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PRONOUNCING AND DEFINING

DICTIONARY OF MUSIC

BY

W. S. B. MATHEWS AND EMIL LIEBLING.

,f*^^-*r\.^^

-<x^.y

PUBLISHED B\

THE JOHN CHURCH COMPANY,

Cincinnati. New York. Chicago.

Leipsic. London.

Copyright, 1896, by The John Church Co.
International Copyright.

o^

. He-9

CONTENTS.

SUMMARY OF MUSICAL NOTATION.
Time and Meter.

NOTES.

Rests.

Measure notation.

Measure Signature.

Pitch notation.

Staff and Clefs.

Tones in Key.

Signatures.

tonic Sol-Fa.

Patent Notes.

Grace notes and Embellishments,

TRILL.

Pedals of the Pianoforte.

Phrasing and Expression

abbreviations.

Special Signs in Instrumental Music.
CLASSIFICATION OF MUSICAL FORMS.
RULES OF PRONUNCIATION.

PREFACE.

1"*^HE book herewith offered the musical public has one aim, which is
' utility — practical use. While there is already a considerable number
of small dictionaries, the publishers of the present work believe that
there is still room for another, which, as far as possible, should combine the
advantages of all the best ones and avoid their prominent defects : such as
obsolete and often incorrect phraseology, reduplication of terms, redundancy
of obsolete terms, and the like. Accordingly, the work was committed to the
present editors, who have agreed upon the selection of terms and information
following. Its special points of usefulness are these :

1. The vocabulary, while not so large as two others, is more complete and
modern, aggregating nearly 10,000 terms.

2. The definitions have been amended where necessary, and some hun-
dreds of important topics have been entirely rewritten, such as Accent, Con-
Bonance, Dissonance, Temperament, and the like.

3. Pronunciations have been affixed to all terms from foreign languages.
These are very necessary by reason of the totally different principles of pro-
nunciation which govern terms from the French, German, and Italian, re-
spectively. The pronunciations are approximate only, but they will be fouad
of great assistance.

4. At the beginning, in place of an Introduction, we have placed a general
view of Musical Notation, not alone the topics which ordinarily are included
under that head, but also those rarer matters of the signs employed in dif-
ferent departments of manuscript music and score-writing. As far as v«^
have been able to collect them, this summary includes every sign liable to be
toet with by the student, no matter in what department he may work.

3

4 PREFACE.

5. At one point the work is not consistent with itself. In several of the
small works now before the public, long lists of terms are found beginning
with the German article die, a principle of lexicography as false as would be
the inclusion of a series of phrases in an English dictionary beginning with
** the." Accordingly these have been relegated to their proper places, under
th eir leading terms. In other cases, however, entire phrases have been in-
cluded under their leading word, such as those beginning with Allegro,
Andante, etc., because these combinations are of constant occurrence, and
the complex term possesses an individual significance which is not in all
cases exactly the same as the ' um of its elements.

6. A large amount of editing has been devoted to rectifying the faulty
phraseology of former definitions. We can not hope to have fully succeeded
at this point. Careless habits of speech (and of thought as well) retain in col-
loquial use such erroneous expressions as "note" for tone, " bar" for measure,
" time" for measure, " tone" and " semitone" as names of interval, and the like,
until scientific musicians pass over such expressions without noticing their
defective and misleading form. It is altogether likely that many such
examples still remain in the present volume, despite the care that has been
taken to remove them.

SUMMARY OF MUSICAL NOTATION.

In writing a piece of music which he has imagined or worked out at the
instrument, the composer has mainly to do with two elements in it, the Pitch
and the Time. The Expression and Tone-color he leaves for mere suggestion,
by means of an occasional />., f., sf., or other incidental mark. Here almost
everything is left to the intelligence of the interpretative artist. But in the
two provinces first mentioned this is not the case. Everything is set down
with exactness. The number and recurrence of tones, their ordering into
pulsation and measure, their various relations in pitch, as melody and har-
mony, all are fully and finally determined. Hence a clear understanding of
these parts of musical notation is of the utmost importance to the student,
since without it he will never arrive at an exact comprehension of the com-
poser's intention.

NOTATION OF TIME AND METER.

The distinctive sign of musical tone is a character called a Note, which
consists essentially of a round or oval head, with or without a stem downward
or upward from it.

Whole. Half. Quarter. Eighth. i6th. 32d. 64th.

Notes: ^ (^ ^ ^ ^ f. f

I I 1/ t:^ g g

There is also a note called a Breve, equal to two Whole notes. This is ob-
solete in modern music, but occasionally it is found in old music.

A Note indicates Musical utterance, as distinguished from any other kind
of utterance. The forms of the notes indicate relative duration. The dura-
tion-values correspond to the names given above.

A dot after a note adds one half to its value. A second dot adds half as
much as the first. Hence two dots add three fourths to the value of the note.

5

The MUblCAI. NOTATION.

RESTS.

A Rest is a musical silence, or a rhythmic silence. By this is meant that
whereas the term rest in general means merely a cessation from activity, a
musical rest indicates a temporary cessation from musical activity while the
idea of the music is still going on. A musical rest is a silence during a cer-
tain compass of musical time ; i. e., of Rhythm, or Meter. Hence, during rests,
the musician is conscious of the rh5'thmic pulsation and meter. This is the
distinction between a musical rest and rest in general. The characters in-
dicating musical rest are also called Rests. They are of forms and denomina-
tions corresponding to the notes. Dots are applied to them in the same way
as to notes.

Whole Half Quarter Eighth i6th 32d 64th

Rest. Rest. Rest. Rest. Rest. Rest. Rest.

X •' J?

T

A rest of several measures in succession is generally indicated by one of
the forms of rest following, together with the figures indicating the length of
rest desired, written above the staff.

4 Measures. Rest of 8 Measures. Rest of 16 Measures.

or

n:

-ff

4ifc=:

RHYTHMIC PULSATION AND MEASURE NOTATION.

The first step towards music is the recurrence of rhythmic pulsation. All
music moves rhythmically, by pulsations of equal value, which are grouped
into measures by means of accents. Measures are of two, three, four, six,
nine, or twelve pulsations each, and all alike have the strong pulse at begin-
ning. The place of this pulsation is indicated by means of a line across the
staff, called a Bar. The strong accent falls upon the tone or time-space im-
mediately following it. Accent is indicated also by means of a little angle
==-. In the following examples of measure-forms the accent mark is unnec-
essary, but is placed there for the guidance of the student. The mere bar,
without the extra mark, means exactly the same thing. The bar always shows
the place of the strong accent.

MEASURE SIGNATURE.

At the beginning of every piece or movement is placed a Measure Signa-
ture, consisting of two figures in the form of a fraction, immediately follow-
ing the clef. The upper figure denotes the number of pulsations in a measure.

THE MUSICAL NOTATION. 7

The lower figure tells what kind of note is taken to represent one unit of
time. All other notes in the piece are computed with reference to this. The
time within the measure may be occupied in any manner the composer pleases.
One tone may be prolonged through the entire measure ; or every pulse may
be subdivided into several parts. All that the measure signature requires is
that the unit note or its value shall be present in each pulsation of the meas-
ure according to the tables of note-values preceding.

The unit note is generally a quarter or eighth ; .less frequently a half-
note ; least often of all a sixteenth or other shorter note.

Now, since the measures run from two pulsations to three, four, six, nine
and twelve, each signature appears in several diflferent forms, such as a half-
note unit with two, three, four, etc., pulsations; a quarter-note unit with all
the varieties of measures, etc. Hence the following forms:

1 i 1 A whole-note unit, and two, three, or four pulsations in a measure.

In all of these forms the value of every note is computed in beats, reck-
oning from the whole note as one beat.

2 or fJs 3 4 6

In all these forms the unit is a half note, and all other note forms are
computed from that.

444"rs:Z44 4

In all these forms the unit is a quarter, and this is the measure-note from
which all are computed.

/2\ 3 /4\ 6 9 12

\8/ 8 \S) 8 8 8

In these forms the measure-note is an eighth, and all forms are computed
from that.

1^6 A ^ etc.
In these forms the measure-note is a sixteenth.

MEASURE FORMS.
o »«• R Alia breve. I I I i S I

i J J \ J J J \

8

'HE MUSICAI, NOTATION.

•4- J

■§■ N ^ h

N s ^

4 4 4

^
^

Two z's.

All measures having more than three pulsations are grouped within
themselves into twos or threes, thus requiring smaller accents, as indicated
approximately in the examples following :

^

J J J J J J I ^-^^'^•

^

*

I i i I i i
4 4 4 4 4 4

III III
0 0 4 0 4 4

Note.— 6-8 measure is not at all the same as six-eights derived from 3-4
measure. The latter is accentrd as three groups of two :

^
^

I i I i I i
4 4 4 4 4 4

4 4 4 4 4 4

\ i I 1 I I I I I ! I I I I I I I I I I
4- 444444044^444044444

^
^

4 4

J ii

I I 1

0 d til

I I I I i i r
t 4 ^ 4 4 4 4

Ti I

4-a

% 4 4 4 4 4 4 4 4 4 4 4 0 < 4 4 4 4 4 4 4 4 4 0 4 4

J ! Four s's.

THE MUSICAIv NOTATION. 9

THE NOTATION OF PITCH.

Musical pitch is noted by means of lines and spaces, grouped into con-
venient systems called staves, or a staff. In modern music the staff consists
of five lines and the appertaining spaces, which number six (those above and
below the lines being included). Each of these lines and spaces is called a
degree of the staff, and represents a degree of the scale. Therefore, five lines,
witii the six appertaining spaces, afford places for eleven scale degrees. When
more are wanted, short additional lines (called added lines) are written abovvi
or below. When these become excessive, the same are repeated with the ex-
pression 8vo above or below. The former indicates that the octave above is
intended ; the latter, the octave below.

Pianoforte music generally employs two such systems of lines, one for
the notes to be played by each hand. Organ music employs three staves, the
part for the feet requiring an additional staff. Orchestral scores employ as
many staves as there are instruments employed. These different staves are
distinguished from each other by means of special designations, and by char-
acters called Clefs, or keys. The clefs in use are three in form, and six in
variety, according to the manner of applying them. First comes the treble,
or G Clef, indicating the place of G above middle C. This is used for the
right-hand parts in piano and organ music, the violin, oboe, flute, and instru-
ments of high pitch. The bass, or F Clef, indicates the place of F below mid-
dle C. It is used for the basses. The C Clef indicates middle C. It is applied
in several different manners.

The following diagram shows the great staff of eleven lines (the line of
middle C in the center), with the different clefs applied to the selection of
five lines which they serve to identify.

