M U S I C. 
melody divided into three crotchets in a bar, admits of 
three accentual variations ; as at Ex. 3. c, d, e. 
Hhtphajis is diftinguifhed from accent by its occurring 
on the unaccented part of the bar; by the different group¬ 
ing of the quavers, femiquavers, &c. and by the mark of 
Mf. (Rinforzando) placed over the notes. Accent re¬ 
quires preffure after the note is ftruck ; and Emphafis 
furce at the time of linking it. 
z. Of the Foot. —A portion of melody, with one prin¬ 
cipal accent, including the value of a bar, is termed a foot. 
It has been ufual with fome authors to apply the names 
of ancient poetical feet to correfponding mufical paflages ; 
but the difference between ancient and modern quantity 
and accent, leaves a doubt concerning the proprie./of 
uiing the terms of Grecian rhythm. The words, “ Aftor, 
Hateful,” may be represented in notation Several ways, 
as at Ex. 4. The words “ Rejeft, Obferve,” may be re¬ 
presented by oppofite rhythm. Ex. 5. 
3. Of the Gtesura. —This word is ufed for the rhyth¬ 
mic termination of any paffage which confills of more 
than one foot. In other words, the caefura is the lall ac¬ 
cent of a phrafe, feftfion, or period ; and is diltinguilhed by 
its place in the bar. The utility of this diltinftion will 
appear, by confidering the two methods in which the mufic 
might be compofed to the lines 
Conqueft is not to bellow, 
In the l'pear or in the bow. Dr. Arne's Judith. 
If thefe bars (fee Ex. 6.) were not divided as they are, 
that is, if the long had begun with the whole-bar inltead 
of the half, the ctefura, which is now properly placed on 
the accented part («)> would have fallen on the unac¬ 
cented (6). 
The ctefura is not always the lajl note ; the melody is 
often prolonged after it. See Ex. 7. a. 
4. Of the Phrase. —The phrafe is a Ihort melody, which 
is generally formed of two feet, and therefore contains 
the value of two bars ; fee Ex. 8. from Beethoven, Op. 2. 
and it is fubjeft to all the variety of accent that dillin- 
guilhes the feet of which it is formed. 
Coniiderable difference of opinion arifes with regard to 
this term. Rouffeau defines it to be fimilar to the word 
Section. He dillinguilhes between phrafes in melody and 
phrafes in harmony. Holden ufes the term in a general 
fettle, and includes all rhythmic varieties in its definition. 
The Rev. Mr. Jones, of Nayland, calls them Clanjes; and 
conliders two fimilar phrafes, following and depending on 
each other, as antecedent and confequent. Whenever, 
by repeating one of the feet, or any other variation of the 
melody, three bars are employed inltead of two, the phrafe 
is termed extended, or irregular. In figurative counter¬ 
point, where fugues and canons are employed, the phrafes 
are interwoven in the different parts. Of this kind of 
mufic, the finelt fpeeimen now extant is. the celebrated 
Non nobis, Domine, by Bird ; which will ever remain a 
lulling ornament to the talte and fcience of the country in 
which it was produced. The phrafes of this canon are 
marked with a in Ex. 9. 
5. Of the Section.—A feftion is a portion of melody 
formed by two phrafes, the lall of which is terminated by 
a cadence. The feftion may end on the key-note, or on 
the fifth, according to its final harmony, as in Ex. 10. 
from Haydn’s Creation, (“ The heavens are telling.”) 
In vocal mufic, the harmony of a lection is p rot rafted for 
the fake of exprefiing the words, as in Ur. Callcott’s Glee 
of the “ Red Crofs Knight;” the firit left ion of which, 
if regular, would have been expreffed as in Ex. 11. But 
to give greater effeft to the words “ Blow, Warder, blow,” 
the two firit notes are augmented to minims; and the 
feftion, as written in common time, appears contrafted, 
although it is really extended. See Ex. 12. 
The Codetta. — A Ihort phrafe, or any other paffage 
which does not conllitute part of a regular feftion, but 
ferves to conneft one feftion or period to another, is 
termed a codetta. In the Duet of Mozart, the following 
Vol. XVI. No. 1116. 
