tonguing (tunging)

[Verbal n. of tongue, v.] 1. The act or state of projecting like or as a tongue. The tonguing -in of one series with the other is comQuart. Jour. Geol. Soc., XLVI. 251. plete. tonic used; etc. Single tonguing only is applicable in instruments with a reed, like the oboe and the clarinet, and then operates like the "percu ion" sometimes introduced into the harmonium, while double and triple tonguing are applicable to the flute, the trumpet, etc. The accentuates and tonguing of Mr. Fox's piccolo solo. Boston Daily Advertiser, Oct. 7, 1887. tonguy, a. See tonguey. tonic (ton'ik), a. and n. [F. tonique = Sp. tónico = Pg. It. tonico, W. Mason, Church Music, i. 2. Specifically, in music, of or pertaining to, or founded on, the key-note or tonic.-3. Of or pertaining to tension; increasing tension. The others (muscles], however, are all slightly contracted, and would severally produce motion were they not balanced or out-balanced by their antagonist muscles. This pervading activity of the muscles is called their tonic state. H. Spencer , Prin. of Psychol., § 39. 4. In med., increasing the strength or tone of the animal system; obviating the effects of weakne or debility, and restoring healthy functions; hence, bracing or invigorating to the mental or the moral nature. Goethe says that in seasons of cholera one should read no books but such as are tonic , and certainly in the season of old age this precaution is as salutary as in seasons of cholera. M. Arnold, E ays in Criticism, 2d ser., p. 300. Tonic chord, a chord having the key-note for its root. Tonic pedal, an organ or pedal-point formed on the keynote. - Tonic section, a section or period in the key of the original key-note of a piece, and closing with a tonic cadence. - Tonic sol-faist, one who uses or is expert in the tonic sol-fa system. Tonic sol-fa notation, the form of musical notation used in the tonic sol-fa system. Tones are represented by the initial letters of their solmization syllables, d standing for do , r for re , m for mi , f for fa , s for sol , 1 for la , and t for ti . Higher and lower octaves are represented by superscript and subscript numerals, as ml for the higher mi, or s1 for the lower sol. Time-values are indicated by placing the required letters on a line at proportional distances. The heavy beat or pulse at the beginning of a measure is indicated by a vertical bar, and all other principal pulses by pulse-marks [:]. As these pulses are equal in length, the pulse-marks are placed equidistant from each other, thus (in triple rhythm),::::, etc. A tone filling a pulse is indicated by its initial placed in the space belonging to the pulse. The continuance of a tone from one pulse to another is indicated by a dash filling the space of the second pulse. If a pulse is divided, the half-pulse is marked by a, in the middle of the space; quarter-pulses are similarly marked by a,. The absolute pitch of the key-note is indicated at the outset by its letter-name. Modulations are marked not only by giving the letter-name of the new key-note, but by indicating in each voice-part the syllable-names in both the old and the new keys of the tone on which the transition takes place. Chromatic tones are solmizated in the usual way. The tune "America" ("God Save the Queen"), for example, begins thus: IMG:content-0560.png:[blocks in formation] Tonicsol-fa system, the most extensive and important of the modern systems of cla ifying, explaining, and teaching the facts of music. The system is said to have originated in the efforts of Mi Sarah A. Glover, about 1812, to simplify the proce of teaching music to children. Her experiments were taken up about 1850 by the Rev. John Curwen, and gradually developed into a scientific system. The name of the system indicates two of its fundamental characteristics-namely, emphasis on tonality, with its multifarious interrelations of tones, as the controlling factor in all musical construction, and the use of the Guidon i an solmization as a guide to study, terminology, and notation. Melody and harmony are studied by constant reference to the ideal major and minor scales; and great use is made of a chart of these scales, with their closest relations, called a modulator (which see). Rhythmic and metric facts are similarly referred to ideal for mule. The voice is treated as the chief instrument of musical performance. In order to do away with the arbitrary intricacies of the staff-notation, with its inherent dependence on the keyboard, and to force the mind of the singer to dwell constantly on the tonic qualities of tones, instead of on their supposed distance from each other, a notation has been devised which is now In tonguing the leaves are cut off the portion which has to be brought under ground, and a tongue or slit is then cut from below upwards close beyond a joint, of such length that, when the cut part of the layer is pegged an inch or two (in large woody subjects 3 or 4 inches) below the surface, the elevation of the point of the shoot to an upright position may open the incision, and thus set it free, so that it may be surrounded by earth to induce it to form roots. Encyc. Brit ., XII. 235. 3. In playing on musical wind-instruments, the act, proce , or result of modifying or interrupting the tone by means of a stroke of the tongue, so as to produce a marcato or staccato effect. Tonguing is termed single when but one kind of stroke is used, as if to produce the consonant t over and over; dou ble, when two strokes are used in alternation, as if to producet and k alternately; triple, when three strokes are tonic sol-fa notation.) The remarkable succe of the tonic sol-fa movement, particularly in Great Britain, is due, first, to its insistence on the basal truths of musical science to the exclusion of arbitrary traditions, and, second, to the highly systematic method of teaching these truths which its advocates have elaborated. Its importance is demonstrated not only by its immense popular succe where it has been properly undertaken, but by its unmistakable influence on the terminology and methods of all scientific musical study. Although originally intended to apply only to vocal music, its principles have been extended to certain branches of instrumental music with succe . Tonic spasm, in med., a steady and continuous involuntary muscular contraction enduring for a comparatively long time. It is opposed to clonic spasm, in which the muscles contract and relax alternately in very quick succe ion, producing the appearance of agitation. In tonic spasm, however, there is always a very slow alternate contraction and relaxation. The spasms of tetanus are tonic, those of epilepsy first tonic and then clonic. tonic II. n. 1. In med., any remedy which improves the tone or vigor of the fibers of the stomach and bowels, or of the muscular fibers generally. Tonics may be said to be of two kinds, medicinal and non medicinal. Medicinal tonics act chiefly in two ways: either ( a ) indirectly, by first influencing the stomach and increasing its digestive powers - such being the effect of the vegetable bitters, the most important of which are calumba, camomile, cinchona-bark, gentian, salix, taraxacum, etc.; or (b) directly, by pa ing into and exercising their influence through the blood - such being the case with the various preparations of iron, certain mineral acids, and salts. The non-medicinal tonics are open-air exercise, friction, and cold in its various forms and applications, as the shower-bath and sea-bathing. 2. In music, same as key - note. See also keyl, 7 (b).