Scan 35
The new encyclopedia of music and musicians, 1929
44 lines. Read by computer on 16 September 2026. Printed page 19. See the scan on archive.org.
1the orchestra died out. A cappella singing, however, had long been led in many cases by means of a roll of paper (the sol-fa).
3Battement. See Embellishments.
5Batterie, Battery. The name of special instrumental effects, as (on the harpsichord) a chord quickly repeated for emphasis or a series of broken chords, or (on the guitar) striking the strings instead of twanging them, or (on the snare-drum) a rapid roll. Also collectively for the percussive section of an orchestra or band. G.
7Battuta. Literally, a beat or pulse, but usually the down-beat marking the measures; hence a battuta, in strict rhythm (opposed to colla parte), or in ritmo di tre battute, the measures grouped in threes, etc. G.
9Beaked. Denoting a mouthpiece that resembles a bird's beak, as in the clarinet, recorder, flageolet or other wind-instrument with a straight tube that is held vertically.
11Beat. One of the units making up a measure or musical 'foot'; a pulse (both terms being derived from the analogy of the heart-beat). The distinction between measures and types of rhythm lies in the number of beats held together in groups by means of primary and secondary accents, and by the placing of accents in the group. See Accent, Measure, Rhythm and Time. Also a motion (usually of the hand) by which the tempo and measure is indicated, a chief accent being marked by a down-beat, a secondary accent by a side-beat and unaccented pulse by a up-beat (if preceding a down-beat) or a repetition of the motion just made—the whole action being the act or process of beating or marking time. Another similar process is that of mentally or vocally counting time (numbering the beats in a measure from 'one' onwards). Also applied to one or two forms of trill; see Embellishments. G.
13Beats. In acoustics, the pulsating sound made when two tones that are not quite in tune are sounded together. As the two tones are made to approximate, the beats grow slower and when the two are 'in tune,' they disappear. G.
15Bebization. See Solmization.
17Bebung. In clavichord-playing, a slightly wavering tone-effect effected by rocking the finger on the key so as to impart a pulsating pressure to the tangent, at the same time prolonging the tone. Also applied to analogous effects on other keyboard-instruments and to the vibrato imparted to a string on the violin or similar instrument by rocking the finger in 'stopping.' G.
19Bel Canto. The vocal method or style associated with the singing of the Italian school, especially of the 17th–18th centuries, in which beauty and finish of tone and delivery were more prized than declamatory or dramatic effect.
21Bell. A metal instrument, variously shaped and hung, sounded by striking, especially one in a church-tower to mark the hour or to announce services. Church-bells are regularly shaped like an inverted circular cup, but with a flaring mouth, having a pendent clapper inside or a hinged hammer outside (or both). If hung on a pivoted beam with a wheel attached, a bell may be swung until sounded by the falling of the clapper against the rim, and is then said to be rung, whereas if it remains stationary and is struck by clapper or hammer, it is said to be tolled. In any case, a given bell yields but one tone, the pitch and quality of which varies with the alloy of the metal, the size and weight and especially the relative thickness of the sound-bow (the thickened part of the rim). To secure melodic effects, several bells of graduated size are united in a peal, chime or carillon, the number ranging from 3 to 50 or more. G.
23Change-ringing is the process of sounding a set of bells in regularly-changing order without regard to a set tune, while, with a set covering an octave or more, tunes may be rendered as far as the actual scale permits. Bell-ringing as an art has been specially cultivated in the Low Countries and in England. The art and the whole body of knowledge connected with it is campanology (from the Latin campana, whence also the architectural term campanile). The use of large bells has also been notable in Russia.
25Bell-ringing has been variously effected, sometimes (where several bells are sounded by swinging) by having a ringer for each bell, sometimes by some sort of barrel-mechanism, automatically operating, and sometimes by means of a keyboard or lever-board. The player is called a bell-ringer or carillonneur. A piece especially adapted to bells is sometimes called a carillon.
27Bell-founding is a specialized industry. The main constituents of bell-metal are copper and tin (roughly in the ratio of 3 to 1), though some zinc, lead, iron and even other metals have also been used. Bells as found in the ethnic field are of various composition, as well as of various shape.
29Sets of small bells have been used for amusement or concert-purposes, often with much effect. In some cases a group of players has been tried, each sounding but one or two bells. In others, the series is so mounted as to be operated by a single player, sometimes by means of a keyboard. Recently fine results have been secured by sets of metal-tubes used as bells in church-towers, as an orchestral accessory and especially as an organ-stop. Single bells have long been used for occasional effects in operas and orchestral works. Any sort of mechanical device for such purposes is termed a glockenspiel or bell-piano.
31The term bell is also used for the flaring mouth of any wind-instrument, whether small (as in the clarinet) or large (as in the horn and other brass-instruments).
33Bellows. See Organ and Reed-Organ, also under Bagpipe. G.
35Bell-Piano. See Glockenspiel.
37Belly. The front of any instrument of the lute- or viol-classes, that face of the resonance-box over which the strings are stretched. Also, in the clavichord, harpsichord and piano, the soundboard (q. v.). G.
39Benedicite. A canticle, or its musical setting, early adopted for church-use and used in the Anglican liturgy as an alternative for the Te Deum in Morning Prayer. G.
41Its text comes from the Greek expansion of Dan. iii, where it is ascribed to Shadrach, Meshach and Abednego (whence often called 'The Song of the Three Children'). The first words are 'Benedicite, omnia opera Domini'; each sentence ends with the hortation 'Laudate eum, etc.'
43Benedictus. The section of the musical Mass that follows the Sanctus and precedes the Agnus
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