841 
phrafe unites the minor period to the original theme. 
Ex. 13. 
The extemporary divifions made at a clofe by fingers, 
or folo performers, and termed cadences, are all a fpecies 
of codetta. In the repetition of a llrain, the paflages 
marked firft and fecond time, generally contain each a 
codetta ; the one to lead back to its commencement, the 
other to lead forward to its continuation. In the Da Capo 
airs of Handel, See. a codetta is generally inferted to 
lead back to the theme. See Ex. 14. from “ O the plea- 
fures of the plains.” 
6. Of the Period. —A period confills of one or more 
feftions, occafionally interfperfed with feet, phrafes, or 
codettas. Thus the air of “ God fave the king” con- 
-filts of two periods. When one or more periods are ter¬ 
minated by a double bar, they are termed Jirains. The 
period generally ends with a radical cadence. 
Of the Coda. —The concluding paffage of many move¬ 
ments, when it occurs after a protrafted perfeft ca¬ 
dence, is termed the coda, i. e. the tail, or final period. 
The length of the codarnay be various; in fome pieces it 
contains feveral feftions, in others merely a fingle phrafe. 
The Ihort coda at Ex. 15. is from Haydn, Op. 40. In 
this paffage, the two firit bars of the coda might beomitted, 
without injuring the harmony. There is a llyle of coda 
peculiar to Italian bravura airs, as may be feen at the con- 
clufion of the chorus in Haydn’s Creation, “The Heavens 
are telling.” In rondeaus, See. the coda is placed as a fe- 
parate llrain, with the term itfelf annexed. But, to Ihow 
what great effefts are derived from this addTon after the 
lall perfeft cadence has been heard, the “ Hallelujah 
Chorus” of the Mefliali may be adduced. The lall lec¬ 
tion before the coda, clofes the period with the authentic 
cadence, Ex. 16. This is followed by a coda on the 
chords of the fourth and key-note, concluding with a pla- 
gal cadence, Ex. 17. Such were the Ample but fublime 
notes which occurred to the genius of this truly great 
compofer; and the chorus in which they appear will ever 
remain a linking memorial of the immortal talents of 
Handel. 
Of IMITATION. Back of Plate X. 
Imitation, in its technical fenfe, is uiing the fame or 
a fimilar paffage or melody, in many different parts, which 
are heard one after the other, in the unifon, fifth, fourth, 
third, or in any other interval. Imitation is always 
pleafing, even if many notes are changed, provided the 
air is not fo difguifed as to be no longer recognizable, and 
the rules of modulation are not violated. Often, in order 
to render imitation more perceptible, it is preceded by a 
reft, or by long notes, which feem to extinguilh the me¬ 
lody at the very moment when it is renewed by the imi¬ 
tation. Imitations are warrantable at pleafure; they are 
confined to no particular intervals ; they may be conti¬ 
nued or changed; or the imitation made in rndto contra rio, 
or in what way we pleafe. Performers like it better than 
a dull and dry accompaniment; it renders a part more 
amuling to the player and important to the hearer. The 
rules areas relaxed as thofe of fugue are rigid; for which 
realbiT, fome great mailers difdain imitations from the fa¬ 
cility with which they are compofed ; and, when purfued 
too clofely with the manifeft ambition of being parti¬ 
cularly noticed, they dil'cover the young; contrapuntift, 
Rouffeau. 
As theoftave confills of only eight intervals, imitation 
mull take place, either on the unifon, as at Ex. 18. or on 
the fecond above or below, Ex. 19. a, b. on the third 
above or below, E?c. 20. a, b. the fourth above or below, 
Ex. 21. a, b. on the fifth above or below, Ex. 22. a, b. on 
the fixth above or below, Ex. 23. a, b. on the leventh 
above or below, Ex. 24. a, b. or, lallly, on the eighth 
above or below, as at Ex. 25. a, b. 
Examples might be given of imitation by contrary and 
retrograde motion, by augmentation and diminution, &c. 
but thefe will be treated of under the heads of Fugue and 
Canon. 
4 S 
Of 