GREAT STAFF OF ELEVEN LINES,

Showing the relation and pitch of the various Clefs and Staves used in Piano-
forte and Vocal Music, and in Orchestral Scores; together with the
letters indicating absolute pitch.

f"

-C'"-

Violin or Soprano

Staff. ., -a"-

-Soprano-Staff. — !"--&_

b"

d'"

Base-Staff.

BB

-AA-

GG

■FF-

lO

THE MUSICAL NOTATION,

Very high tones, requiring mafly added lines to properly indicate, are
sometimes written an octave lower, with an 8va over them to show that the
passage is to be played an octave higher.

Hvs%.

4L . #-4— 4— +—-(—4— ^4—4—4— A

'.tz'tititz tiziziz iz t

IVritten

Played.

The equivalence of the different clefs is also shown by the following
figure, in which the notes which are identical are connected by dotted lines.

Treble Clef.

g" a" b" c'"

e f gab c' d' e' f g' a' b' c" d"e"f" ^m^

^^_]_4-4-]-:

^&

T^?^PiHg

^H^

=t=t=tz

#-*

H-j|h^#-^T

Soprano "Clef.

«

^

#-^

-#_«

r r M 1 1 '

t^r

Wi=^-?zfi±=^

Alto Clef.

m-

=1H

#-F^

ffi

:^=rT4

Tenor Clef

-^^

^^0^

^0

3^r-r-M-

t±

fiS

: : : : jl"^"^

Bass Clef ! * * 1 ,#.^4-^^=+=

-i»-^-

=]=$

^f-r

jt±=^

— I — I — f— jg-^ - — I — ■

l^-j^^- g a b c d e f g a b c' d' e' f g' a'
C d e f

These different clefs, although at first confusing to the student of theory,
are later a convenience, since they permit him to represent almost any melodj
without running off the staff and requiring the addition of added lines.

The staff as above represented may be taken as equivalent to the white
keys of the pianoforte, each line and space standing for the tone made by t
single key.

THE MUSICAI^ NOTATION. 11

NOTATION OF TONES IN KEY.

The staff is adjusted to the representation of the chromatic tones, and the
black keys, by means of characters called sharps :jt, flats b, and naturals t{.
The sharp, placed upon a staff degree, indicates the next higher tone in the
chromatic scale. The flat, the next chromatic tone lower. The natural can-
cels the flat or sharp, and in certain cases effects adjustments equivalent to
either of the former.

Thus, a sharp upon, the staff-degree G, indicates G-sharp ; upon A,
A-sharp, etc,

A flat upon A, indicates A-flat ; upon B, B-Jlat, etc.

A natural upon A-sharp, indicates A ; upon B-flat, B, etc.

Double sharps X and double flats bb are also employed when needed.
These indicate a chromatic change of an entire whole step upwards or down-
wards from the unaffected degree. A double sharp upon A, indicates A-
double-sharpy which is enharmonic with B-natural. A-double-flat is equiva-
lent to G-natural, and so on. The double sharps and double flats are em-
ployed for indicating chromatic tones in pieces where single sharps or flats
are already in use. Thus, to the ear the following two series of tones are not
different.

fc^

fci^^g^S^i^jE^

Chromatic signs affect the staff degree upon which they are placed
throughout the measure in which they occur, and no further. They affect
only the degree upon which they are placed, and not the octaves, except when
used as Signatures, in which case they affect not only the degrees to which
they are applied, but all octaves of them upon the same staff.

SIGNATURES.

By Signature is meant sharps or flats written after the clef to indicate the
adjustment of the staff to key. In this way is indicated whatever modification
from the plain staff the key may require, except in the case of the minor
mode, which generally requires an accidental sharp or natural upon its sev-
enth degree. Hence, in the following table of signatures, and the names of
the staff degrees under them, the minor modes are also shown with this
accidental.

THE MUSICAL. NOTATION.

Signatures of the Keys, and Relative Minors.

i

9^

Key of C or A minor

^ (

%

,»-

*

;3

Key of A or FJ minor.

^M —

*

._X-

I

Key of Fj( or Dj( minor.

Key of G or E minor.

Key of E or C^ minor.

§£ft

ft^

^^5E=^ Pite

Key of CJ( or AJ( minor.

m (

^^^i

Key of D or B minor.

9i:

-5#:

:y

a=^=i

Key of B or Gj{ minor.

^i

»==t

^^^1

Key of F or D minor.

i!

-r

;e

^

Key of Bb or G minor.

i^

tt

^

far

Key of Eb or C minor.

ir^

S

I

!2F&=Ftf

e

Key of Ah or F minor.

m^^^]

|e^i^ (||i^gr^^

Key of D!J or Bfe minor.

Key of Gbor Fc minor.

m^^^

&:

Key of Cb or All minor

itfj^

Note. — The occurrence of the characteristic accidental above, with a
given signature, generally indicates the minor key named.

THE MUSICAI, NOTATION.

13

TONES IN KEY. OTHER NOTATIONS.

The Tonic Sol-fa notation consists of the initials of the scale names of
tones written in a horizontal line. Digressions into a higher or lower octave
are indicated by a short tick above or below the initial. The key is indi-
cated by a direction at beginning.

The bars indicate measure beginnings, and the colons the beats. As
many tones are sung in one beat as are represented within the time-space
devoted to it. Prolongation of tone is indicated by a — in the spaces through
which the tone is to be prolonged. Rests are indicated by leaving the time-
space vacant. Example :

Key of G,
s

, .,s \ s, ,m.-j

COMIN' THRO' THE RYE.

.,d .' r, m.— s, .,s, .* 1, .s,

s, .,m ; d, m.— r .,d ; r, m.— | s .,ni ; d

•1

.s

.,m : f

.,r

m

.,d;r, m

■i

.,s : 1.

.s,

PATENT NOTES.

SOMETIMES CALI^ED BUCKWHEAT NOTES.

This is a staff notation, much used in the South, with note-heads of pecul-
iar form, indicating the key-name of the tone. All the staff notation (includ-
ing signatures) is employed, and the characteristic shapes of the note-head
additionally.

T=^^^

if-w-l^

Do, Ray, Me, Faw, Sol, Law, Se, Do.

SIGNS APPERTAINING TO EXPRESSION AND

INTERPRETATION.— MELODIC

EMBELLISHMENTS.

THE I<ONG APPOGGIATURA.

This embellishment consists of a grace note which takes half {a), two-
thirds {d), or even the whole {c), of the time of its principal, as shown in the
examples following:

a. Long appoggiatura before a d. Before a note divis- c. Before a note

note which can be divided ible by three (a to which an-

into two equal parts. dotted note). other is tied.

IVritten. |

._] ^S - I - N I . — .

i

'.SL

-^2-

±1

-(^

V'

fe£

Played.

;|;

Sf-

'■^

ttizt

-<9-

-y'-

-^

The long appoggiatura is now usually written out in full in large notes.

THE SHORT APPOGGIATURA.

The short appoggiatura is a grace note with a little stroke through its
stem. It begins at the time of the principal note, and is played as quickly as
possible — [a, b, c.)

1%

Written.

K

-^#-

:t=

S

-i9-

t:

I

a. Moderato.

Played.

b. Presto. c. Be/ore double notes.

.?i 5i Ci-

AFTER NOTES.

After notes consist of one or more grace notes introduced as passing or
changing notes, in passing from one melody note to another. The}' are gen-
erally connected with their principal note by a slur, and never fall on an
accent.

14

MUSICAIv SIGN.S.

15

Written

DOUBIyE APPOGGIATURAS.

Double appoggiaturas consist of two grace notes preceding a melody
note. They begin at the proper time of the principal note (and therefore with
the corresponding Base note), and are played as quickly as possible, the
accent falling on the principal note.

Written . ^

m

&BS^

-^ —

-!tz±

^^s^^^^M

Played.

V f p f f f _

■#4-H \ \-^^ & I I ' 'T^m-^ tI

THE TURN, OR GRUPETTO.

The turn consists of a principal note and two auxiliary notes, above and
below respectively, which may be a whole step or a half step distant from the
principal. Generally, the upper auxiliary is the next tone above in the same
key, and the lower a semitone below the principal. When the upper auxiliary
is only a semitone above the principal, as in the case of turns on the 3d and
7th degree of the scale, the lower auxiliary is played diatonic, and conse-
quently a whole step below the principal, in order to avoid the misleading
chromatic effect which would otherwise be produced. On the 5th degree of
the minor scale the lower auxiliary is played chromatic. The turn usually
comes at the close of the principal note, as at a, b, and c, in the examples,
where also is illustrated the use of accidentals in connection with the turn-
sign. Sometimes, however, it comes at the beginning of a note, as at d, in
which case the turn-sign stands directly over it. With dotted notes the turn
comes between the note and the dot, as shown at e aud/i

I6

MUSICAI, SIGNS.

i

oc

0&

?=}f-

I

_«_r-^-#«^— ^

i

«s»

cn:>

(A9

# — ^

-#— «^

izt

/

0—^

I

THE MORDENT AND BOUNDING TRILI,.

These two embellishments are precisely alike, except that one is made
with the note below the principal, and the other with the note above. The
first is distinguished by the vertical stroke through the sign, as at a, below.
The other, also called Mordent by some, and Prall Trill or " Bounding Trill "
by others, lacks the vertical stroke through the sign, and is made with the
note above. The same embellishment is sometimes written out in small
notes, as at e. The Prall Trill should be accented on the first note, as at d.
In all cases the embellishment is to be played as rapidly as possible.

I j-gf H 1 V ^ I I ^— I F 1-

^

-k-p-^l.

Y. I T-]

eI

n~0-

d According to Mason, e

«r-^-# — 0^0

=u^ ft/r

^^k^-=ij

:=fcai:

Zdr'f—0-

f with double notes.

MUSICAI, SIGNS.

THE TRIIyl,.

17

The trill consists of a rapid vibration or alternation of a principal note
'and the next above in the same key. A vocal trill should begin somewhat
deliberately, but immediately become rapid, as shown at a below. It con-
';ludes with a turn, which, however, may sometimes be omitted in chain trills.
On the pianoforte a long trill, accompanied by a melody in the same hand,
may omit the auxiliary note at the moment of sounding the melody, in order
f;o facilitate the passage, as shown at d. It is of the greatest importance tli; t

he notes of the trill should be of equal power. At the start the auxiliary may
be accented. Trills should vibrate at a uniform speed, after the motion is
Snce established, and in some definite ratio to the time of the passage.

The trill begins with the principal note, and not with the auxiliary,
ilthough the contrary has been taught by eminent masters, and is sometimes

equired by a grace note, as at b and c below.

Written.

^tr.

tr.

— /9-

il

^-

M-

\^^

H*-^-

Performed.

THE PEDALS OF THE PIANOFORTE.

Modern pianofortes sometimes have two and sometimes three pedals,
''hat upon the right is the Damper pedal. (There is no such thing as a loud
edal.)

It is indicated by the abbreviation Ped., and the termination of its use by
« or ^.

