MUSCLE SHOALS Courtesy of The Nation's Business Muscle and Muscular Motion Museum or rectilinear muscle; when they intersect meant to be moved by the contraction of and cross each other they are called com- the muscle, and is called the insertion of pound. When muscles act in opposition the muscle. Involuntary muscle consists to each other they are termed antagonist; of spindle-shaped cells having an elonwhen they concur in the same action they gated nucleus in the center. They are are called congenerous. Muscles are also united in ribbon-shaped bands, and redivided into voluntary and involuntary spond much less rapidly than the volunmuscles, the former being those whose tary to irritations, and the wave of conmovements proceed from an immediate traction passes over them more slowly. Alabama, on the exertion of the will, as in raising or de- Muscle Shoals, Tennessee River, pressing the arm, bending the knee, mov ing the tongue, etc., while the latter are near Florence (q. v.), the site of the beyond this control, being the agents in great Wilson Dam. Here during the the contraction of the heart, arteries, World War the United States Governveins, absorbents, stomach, intestines, etc. ment built immense nitrate plants. See When examined under the microscope the Nitrate of Soda. those of the heart) are seen to be marked Indians. See Creeks. (from Moscow), a name fibers of the voluntary muscles (as also Muscogees (mus-kō'jēz), the Creek by minute transverse bars or stripes, Mus'covy often applied to Russia. while those of the involuntary are smooth and regular in appearance. The former Muscovy Duck. See Musk-duck. is therefore called striped or striated muscle, the latter unstriped, nonstriated, Muses (mus'ez), in the Greek mytholor smooth muscle. The great property of muscular tissue is the power of re Muscular Fiber separated-A into fibrille and B into discs. C is a highly magnified portion of a fibril. ogy, the daughters of Zeus and Mnemosyne, who were, according to the earliest writers, the inspiring goddesses of song, and according to later ideas divinities presiding over the different kinds of poetry, and over the sciences and arts. Their original number appears to have been three, but afterwards they are always spoken of as nine in number, viz.-Clio, the muse of history; Euterpe, the muse of lyric poetry; Thalia, the muse of comedy, and of merry or idyllic poetry; Melpomene, the muse of tragedy; Terpsichore, the muse of choral dance and song; Erato, the muse of erotic poetry and mimicry: Polymnia or Polyhymnia, the muse of the sublime hymn; Urania, the muse sponding when irritated. The response of astronomy; and Calliope, the muse of is in the form of contraction, that is, epic poetry. when the muscle is irritated or stimu- Museum (mu-ze'um), a building or lated it responds by shortening itself, so apartments used as a deposithat its ends are brought nearer and it tory of articles which relate to art, scibecomes thicker in the middle, its in- ence, or other fields of human interest, herent elasticity making it capable of re- and where the contents are arranged for turning to its previous length when the inspection. Collections of this kind are stimulation is withdrawn. By these con- numerous in all civilized parts of the tractions the muscles are able to do work. world, usually open to the public for inThe usual stimulation is by nervous ac- struction or recreation. Of these Britain tion (see Nerve), but mechanical means, has an admirable example, the most fasuch as pinching, pricking, etc., electric- mous in the world, in the British Muity, heat and chemicals also cause irrita- seum, and a second of much repute is the tion. All the muscles are connected with South Kensington Museum. Others of bones not directly but through the me- leading importance in Europe are the dium of tendons. A tendon presents the museums of the Vatican in Rome, of the appearance of a white glistening cord, Louvre in Paris, and those of St. Peterssometimes flat, but often cylindrical and burg, Berlin, Vienna, Dresden, Munich of considerable thickness. The mass of and other cities. In the United States flesh composing the muscle is called the the National Museum at Washington is belly of the muscle. One end is usually a richly-filled institution. Others of imattached to a bone more or less fixed, portance are the Peabody Museum at and is called the origin of the muscle. Harvard, the American Museum of NatThe other end is attached to the bone ural History at New York, the Peabody Mushroom Music Museum at Yale College, the museum of after increased brilliance of tone led, the Academy of Natural Sciences and the however, to a gradual heightening of the Commercial Museums at Philadelphia, pitch, and in the course of a century the the museums of the Boston Society of middle C in France had become 522 vibraNatural History, the Field Museum at tions, while in England and Germany it Chicago, and others elsewhere. Collec- was somewhat higher. Of late years tions of art and other objects are equally there has been a movement among Euronumerous, though not usually known as pean musicians to lower the pitch to museums. The Metropolitan Museum of about the French standard, and this New York is of this sort. lower pitch has been now adopted by many foreign nations. Mushroom (mush'röm), the common as name of numerous cryptogamic plants of the nat, order Fungi. Some of them are edible, others poisonous. The species of mushroom usually cultivated is the Agaricus campestris, or eatable agaric, well known for its excellence an ingredient in sauces, especially ketchup. (See Agaric.) Mushrooms are found in all parts of the world, and are usually of very rapid growth. In some cases they form a staple article of food. In Terra del Fuego the natives live al most entirely on a mushroom, Cyttaria Darwinii; in Australia many species of Boletus are used by the natives, and the Mylitta austrālis is commonly called native bread. Mushroom spawn is a term applied to the reproductive mycelium of the mushroom. A note produced by double the number of vibrations required to produce any given note will be found to be in a perfect unison with it though higher in pitch. Between two such notes there is a gradation by seven intervals in the pitch of tone, more agreeable (at least to modern European ears) than any other, the whole forming a complete scale of music called the diatonic scale. The space between the notes sounding in unison is termed an octave, and the note completing the octave may become the keynote of a similar succession of seven notes, each an octave higher or double the pitch of the corresponding