Grove's dictionary of music and musicians

In
—
—
'
EESPONSORIUMJ REST 75
^^-H-='-'-ft^>V4;:
no bia si tu es ip -
i
^
; Qui
i~-^-f,^if±Sti=M=S=i=f^
(Hawkins, Hist, of Mvmc, chap. 63.) Accordingly
we find rests corresponding in value to
each of the notes then in use, as shown in the
following table.
LoQga. Brevia. Semibrevia.
reg-na-tn - tub
I
E^^S^tt^
Is - ra • el.
po - pu - lo
A boy sings the first Verse to the psalm melody
of the Seventh mode (see Psalmody)—
Quique terrigeoae et fllii hominum, simul in unum dives
et pauper (Pa. xlix. 2).
The choir repeats the Respond from Ite onwards.
A second boy sings a second Verse as before
Qui regis Israel intende, qui deducis velut ovem Joseph
(Ps. Ixxx. 1).
The choir repeats the Respond from Nwnda.
A third boy sings a third Verse
Excita domine potentiam tuam, et veni ut salvos facias
nos.
The R7 is repeated from Qui regmatwrus. The
three boys sing the Gloria pain (down to Sancto
only) to the same psalm melody, and the choir
repeats the closing section of the Respond In
populo Israel. w. h. f.
RESPONSORIUM. See Respond, and Rb-
SPONSOBIAL Psalmody.
REST (Fr. Silence, Pause ; Ger. Pause ;
Ital.
Pausa). The sign of silence in music, the
duration of the silence depending upon the
form of the character employed to denote it.
The employment of the rest dates from the
invention of 'measured music,' that is, music
composed of notes of definite and proportionate
values. [See MusiCA Mensitrata ; Notation.]
In earlier times the cantus was sung without
pauses, or with only such slight breaks as were
necessary for the due separation of the sentences
of the text, but so soon as the relative duration
of the notes was established, the employment
of rests of like proportionate values became a
necessity. Franchinus Gafurius, in his Practica
Musicae (1496), says that the Rest 'was invented
to give a necessary relief to the voice, and a
sweetness to the melody ; for as a preacher of
the divine word, or an orator in his discourse,
finds it necessary oftentimes to relieve his
auditors by the recital of some pleasantry,
thereby to make them more favourable and
attentive, so a singer, intermixing certain pauses
with his notes, engages the attention of his
hearers to the remaining' parts of his song.'
W (Pi W
T
EvOLtBH.
(a) Bemlbrove rest.
I&) Minim reat.
ic) Crotchet rest.
id) Quaver rest.
M SemiquaTor rest.
(/) Demisemiq'uavBr rest.
(j) Semidemiaeiiiiquaver rest.
, French.
la) Fnu9c,
(b) Deini-pauHe.
(c) Souplr.
Id) Denil-Boupir.
|«) Quart-dfl'BOupir.
{/) Deml-quart-de-flonpir.
(^) Seizidme-de-BOupir.
Maxima. Longa perfecta. LoDga imperfecta. Paiua. Seniipaus;i.
Minima. Semimiuima. Fusa. SemlfuHa.
Susplrium. Semisuspirium. Pausa Fusts. Pausa Semifu£».
Of these rests, two, the semipav^a and suspirium,
have remained in use until the present
day, and appear, slightly increased in size but
of unchanged value, as the semibreve and minim
rests. Two of the longer rests are also occasionally
used in modern music, the pausa, or breve
rest, to express a silence of two bars' duration, and
the longa imperfecta a silence of four. These rests
are called in French bdtons, and are spoken of
as baton k deux mesures, '
'
' k quatre mesures.
The rests employed in modern music, with
their names and values in corresponding notes,
are shown in the table below.
By a license the semibreve rest is used to
express a silence of a full bar in any rhythm
(hence the German name Taktpause) ; its value
is therefore not invariable, as is the case with
all the other rests, for it may be shorter than
its corresponding note, as when used to express
a bar of 2-4 or 6-8 time, or longer, as when it
occurs in 3-2 time. To express a rest of longer
duration than one bar, either the bdtons of two
or four bars are employed (Ex. a), or, more
commonly, a thick horizontal line is drawn in
the stave, and the number of bars which have to
be counted in silence is written above it (Ex. 6).
W (6) 10
Like the notes, the value of a rest can be
increased by the addition of a dot, and to the
same extent, thus -- • is equal to
•
-^r, T to r n,
and so on.
In the earlier forms of the ancient measured
'
music ' rests were used as a part of the timesignature,
and placed immediately after the clef.
In this position they did not denote silence,
but merely indicjited the description of Mood
to be counted. [See Notation, Mood, Time,
SlONATUEB.]
W (6) (/) (3)
^
Gebuah,
(a) Taktpause.
(A) Halbe Fauae.
(c) Viertelpause.
\d) AchtelpauBe.
ie) Sechszebntelpause.
(/) ZweiunddreJasigBtheilpauae.
YierundaacbBzlgstheUpauae.
Ig)
Italian.
la) Pausa della Semibrere.
Pauaa della AHaima.
Pausa della Semimininia, or Quarto.
id) Puusa delta Croroa, or Mezzo Quarto.
Ie) Pausa della Semicroma, or Bespiro.
/) Pauaa della Biscroma.
a) Paiisa della Semibiscroma. F. T.