mute

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Related to muting: mutiny

mute

(myo͞ot), in music, device designed to diminish uniformly the loudness of a musical instrument. For example, a trumpet mute is cone-shaped and fits into the instrument's bell, and a violin mute is a wooden or rubber clamp that can be attached to the bridge.

Mute

 

a device on musical instruments that muffles the sound and partially alters the timbre. Mutes are used principally with bowed stringed instruments, horns, and trumpets. In bowed stringed instruments, they consist of a clamp made of hard wood, metal, or plastic placed over the top of the bridge. In trumpets and horns, they are a pear-shaped vessel, usually made of aluminum with a layer of cork around the edges, which fits into the bell of the instrument. In the piano, the function of the mute is fulfilled by the left (soft) pedal.

mute

A mortised rubber silencer for a door.

mute

1
1. unable to speak; dumb
2. Law (of a person arraigned on indictment) refusing to answer a charge
3. a person who is unable to speak
4. Law a person who refuses to plead when arraigned on indictment for an offence
5. any of various devices used to soften the tone of stringed or brass instruments
6. an actor in a dumb show

mute

2 Archaic
birds' faeces
References in periodicals archive ?
However, across sites, the highest cover of these species generally varied with the degree of tidal muting (Fig.
There were also differences in the lower limits of distribution of transitional and upland species among sites having different degrees of tidal muting. For example, the lower limit of the invasive grass, Parapholis incurva, occurred on average ~0.54 m lower at the sites of greatest tidal muting (CM, TE1, and TE2) (Fig.
Relationship between the Lower Limit of Vegetation, Tidal Muting, and Marsh Slope
Tidal muting explained a significant amount of variation in the lower limits of Parapholis incurva and the transition/upland group, but not in Arthrocnemum subterminale (Table 1).
The specific reasons for the differences in tidal muting among sites are not known, but channel morphology may be a contributing factor (e.g., Van der Molen 1997).
The muting of instruments in this manner can be seen as an expression of the aesthetic idea that their tone qualities could represent emotions.
According to the instructions in Spontini's Fernand Cortez (1809), leather bags were to be tied over the bells of the oboes and clarinets to mute them.(45) The latter may have been a particularly French method of muting wind instruments: Hector Berlioz specifies that the clarinet is to be wrapped in a bag of cloth or leather to mute it in his Lelio, ou Le retour a la vie (1830-31).(46) Berlioz follows an old tradition in his use of a muted woodwind instrument in this work:
Robbins Landon:(50) while the trumpets are at the top of the score, as is usual for Haydn, the horn parts are written in the middle of the score between the clarinets and the oboes, far away from the trumpet parts and from the muting direction.
Given the date of Hauber's death, however, it seems more likely that Joseph Haydn thought independently of muting the entire orchestra.
Muting entire accounts is a simpler process, details for which (https://support.twitter.com/articles/20171399) can be found here.