See also:

• HARMONIUM (Fr. harmonium, orgue expressif; Ger. Physharmonika, Harmonium)

HARMONIUM (Fr. harmonium, orgue expressif; Ger. Physharmonika, Harmonium)  , a See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

wind See also:

• KEYBOARD, or MANUAL (Fr. clavier; Ger. Klaviatur; Ital. tastatura)

keyboard See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument, a small See also:

• ORGAN

organ without pipes, furnished with See also:

• FREE

free reeds . Both the See also:

• HARMONIUM (Fr. harmonium, orgue expressif; Ger. Physharmonika, Harmonium)

harmonium and its later development, the See also:

• AMERICAN

American organ, are known as free-See also:

• REED
• REED, ANDREW (1787-1862)
• REED, ISAAC (1742—1807)
• REED, JOSEPH (1741—1785)
• REED, THOMAS BRACKETT (1839—1902)

reed See also:

• INSTRUMENTS

instruments, the musical tones being produced by See also:

• TONGUES, GIFT OF, or GLOSSOLALIA (yXwova, tongue, aXeiv, speak)

tongues of See also:

• BRASS
• BRASS (O. Eng. braes)

brass, technically termed " vibrators " (Fr. anche libre; Ger. durchschla.gende Zunge; Ital. ancia or lingua libera) . The vibrator is fixed over an oblong, rectangular See also:

• FRAME

frame, through which it swings freely backwards and forwards like a pendulum while vibrating, whereas the beating reeds (similar to those of the See also:

• CLARINET
• CLARINET, or CLARIONET (Fr. clarinette; Ger. Clarinette, Klarinett; Ital. clarinetto, chiarinetto)

clarinet See also:

• FAMILY

family), used in See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church See also:

• ORGANS

organs, See also:

• COVER (from the Fr. convert, from couvrir, to cover, Lat. cooperire)

cover the entire orifice, beating against the sides at each vibration . A reed or vibrator, set in periodic See also:

• MOTION (Lat. motio, from movere, to move)
• MOTION, LAWS OF

motion by impact of a current of See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air, produces a corresponding successii~ of air puffs, therapidity of which determines the See also:

• PITCH
• PITCH, MUSICAL

pitch of the musical See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note . There is an essential difference between the harmonium and the American organ in the direction of this current; in the former the wind apparatus forces the current upwards, and in the latter sucks it downwards, whence it becomes desirable to See also:

• SEPARATE

separate in description these varieties of free-reed instruments . The harmonium has a keyboard of five octaves See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass when 8va . See also:

• COMPLETE

complete, Oa_ _acraz_and a See also:

• SIMPLE

simple See also:

• ACTION

action controlling the valves, &c . The necessary pressure of wind is generated by See also:

• BELLOWS
• BELLOWS, ALBERT F
• BELLOWS, HENRY WHITNEY (1814-1882)

bellows worked by the feet of the performer upon See also:

• FOOT

foot-boards or treadles . The air is thus forced up the wind-trunks into an air-chamber called the wind-See also:

• CHEST (Gr. Kiarl, Lat. cista, O. Eng. cist, test, &c.)

chest, the pressure of it being equalized by a See also:

• RESERVOIR

reservoir, which receives the excess of wind through an See also:

• APERTURE (from Lat. aperire, to open)

aperture, and permits See also:

• ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape, when above a certain pressure, by a See also:

• DISCHARGE (adapted from the O. Fr. discharge, modern decharge, from a med. Lat. discargare, to unload, dis- and earn care, to load, cf. " charge ")

discharge See also:

• VALVE (Lat. valva, a leaf of a double or folding door, allied to volvere, to roll, as of a door on its hinges)

valve or pallet . The aperture admitting air to the reservoir may be closed by a drawstop named " expression." The air being thus cut off, the performer depends for his See also:

• SUPPLY (through Fr. from Lat. supplere, to fill up)

supply entirely upon the management of the bellows worked by the treadles, whereby he regulates the See also:

• COMPRESSION

compression of the wind . The See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of the instrument is then entirely changed from a See also:

• MECHANICAL

mechanical response to the player's See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch to an expressive one, rendering what emotion may be communicated from the player by increase or diminution of See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound through the greater or less pressure of wind to which the reeds may be submitted . The drawstops bearing the names of the different registers in See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of the organ, admit, when See also:

• DRAWN

drawn, the wind from the wind-chest to the corresponding reed compartments, shutting them off when closed .

