endymatia

A cla of(en-dim-a'-sha) sacred dances Grk. of ancient englische Mechanik (eng'-lish-S raakhan-ek') Ger. Greece. The dancers were clothed in English action, applied to pianos. very brilliant tunics and performed at English concert pitch private and public entertainments. The pitch generally adopted in Eng- Though these dances were at first land, after some discu ion, in 1896. sacred to the gods they lost in time According to this pitch A on the secmuch of their sacred character. Their ond space of the G clef has 439 double origin is supposed to have been vibrations per second at a tempera founded on the Egyptian dances and ture of 68° Fahr. or 435 double vibratheir style was grave and impre ive. tions per second at a temperature of energia (en-er-je'-a) It. n. 59° Fahr. This pitch has since been Energy; force, adopted by all musical bodies in Engenergicamente (en-ar-ji-ka-men'-te) land except the military bands. It. adv. English fingering Energetically; forcibly. Abbr. eners. The system of marking piano-music, in which the notes for the thumb are energique (en-er-zhek') Fr. adj. designated by the sign X or + and Energetic; vigorous, the notes for the fingers by 1, 2, 3, 4. energisch (en-er'-zhish) Ger. adj. Sometimes called American fingering. Energetic; vigorous, enfant de choeur (an-fafi du kiir') Fr. English horn Choir-boy. A meaningle name which has been enfasi (en-fa'-ze) It. n. given the alto oboe or cor anglais. Emphasis. The real name doubtle should be enfaticamente (en-fa-ti-ka-men'-tS) It. angle horn and is derived from the adv. angle which the tubes of the older Emphatically. instruments described. The French enfatice (en-fa'-ti-ko) It. adj. adjectives " angle " meaning angle and Emphatic. " anglais " meaning English, having enfiatamente (en-fe-a'-ta-men'-te) It. been confused. Now, however, the adv. tube is straight. Proudly; ostentatiously. enguichure The mouthpiece (an-ge-shiir') Fr. n. horn, of a hunting enfler (an-fla') Fr. v. enharmonic To increase the tone; to swell. eng (engk) Ger. adj. 1. The early history of Greek music Narrow, close, compre ed: said of is enveloped in great obscurity and (a) the stretto in fugue (b), narrow, the earliest indications of a regular sys straight organ-pipes, tem are found in the little that can be enge Ger. Harmonie (engk'-e har'-mo-ne') discovered concerning the poet-musician, Olympus, who lived about 1400 Close harmony: that is when the B.C. It is comparatively certain that voice-parts lie close together. the Greeks had three kinds of scales, 206 187 enharmonic enharmonic modulation two of them corresponding to our and a chromatic semitone; approx i two, the diatonic and the chromatic, mately a quarter tone. Theoretically the first having eight tones and the it is the difference between F sharp second thirteen tones in an octave. The and G flat which can not be observed third, however, was termed enharon the piano or the organ, the two monic and its introduction was attribtones being represented by the same uted to Olympus. Very small inter black key as the pitch of each tone on vals were employed in this scale, their these instruments is prearrangd by extent being about a quarter tone. the maker. The difference, however, 2. In modern music enharmonic can be expre ed on the violin or by refers to a system that is theoretical the voice as in these cases the pitch rather than practical. It pertains to may be altered any degree at the will notes named and written differently, of the player or singer, but sounded alike, as F sharp and G enharmonic genus flat. In theory these notes are dis- That method of dividing the octave tinct, being separated by a small in which the tones used are le than interval, le than a semitone, but on semitones; that is, approximately the major it' of keyboard instruments quarter-tones.intervals enharmonic and, in fact, all instruments except those of the viol tribe, intervals 1. Intervals which produce exactly smaller than a semitone are not con the same sound but which may be sidered and as a result the interval called by different names, or may be between F natural and G natural is differently described. For example, divided almost in half, and the tone the interval from C to E flat is called occurring at this interval serves as a minor third; but if instead you both F sharp and G flat. There are, should describe that same interval as however, organs and pianos on which reaching from C to D sharp, then the the smaller intervals are observed, interval would be called an extreme but the practice requires so much second, yet in both cases the same more extensive a keyboard that such sound is produced to the ear. Again instruments are not practicable. In any note may have at least three instruments of the viol family the names; for example, G may be exact pitch of each tone is not fixed described as the double sharp of F, by the makers as it is in other instruor the double flat of A. ments, and the performer is allowed 2. In the old Greek scale an ento observe intervals smaller than a harmonic was an interval of le than semitone. In vocal performance the a half step. Such intervals are po ame is likewise po ible. Equivalent sible even now in instruments like the to enharmonique (Fr.) and enharviolin or trombone where there are monisch (Ger.). no fixed keys or frets and the interval enharmonic change depends on the ear of the player. Writing a chord in two ways so as enharmonic keys to change the notation, but not the All keys on the keyed instruments sound, as Ct, E, G, Bb, on a keyboard in general use are enharmonic keys, is identical with C#, E, G, A*, both in because the same digital may be used relative position and pitch, for a flat or a sharp of the note just enharmonic chords above or below it. Some musicians con- Chords which are alike in pitch and tend that the difference between C sound but are written differently. For sharp, for example, and D flat should instance, a chord composed of C be expre ed on a keyboard, and keyed sharp, E, G and B flat on the piano instruments have been devised with or organ is played on the same keys more than the usual twelve keys as a chord composed of C sharp, E, G (seven white and five black), to the and A sharp, B flat and A sharp being octave. Instruments having such keys identical on the keyboard. However, are called enharmonic instruments. the first chord belongs to one key enharmonic modulation and the second to another key. Con- When two chords are formed by the sequently the use of the individual same combination of tones, but in chords depends upon the key in which which the notes may be called dif a composition is enharmonic diesis written, ferent names, these chords are said to be enharmonic; for example, the two The difference between a diatonic chords C, D sharp, G, C, and C, E 207 188 enharmonic modulation Entschlie ung flat, G, C, produce exactly the same a phonautograph attachment to a sound, but the second tone may be piano. A phonautograph is an instrucalled either E flat or D sharp. Such ment for registering the vibration of a change in the names, yet producing a sounding body. Same as music no change of tone, is called enharrecorder. monic modulation. ensayo (en-sa'-yo) of aSpa. n. enharmonic organ The rehearsal piece, A reed organ invented by an A meri ens eigne ment can, H. W. Poole, in 1848 and fur- Instruction; (an-san-mat i') information, Fr. n. nished with enough keys to produce ensemble (an-san-bl) Fr. n. all tones of the untempered scale, that The union of all the performers in a is, a sharp and a flat for each white concerted composition, as in a chorus key as opposed to those keyboard with full orchestral accompaniment, instruments which give only the ensemblestiick (afi-san-bl-stiik') tones of the tempered scale, such as A term made up of the French word, the pipe organ and the piano, in which ensemble, meaning together, and the only one chromatic key serves as the German word, stuck, meaning piece. sharp of one key and the flat of the A piece of concerted music. key next above, enharmonic relation entgegen (ent-ga'-khen) Ger. The relation existing between two entgegengesetzt setzt) Ger. ( ent-ga'-khen-ghechromatics or semitones, when by Opposite, as applied to motion, lowering one or raising the other, they become identical. enthousiasme (an-too-ze-asm') Fr. n. enharmonic scale Enthusiasm us Ger. n. ( en-too-zi-as'-moos ) A scale having more than twelve Enthusiasm. tones to the octave; a scale proceeding by intervals smaller than semitones, enthusiastisch adv. (en-too-zl-as'-tish) Ger. that is approximately quarter tones, Enthusiastically.