Scan 76
The new encyclopedia of music and musicians, 1929
56 lines. Read by computer on 16 September 2026. Printed page 60. See the scan on archive.org.
1MEDIEVAL NAMES
25. Lydian F g a bc d ef
36. Hypolydian c d e F g A bc
47. Mixolydian G a bc D ef g
58. Hypomixolydian d ef G a bc d
69. Aeolian A bc d Ef g a
710. Hypoaeolian ef g A bc d e
811. Ionian C d ef G a bc
912. Hypoionian g a b C d Ef g
11GREEK NAMES
12Hypolydian
13Iastian
14Aeolian
15Lydian
17Plain-song, being in one part only and seldom exceeding a range or ambitus of an octave, has always contented itself with one of the simpler varieties of the staff-notation. The traditional usage is to employ only two or at most three shapes of notes, ♩ ♪ ♫ (roughly indicating the relative length or quantity of the tones), placed upon a 4-line staff, the pitch-significance of which is fixed in each particular case by means of a c-clef (or sometimes an f-clef with a ♭ on the b-degree) that is located on whichever line brings the given melody best within the staff. As there is no regular rhythm, there are no frequent bars, but the end of phrases is marked by bars or checks.
19The Gregorian system is the only prescribed form of music in the Roman Catholic Church. It has been extended until it covers the entire body of verbal formulae that have a musical rendering, whether belonging to the Missal or to the Breviary. From the 14th century onward, however, the unisonous plain-song has been freely supplemented by polyphonic settings of the larger and more striking texts, at first and still characteristically a cappella, but more or less susceptible of being instrumentally supported. Beginning in the 18th century, a tendency began to set masses, canticles and motets in forms more or less dramatic, at least utilizing the varied resources of elaborate concert-music. This entire tendency, which grew stronger during the 19th century and often ran to questionable extremes, was checked in 1904 by the Motu proprio of Pius X, ordaining that thereafter only plain-song and the purer and stricter forms of choral music were to be permitted (by choirs of men and boys only).
21Following the revision of the Missal and the Breviary by the Council of Trent in the later 16th century, the entire apparatus of musical service-books was codified in the so-called Editio Medicea (completed in 1614), which has remained standard until recently. Though supported by strong traditions and at times made the object of critical elucidation by many learned scholars the historic validity of this has been attacked and at last overthrown by a species of 'higher criticism,' instituted from about 1860 by the Benedictines of Solesmes. These investigators have demonstrated that the modern usage of the Church in its plain-song does not fairly correspond with the facts of medieval usage, and their position has proved so well supported by evidence that a complete revised edition of the musical service-books, called the Editio Vaticana, was set on foot in 1904.
23It remains to add that the great body of plain-song melodies naturally became the treasury whence were drawn the subjects or themes most used during the entire polyphonic period (14–17th centuries) for contrapuntal treatment. From these melodies, also, were derived directly or by imitation some of the chorale-melodies, or phrases in them, that began to be made in the 16th century for the Psalms and hymns of Protestantism. At many times during subsequent periods composers of various schools have repeatedly utilized them further, either after the ancient choral fashion or for purposes of instrumental development. When used in counterpoint or harmony some retention of their peculiar modality is necessary if they are to preserve their distinctive character. Only as they are thus kept apart from modern forms and idioms do they fully maintain their historic quality as a sort of musical 'Scripture' which needs only to be quoted to be reverenced.
25Groove. In organ-making, one of a series of channels or passages above a wind-chest into which open the valves or pallets operated by the keys of the keyboard and from which compressed air or 'wind' can be distributed to the pipes belonging to those keys. Each groove serves only pipes belonging to a single key. When its valve is open, these pipes sound so far as the sliders of the stops to which they belong are drawn. See Organ.
27Ground. A subject or theme for contrapuntal treatment; a cantus firmus. G.
29When a theme of 4-8 measures is used in consecutive repetitions as the bass of a composition, it is called a ground-bass, fundamental bass, basso ostinato, pes, etc. Such a bass is characteristic of the chaconne and the passacaglia.
31Group. A small set of rapid tones or notes, especially such as appear in certain embellishments and forms of figuration; sometimes called gruppetto; a compound grace-note. Also one of the deviations from regular rhythmic subdivision; see Note-Groups. Also a division or section of a band or orchestra, comprising instruments of some one kind, as the wood-wind group.
33Guaracha. See Dances.
35Gudok. An old Russian viol with three strings, somewhat resembling a 'cello.
37Gue. An old form of viol with two horsehair strings, played like a 'cello, once used in the Shetland Islands.
39Guida. In counterpoint, same as subject, dux, antecedent, etc.; see Canon and Fugue. Also, in notation, same as direct or as presa.
41Guide. See Analytical Program.
43Guide-Main. See Chiroplast.
45Guidonian Hand. A mnemonic or pedagogic device, attributed to Guido d'Arezzo (11th century), consisting of a hand-shaped diagram, marked at the tips and joints of the fingers with the syllable-names used in the hexachord-system. cf. Aretinian Syllables. G.
47Guilds, Musicians'. See Meistersinger, Minstrel and Town-Musician.
49Guitar. An instrument of the lute-class, in its typical form associated with Spain, but related to similar forms elsewhere, having an 8-shaped body with flat front and back, a rather broad fretted neck and usually 6 strings (3 of gut and 3 of silk overspun with silver wire), the normal tuning being e₂-a₂-d₁-g₁-b₁-e and the compass 3 1/2 octaves. The pitch can be raised a semitone by a capotasto, facilitating the use of certain keys. The music is written an octave above the actual pitch. G.
51It is supposed to be of Oriental origin, introduced into the West by the Moors. It became extremely fashionable throughout Europe in the 18th century. Old instruments often have ten or more strings, tuned in pairs. Most Italian forms have wire strings. In Portugal the small 4-stringed machete, tuned an octave higher, is the popular form. Guitars differ from mandolins in being played by the fingers alone.
53Gusla. A Serbian viol, having a bowl-shaped body of hollowed wood, a belly of parchment and a single string of horsehair.
55Gusli. An old Russian instrument of the zither-class, sometimes with but 5–7 strings (somewhat like the Finnish kantele), sometimes with larger dimensions and 18–32 strings (in the 14–15th centuries known as the gusli-psaltyr), and (in the 18th cent.) also made with a keyboard and a form like that of the clavichord.
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