These compartments are of about two octaves and a See also:

• HALF

half each, there being a See also:

• DIVISION (from Lat. dividere, to break up into parts, separate)

division in the See also:

• MIDDLE

middle of the keyboard See also:

• SCALE
• SCALE (1) A

scale dividing the stops into See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass and See also:

• TREBLE (a doublet of " triple," three-fold, from Lat. triplus, triple; cf. " double " from duplus)

treble . A stop being drawn and a See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key pressed down, wind is admitted by a corresponding valve to a reed or vibrator (fig . I) . Above each reed in the so-called sound-See also:

• BOARD (O. Eng. bord)

board or See also:

• PAN (" pasturer ")
• PAN (common in various forms to many Teutonic languages, cf. Ger. Pfanne; it is generally taken to be an early adaptation in a shortened form of Lat. patina, shallow bowl or dish, from patere, to lie open)

pan is a channel, a small air-chamber or cavity, the shape and capacity of which have greatly to do with the See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of the note it reinforces . The air in this resonator is highly compressed at an even or a varying pressure as the expression-stop may not be or may be drawn . The wind finally escapes by a small pallet-hole opened by pressing down the corresponding key . In Mustel and other See also:

• GOOD, JOHN MASON (1764-1827)

good harmoniums, the reed compartments that See also:

• FORM (Lat. forma)

form the See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme of the instrument are eight in number, four bass and four treble, of three different pitches of See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

octave and See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double octave distance . The front bass and treble rows are the " See also:

• DIAPASON (Gr. &a raccov, through all)

diapason " of the pitch known as 8 ft., and the See also:

• BOURDON, FRANCOIS LOUIS (d. 1797)

bourdon By See also:

• COURTESY (O. Fr. curtesie, later courtoisie)

courtesy of Metzlet (double diapason), 16 ft . These may be & Co . regarded as the See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation stops, and are FIG.1.—Free Reed technically the front organ . The back organ has Vibrator, See also:

• ALEXANDRE, NOEL (NATALIS ALEXANDER) (1639-1724)

Alexandre See also:

• SOLO, OR SOLO WHIST

solo and See also:

• COMBINATION (Lat. combinare, to combine)

combination stops, the See also:

• PRINCIPAL

principal of 4 Harmonium. ft . (octave higher than diapason), and See also:

• BASSOON
• BASSOON (Fr. basson; Ger. Fagott; Ital. fagotto)

bassoon (bass) and See also:

• OBOE, or HAUTBOY (Fr. hautbois, Ger. Hoboe, Ital. oboe)

oboe (treble), 8 ft .

These may be mechanically combined by a stop called full organ . The See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French maker, Mustel, added other registers for much-admired effects of tone, viz . " harpe eolienne, two bass rows of 2 ft. pitch, the one tuned a See also:

• BEAT (a word common in various forms to the Teutonic languages; it is connected with the similar Romanic words derived from the Late Lat. battere)

beat too See also:

• SHARP, GRANVILLE (1735-1813)
• SHARP, JAMES (1618-1679)
• SHARP, JOHN (1645-1714)
• SHARP, RICHARD (1759-1835)
• SHARP, WILLIAM (1749-1824)
• SHARP, WILLIAM (1856-1905)

sharp, the other a beat too See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat, to produce a waving tremulous tone that has a certain See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm; " musette " and " voix See also:

• CELESTE, MADAME (1815–1882)

celeste," 16 ft.; and " baryton," a treble stop 32 ft., or two octaves See also:

• LOWER

lower than the normal note of the key . The " back organ" is usually covered by a swell See also:

• BOX
• BOX (Gr. irl or, Lat. buxus, box-wood; cf. 2r6Eir, a pyx)

box, containing louvres or shutters similar to a Venetian See also:

• BLIND, MATHILDE (1841—1896)

blind, and divided into fortes corresponding with the bass and treble .division of the registers . The fortes are governed by See also:

• KNEE (O. E. cneow, a word common to Indo-European languages, cf. Ger. Knie, Fr. genou, Span. hinojo, Lat. genu, Gr. ybvv, Sansk. janu)

knee pedals which See also:

