K.

Keraulophon (from the Greek Kepauλns, the horn-blower), is a flue, belonging to the family of Geigenprincipals. It has an exquisite horn-like intonation, and is much used in large new organs, as, for instance, by Roosevelt (New York), 1879, in the Garden City organ (118 stops); by Steinmeyer of Oettingen, 1880, in the Frauenkirche, Munich; and by Hill in Westminster Abbey, 1884; and almost simultaneously by Merklin (Lyon), in the church of St. Eustache, Paris.

Krummhorn. See Cormorne.

L.

Larigot. An antiquated denomination for a very shrill, piercing Quint of 13-ft. tone, with a very wide mouth. Lieblich-Gedackt.

See Gedackt.

M.

Material for Pipes. See Gamba.

Measurement. (From the Latin metior, mensura, measure.) The manuscript of the eleventh century, mentioned under Fistula, gives proportions for measurements: "Reliquas fistulas ipsius ordinis sic facies ut superiores gravioris ordinis fecisti." The expression "Measurement," as frequently used in this work, means all dimensions of organ pipes, length, width, as well as cutting up. All these dimensions materially influence the pitch, power, tone

colour, and speech of the pipes. The object of making a pipe wide is to obtain a strong, round, thick tone, not easily over-blowing even in the shortest kind of pipe; beside which, wide measurements are in proportion to large buildings. A narrow scale gives a more stringy, incisive, and Gamba-like colouring of tone (see also Geigenprincipal), and a more readily over-blowing tone, and also that particular brilliancy and acuteness peculiar to certain stops; it is suitable, under certain conditions, for a small building, and for such upper manuals as make no pretence to fullness of tone.

Melodia is an 8-ft. wood flue, labelled Double Melodia when of 16-ft. tone. It is intonated similarly to Flauto Dolce, and much used in new English and American organs. It occurs as 8-ft. Melodia in the cathedral organ at Riga. Metal. See Gamba.

Mixture. (From the Latin mixtum, miscere, to mix.) The theorist is inclined to reject the idea of a contrivance by which the higher harmonic fifths and thirds, sounding with each foundation tone, must bring hideous dissonances into every harmonious weft. Practical reasons, however, compel organist and organ-builder to retain these Mixtures. Their purpose is to produce harmonics which exist in a lesser degree in the foundation stops of the organ than, for instance, in the instruments of an orchestra, which latter, therefore, require artificial harmonics much less than does the organ. Even the orchestra, according to Dienel, cannot quite do without artificial harmonics; considering that the strengthening by unisons and octaves is nothing more nor less than the skilful utilization of harmonics, or partials, such as the 4-ft. and 2-ft. stops of the organ produce. Well-composed Mixtures, supported by a practical

arrangement of stops, and correctly employed, are a most effective addition to musical resources. To prevent the Mixture stop from being intolerably harsh, it is necessary proportionately to strengthen the lower tones of each note by other stops (Helmholtz, p. 98). It is on this account that, in small organs with insufficient covering, the Mixtures jar by the excess of harmonics. (See Octave.) The Mixture often repeats (see Cornet) in the tenor and middle octave. The 5-rank Mixture, for instance, based on C, is composed of c (4-ft.), g (23-ft.), c (2-ft.), g (13-ft.), c (1-ft.), or of g (23-ft.), c (2-ft.), g (13-ft.), c (1-ft.), g (3); the fourfold and threefold Mixtures are reduced accordingly by one or two ranks.

In order to lend greater volume and power to the Mixture, particularly in the absence of a Cornet, and if the foundation tones are not sufficiently represented, the Tierce is added; but not as highest tone, as in the Cornet, but rather in the middle register, as is the case in Sharp (for example, in the Catholic Church, Berne, where it has. six ranks in the upper octaves). Walcker writes me word that he always employs the Tierce in Mixture, and in so doing obtains a more uniform effect. The Mixture stop occurs (often labelled Progressio), particularly on German organs (quite in half the cases), as through, that is to say, non-repeating voice, and as such is generally of from two to five ranks, composed respectively of 23-ft. and 2-ft.; of 4-ft., 23-ft., and 2-ft.; and, finally, of 8-ft., 5-ft., 4-ft., 23-ft., and 2-ft. (examples in Switzerland: Engelberg Convent, and church of St. John, Schaffhausen). The Mixture is no good without sufficient foundation tones, because it contains the loud sounding harmonics; it belongs, therefore, to the Great Organ only, and has no right

to be ever used separately. On the other hand, the great value of a well-arranged and properly covered Mixture has, as already mentioned, been long recognized. It lends to the whole organ energy and decision, to the lower tones distinctness, and to the Great Organ a silver-like brilliancy. Among the old organ-builders, Gottfried Silbermann (died 1753, at Dresden) was principally successful in employing this stop, and obtaining for it due recognition. His organs in the Catholic Chapel Royal and the Frauenkirche, Dresden, are still much admired. Zamminer writes, "There seems to be a disinclination to dispense with the sharp incisiveness which the clear shrill Mixture pipes add to the bulk of the sounding organ, and to which they stand in the same relation as spice does to food." I have to thank this same scholar for the correct estimation of theory and practice, with regard to the stop, with which I headed this paragraph. The material for Mixture stops is chiefly spotted metal (an alloy of tin and lead; see Gamba), or metal, as this compound is called in German organ-building. (See also Combinations of Stops.)

Montre (from the Latin monstrare, to show) is the name given by the French to the visible, or front, Principals. I met with the names Montre and Montre Echo on the Great Organ at Freiburg (Moser); and on the Münster organ at Geneva I found the names 16-ft. Principal, 8-ft. Montre, and 4-ft. Prestant on the same manual. (See Octave.)

Musette. See Schalmei.

N.

Nassat (Nazard). A stopped flue pipe, usually occurring as a Quint stop of 53-ft., 23-ft., and 13-ft. tone. Grossnassat, 10-ft., produces a 32-ft. tone if combined with 16-ft. Principal (see Quint). It is found on some of Haas's large organs.

Night Horn. As a rule a large scale horn-like pedal stop (as 4-ft. stop, for example, in the Breslau Cathedral and the Berlin Garrison Church). It is found on the manuals as 8-ft. and 4-ft. tone; and as a rarity of 2-ft. tone, it occurs in the Benedictine convent at Weingarten.

0.

Oboe, Hautbois, is a very frequent 8-ft. reed stop, striking as well as free, and occurring only on the manuals. It represents, although unfortunately not always, the wind instrument of the same name (and is therefore called, as in Westminster Abbey, Orchestral Oboe), particularly in the upper octaves, where it often forms the continuation of the Bassoon (q.v.). In the St. François organ at Lausanne, and at Glarus, the Oboe is arranged as a free reed with a swell of its own. A rarer kind of Oboe, of 4-ft. tone, is placed in the cathedral at Riga, and as Octave Oboe in the Town Hall organ for Sydney, now in course of building by W. Hill and Sons, London. If built by a master, the two stops, Oboe and Clarionet (q.v.), make splendid solos, and are an ornament to any organ. When there