In some old music (printed between 1830 and 1850) the use of the pedal is
idicated by the character ■^. This is now obsolete.

l8 . MUSICAL SIGNS.

Mr/ Arthur Foote has proposed the following mark, which indicates tha
the pedal is to be pressed at the beginning of the line and discontinued at th<
precise point where the line terminates :

The left-hand pedal is called the Soft pedal, and its office is to reduce th<
volume of sound. Upon upright pianos it does this by bringing the hammer,
nearer the strings. Upon grand pianos, by shifting the hammers so that the-
do not strike all the strings of the unison. Hence the origin of the term Um
Corda, for indicating that the soft pedal should be pressed by the left foot
The term Tre Corda indicates its discontinuance. Occasionally these term
are abbreviated to U. C. and T. C, but as a rule they are written out in full.

When there are three pedals the middle one is generally a tone-sustaining
pedal. This is a modification of the damper pedal, prolonging whatever tone
are actually sounding at the moment when the tone-sustaining pedal
pressed. Meanwhile, others can be taken and left to any extent, the origina
tone or chord remaining sounding until the vibration of the strings die:
away, or until the tone-sustaining pedal is dismissed. There is no mark a
yet for this pedal. Its use is advisable in places where there are tones to b'
prolonged, but where confusion arises from the ordinary damper pedal.

. INDICATIONS OF PHRASING AND FORM.

The Slur ^— ^ is a curved line drawn over or under several notes, indical
ing that they are to be closely connected in performance ; or that they form
single idea, although the idea itself may contain several smaller ideas

— y^ — ' Cross slur points indicate that the note under them belongs t

two ideas, being the end of one and the beginning of the other.
• • • •

^ .* ^ f Dots, or pointed specs, over notes indicate Staccato quality

Tones so indicated are disconnected more or less according to the nature o
the passage. In older music the dots were sometimes considered to indicat
a duration equal to half the value of the notes; and the specs a duration eqm
to a quarter of the apparent value of the notes. In modern music no distinc
tion of this kind exists.

f f f Short lines over notes indicate emphasis and individual!
occasionally a slight prolonging.

f 'p P Short lines with a dot, or dots and slur together, indicat^

! I I
less degree of staccato than the dots alone. Generally considered to ec
three fourths of the value of the notes.

MUSICAI, SIGNS. T9

V Sometimes used to indicate the end of a formal phrase, in pieces edited
for elementary instruction. It does not necessarily require separation be-
tween the tones, but is intended solely as an aid to the eye in dividing the
passage into its constituent parts.

II I or I II These are called " reading marks," and indicate the bounda-
ries of subordinate motives. No separation of tones is indicated by these
marks. They are solely for aiding the eye.

|/ y Placed over a bar indicates the strong accent of the great meter,
consisting of three or two measures, according to the figure above the little
angle.

^ Rubato, sometimes employed to indicate a slight emphasis and pro-
longing of the tone, particularly in suspensions.

, Comma, sometimes indicates a breathing interruption in the flow of
tone, similar to that made in melody by the singer taking breath.
US. Hauptsatz, Headpiece, or Principal Subject.
5.5. Seitensatz, Sidepiece, or Second Subject.
SCHLS. Schlusssatz, Closingpiece, or Conclusion.

ZIVS. Zwischensatz, Betweenpiece, o^ Connecting Part, or Interlude.
MS. Mittelsatz, Middlepiece, or Middle Subject. Often found in the
sonatas of Mozart directly after the double bar in the principal
movement.

SIGNS APPERTAINING TO EXPRESSION.

Gradual increase of intensity.

Gradual diminution of intensity.

Swell ; increase and diminish.

As soft as possible.

As loud as possible.

With sudden force.

Sforzando. With sudden force.

Rinforzando. Several tones in succession very forcible.

One tone, or chord, forte, all the rest piano.

I^egato. All the tones connected.

Every tone emphasized, individualized, and slightly sepaiated.

Every tone strongly individualized.

Sometimes used as breathing mark in solfeggi, and in music

for wood wind.
Teuuto. Hold the tone its full value.

20

MUSICAlv SIGNS.

ABBREVIATIONS.

USED MAINLY IN MSS.

Written.

^=:=

y ^ f

s

-S-

=s

-fZ-

-t9-

^-

-^-

Played.

-^ ^-^^

#-H

-# i ! i f I i !

^sr^—^-r^

41-#_H.

-^-^-

* Note. — This mark is ambiguous. Rubinstein uses it as a broken trem-
olo, as at a, but generally it is intended as here given. The context will gen-
erally determine.

sign of repetition
of the preceding
strain.

11

or

Dotted Bars.
Signs of Repetition.

sign of repetition
of the followi
strain.

"•IP

or

i

sign of repetition
of the preceding
and following
strains.

ffi

=iJ3i=: =33= zz£t=

IB

:S:

Da Capo Signs.
Signs of Repetition

:$:

%

%

Sign indicating the close of a 'Tz

Repeat, or the end of a
Piece.

Sign of Repeat

BIS.

T^*

or

i

BIS.

=P^

itzizzt

Played

1^

^_^_

i— *-

q?^

MUSICAL SIGNS.

21

A note with two stems belongs to different voices.
Example :

Example.

_i

Meaning.

tit—

Meaning :

Chords played Arpeggiando.

Written .

Played.

-G>-

SPECIAL SIGNS USED IN rNSTRUMENTAL MUSIC.
STRINGED INSTRUMENTS PI^AYED WITH A BOW.

1 — I Down boWo
Up bow.
Half bow.
Short strokei.-

WhoA:^ bCTf^

Whole length of bow.
Middle of bow.
At the nut.
At the point.
Short bowing.
Long bowing.

H.B.
Sh. St.
IV. B.
G.B.
M.B.

Fr.

Sp.

• • • •

MANDOLIN.

j Down Plectrum.
f Up Plectrum.

BRASS INSTRUMENTS.

0 Open tube.

I, 2, 3. Numbers of the valves.

p p p Demi staccato. (Made by tonguing) as if in pronouncing the

• I ' letter D. .

32

MUSICAI^ SIGNS.

DRUM MUSIC.

V Placed above the staff to indicate that the left-hand stick is raised,
and below the staff to show that the right-hand stick is raised.
I Used to indicate a tap, or a tap beat.

A To denote that both sticks drop on the drum -head at the same time.

GUITAR MUSIC.

Left hand.

Signs employed in Guitar
music to indicate the
fingering.

Open string,

" First string,

" Second string,

" Third string,

Right hand. First string,

" Second string,

" Third string,

• Thumb,

+

FLUTE OR FLAGEOLET.

Open hole. Q

Closed hole. %

Pinched, or partly .icsed hole. ®

COMPLETE CLASSIFICATION OF THE
MUSICAL FORMS.

THE ELEMENTARY FORMS.

'igure, a musical idea of recognizable peculiarities. In order to embody an
idea a tone-succession must possess the following elements : i, a definite
motion and compass in rhythm, extending from some one point in meas-
ure to the corresponding point in the next pulsation, measure, or the next
measure but one ; 2, a melodic figure with a point of accent or emphasis ;
and 3, a chord-foundation suggested or expressed. In developing a mu-
sical idea into larger forms a composer takes one of two courses : Either
he retains the rhythm of the motive and modifies the harmony and melody
(thematic development), or he retains the harmony and the essential
features of the melody and modifies the rhythm (variation).

lOtive, a musical idea, taken as a germ or pattern for development. The
natural compass of a motive is one measure, which may be from any point
within the measure to the corresponding point in the next. A Motive
may be a fraction of a measure ; or it may run to two measures.

hrase, a musical symmetry, consisting of two motives, or one motive repeated
or sequenced. The natural compass of a Phrase is two measures. But it
may extend only to one measure, or be carried to four, or under certain
circumstances to a larger number of measures.

action, a musical symmetry, composed of two phrases. Its natural compass
is four measures, but it may be carried to eight. Sections are of two
general types : Antecedents, which propose a subject, and Consequents,
which answer and complete an Antecedent. These divisions correspond
to subjects and predicates in logic.

sriod, a completed musical idea, consisting of two sections which answer
each other. A Period is like a stanza. Its four phrases may rhyme with
each other in almost any manner the composer pleases. Periods arising
from motives of a part of a measure might not exceed four measures in
compass ; and those arising from motives of two measures would naturally
reach sixteen measures. Still further variations occur in period-forms
through the repetition of some one phrase, or motive, the avoidance or

23

24 SUMMARY OF FORM.

postponement of a cadence, and the like. Periods are to be distinguished
also with reference to their character as dependent and independent. A
dependent period requires something else to finish it ; or devote? itself to
finishing something already proposed. Hence a dependent period is
either a Consequent of some former antecedent, or the Antecedent of a
consequent to occur later. The external indication of dependence in
period-forms is the cadence, which, if upon the tonic of the original key,
indicates that the period is closed in that direction, at least. If also the
period begins in its principal key, it may be taken as independent. But
if it begins in some key or chord other than the tonic, there is something
implied before it, which may be found in the previous period, or may be
merely mental with the composer. Of the latter kind the beginning of
the Beethoven sonata, opus iii, may be taken as type.
Perlod=Group, a succession of periods, which may be developed from the
same motives, or may serve as connecting links in a larger work. In the
former case the group assumes an independent form, and the Song-form
is the result. In the latter case we have modulating periods, passages,
and the like.

INDEPENDENT MUSICAL FORMS.

Unitary Forms, containing but one single melodic subject. The simplest
type of unitary form is the One-period Song-form, of which the ordinary
church tune affords a convenient example. The Two-period Soug-form
consists of two periods, of which the second is the consequent and com-
plement of the first. The Three-period Song-form consists of three
periods, in which the second period is usually in a different key, while
the third period is nearly or quite the same as the first. Here we have in
miniature a rondo, in which an original subject is brought back again
after a digression. The Song-form is the general foundation of all dances,
and most popular music, and it furnishes the principal subjects of the
slow movements in the classic authors.

The Fugue is a unitary form entirely developed out of a single melodic
subject, but its compass is so much extended by the harmonic and con-
trapuntal transformation of the original subject that the piece, as a whole,
often reaches proportions almost symphonic, as in the great organ fugues
of Bach.

Variations are also unitary forms, in that they treat of the same mel-
ody all through. The original theme in this case is the form, usually a
song-form of one or two or three periods. The variations in succession
illustrate contrasted manners of treatment, and in their relative order
they finally combine to constitute a large form, somewhat suggestive of
a rondo or sonata.

SUMMARY OF FORM. 2$

An Etude is a thematic composition designed to illustrate some diffi-
culty or artistic effect. Occasionally it is of binary order, but generally
it is unitary, having but a single subject. The etudes of Chopin illus-
trate artistic studies in musical effect; and those of Cramer and de-
menti those designed for technical purposes.