note in the first scale. These seven notes of the diatonic scale are designated by the first seven letters of the alphabet, and each Music (muzik), any succession of note bears a fixed ratio to the keynote in sounds SO modulated as to respect of pitch as determined by the please the ear; also the art of producing number of vibrations. Thus in the case such melodious and harmonious sounds, of a keynote obtained from a vibrating and the science which treats of their string, its octave is produced by halving properties, dependencies and relations. the string, which vibrates twice as fast Sound is conveyed through elastic media, in a given time as the whole string, and as the atmosphere or water, by undula- the other notes may be obtained by aptions, which may be generated in the me- plying reciprocally the ratios given below dium itself, as by a flute or organ pipe, to the length of the string. or transmitted to it by the vibrations of violin or pianoforte strings or the reeds Taking C or Do for our fundamental note we have for our scale C D EFGA B C D E FGAB C, etc. (Scale in key of C major) or Do Re Mi Fa Sol La Si Do Re Mi Fa Sol La Si Do, etc. 1 # # # V 2 (Ratio to keynote). of a wind instrument. When the vibra- The scale may be extended up or down tions are fewer than 16 in a second or so long as the sounds continue to be mumore than 8192 the sound ceases to have sical. In order to allow reference to be a musical character. The pitch or rela- made to the various degrees of scales tive height of a tone is determined by without reference to the key in which the number of vibrations in a given time, they are pitched the tones composing the the lower numbers giving the grave or octave are known in their ascending order deep tones, the higher numbers the acute as (1) tonic or keynote, (2) superionic, or shrill tones. The loudness of a tone (3) mediant, (4) subdominant, (5) is determined by the largeness of the vi- dominant, (6) superdominant or subbrations, not their number. The note or mediant, (7) leading note or subtonic, musical sound called middle C on the (8) final note. The tonic, the subdomipianoforte is usually assumed by theorists nant, and the dominant are the governing to be produced by 512 vibrations per or emphatic notes of the scales. In the second, and this was long the pitch rec- diatonic scale the various notes proceed ognized in practice as the standard or from the keynote by five tones and two concert pitch useful for the guidance of semitones; the semitones (the smallest inall musicians. The perpetual striving tervals recognized in musical notation) Music occurring between the 3d and 4th and 7th and 8th notes in the scale. The first four and last four notes, therefore, form a natural division of the octave into two tetrachords,' each consisting of two tones and a semitone. Every sound employed in the art of music is represented by characters called notes on a staff-that is, five equidistant horizontal lines on or between which the notes are placed. A note represents a higher or a lower sound according as it is placed higher or lower on the staff. When any note is higher or lower in pitch than can be placed upon the staff short lines called ledger lines are added above or below the staff to indicate the relation of the note to those on the staff. As, however, the multiplication of ledger lines is liable to become embarrassing to the eye, musicians have endeavored to overcome the difficulty by the use of more than one staff. The staves are the bass, mean, and the treble, but the second is now seldom used. The treble staff, which contains the upper notes, is distinguished by a character called a G or treble clef the bass by a character called the For bass clef and the mean by character called the C or mean clef a 1. The treble and bass clefs only are required for keyed instruments of the pianoforte kind, and when a staff is wanted for each hand they are joined by a brace, the upper staff carrying the notes generally played by the right hand and the lower those played generally by the left, as follows: Music The sharp major musical progression. () placed before a note raises the pitch by a semitone, the flat (b) lowers it by a semitone. A sharp or flat placed at the beginning of a staff affects every note upon the line which it dominates, unless the contrary be indicated by the sign of the natural (), which restores the note to which it is attached to its normal pitch. In the model diatonic scale given it has been pointed out that there is an interval of a tone between every note, except the 3d and 4th (E and F) and 7th and 8th (B and C), when the interNow if we val consists of a semitone. wish to make G the keynote it is clear that without some contrivance the notation of the scale from G to its octave would throw one of the semitones out of its place-namely, that between E and F, which, instead of being, as it ought to be, between the seventh and eighth, is beIt is obtween the sixth and seventh. vious then that if we raise the F a semitone we shall restore the interval of the semitone to a position similar to that which it held in the key of C. If D be taken as a keynote we shall find it necessary to sharpen the C as well as the F in order to bring the semitones into their proper places. Still proceeding by fifths, and taking A as a keynote, a third sharp is wanted to raise G. We may proceed thus till we reach the scale of C sharp, with seven sharps, which is, however, rarely used. This series of scales with sharps is obtained by taking the dominant, arst of the model scale as the keyncte and then of the others in succession, and sharpening the fourth of the original scales to make it the seventh of the new. LEFGABCDEFGABC CE EFGABC It will be seen that the steps in every diatonic scale must correspond to those of the scale of C, in that the notes composing it stand in the same fixed ratio to the keynote of the scale. In selecting another keynote than C, however, it is necessary to modify some of the natural notes by the insertion of what are called sharps or flats in order to preserve the required relation and sequence of the intervals (the tones and semitones in their due relative positions) and sc produce the Another series is obtained by taking the subdominant of the model scale as the keynote and lowering its seventh a semitone, making it the fourth of the new scale, or scale of F. Taking the subdominant of the scale (B) as the keynote we require to flatten the E in addition to the B, and so on until we have lowered all the tones in the scale a semitone. Besides the forms of the diatonic scale, which have an interval of two tones be |