Scan 84
The New Encyclopedia Of Music And Musicians, 1929
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1Instruments with a keyboard, like the piano and organ, are instruments of fixed intonation because the pitch of the tones produced cannot be changed at the will of the player, while a violin, for example, is an instrument of free intonation, the pitch of the tones being determined by the player's preliminary tuning and by 'stopping.'
3In Gregorian music, the two or more tones at the opening of certain melodies that lead up to the reciting-tone or recitation.
5The intonation is usually sung by the priest alone, the choir joining in the recitation. Its form varies with the mode used, with the text or with the season.
7Intone, Intoning. The delivery of words with musical tones, but more after the general fashion of speech than after that of song, especially if largely or wholly in monotone. See Cantillation and Chant. G.
9Intrada. An instrumental piece designed to accompany the entrance of distinguished personages or a procession at a civic or social function; an entrée. Hence the prelude or introduction to a play or opera or to some scene in such a drama. Hence, also, an introductory movement in a suite or similar work. G.
11Introduction. A passage or movement at the beginning of either a vocal or instrumental work that leads up to its first principal division; a prelude or overture; cf. intrada. G.
13Introit. The psalm or antiphon with which the Roman Mass properly begins. Hence an introductory sentence, anthem or hymn sung at the opening of a service, whether or not that of the Communion. G.
15The text of the introit varies with the day. Formerly a whole Psalm was used. It is followed by the Gloria Patri, after which the introit is repeated. The usage in the Greek Church is more elaborate. Other names for the introit are ingressa (Ambrosian use), prælegere (Gallican) and officium (Mozarabic, etc.); sometimes, also, invitational (old Roman).
17Invention. A short instrumental piece, usually contrapuntal, in which a single figure or theme is treated without much elaboration, after the manner of an impromptu or a study. G.
19Inversion. The process, act or result of altering the form or disposition of an interval, chord or subject by transposing one or more of its tones. G.
21When an interval is inverted by transposing one or the other of its tones an octave, it becomes another interval. Thus a fifth and a fourth are mutually inversions of each other. Perfect intervals remain perfect in inversion, but major intervals become minor, augmented become diminished and vice versa.
23A triad or chord is said to be inverted when any of its tones other than the root is at the bottom. The disposition of the tones in the upper parts is immaterial. When the third of the chord is at the bottom, the chord is said to be in the first inversion (otherwise called second position or chord of the sixth). When the fifth is at the bottom, it is in the second inversion (third position or chord of six-four). In the case of seventh-chords, the second and third inversions also bear the names of chords of six-five and six-four-three (or four-three) respectively, while the third inversion (with the seventh at the bottom) is also called the chord of the second (or of six-four-two or four-two). Inversion may also be predicated of ninth-chords, etc. See Chord, Triad and Thorough-Bass.
25In counterpoint, a subject is said to be inverted when it is repeated with its upward steps taken downward and vice versa, the imitation being then by inversion or by contrary motion. In double counterpoint (with two subjects that appear together), inversion consists in transposing one across the other by an octave or other interval, so that the upper becomes the lower and vice versa. This latter is known as invertible counterpoint. See Counterpoint and Imitation.
27An inverted organ- or pedal-point is one that occurs in some other than the lowest voice-part.
29Invitational. An old name for introit. Also any antiphon or formula of exhortation to praise, such as the Venite (Psalm 95) or the versicle and response 'Praise ye the Lord', 'The Lord's name be praised.'
31In the Roman Church the antiphon preceding the Venite is also called the invitational, and in the Greek Church the antiphon 'O come, let us worship,' preceding the Psalms.
33Ionian Mode. See Mode and Gregorian Music. G
34Italian Sixth. See Sixth.
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