Canon is a musical form in which one or more voices follow after a
leading voice, called the antecedent, singing precisely the same melody. A
round is a common example of this form. The canons of Schumann are
also good examples.

Canonic Imitation is imitation in the manner of canon, and this art
underlies all modern thematic development.
Penary Forms are those in which there are two contrasting melodic subjects,
each of which may be, and generally is, a complete song-form of one. two
or three periods. The first subject is called the Principal, and when it is
repeated it is always in the same key, and generally nearly or quite un-
changed, although in some instances it is shortened. The second subject
is called Second, and is in a related key to the principal key of the piece.
Opinions and practices differ with reference to the relation which should
prevail between a Principal and Second, as to tonality. In general, how-
ever, in the older practice the Second of a major Principal was in the
dominant ; and the Second of a minor Principal was in the relative major.
Chopin made a very bold departure from this practice when, in his K
minor concerto, after a Principal in E minor he introduced a second in B
major. The effect is very pleasing.

A Trio is a second subject somewhat milder than the Principal with
which it is associated. According to classical practice the trio of a
major Principal was in the subdominant, or in the relative minor. These
rules are no longer obligatory.

Many slow movements of the sonatas and symphonies of Beethoven are
binary forms, with a certain amount of passage or modulating work be-
tween the Principal and Second. Such movements are concluded with a
Coda, or conclusion, and approach the form of the rondo.

A Rondo is a musical form in which a Principal is relieved by a Second
and perhaps a Third, the Principal returning from three to five times,
with the introduction of more or less connecting matter. This form is
more generally a ternary order, wherefore it will be more fully discussed
in the next paragraph.

Toccata is a style rather than a form. A Toccata is generally a sort of
etude, characterized by rapid motion and brilliancy of effect. Toccatas
are generally unitary as to form, but occasionally binary.
Ternary Forms are those in which, besides a Principal and Second, there is
also a Third. When three subjects have to be related in this manner, the
Second was originally in the dominant or the principal key, or in some
key up-^n We> dominant side ; while the Third was in the subdominant or

26 SUMMARY OF FORM.

in some key upon that side. These rules are no longer followed exactly.
The composer is free to follow his fancy, and to place his new subject in
any possible key which he conceives best suited to bring out its nature,
when taken in connection with the matter and tonality of the accompany-
ing subjects.

The most characteristic of the ternary forms is the Rondo, which is de-
fined rbovf^. Rondo means round, and the frequent return of the Princi-
pal is the characteristic trait of this form. The Rondo is primarily lyric
in its spirit, and by preference is of a semi-jovial character, wherefore it
is never applied to serious purposes ; or, if its essential round principle
is availed of in more serious forms, the jovial rondo spirit is carefully
eliminated. The Berlin theorist, Adolph Bernhardt Marx, was the first
to apply the term rondo to slow movements. He called the Adagio of
Sonata Pathetique a rondo, which in the return of the Principal it is ; but
not in spirit of the movement.

The Sonata-Piece is the most conspicuous example of the ternary
form. A sonata-piece consists essentially of a Principal, some connect-
ing matter, a Second, and a Conclusion. Here there is a repetition,
after which comes a middle part, called an Elaboration, devoted to free
fantasia upon the principal themes of the work ; after the Elaboration, the
first part (Principal, Second, and Conclusion) returns entire, except that
the Second is always in the principal key of the work, and the Conclusion
is somewhat extended, though this latter is not obligatory. In the older
sonata pieces the Principal and the Second are so much more important
than the ^Conclusion that the careless observer may not be inclined to>
attach much importance to them. The Conclusion, however, is an essen-
tial part of this form. The Sonata-Piece is the type of all serious instru-
mental composition. It forms the principal movement or movements in
sonatas and symphonies (including all chamber quartettes and larger
works), and many oyertures and other works also form themselves upon
its general principles.
Complex Forms are forms consisting of two, three, four, or even five, shorter
forms, each of which is an independent piece ; but all are associated into
one Complex form through affinity of tonality, and consecutive qualities
of spirit and meaning; or for the sake of contrast. The principal tj'pes
of Complex forms are Sonata, Suite, Opera, Oratorio, and all forms in
which a consecutive musical idea is carried on by means of completed
pieces in succession. In all these very large forms, like Opera, for instance,
the work is grouped into smaller unities by its division into acts, and
each act is generally ended by an elaborate finale, which often reaches great
development.. As, for instance, the third finale in Mozart's " Marriage
of Figaro," and the third finale in Wagner's *' Meistersinger."

Sonata. The sonata is the most important of all the complex forms ; it
is the form of all pieces of that name, as well as of the Symphony, Con-

SUMMARY OF FORM. 2^

certo, Trio, Quartette, Quintet, and nearly all varieties of chamber music.
A Sonata consists of from three to four movements. At least one of these
movements is a sonata movement (Sonata-piece, Sonatas aiz) of the form
already described in the ternary forms. The first movement usuallj.
belongs to this form, and many times the last. Occasionally the same
form, somewhat shortened, is employed for the second movement. The
first movement of the sonata is generally (almost invariably) thematic.
The second movement is generally in some kind of slow movement,
lyric and ideal in character. If there are four movements, the third is
either a minuet with trio, or a Scherzo with trio (Song-form with trio).
The closing movement is either a Rondo or else a Finale, the latter being
a sonata-piece. Many sonatas of Beethoven deviate somewhat from this
order, such as that in A-flat, opus 26, which begins with an Air and Varia-
tions, has a funeral march for second movement, the only sonata-piece
being the Finale. The so-called " Moonlight" sonata, opus 27, No. 2, has
the slow movement first. The second is a Scherzo, and the Finale is a
sonata-piece. The great sonata in C minor, opus iii, begins with a vigor-
ous introduction, leading into ^ strong sonata-piece, and there is only one
other movement, which is an Arietta with variations.

The Symphony is carried out in precisely the same manner as the
sonata, except that the development is longer. The Concerto has gen-
erally only three movements, the short Scherzo being omitted. In some
modern concertos all four movements are condensed into one, or rather
the whole is made continuous.

Conditioned Forms are those in which the form is conditioned by extra
musical considerations. The prominent types are the Recitative, where
textual declamation is the primary condition, and emotional coloring the
secondary, the purely musical remaining subordinate to both these; all
types of Song and Aria, where the delivery of a text and the intensifica-
tion of a dramatic moment are the main objects sought. Sometimes these
qualities are so accomplished that the musical effect as such is height-
ened ; examples of this are afforded by Schubert's "■ Erl-King," " Margaret
at the Spinning Wheel," " To be sung on the waters," etc. All forms of
the conditioned character conform to the general principles of pure form,
to as complete an extent as they are able without sacrificing the imme-
diate end sought in their own creation.

Note I . The principles of form, whether large or small, are the same. Unity,
symmetry and contrast are the elements which have to be combined.

Note 2. The above classification of form exhausts the subject, and affords
place for every variety of form which can be created.

(For further development 'of the subject of Musical Form, see " Primer
of Musical Forms," by the senior editor of the present work.)

RULES OF PRONUNCIATION.

ITALIAN.

VOWELS.

a is always like a in father.

e has (1) the sound of 6 in pen, and (2) the
sound of a in /ate.

i is pronounced like e in me, and in short syl-
lables, i in pin.

j, at the beginning of a syllable, is like y in
you. At the end of a word it is like e in be.

o has the sound of 6 in tone.

u has always the sound of oo in cool.

CONSONANTS.

b, d, f, I, n, p, q, v, are the same as in Eng-
lish.

c, before a, o, and u, has the sound of k ; be-
fore e, i, and y it has the sound of tsh, or that
of ch in the word cheek. When doubled (cc)
and followed by e, i, or y, the first is pro-
nounced like t, and the second takes its
usual sound.

ch. before e or i, has the sound of k.

g, before a, o, or u, is hard, as in go; before e
or i, it has the sound of j or soft g, as in
gem. When doubled and followed by e or i,
it has the sound of dj, or like dg in lodge.

gh, followed by e or i, is pronounced like g
in go.

.gl, followed by i, preceding another vowel,
._ pronounced like 11 in million.

gn, followed by a, e, i, o, or u, is like ui in the
English word minion.

gua, gue, gui are pronounced gwa, gwa, gwe.

gia, gio, giu are pronounced djia, djio, djioo,
in one syllable, giving the i a very faint
sound, differing almost imperceptibly from
the effect of the same combination with the
i omitted.

s has (1) the hard sound as in sis, and (2) the
soft sound as in ease ; usually the latter
when occurring between two vowels.
5C, before e or i, is like sh in shall; before a,

o, or u, it has the sound of sk,
sch is always like sk, or sch in school.
scia, scio, sciu are pronounced sha, sho, shoo.
r, at the beginning of words, is like the Eng-
lish, but at the end of words or syllables, or
when combined with another consonant,
it should have a rolling sound.
w and X are not found in Italian, except in

foreign words.
2 has usually the sound of ts ; it is sometimes
pronounced like dz.

Italian words are pronounced exactly as
written, there being no silent letter, except h.
The vowels always preserve their proper
sounds, forming no diphthongs and being un-
influenced by the consonants with which they
may be combined.

In words of two or more syllables there is
usually a slight emphasis placed on the penult
or antepenult, but rarely on the last syllable.

28

RUIvES OF PRONUNCIATION.

GERMAN.

VOWELS.

a has the sound of ji as in far.

•u is lite ou in home.

al occurs but rarely, and has the sound or i as

in pine.
ae or a when long is like a in male; when

short ic is like C in met,
aeu or au is like oy in hoy.
e has (1) the sound of 6 as in help, end (2) the

sound of a in hate.

ei has always the sound of i in pine.

eu is like oi in loiter.

I has the sound of I as in pin.

ie takes the sound of e as in tree.

1) has the sound of 6 as in tone.

ae or o has nearly the sound of 6 as in fell.

u has the sound of oo as in moon.

lie or u has the sound of the French u.

y is used only in foreign words, where it does
not differ from ! i:i pin.

CONSONANTS.

) and d are pronounced as in English.

: is only used in foreign words. Before e, i,
and y it is pronounced like ts ; before other
vowels and consonants it is like k.

:h has nothing corresponding to it in Eng-
lish. It is a guttural sound, produced by
pronouncing ahk, but taking care not to
close the vocal organs in sounding k. At
the btgiuning of words ch is like k.