• ACT (Lat. actus, actum)

act by pneumatic pressure . Tuning the reeds is effected by scraping them at the point to sharpen them, or near the See also:

• SHOULDER (in O.E. sculder, cognate with Ger. Schulter, Dutch schouder, Swed. skuldra, &c; the root is unknown)

shoulder or See also:

• HEEL

heel to flatten them in pitch . Air pressure affects the pitch but slightly, being noticeable only in the larger reeds, and harmoniums See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long retain their tuning, a decided See also:

• ADVANTAGE

advantage over the organ and the See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte . Mechanical contrivances in the harmonium, of frequent or occasional employment, besides those already referred to, are the " percussion," a small pianoforte action of See also:

• HAMMER, FRIEDRICH JULIUS (1810-1862)

hammer and escapement which, acting upon the reeds of the diapason rows at the moment air is admitted to them, gives prompter response to the depression of the key, or quicker speech; the " double expression," a pneumatic See also:

• BALANCE (derived through the Fr. from the Late Lat. bilantia, an apparatus for weighing, from bi, two, and lanx, a dish or scale)

balance of See also:

• GREAT

great delicacy in the wind reservoir, exactly maintaining by gradation equal pressure of the wind; and the double touch," by which the back organ registers speak sooner than those of the front that are called upon by deeper pressure of the key, thus allowing prominence or accentuation of certain parts by an See also:

• EXPERT (Lat. expertus, from experiri, to try)

expert performer . " Prolongement permits selected notes to be sustained after the fingers have quitted their keys . See also:

• DAWES, HENRY LAURENS (1816-1903)
• DAWES, RICHARD (1708-1766)

Dawes's " See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody See also:

• ATTACHMENT

attachment " is to give prominence 1782 . Meanwhile, in 1780, a countryman of Kratzenstein's, an to an air or treble See also:

• PART

part by shutting off in certain registers all notes organ-builder named Kirsnick, established in St See also:

• PETERSBURG

Petersburg, adapted below it . This notion has been adapted by See also:

• INVERSION (Lat. invertere, to turn about)

inversion to a " pedal 1 these reed pipes to some of his organs and to an instrument of his substitute " to strengthen the lowest bass notes .

The " tremolo " tl invention called organochordium, an organ combined with piano. affects the wind in the vicinity of the reeds by means of small bellows which increase the velocity of the pulsation according to pressure; and the " sourdine " diminishes the supply of wind by controlling its See also:

• ADMISSION

admission to the reeds . The American Organ acts by wind exhaustion . A vacuum is practically created in the air-chamber by the exhausting See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of the footboards, and a current of air thus drawn downwards passes through any reeds that are See also:

• LEFT

left open, setting them in vibration . This instrument has therefore exhaust instead of force bellows . Valves in the board above the air-chamber give communication to reeds (fig . 2) made more slender than those of the harmonium and more or less See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent, while the frames in which they are fixed are also differently shaped, being hollowed rather in See also:

• SPOON (O. Eng. span, a chip or splinter of wood, cf. Du. spoon, Ger. Spahn, in same sense, probably related to Gr. r4 v, wedge)

spoon See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion . The channels, the resonators above the reeds, are not varied in See also:

• SIZE

size or shape as in the har- monium; they exactly correspond with the reeds, and are collectively known as the " See also:

• TUBE (Lat. tuba)

tube- board." The swell " fortes " are in front of the openings of these tubes, rails that open or See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close by the action of the knees upon what may be called knee pedals . The American organ has a softer tone than the harmonium; this is sometimes aided by the use of extra resonators, termed pipes or qualifying tubes, as, for instance, in See also:

• CLOUGH, ANNE JEMIMA (182o-1892)
• CLOUGH, ARTHUR HUGH (1819-1861)

Clough & See also:

• WARREN
• WARREN, GOUVERNEUR KEMBLE (183o-1882)
• WARREN, JOSEPH (1741—1775)
• WARREN, MERCY (1728—1814)
• WARREN, MINTON (1850-1907)
• WARREN, SAMUEL (1807-1877)
• WARREN, SIR JOHN BORLASE, BART
• WARREN, WILLIAM (1812-1888)

Warren's (of See also:

