anabasis

32 analysis of compound musical sounds ancient signatures by the corresponding key. These ananes (a-na'-nez) Grk. n. various tones blend so perfectly that The name given to the modes or even a trained musician has difficulty tones of the ancient Greek Church, in distinguishing them separately. employed especially from the Ninth When in acoustical investigations it to the Twelfth Century, but also used is desired to determine the component of modern Greek ecclesiastical modes, parts of a given tone, that tone is anapale (a-nap'-a-le) subjected to a test, in principle, re- The Greek wrestling Grk. dance: a dance sembling the test to which a com well calculated to train the body in pound chemical substance is subjected agility and grace. It was danced by when searching for its elements. To naked youths. determine whether a given tone is present in a compound sound it is anapest (an'-a-pest) Eng. n. from Grk. A metrical foot much used, consist only nece ary to bring within range ing of three syllables or notes, the of the sound an elastic body tuned to first and second of which are short, produce the given tone for which the or unaccented, the third long, or acsearch is being made. If the tone be cented. It is derived from the Greek, present the body will be caused to meaning rebounding, and is so called vibrate sympathetically, otherwise it will remain silent. In like manner because it is a dactyl, ' — v w, reevery element of the sound may be versed, w ^ — ', anapest. discovered and by observing the force a napes to An anapest. (a-na-pes'-to) Spa. n. with which they cause the elastic body an arm on i a Grk. n. to sound the investigator may de- Not harmony; di onance; false termine the original strength of each harmony, partial tone. anche (ansh) Fr. n. Helmholtz, born in 1821, and per-_ haps the most noted modern physicist, A reed, such as is in the mouthpiece of a clarinet, oboe, ba oon and was largely instrumental in establish other instruments of that cla . The ing this method of testing or analyzoboe and ba oon are called ins truing compound sounds. He preferred ments a anche double because they to use, as test bodies, hollow gla have a double reed in the mouthpiece. ve els of the correct sizes to produce certain tones. If these are arranged Instruments a anche — reed instrunot far from a vibrating substance ments. It is also applied to the reed in an organ, they will each respond to their corresponding partial and the compound anche d'orgue (ansh d'org) Fr. sound will be analyzed with facility. Any reed stop of the organ; that is, any stop composed of pipes fitted with analytical programs reeds for producing sounds. Programs containing analyses of anche libre (ansh lebr) Fr. and extracts from the compositions Free reed, to be presented, usually with some ancher (an-sha) Fr. v. added memoranda concerning the cir- To put a reed to a musical instrucumstances under which each piece ment. was written and often with a short biographical sketch of the composer. ancia Reed. (an-che'-a) It. n. of anche. Italian form See Programs in the early part of the also anche. Nineteenth Century did not give even ancient flute the opus number or key of a work, See flute, ancient, but only a general title such as, Pre ancient modes The modes or scales of the Greeks lude and Fugue — Bach, which might and Romans. be any of the forty-eight by that com ancient signatures poser, and it was not until the middle Signatures or designations of the of the century that real analytical prokey placed at the beginning of the grams appeared. The development to staff, in which the last sharp or flat their present proportions has been was left out and used when nece ary gradual. as an accidental, that is, a sharp, flat analyzation or natural used elsewhere than at the The act of analyzing, resolving a beginning. These were used by com composition or a compound sound posers in the Seventeenth and Eight in to its elements. eenth Centuries. 52 33 ancilla anemocorde The American History and Encyclopedia of Music - Dictionary