in different parts of the world (more than 100 in all), the following are probably the most important because of scope and classification (some notes added as to date and author of catalogues, if published):
4Paris (Conservatory): Chouquet, Pillaut, 1884–94.
5Brussels (Conservatory): Mahillon, 1893–1912.
6Berlin (Royal Collection): Fleischer, 1892.
7Vienna (Musikfreunde) (Imperial Museum): 1901.
8Cologne (Heyer Museum): Kinsky, 1910–12.
9Copenhagen (Industrial Museum): Hammerich, 1911.
10London (So. Kensington): C. Engel, 1874; (Royal College of Music).
11Munich (Nat. Museum): Bierdimpfl, 1883.
12Petrograd (Conservatory): 1884.
13Moscow (Conservatory).
14Stockholm (Museum): 1902.
15Milan (Conservatory).
16Rome (Accad. S. Cecilia).
17New York (Metro. Museum): Brown, Morris, 1902–14.
18Washington (Nat. Museum).
19Ann Arbor (Univ. of Mich.): Stanley, 1918–21.
21Among the special exhibitions, the most notable have been those at London in 1872, 1885, 1890, 1900 and 1904, at Paris in 1878, 1889 and 1900, at Milan in 1881, at Bologna in 1838, at Vienna in 1892 (the largest of all), etc.
23Instrumentation. The art, process or result of composing or arranging music for performance upon instruments, especially for a body or group like an orchestra or military band; orchestration. G.
25In its modern development instrumentation includes the selection of instruments to be employed in a given piece, division or passage, the recognition of the special capacities and limitations of such instruments in the form and distribution of their particular parts, the dextrous use of tone-qualities individually and in all kinds of combinations, large and small, not only with reference to general considerations like clarity of impression, variety and contrast, the building up of climaxes and the like, but so as to display and proclaim with artistic force the general progress of ideas and the train of feeling contained in the conception, and, finally, the reduction of all this to an actual written form or score (scoring).
27The orchestra and the art of orchestration have developed together, each reacting on the other. In the modern sense they may be said to have begun about 1750. But both existed in rudimentary form from early in the 17th century. Certain masters have exerted exceptional influence on the modern development, notably Beethoven, Weber, Mendelssohn, Berlioz, Wagner, Tchaikovsky, Strauss, etc. Progress has been much affected by the perfecting of certain instruments or the extension of their technique, as well as by manifold experiments with their handling and combination.
29Interference. In acoustics, the general name for phenomena arising when two sets of vibrations differing in rate or phase are brought together so as to modify the intensity of the resultant sound.
31Thus two tones of precisely the same pitch and phase reinforce each other, but, if their phase be different, under certain conditions they annihilate each other.
33If they differ in pitch by a small amount, beats result (periodic reinforcements when the vibrations most nearly coincide). The acoustical phenomena are analogous to corresponding optical and electrical phenomena.
35Interior. See Inner.
37Interlude. Same as intermezzo. Also an instrumental passage between the phrases or sections of a song or aria; a ritornello. Also, in church-music, an instrumental passage or piece between the stanzas or verses of a hymn or Psalm or between various exercises in a service; sometimes called a voluntary. G.
39In Germany, interludes are not uncommonly inserted between the lines of a chorale.
41Intermezzo. Originally, an entr'acte or divertissement between the acts of a play. More specifically, a musical play, the acts of which were intercalated between the acts of a serious opera. Also, in instrumental works like the suite, the sonata and the symphony, a movement inserted in addition to the regular or usual series of movements. G.
43In the 16th century intermezzi (or intermedi) were usually madrigals or a song with instruments in madrigal-style. But from about 1615 they began to take on features of a slight and often humorous drama. In either case their topic was disconnected with that of the play or opera with which they were used. Throughout the 17th century they increased in popularity and became a recognized foil or complement of the established opera seria. After 1700 they gave rise to the independent opera buffa, an early and popular example being Pergolesi's famous Serva Padrona (1733). Light or comic operas continued sometimes to be called intermezzi long afterwards.
45Interrupted Cadence. See Cadence.
47Interval. In acoustics and harmony, the difference in pitch between two tones, often called (metaphorically) the 'distance' between them. G.
49Physically, an interval is defined by the ratio between the vibration-numbers of the two tones (for a table of common intervals, see Acoustics), but practically it is customary to use a concrete case as an illustration (usually starting from the tone c). If the relative size of an interval is to be represented visually or in diagram, it must be plotted in proportion to the logarithm of its ratio (see diagram under Scale).
51An interval is harmonic if its tones occur or are considered simultaneously, but melodic if they occur in succession. It is simple if it does not exceed an octave, but otherwise compound (then reducible to simple form by subtracting one or more octaves). It is standard if it corresponds to one of the intervals in the standard major or minor scale; and may be further defined as pure (just) or tempered according to the tuning adopted for those scales. For details as to numerical and other technical names, see Acoustics and Scale.
53In acoustical discussions many more intervals are sometimes required than are recognized in practical harmony. For a list of 120 tones within an octave and their interval-relations with the fundamental tone, see Riemann, Musiklexikon, under 'Tonbestimmung.'
55Intonation. In general, the process, act or result of forming or producing tones with the voice; phonation. Also the method of using the voice in speech or song with reference to pitch and sometimes quality; in part equivalent to inflection. Specifically, vocal or instrumental pitch as related to an exact or ideal standard, being further designated as pure, just or tuer as opposed to tempered or false, or as free as opposed to fixed. See Temperament. G.
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