• DETROIT

Detroit, See also:

• MICHIGAN
• MICHIGAN, LAKE
• MICHIGAN, UNIVERSITY OF

Michigan, U.S.) . The blowing being also easier, ladies find it much less fatiguing . The expression stop can have little power in the American organ, and is generally absent ; the " automatic swell " in the instruments of See also:

• MASON, FRANCIS (1799—1874)
• MASON, GEORGE (1725—1792)
• MASON, GEORGE HEMMING (1818–1872)
• MASON, JAMES MURRAY (1798-1871)
• MASON, JOHN (1586-1635)
• MASON, JOHN YOUNG (1799-1859)
• MASON, LOWELL (1792—1872)
• MASON, SIR JOHN (1503–1566)
• MASON, SIR JOSIAH (1795-1881)
• MASON, WILLIAM (1725—1797)

Mason & See also:

• HAMLIN, HANNIBAL (1809-189x)

Hamlin (of See also:

• BOSTON
• BOSTON, THOMAS (1676-1732)

Boston, U.S.) is a contrivance that comes the nearest to it, By courtesy of Metzler though far inferior . By it a swell shutter or & Co. See also:

• RAIL

rail is kept in See also:

• CONSTANT, BENJAMIN (1845-1902)

constant See also:

• MOVEMENT

movement, proportioned FIG . 2.-Free Reed to the force of the air-current .

Another very Vibrator, mason & See also:

• CLEVER

clever improvement introduced by these Hamlin American makers, who were the originators of the instru- Organ. ment itself, is the " vox hurnana," a smaller rail or See also:

• FAN (Lat. vannus; Fr. eventail)

fan, made to revolve rapidly by wind pressure; its rotation, disturbing the air near the reeds, causes interferences of vibration that produce a tremulous effect, not unlike the beatings heard from combined voices, whence the name . The arrangement of reed compartments in American organs does not essentially differ from that of harmoniums; but there are often two keyboards, and then the solo and combination stops are found on the upper See also:

• MANUAL

manual . The diapason treble See also:

• REGISTER

register is known as " melodia different makers occasionally vary the use of See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy names for other stops . The " sub-bass," however, an octave of i6 ft. pitch and always apart from the other reeds, is used with great advantage for pedal effects on the manual, the compass of American organs being usually down to F tFF, 5 octaves) . In large instruments there are sometimes foot pedals as in an organ, with their own reed boxes of 8 and 16 ft., the lowest note being then CC . Blowing for pedal instruments has to be done by See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, a See also:

• LEVER (through O. Fr. leveour, levere, mod. levier, from Lat. levare, to lift, raise)
• LEVER, CHARLES JAMES (1806-1872)

lever being attached for that purpose . The " celeste " stop is managed as in the harmonium, by rows of reeds tuned not quite in unison, or by a shade valve that alters the air-current and flattens one See also:

• ROW, JOHN (c. 1525—1580)

row of reeds thereby . Harmoniums and American organs are the result of many experiments in the application of free reeds to keyboard instruments . The principle of the free reed became widely known in See also:

• EUROPE

Europe through the introduction of the See also:

• CHINESE, JAPANESE AND

Chinese See also:

• CHENG

cheng 1 during the second half of the 18th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, and culminated in the invention of the harmonium and kindred instruments . The first step in the invention of the harmonium is due to See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian Gottlieb Kratzenstein of See also:

• COPENHAGEN (Danish Kjobenhavn)

Copenhagen, who had had the opportunity of examining a cheng sent to his native See also:

• CITY (through Fr. cite, from Lat. civitas)

city and of testing its merits' In 1779 the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy of See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

Science of St Petersburg had offered a See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize for an See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

essay on the formation of the vowel sounds on an instrument similar to the " vox humana " in the organ, which should be capable of reproducing these sounds faithfully . Kratzenstein made as a demonstration of his invention a small pneumatic organ fitted with free reeds, and presented it to the Academy of St Petersburg.' His essay was crowned and was republished with diagrams in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris 4 in i See Allg. musik . Ztg .