.h« Is prououuced like ks <»r x.

f, 1, m, p, t and x are the same as in Eugli^*^

g has the hard sound as in go, I n some i • » i
of Germany the unaccented final /</ is si.ft-
ened into something like iA.7t.

h at the beginning of words is aspirat'^d ; be-
tween two vowels the aspiration is very
weak, and before a consonant or at the end
of words it is mute; but in this case it
makes the preceding vowel long.

j is equivalent to the English y in yov, and is
always followed by a vowel.

k is like the English k, but is never mute

before n.
ng sounds like ngin length; but in compound

words where the first ends in n and the last

begins with g, they are separated, and both

pronounced distinctly.

q is always joined with u, and together they
are prououuced like kw.

ph has the sound of f.

pf unites the two letters in one sound uttered
with compressed lips.

r has a stronger sound than in English, and
is the same at the beginning, middle, or
end of a word .

sis like the English s. It is sounded at the
end of words, and between two vowels it
frequently takes the sound of z.

sch is like the English sh in sliij).

th takesalways the sound of t; h being sileiit.

It has never the sound of th in tliec.
tz intensifies the sound of z.
V is pronounced like f.

w following a vowel answers to the English v
z is pronounced like ts in nets

?p

RUIZES OF PRONUNCIATION.

FRENCH

VOWELS.

a has two sounds ; a as in mans, and a as in hnr.

ai is like a in fate.

au is similar to o in English.

e is (1) like 6 in met ; (2) like a in fale; ['-l) sim-
ilar to Q in bud, the latter chiefly in mono-
syllables, as le, de, etc. It is frequently si-
lent at the end of words.

ei is nearly like a in fate.

eu re.sembles fi in tub. '

i has the .sound (1) of 1 in yin, (2) of e in me.

ia has nearly the sound of ia in medial.

ie is like ee in bee.

o is pronounced like 6 in rob, and like o in
rope.

u has no equivalent in English, but resembles
the sound of e in dew. By prolonging the
sound of e, taking care not to introduce the
sound of IV, we get an approximate sound of
the French u, or u as it will be marked in
this work.

y, when initial, or coming between two con-
sonants, or standing as a syllable by itself,
is the same as the French i (i in ill) ; but be-
tween two vowels it is equivalent to double
French iOi), the first forming a diphthong
with the jirecedingoneaudthe second with
the one following.

CONSONANTS.

Final consonants are almost always silent
except c, f, 1, n, and r, which are generally
sounded.

b, at the beginning and in the middle of
words, is the same as in English.

c has (1) the sound of k before a, o, or u ; (2)
when written with the cedilla, or before e
or i, it has the sound of s. c final is sounded
unless preceded by n.

ch is pronounced like sh in she. In words de-
rived from the Greek, ch is pronounced
like /.-.

d is the same as in English. It is silent at the
end of v/ords.

f is like the English ; when final it is usually
sounded.

g-, before a, o, or u, is hard, as in go ; but be-
fore e, i, or y it has the sound of z in the Eng-
lish word azure. In the combination gue,
or gui, the u is silent, but the g takes its
hard sound.

gn is pronounced like ni in union.

h is mute or slightly aspirated.

j is pronounced like z in azure.

k has the same sound as in English.

I has (1) the same sound as in English, and (2)
the liquid sound, as in million.

m and n, when not nasal, have the same
sound as ill English; if preceded by a vowel
in the samo syllable, they are always nasal
unless immediately followed by a vowel in
tne i.cxt syllable.

am, an, em, en are pronounced somewhat
like an in tmnt.

im, in, ym, aim, ain, eim, ein are pro-
nounced like an in anger.

om and on are like on in song.

um and un are pronounced like un in wrung

p is generally the same as in English. It is
sometimes silent, and always when at the
end of a word.

q is usi:ally foUowetl by u, in which case they
are together sounded like the letter k.

r is given more roughly than in English. It
is often silent when preceded by the vowel c.

s has generally the same sound as in English ;
between two vowels it has generally the
same sound as in the English word rose.

se is the same as in English, s final is gener-
ally silent.

RUlvKS OF PRONU^XIA'^ION.

31

t has its hard English sound, but in tial, tiel,
. and tiou it has the sound of s.

th is always the same as t alone, t final is

usually silent.
V is like the English, ouly a little softer.

w is found only in foreign words, and is pro-
nounced like r.

Xi initial, is pronounced like gz ; it occurs but
in few words.

ex, at the beginning of word?, is sounded like
egz. In oihcr places, and between two
vowels, it is pronounced like ks.

z is likez in zone.

Final consonants, which would otherwise
be silent, are frequently sounded by carrying
thorn over to the next word, when commenc-
ing Avith a vowel.

Note. — While the French lani^uaii^e does not properly have svUabic
emphasis, the rate of speaking is very last, and tne practical resnlt is an
emphasis upon the last syllable of words. This rule is almost universal. In
some cases we have marked it, in otliers not.

PRONOUNCING AND DEFINING

DICTIONARY OF MUSIC.

A

ABB

A. 1. Name of a musical pitch produced by
from 435 to 4'>0 vibratious per second, aud
the octaves of the same. French piich is
the formerrate and American concei t pitch
approximately the latter. Also the name
of all octaves of tticae pitches.

2. The uame of the stall-degree repre-
senting the pitch A or any of its octaves;
the name of the key upon the keyboard pro-
ducing A; the name of open strings pro-
ducing A. The intonation of the orchestra
is adjusted from A of the oboe, the oboe be-
ing incapable ot modify iug its pitch to any
practicable extent.

3. Abbr. for Alto (viola).

A (ah), It. By, for, to, at, in, etc.

A in alt. The A placed upon the first upper

added Hue.
A in a!ti5simo. An octave above A iu alt.

A ballata (ii bal-la'tii), It. In the style of a
\ alLiia.

Abandon (ii-biinh-donh), Fr. Without re-
straint; with self-abandon ; with ease.

A battuta (il bat-too'tii), It. As beaten ; strict-
ly in time.

Abb. Abbr. for Abbassamento.

Abbadare (ab-ba-da'rC), It. Take care; pay
utteuliou.

Abbandonasi (iib-ban-do-na'si), //. Without
rest, aiut ; with pass.ouate expression.

Abbandonatamente (ab-hil'i-do nil-tii-men-te),
It. Vehemently; violently.

Abbandone (ab-biin-dcyn?), It. Making the
time subservient to the expression; de-
spoudingly; with self-abandonment.

Abbandono (ab-biin-do'no), It. With passiou-
ute e.^Lpressiou.

Abbassamento di mano ,ab-bas-sa-m6n'to de
mii-iioi, It. The down beat, or descent of
the hand in beatiU:^ time.

Abbassamento di voce (;ib-bas-sa-m(5n't6 de
\6'ishej, It. Diminishing or lowering of the
voice.

Abbassimento (ilb-bii-s-sI-mCa'to), If. Under.

Abbellare (ab-bel-lii're) , It. To embellish with

oruaiueals.

Abbelli!nenti (ilb-b?Mi-m6n'tl), If. Orna-
ments introdutied to embellish a plain mel-
ody ; grace no.es.

AbbeHimento (ab-b(51-lI-mCn't6), It. A grace
note, or ornament.

Abbellire (iib-bel-le're), If. To embellish with

ornaments.
Abbellitura (ilb-bCl-li-too'ra), j. ) Orna-
Abbell'ture (Jib-bSMl-too're), J meats;

Cx^bciiishmeuts.

Abbreviation marks. 1. Oblique strokes
whicn di>tinguish the cirlith, i<i.rtefntfi, or
thirtu sccdini iioo s; wlien applied to thestem
of tiie qii(iit(r or lialf note, signify as many
repetitions of the snorter note thus i di-
catcd as are equal to the longer note

represented. Thus, ^ is equivalent to

^3=y

2. A diagonal stroke with a dot each side
sii^nilios a repetition uf a gruup of noie«, or

sometimes of a complete measure. F^^H

3. Wlien the long notes are omi*fed,the
o})lique strokes, distinenishuig eiglith, six-
fernfU, etc., notes, p e sometimes employed
to denote a repetition of suchshoit notes.

Thus, —^ ^ ^ indicate a repetition of

eighths, sixteenths, thirty-seconds, respec-
tively.

4. A short horizontal line, a row of dots.

a. arm, a add, a ale, ^ end, e eve, I ill, i isle, 6 old, 6 odd, oo woo/j, fi but, ii Fr. sound, kh Ger. ch, nhnasoL
3 (33j

VBE

DICTIONARY OF MUSIC.

ACC

or a waving line is used to express the repe-
tition, or a couiiimati u of the influence, of
the I rec« diug charactei . Thus,

fi, )1 - - u J t/

5. A comhinati'in of rests so written as to
delude a lou^ period (f .si-
lence. Tllt■^e rests indi-
cate a period of eleven
measures' silence. nJ

f). Figures, when placed upon the staff, or
over a measure ii which rests 8
are written, serve Id indicate
the number of whole rests or
measures of silence.

Abendmusik (ii-bgnd-moo-sek'), Gcr. Evening
luusic; music of a sou aad quiet character.

A bene placito (il ba'uS plii-lshe't6), It. At
pleasure.

Abgestossen (abgh{5-sl6s's'n), ^ Icitqpoato
o/ Abstossen ^ab-sios'&'u), ^^^ pi-iccato.

Abnehmend (ub-na'meud),Ger. Fading away :

uiiiiuj.ieudo.

Absatz (iib-siitz), Ger. Cadence.

Absolute music. Music developed freely, a*^-
cordmg to its ideal, merely as music. In
contra list ncriou to vocal music, wuich is
restricted by (hew«u-d-!; program music, de-
voted to a series of iucideuts; and dance mu-
sic, lestricted to the steps of the dance. In
short, high art music, loyal to the highest
ideal.

Absteigende Tonarten (ab-sti-grgn-dg ton-iir-
t'u), Uti: Descending scales or keys.

Abtonen (ab-t6h'nen), Ger. To deviate from
lue right tone.

Abub (jl-boob), Ileb. A flute, or hautboy.

Abwechseind (ab-v6k's'lnd), Ger. Alternat-
ing; ciianging. lu organ-playing, alternate-
ly, with dillerent mauuals; in choir-sing-
ing, antiphoually ; in dance music, change
of movements.

Abyssinian flute. An instrument resem-
bling the German flute, but with mouth-
piece like the clarinet, and j)layed upou
from t-^e end like an oboe.

Academie de JVlusique (ii-ka-dC-me diih moo-
seek'), Fr. An academy of music, consist-
ing of professors and scholars ; a society for
promoting musical culture.

Academie Poyale de Musique, Fr. The name
g.veu to lue opeia-house iu Paris.

Academie spirituelle (a-kad6-me spl-rl-too-
61'), Fr. A performance or concert of sa-
cred music.

A cappella (ii kap-pfl'ia), j, \ In the church
or, Alia cappella. J or chapel style.

Without iustruuifutal accompaniment.

A capriccio (a ka-prl'tshl6), It. Iu a ca-
pricious style ; according to tlie taste of the
performer. Fspecially in the rnalter of time
and phrasing. More'c>.mix.only the former

Acatalectic (ii-ka ta-lCk'tic). Gr. A vorse
having the cun leie nnraher of syllables
without buperfluily or deficiency.