(See also:

• LEIPZIG

Leipzig, 1821), Bd. See also:

• XXIII

xxiii. pp . 369-374 . The cheng was made known in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France by Pere See also:

• AMIOT, JEAN JOSEPH MARIE (1718-1793)

Amiot, who published a careful description of the instrument in Memoire sur la musique See also:

• DES

des Chinois, p . 8o seq., with excellent diagrams . z lb., Bd. See also:

• XXV

xxv. p . 152 . The essay was published in Acta Acad . Petrop . (1780) . 4 " Essai sur la naissance et sur la formation des voyelles " in Rozier's Observations sur la physique (Paris, 1782), Supplement, xxi . 358 sec}, with two plates . The description of the instrument begins on p .

374, § xxii . When See also:

• ABT, FRANZ (1819-1885)

Abt See also:

• VOGLER, GEORG JOSEPH (1749-1814)

Vogler visited St Petersburg in 1788, he was so delighted with these reeds that in 1790 he induced Rackwitz, an assistant of Kirsnick's, to come to him and adapt some to an organ he was having built in See also:

• ROTTERDAM

Rotterdam . Three years later Abt Vogler's See also:

• ORCHESTRION

orchestrion, a chamber organ containing some 900 pipes, was completed, and, according to Rackwitz,' was fitted with free-reed pipes . Vogler himself, however, does not mention the free reed when describing this wonderful instrument and his See also:

• SYSTEM

system of " simplification " for church organs.' To Abt Vogler, who travelled all over See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, Scandinavia and the See also:

• NETHERLANDS

Netherlands, exhibiting his skill on his orchestrion and reconstructing many organs, is due the See also:

• CREDIT (Lat. credere, to believe)

credit of making Kratzenstein's invention known and inducing the musical See also:

• WORLD

world to appreciate the capabilities of the free reed . The introduction of free-reed stops into the organ, however, took a secondary See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in his scheme for reform .? See also:

• FRIEDRICH, JOHANN (1836— )

Friedrich See also:

• KAUFMANN, CONSTANTINE PETROVICH (1818-1882)

Kaufmann of See also:

• DRESDEN

Dresden states that Vogler told him he had imparted to J . N . Malzel of See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna particulars as to the construction of free-reed pipes, and that the latter used them in his panharmonicon,5 which he exhibited during his stay in Paris from 1805 to 1807 . Kaufmann suggests that it was through him that G . J . Grenie obtained the knowledge which led to his experiments with free reeds in organs . It is more likely that Grenie had read Kratzenstein's essay and had experimented in-dependently with free reeds .

In 1812 his first argue expressif was finished . It was a small organ with one register of free reeds—the expression stop, in fact, added to the See also:

• PIPE

pipe organ and having a separate wind-chest and. bellows . It would seem from his description of the orchestrion in Data zur Akustik that Vogler knew of no such See also:

• DEVICE

device . He used the swell shutter borrowed from See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England and a threefold See also:

• SCREEN (usually, but very doubtfully, connected with Lat. scrinium, a box for holding books, from scribere, to write; a connexion with Ger. Schranke, barrier, has been suggested)

screen of See also:

• CANVAS

canvas covered with a blanket arranged outside the instrument, neither of which is capable of increasing the See also:

• VOLUME

volume of sound from the organ, or at least only after having first damped the sound to a pianissimo . Vogler explains minutely the apparatus used to conceal the working of the screen from the eyes of the public.1t The credit of discovering in the free reed the capability of dynamic expression was undoubtedly due to Grenie, although Abt Vogler claims to have used compression in 1796," and Kaufmann in his choraulodion in 1816 . A larger argue expressif was begun by Grenie for the See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire of Paris in 1812, the construction of which was interrupted and then continued in 1816 . Descriptions of Grenie's instrument have been published in French and See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German.1i The organ of the Conservatoire had a pedal free-reed stop of 16 ft., with vibrators 0.240 M. long, 0.035 M. wide, and 0.003 M. thick." Two compressors, one for the treble and the other for the bass, worked by treadles, enabled the performer to regulate the pressure of wind on the reeds and therefore to obtain the gradations of forte and piano which gained for his instrument the name of argue expressif . Grenie's instrument was a pipe organ, the pipes terminating in a See also:

• CONE (Gr. Kwvos)

cone with a hemispherical cap in the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top of which was a small hole . There were eight registers including the pedal, and the See also:

• POSITIVE (or PORTABLE) ORGAN

positive on the first keyboard had reed stops furnished with 5 See " Uber See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

die Erfindung der Rohrwerke mit durchschlagenden 'Zungen," by Wilke, in Allg. musik . Ztg . (Leipzig, 1823), Bd. xxv. pp . 152-153 and Bd. See also:

• XXVII

xxvii. p .

263; also Thos . See also:

• ANT
• ANT (O. Eng. aemete, from Teutonic a, privative, and maitan, cut or bite off, i.e. " the biter off "; aemete in Middle English became differentiated in dialect use to (mete, then amte, and so ant, and also to emete, whence the synonym " emmet," now only u

Ant . Kunz, " Orchestrion,' id., Bd. i. p . 88 and Bd. ii. pp . 514, 542; and Dr Karl Emil von Schafhautl, Abt Georg See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph Vogler (See also:

• AUGSBURG
• AUGSBURG, CONFESSION OF
• AUGSBURG, WAR OF THE LEAGUE OF

Augsburg, 1888), p . 37 . 6 Data zur Akustik, eine Abhandlung vorgelesen See also:

• BEY (a modern Turk. word, the older form being beg, cf. Pers. baig)

bey der Sitzung der naturforschenden Freunde in See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, den I5ten Dezember 1800 (See also:

• OFFENBACH
• OFFENBACH, JACQUES (1819-1880)

Offenbach, 18o,); also published in Allg. musik, Ztg . (18oi), Bd. iii. pp . 517, 533, 565 . See also an excellent See also:

• ARTICLE (from Lat. articulus, a joint)

article by the Rev . J . H .

Mee on Vogler in See also:

• GROVE (O.E. graf, cf. O.E. gr(efa, brushwood, later" greave "; the word does not appear in any other Teutonic language, and the New English Dictionary finds no Indo-European root to which it can be referred; Skeat considers it connected with " grave," to
• GROVE, SIR GEORGE (182o-1900)
• GROVE, SIR WILLIAM ROBERT (1811-1896)

Grove's See also:

• DICTIONARY

Dictionary of See also:

• MUSIC

Music and Musicians . ' See Data zur Akustik, and a pamphlet by Vogler, " Uber die Umschaffung der St Marien Orgel in Berlin nach dem Voglerschen Simplifikations-System, eine Nachahmung des Orchestrion " (Berlin) ; also " Kurze Beschreibung der in der Stadtpfarrkirche zu St See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter zu Munchen nach dem Voglerschen Simplifikations-System neuerbauten Orgel " (See also:

• MUNICH (Ger. Munchen)

Munich, 1809) . a See Allg. musik . Ztg . (1823), Bd. xxv. pp . 153 and 154 note, and 117-118 note . A description of Malzel's panharmonicon before the addition of the clarinet and oboe stops with free reeds is to be found in the Allg. musik . Ztg . (1800), Bd. ii. pp . 414-415 . 1t In the article in Grove's Dictionary the screen is said to have been in the wind-See also:

• TRUNK (Fr. tronc, Lat. truncus, cut off, maimed)

trunk . n See Allg. musik .

Ztg . Bd. in. p . 523 . rz See J . B . See also:

• BIOT, JEAN BAPTISTE (1774-1862)

Biot, Precis elementaire de physique experimentale (Paris, 1817), tome i. p . 386, and his Traite de physique (Paris, 1816), tome ii. p . 172 et seq., pl. ii.; " Uber die Crescendo and Diminuendo Zuge an Orgeln," by Wilke and Kaufmann, Allg. musik . Ztg . (1823), Bd. xxv. pp . 113-122; and Allg. musik . Ztg .

Bd. xxiii. pp . 133-139 and 149-154, with diagrams on p . 167 which are not absolutely correct in small details . l3 J . B . Biot, Traite, tome ii. p . 174 . beating reeds . Biot insists on the importance of the regulating wires (Fr. rasettes; Ger . Kriiicken) for determining the vibrating length of the reed See also:

• TONGUE (O. Eng. lunge)

tongue and maintaining it invariable . These are clearly shown in his See also:

• DIAGRAM

diagram (see article FREE REED VIBRATOR, fig . I) ; they do not essentially differ from those used with the beating-reed stops in his organ (fig .