Acathistus (il-kM-th!s-t'^os\ Gr. A hymn of
praise sun<? in the aucietit Greek Church
iu honor of the Vir^jin.

Academia (ii kii-d?-me'ii). It. An academy.

Tiie word abo m^aus a C)ncLrt.

Accarezzevole {ak-ka-r6t-tsa'v6-l6), It. Bland-
ishing; iu u persuasive and caiessiug i tan-
ner.

Accarezzevolmente (iik-kii-r6t-tS(5-vol-m6i^' ' 5),
It. Caressingly ; coaxingly.

Accel. (iit-tsh(?l>, j. ) Abbreviationa )f

Acceldo. (iit-tsh6l-d6), J Accelerando

Accelerando (ii^-tsh^l-e-riir'doj. It. Accel ir-
atuig the time; gr^idually increasing { ue
velocity of the movement. An Hccele au lo
generally occurs when apprwachii g a iLi-
max. The disturbance thus produced 'U
the long rhvthms is generally compensated
by corresponding retards at the climax.

Acceleratamente (ilt-tshei-g-ril-tii-mgn'tS), It.
bpeeuily.

Accelerate (at tshfl-{?-rii't6,, 7(f. Accelerated;
increasing in rapidity.

Accent. 1. Sr-rss, or emphasis, (a) upon a
certain division ( f measure ; (6) a to' e in a
figure; (c) adiordiuan harmonic phrase,
and the mark or marks by means of which
such siress is indicated Measure accent
fills tipon the beginning of tlie first beat;
and iu measures having more thau three
beats, uuon the first beat of each aliquot
partlikewise. {?>ee Meam>e.) Besides the ac-
cent upon the beat (the bar indicating the
place of the strong accent to be upon the
next time-place following) thete are si bor-
dinate yradesof what might Le called " mo-
lecular" accentuation, upon the beuinning
of divided beats, and upon the beginning of
each aliquot part of a beat when the subdi-
vision extends to quarter-pulse division.

2. The accentuation of a melodic phrase
is primarilv det«-rmined b the measure, but
the occurrence of dissonance adds fresh
element, every dissonance occurjing upiiU
the beginning of a beat, or irpon the bt-ym-
ning of a half beat (in quarter-puise subdi
vision), receivimiauaccen' <.f itsown, partly
due to its rhythmic place, but intensifi d
for the sake of the dissonance. So also dis-
sonant chords, such as app< ggiaturas. sus
pensions, etc., are accenti d. What is (ailed
Syncopation is au accent breaking into I e
iwiural order of the measure. (See ISi/iu-u-
pation.)

3. Also the nnme applied to the marks in-
dicating accent. The chief of these are the
horizontal short angle >, aiui the abbre-
viation sj. or sfz. In old music (from Mozart
and before) the expression /p. often occurs

a arvi, t\ odd, a ale, 6 end, 6 eve, 1 ill, I isle, 6 old, 6 odd, 00 moon, H but, ii Fr. sound, kh Ger. ch, nh nasa^

(34)

ACC

DICTIONARY OF MUSIC.

ACC

Accents.

iudicatiog that one tone is loud and all the
following soft. (Set' Fnrzanilo, also SJor-
zando.) The short vertical accent standing
upon its base (a) is not properly au accent,
but a mark <>f tenut'» (q. v.), but in stune
French and Belgian music it is occasionally
employed where the horizontal mark is in-
tended.

4. Ai'cent is the life of music, and is of
multitudinous variety of shading and in-
te sity.

Accento (at-tsh6n't6), It. Accent or emphasis
laid upon certain notes.

Accent! (at-tsh6n'te), It. \

Accent (ak-sanh), Fi\ j

Accentuare (at-tsh6n-too-a'r6), It. To accen-
tuate ; to mark with an accent.

Accentuation. The act of accenting ; the giv-
ing to the several notes of a piece their
proper emphasis or expression ; the art of
placing accents.

Accentuate (at-tshCn-too-a'to), It. Distinctly
and strongly accented.

Accentuiren (ak-ts€n-too-e'r'n), Oer. To ac-
cent.

Accentus (ak-sfin'toos), i>i<. Accent. "Un-
der itie name Aceentus were clnssed those
portions of the ritual song (of the Roman
Catholic Church) chanted or intoned by the
officiating priest, the deacon, subdeacon, or
oth' r sacred ministers at the altar; in eon-
tradisiinctiou to Coricentus, which referred
to all that should be sung by the assistants
or by a special trained choir." (Rev. F. H.
llaberl.) See the next article.

Aceentus ecclesiastic!, Lat. Ecclesiastical ac-
cents are melodic forms used in the Roman
Catholic Church in chanting, or rather re-
citing, the collects, epistles, gospel.-, etc.
These melodic inflections which vary the
monotone recitation, correspond with the
comma, colon, semicolon, period, mark of
interrogation, etc. See the preceding: article.
Tne.ee variations were of seven kinds, called
the immutab lis, m- d/u.<, gravii, arutu<, vi'-dc-
vitun, in'f-rrngn.'xL^i, find finnlh, each of which
was practically an upward or downward
inflection extending to a particular interval,
namely: immut'ibUis, monotone; medium, a
minor third, sol me; p-n?ii.s, a fifth, sol do;
aciituD, sol mi me sol; modfr^'tiis, sol Za sol ;
int-rrogatua, sol fa fa sol ; flnalis, sol la sol fa
mi re— thus closing on the ecclesiastical
Dorian key.

Accessory notes. Those notes situated one
de;<ree above and one degree below the
principal note of a turn.

Accessory parts. Accompaniments.

Accessory tones. Harmonics. Tones faintly
heard when the principal tone dies away.

Accessory voices. Accompanying voices.

Acciaccare (iit-tshi-ak-ka'r6), It. A broken

Hud unexpected way of striking a chord.
Acciaccato (at-tshl-iik-ka'to), It. Violently.

Acciaccatura (at-tshl-ak-ka-too'ra). It. A spe-
cies of arpeggio; an accessory note placed
before the prin ip .1 note, theacce. t being
outtie principal no e. Practically about the
same as an appoggiacura.

Accident! (at-tshl-deii'te), /«.■) . ., .,
Accidents (ak-si danh). Fr. ( occidentals.

Accidentals. 1. The nnme applied to sharps,
flatb, uaiufHls, double sharps, and double
fiats occurring iu written music elsewnere
than in the signature, {^ea Signature.) The
name accidental appertains to the charac-
ters only, and not to the tones they help to
indicate; many of the tones writte'n by the
help of these unforeseen characters being
merely the naturwl diaionic tones of the
key into wnich the pas>ase may have mo-
mentarily digressed. [Se^Modulatio'i.) More-
over, minor keys universally require an ac-
cidental for the leading tone— always a
sharp or a natural.

Accidentals effect the staff-degrees to
which they are applied through«>\n; the
measure in which they occur; and in strict
practice no farther. Hut there have been
theorists holding that in certain Ciises(as
when the last tone of the measure is writ-
ten with an accidental, and this toi.c is lied
over into the next mewsure) the accidental
is eoutinticd until some other tone inter-
venes in I he same voice. In c.-nsequenceof
this questionable exception the great ma-
jority of composers introduce a natural be-
fore again using a staff-detrree ncently af-
fected by an acciiental, even when it occurs
in a later measure, but in immediate con-
nection. This practice is ])rec«utiouarv, on-
ly It would be simpler to make tlie rule
inflexible that the influence of the acci-
dental ceases with the measure in which it
occurs.

Unlike chromatic sitrus in thesignaturps,
accidentals d'> not affect equivalent degrees,
but only those to which they are actually
applied.

2. This term has also been applied with-
out exception to all chromatic signs origi-
nally applied, and to those signs revoking
preceding signs— namely, i)oth to thusu in
the signature and those occurring in the
course of a piece. The origin of all these
signs are the "round B" (B rofundum) and
" square B " {B quadrat um). by which in the
middle agesB-flat wasdistinguished from B-
natural. By and by the two lurms of the
letter B became common signs of elevation
and depression, being applied notoiilvtoB,
but also to other notes. The square B assum-
ed various shapes, two of them like our.' harp
and natural; but no distinction was made
between them till t«»wrtrds the end of the
seventeenth century— a fla not only flat-
tened a natural no'te, but also revoked a
preceding sharp; a sharp not only sharp-
ened a natural note, but also re^okeil a pre-
ceding flat. Double sharps and flats did
not come into use till a'lout 1700. Iu
earlier times, more especially before 1600,

a arm, a add, a ale, 6 end, e €V€,i ill, I isle,6 old, 6 odd, oo moon, a but, \\ Fr, sound, kh Qei: ch, nh nasal

(36)

ACC

DICTIONARY OF MUSIC.

ACH

composers left it very much to the per-
formers to find out what accidentals were
required. For a 1 .ng time, if there was auy
signature at all, it consisted of a fiat only.
Betore the seventeenth century it was not
customary to put more than one fiat or one
sharp in the signature. Even as late as the
first half of ihe eighteenth century we meet
with various anomalies. Bjich, Handel, and
their coutemprrHries, for instance, furnish
examples of placintr one fiat and one sharp
less in the signature than iho key required,
accidentals being used in the course of the
piece instead of the sharp or flat in the sig-
nature. In short, our present system of
using sharps, flats, and naturals was not
fixed till the second half of the eighteenth
century.
Accolade (ak-ko-lad'), Fr. The brace which
coiiuects two, three, or more staves to-
gether.

Accom. I Abbreviations of Accompaniment.
Accomp. j

Accom. ad Hb. An abbreviation of Accompa-

niiiient ad libitum.

Accommodare (ak-kom-mo-da're). It. To tune
an iusirument.

Accompagnamento (ak-k6m-pan-ya-m6n't6),
It. Accompaniment; the figured bass or
harm-ny

Accompagnare (iik-kom-pa-na'-e), It. To ac-
com i 'any ; to play from the figured bass.

Accompagnato (ak-kom-pli-na'to), It. Accom-
panied.

Accompagne (ak-komh-panh-ya), Fr. Accom-
panied.

Accompagnement (ak komh-panh-ye-manh),
Fr. All u( compauiment.

Accompagner (iik komh-piinh-ya), Fr. To ac-
company.

Accompaniment. A part added to a solo or
oihei- priucii'al part, to enhance and enrich
its effect. Vocal or instrnnicntal parts in a
composition whicii do not include the prin-
cipal melody but fiU up the harmony, sus-
tain the rhythm, and, by tmbellishmeuts,
heighten th j general effect.

Accompaniment ad libitum. Use the accom-

pa.imeui or not, at pleasure.

Accompaniment obligato. The accompani
ment juust be used.