76, pl . II.),sor indeed from those figured by See also:

• PRAETORIUS, MICHAEL (1571_1621)

Praetorius . Isolated specimens of the cheng must have found their way to Europe during the 15th and 16th centuries, for Mersennea depicts part of one showing the free reed . It would seem that still earlier In the 17th century there was an organ in a monastery in See also:

• HESSE
• HESSE (Lat. Hessia, Ger. Hessen)

Hesse with free reeds for the Posaune stop, for Praetorius gives a description of the " extraordinary " reed (p . 169) ; there is no See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of the inventor in this See also:

• CASE
• CASE, JOHN (d. 1600)

case . During the first half of the 19th century various tentative efforts in France and Germany, and subsequently in England, were made to produce new keyboard instruments with free reeds, the most notable of these being the See also:

• PHYSHARMONICA

physharmonica 2 of Anton Hackel, invented in Vienna in 1818, which, improved and enlarged, has retained its hold on the German See also:

• PEOPLE

people . The See also:

• MODERN

modern physharmonica is a harmonium without stops or percussion action; it does not therefore speak readily or clearly . It has a range of five to six octaves . Other instruments of similar type are the French melophone and the See also:

• ENGLISH

English seraphine, a keyboard See also:

• HARMONICA

harmonica with bellows but no channels for the tongues, for which a patent was granted to See also:

• MYERS, FREDERIC WILLIAM HENRY (1843-1901)

Myers and Storer in 1839; the aeoline or aelodicon 2 of Eschenbach; the melodicon a of Dietz; the melodica 6 of Rieffelson; I Harmonie universelle (Paris, 1636), livre v., prop. See also:

• XXXV

xxxv . 2 Wien. musik . Ztg . Bd. v .

Nos . 3o and 87 . 3 Allg. musik . Ztg . Bd. xxii. p . 505, and Bd. xxxv. p . 354 . 6 Id . Bd. viii. pp . 526 and 715 . b Id . Bd. xi. p .

625 . the apollonicon; 8 the new cheng 2 of Reichstein; the terpodion e of Buschmann, &c . None of these has survived to the See also:

• PRESENT

present See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day . The inventor of the harmonium was indubitably Alexandre Debain, who took out a patent for it in Paris in 184o . He produced varied timbre registers by modifying reed channels, and brought these registers on to one keyboard . Unfortunately he patented too much, for he secured even the name harmonium, obliging See also:

• CON

con-temporary and future experimenters to shelter their improvements under other names, and the See also:

• VENERABLE (Lat. venerabilis, worthy of reverence, venerari, to reverence, to worship, allied to Venus, love; the Indo-Germ. root is wen-, to desire, whence Eng. " win, properly to struggle for, hence to gain)

venerable name of organ becoming impressed into connexion with an inferior instrument, we have now to distinguish between reed and pipe organs . The See also:

• COMPROMISE (pronounced compromize; through Fr. from Lat. compromittere)

compromise of reed organ for the harmonium class of instruments must therefore be accepted . Debain's harmonium was at first quite mechanical; it gained expression by the expression-stop already described . The Alexandres, well-known . French makers, by the ingenuity of one of their workmen, P . A . See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin, added the percussion and the prolongement .

The melody attachment was the invention of an English engineer; the introduction of the double touch, now used in the harmoniums of Mustel, See also:

• BAUER, BRUNO (1809-1882)

Bauer and others—also in American organs—was due to Tamplin, an English professor . The principle of the American organ originated with the Alexandres, whose earliest experiments are said to have been made with the view of constructing an instrument to exhaust air . The realization of the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea proving to be more in consonance with the See also:

• GENIUS (from Lat. genere, gignere)

genius of the American people, to whom what we may See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call the devotional tone of the instrument appealed, the introduction of it by Messrs Mason and Hamlin in 1861 was followed by remarkable success . They made it generally known in Europe by exhibiting it at Paris in 1867, and from that See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time instruments have been exported in large See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers by different makers . (A . J . H.; K . S.) 8 Allg. musik . Ztg . Bd. ii. p . 767, and Wien. musik . Ztg .

Bd.' . No . 501 . 7 Id . Bd. xxxi. p . 489 . S Id . Bd. xxxiv. pp . 856 and 858 ; and Cacilia, Bd. xiv. p . 259 .