Accompanist. The per.«;on playing the ac-

ctnnpaiiunent.
Accomp. oblto. An abbreviation of accompa-

nimt 111*) obligate).
Accoppiato (ilk kop-pi-a'to). It. Bound, tied;

joined logelher.

.\ccorclare uik kor-lshi-a'rt5), It. To contract,

to ubridge.
Accord (iik-kor), Fr. A chord; a concord;

consonance.

Accordamento (ak-kor-dii-men'to), It. Accord
of pans ; uuison.

Accordando (ak-kor-dan'do), It. Tuning.

Accordant (ak-kor-diinh), Fr. In concord, in,

unison.
Accordare (ak-kor-da'rg). It. To tune, to

cause to accord. Many derivatives occur.
Accordato (iik-kor-da'to). It. Accorded, in

tune.

Accordatore (ak-kor-da-to're), It. One who
tunes iustruments.

Accordatura (ak-kor-da-too'ra), It. System of

tuning.

Accordeon. A simple musical instrument, of
oblong form, invented by Damian, of Vi-
enna, in 1829. The tone is produced by the
inspiration and respiration of a pair of bel-
lows acting upon metallic reeds or tongues.
(Free reed.)

The first instruments had only four but-
tons, or keys, each of which acted on two
reeds, making the compass one octave of
diatonic scale, but with a separate arrange-
ment, by which these notes might be accom-*
panied with a tonic and dominant harmo-
ny. At first it was used only as a toy, bat
the intro'iuctiou of a chromatic scale made
the accordeon more capable of producing a-
varied melody and harmony, although the
awkwardness of the form was always a hin-
drance to its use. The German accordeon,
or concertina (q.v.), of hexagonal form,
made the principle of the accordeon more
acceptable. The English concertina (qv.)
and the harmonium {q.v.) are superior in-
struments constructed upon similar princi-
ples.

Accorder ak-kor-da), Fr. To tune an instru-

men t ; to sing or play in tune.

Accordeur (iik-kor-dilr'), Fr. One who tunea

an instrument.

Accordi (iik-kor'de), It. Play again as before.
According. An harmonious blending of dif-
ferent parts.
Accordiren (iik-kor-de'r'u), Ger. To accord.

Accordo consono (iik-kor'do kon'so-no), It. A

cone rd.

Accordo dissono (iik-kor'do dis'so-no). It. A
discord.

Accordoir (ak-kor-dwa'). Fr. A tuning-key,

tuning-hammer

Accresciuto (Jik-kre-shloo'to), It. Increased,
superfluous, augmented in respect to inter-
vals.

Acceleratamente (at-tshei-6 ra-tii-mgn'te, It.
fepiedily, swiitly.

A cemb. An abbreviation of A cembalo.

A cembalo vii tshCm'bJi-lo), It. For the harp-
sichord or cembxlo.

Acetabulum (il-tse-tii'boo-loom), Lat. An an-
cient instrument of music.

Achromatic music. Simple music in which
modulations seldom occur, and few acci-
dental flats and sharps are used.

a arm, & add, a ak, 6 end, e eve, l ill, i isl€,6 old,6 odd, oo moon, tl bid, ii Fr. sound, kh Ger. ch, nh ncaal.

(86)

ACH

DICTIONARY OF MUSIC.

ADE

Acht (iikht), Ger. Eight.

Achtel (akh't'l;, Ger. Eighth, quaver or
eif^lith note.

Achtelnote (iikh't'l-no'te), Ger. A quaver, an
eighth uote.

Achtelpause (akh't'l-pou's6), Ger. A quaver
ur eignth-uote rest.

Achtfusston (akln-foos-tou), Ger. Eight-foot
lone. A tjue whicli sounds as written, in
contradi.sti notion from a sixteen-foot tone,
which sounds Hn octave lower; or a four-
foot tone, sounding an octave higher than
written.

Achtstimmig (akht'stlm-mlg), Ger. For eight
voices.

A cinque (a tshin-kw^). It., or (a sanhk), Fr.
For live voices or instruments.

Acolytes. Persons, usuallj^ boys, employed
in the musical services of the Catholic
Church, or as assistants to the priest at the
altar.

Acolythi (a-ko-le'thi), Gr. Acolytes.

Acolythia (a-ko-le'thi-a), Gr. The order of
se. vice observed in tne Greek Church.

Acousmate (a-koos-miit), Fr. The sound of
instruments or voices heard in the air. ^-»

Acoustics. The science which treats of the
nature and properties of sounds.

Acoustique (ii-koos-tek), Fr. Acoustics.

Acte (.^kt), Fr. An act ; a part of an opera.

Acte de cadence (akt dtlh kil-danhs), Fr. A
cadence; a final part.

Acteur (ak-tiir'), -F"'". An actor; an operatic
performer.

Action. The mechanism of a keyboard in-
strument, by means of which the performer
produces tones. Hence includes the keys,
connecting levers, and everything else be-
tween the fingers of the performer and the
actual opening of the pipe or reed, or the
vibration of the strings In an organ action
the principal p^'rts are the keys, trackers,
rollers, pull downs, and valves. In the
pianoforte, the keys, jacks, under hammers
and hammers, dampers.

Acts. Parts of an opera or theatrical enter-
tainment.

Acuite iik-weet'), Fr. Acuteness.

Acustica (a-kooz'ti-ka). It. Acoustics ; the
doctrine of sounds.

Acustik (a-koos'tik), Ger. Acoustics.
Acustisch (a-koos'tlsh), Ger. Acoustic.
Acuta (a-koo'ta), It. Acute, shrill ; also, a
snrill-toned organ-stop of two-foot pilch.

Acute. High, shrill, sharp as to pitch,

Acuteness. Refers to the pitch of sounds.
The greater the number of vibrations, the
higher or more acute does the sound be-
come.

Ad (ad), hat. At, to, for, by.

Adag. An abbreviation of Adagio.

Adagietto (ii-da'jl-gt-to), It. Slow, but not
(luite so slow as adagio.

Adagio (a-da'ji-6y. It. A slow rate of move-
ment, slower than andante, but noi .so slow
as lento, grave, or laigo. Often «mplo\ed
as the name of a movement in a symjjhmy
or sonata.

Adagio assai (a-da'ji-6 iis-sa'e) , It. Very slow
and with much expression.

Adagio cantabiie e sostenuto (a-da'ji-o kan-
tii'bi-lO a s6s-l6-uoo'i6). It. Slow, in a sing-
ing style and sustained.

Adagio con gravita (ii-dil'jl-C/ kon grii'vl-tti) It.

Slow, with gravity and majesty.
Adagio molto (ii-da'jl-o moi'to), It. Very slow

and expressive.
Adagio non troppo ii-da'jl-o non trop'po), It.

i\ijl loo slow.

Adagio patetico (a-dii'ji-o pa-t6'ti-k6). It.
Slowly and pathetically.

Adagio pesante (a-dii'ji-o p6-zan'te). It. Slow-
ly and heavily.

Adagio poi allegro (ii-da'ji-o p6-e al-la'gro), It.
Slow, men quick.

Adagio quasi una fantasia (a-da'ji-6 kwa-se
oo nil fau-ia-se'iij, II. ah adagio similar to
a fantasia.

Adagio religioso (a-dil'jl-o r6-ii-ji-6's6), It.

Slowlj', and in a devot.onal manner.
Adagissimo (a-da-jis'sl-mo), //. Extremely

slow.
Adaptation. A union of sentiment between

ine words and the music.

Adattare (a-dilt-ta're). It. Adapted.

Adattazione (a-dat-ta-tsi-o'n6), It. Adapta-
tion.

Ad captandum (ad cap-tan'doom), Lat. In a
light and brilliant styie.

Added lines. Short lines, either above or

below the staff; ledger lines.
Added sixth. A sixih added to a fundameu-

lai chord.

Additato (ad-di-til'to), It. Fingered.

Additional keys. Those keys of » pianoforte
wn.ch extend above F in Alt.

Additional accompaniments. Accompani-
meuis or pans aoiied to a choral worR by a
later haad than that of the composer, in
order to bring the instrumeutrtlion more
nearly to the later stanlard ot" lullness an<i
sonority; or to introduce instrninenrs of
later invention. Pans of this ki d have
been added to " The Mes.«-iah " by Mozart,
Robert Franz, and others.

Addolorato (ad do-lo-ril'io). /^ With sad and
melancholy expies.^ion.

Addottrinante (ad-d6i-tre-uan't6,, It. Teach-
er, professor.

A demi-jeu (adg-mi-zhil), ) With half

« T r.

A demi-voix (a d6-mi-vwa),
tone. See Mtzzd Voce.

J the

voice or

ftarm, acdd, aaie, Ce?id, eevfi, \ill, lisle, 6 old. 6 odd, oo moo a, SXbut, \1 Fr. sound, kh Ger.cfi. uhnnsal.

(37)

ade

DICTIONARY OF MUSIC.

^O

Adept. A thorough composer, performer, or

singer.

A deux (ii dilh), Fr. For two voices or instru-
mt'uts.

A deux temps (a dilh tanh), Fr. In two
time ; two equal notes iu a measure.

Adiaponon iil-dl-a-po-uou), Gr. A species of
piauoiurte with six octaves; inveuied iu
liSJO by Lahuster, a watchmaker of Vienna.
The tone was produced from metal bars.
In a later adaptation of the same idea, called
the Adiaphone, the tones were produced
from tuning-forks. Both these forms were
of permanent tune
Adiratamente fa-dl-ra-ta-mSn'te), j/ 1 Augrilj',
Adirato (ii-di-ra'to), ' j sternly.

A dirittura (a dl-rlt-too'ra), It. Directly:

straight.

Adjuvant (ad'yoo-vant), Ger. The deputy
master of the choristers ; assistant to aii
organist.

Ad lib. An abbreviation of Ad libitum.

.\d libitum (ild lib-l-toom), Lat. At will, at
l>lea^ure : changing the time of a particular
passage at the discretion of the performer.

Adonia (il-do'ni-a), Ger. A solemn feast of
the axicients at which hymns and odes were
sung

Adonic verse. A verse consisting of one
long, two short, and two long syllables.

Adornamente (a-d6r-na-m6n't6). It. Gaily,
neatly, elegantly

Adornamenti (ii-dor-na-mgn'tl), It. Embel-
lish lueius.

Adornamento (a-dor-na-men'to), It. An or-
nanieiit, an embellishment.

Adoucir (,a-doo-ser), Fr. To soften, to flatten.

A due, or, A 2 (a doo'6), It. For two voices
or in-truments ; a duet.

A due clarini a doo'6 kla-re'ni
trumpets.

A due corde (a doo'C kor'de), It.
strings.

A due cori (iyioo'6 ko're). It. For two choirs.

A deux mains (Ji dilh manh), Fr. ) For two
A due mani ya. doo'6 ma-ne), It. j hands.

A due soprani (a doo'6 so-pra'ne), It. For two

tiei)les.

A due stromenti (a doo'6 str6-m6n'ti), It.
Fi.r two instruments.

A due voce (a doo'6 vo'tshfi), It. For two
vcices.

A=dur (ii-door), Ger. The key of A major.

/Edophone. A musical instrument invented
in ilie eighteenth (century.

/Eolian. one of the ancient Greek modes
answering to the diatonic succession, la §1
do re mi la sol la; referring to the winds;
played upon by the wind.

It. For two
Upon two

/Eolian, the. An automatic instrument of

the reed organ class, with many sets of reeds,
and mechanism enabling it 10 perform over-
tures and much pietentious music.

/Eolian harp. An instrument invented by
Kirclier about the middle of the seventeenth •«
Century. The tones aie produced by tne
strings being so arranged that the air causes
vibration among them when it passes
throUKh.

The box of the ^Eolian harp should be
long enough to exactly fit the window
where it is proposed to place it, and about
five or six inches deep. There sinuild bt «it
least six strings of silk or gui, tuned in
unison, passiutr over bridges about three
fourths of an inch high, near each end. Un-
der the influence of the wind the strings
vibrate in sweetly harmonious chords,
changing with every variation in the cur-
rent uf the wind. Of course all the tones
produced are necessarily partial tones of the
vibrating string; but th.- varying intensity
of the wind makes so many changes in the
combinations of tones prodncea as to give'
at times mtich the effect of mysterious in-
telligence.

>Eolian lyre. The ^Eolian harp.

/Eolian mute. A combination of thc^olian
pitch-pipe and the mute for the violin.

/Eolian pianoforte. A pianoforte with reed
attachment, invented aud manuiacuied by
tiie firm of T. Gilbeit & (J< ., Boston, about
1850. The piano, of the small pattern of
square then tiniversaliy manufactured, was
provided with a set or free reeds and a bel-
1 'WS open) ted by a pedal at the ritjht 01 the
regular pedals of the piano. The reed in-
strument was of the old-fashioued '"melo-
deon " pattern, the reeds being practically
unvoiced, and the bellows of "the ♦•ress'Ure
variety. The design ol the adi.ition was
that of giving the plan > asustaiu-i g power, j
which ui' to that time had not been wecured.
The effect ol the two tones iu combination
was agreeable in passages where S' stenuto
was desired. But the instrument bad only
a temporary currency in conseque' ce ol' the
prHCtical irnp ssibility of keeping thesirings
in tune wifi the reeds.

/Eolodicon (a-6-16'dI-k6n), Gr. A keyed in-
strument, the tone of which resembles that
of the organ, and is produced by steel
springs, which are put in vibration by
means of bellows.

/Eolodion (a-o-16'dl-on), Gr. .\n seolodicon.

Aeolsharfe (a'ols-har'fg), Ger. An Eolian
harp.

iEolus modus. The wEolian, or fifth. Au-
tUentic mode of the Greeks, nearly allied to
the Phrygian mode The scale is the same
as the old scale of A minor without auy
aceidentals. (See Greek Modet-.)

iEotana (a-6-ta'na), Gr. A very small musical
instrument made of several* short metallic

a arm, & add, a ale, 6 e/tu, e eve, I Ul, i islt, 6 old, 6 odd, 00 moon, a but, u Fr. sound, kh Ger. ch, nh nascU.

(38)

^Q

DICTIONARY OF MUSIC.

AGI

reeds fastened in a rrarae and played upon
by the breath or the performer. Perhaps
the ancestor of the modern " jew's-harp."

Aequal (a-^kwal .'^'^..from Lat. Generally ap-
plied to organ stops, iu which use it signi-
fies "8 ft."

Aeolsklavier (a-ols-kla-veer'), Ger. -lEolian pi-
ano. An obsolete keyboard wind instru-
ment, invented in 1825 by schortmmm, of
Buttlestedt. It had reeds of wood instead
of metal, by the vibration of which a soft,
pleasing tone was produced.

/Cq^ulsonans (a-aul-so'nans), Lat. A unison ;
ot the same or like sound,

/Equisonus. Sounding in unison ; concord-
ant.

/Ere recurvo (a-r6 r6-coor'v6), Lat. A military
wind instrument resembling a trumpet;
the bucena.

/Erophone (e'ro-fon). A French reed instru-
ment of the melodeon class.

/Esthetics (6s-th6t'iks), Gr. The principles or
laws of the beautiful. The chitf writers
upon this department of philosophy have
been Germans, the foremost beiug Wiukel-
maun, He^d^r, ami Hegel. The latte'rmade
the most ambitious attemr>t to discover the
principle^' of the mnsiCHlly beautiful. A-
mong recent writers, Schopenhnuer is to be
mentioned as having gone into this subject
more deeply and in a more successfn : man-
ner than aiiy of the others.

Aeusserste Stimmen (ois'sSrs-t6 stlm'm6n),
Ger. pi. The extreme parts.

i^via (a'vi-a), It. An abbreviation of the
word Alleluia.

Affabile (af-fa'bl-16), It. In a courteous and
pleasing maimer.

Affabilita (af-fa-be'li-ta), j^ ) With ease

Affabilmente (af-fa-bll mSn'tfi), j and ele-
gance ; with freedom ; in a pleasing and
agreeable manner.

Affanato (af-fa-na'to), It. Sad, mournful, dis-
trcNsed,

Affanoso (af-fa-no'so). If. With mournful ex-
pression.

Affectation. An attempt to assume or exhibit
wiuii is not natural or real.

Affectirt (iif-fSk-tirf), Ger. With affectation.

Affectueux (,af-f6k-tii -tih), Fr. Affectionate.

Affet. An abbreviation of Affettuoso.

Affettatamente (af-f6t-ta-ta-men'tC), It. Very
affectedly.

Affettazione (af-f6t-ta-tsl-6'ne), It. An artifi-
cirtl style.

Affettivo (af-f6t-te'v6), It. Affecting, pathetic.

Affetto (af-f6t't6), It. Feeling, tenderness,

pathos.

Affettuo5amente (af-f$t-too-6-za-m6n't6), It.
With tenderness and feeling.

Affettuosissimo (&f-f6t-tooO-86sM-m6), It.
With pathos; with tender expression. Su-
perlative of Affettuoso.

Affettuoso (iif-fgt-too-o'zo), It. With tender

feeling or emotion.

Affettuoso di molto (aT-fdt-too-6'26 de mol'to),
If. With much feeling.

Affiche de comedie faf-flsh dCih ko-m6-de;,f r.
A playbill.

Affilas (or ^ilas) ill tuono '^af fe-las el too-o'no),
It. To sustain a sound with steadiness.

Affinity. A quality possessed by those chords
that admit of an easy and natural progres-
sion from one to the other.

Afflitto (af-flet'to), j, ) Sorrowfully,

Afflizione (af-fle-tsi-o'-nt^), | with mournful
expression.

Affreto. An abbreviahon of Affrettando,
Affrettando(af-fr6l-t;in'd6), j. ) Hurrying,
Affrettate (af-fret-tii'tC) )' quickening,

accelenitins the time.

Affrettoso (af-frCt-to'zo), It. Quick, accelerat-
ed, hurri< d.

A f of a (a fo-fa), Por. A t'ortuguese dance re-
sembling thcfandango.

After note. A smallnote occurring on an un-
accented part of the ■written. Performed.

measure, and takin[ 1 — rT-~ I f^ — ^^~"|
its time from the note h^igi^i g~^~g ~ |
preceding it. ^^ — — ""- -~^

After notes, double. written. Perfhrmed.

Two alter notes tak-
ing their time from
the preceding note.

Agevole fa.-ja'v6-16),
Agevolmente (a-j6-v61-m6n'^t6),
with agility.

Agevolezza (a-j6-v6-16t'tsa), R
ease, ability.

Aggiustamente (ad-joos-ta-m6n t6),
strict lime.

Aggiustare fad-joos-ta'r6), j, ) Adjusted, ai*-
Aggiustato (iid-joos-ta'to), ' j ranged,

auapted.

Aggraver la fugue i&g-ii rii- va la fiig), Fr, To

augment the subject of fugue.
Agilita (a-je'li-ta), Jt. Lightness, agility.

Agilita, con. It. With agility, with light-
ness, with rapidity

Agilmente (a-jel-m6n't6"). It. Nimbly gay.
Agiren 'a-ghe'r'n), Ger. To act to mimic.

Agitamento (a-jl-ta-m6n'to). It. Agitation,

restlessness, motion.

Agitato (a ji-iii'to). It. Agitated, hurried,
restless.

Agitato allegro a- jl- til' to ill la'gro). It. An
allegro whicii is not steadily lu Id, but is
nervous, unsteady, and unreposeful.

Agitato c^n passione (ii-jl-tii'to kOn pas-sl-

6'n$), It. Passionately agitated.
Agite (a-zhet), Fr. Agitated.

R

I Lightly,
J easily.

Lightness,
It. In

,dd, a ale, 6 end, e eve, i iU, I isle, 6 old, 6 odd, 00 moon, tl but, \1 Fr. 80"

(39)

kh^&:

nasai

AGL

DICTICNARY OF MUSIC.

ALB

AgU{a\'ye), It. pi. See Alia.

Agnus Dei (ag'noos da-e), Lat. " Lamb of
(iod." Last movement in the Mass.

Ag-oge (a-go'ghe), Qr. Used by the ancient
Gret'lis to signify meiodic motion of diflfer-
eut kinds uece^sarv to musical expression.
In modern use restricted to accent and ex-
pression. (Not sanctioned by authoritative
usage.)

Agoge rhythmlca (a-g6'gh6 rith-mi-ka), Gr.
Rhythmical movement.

Agogik .a-go'shlk), Ger. The art of express-
ive nuance (variety) in tempo. (Rubato,
accelerando, etc.)

A grand chceur (kur), Fr. For the entire
chorus.

A grand orchestre (6r-k6str), Fr. For the
full or complete orchestra.

Agrements (a-gra-manh), i^?-. pL Embellish-
ments, ornaments.

Ai (a-e), It. To the ; in the style of.

Aigre (agr), Fr. Harsh, sharp.

Algrement (a-gr-manh), Fr. Sharply, harshly.

Algu la-gii), Fr. Acute, high, sharp, shrill.

Air. A short song, melody, or tune with or
withou', words. A series of tones bearing a
ceriain relation to each other by their sym-
metry and regularity, producing a unity of
efifect, which is ca. .ed " a tune."

Air a boire ("r . bwi. . Fr. A drinking-song.

Air h reorisas (ar . r^h-prez), Fr. A catch.

Air chantant (ar f '^'i'lh-tanh), Fr. An air in
graceful, me '^'ous syle.

Air d6tache (ar da-ta-sha), Fr. A single air
or melody extracted from an opera or larger
work.

Air ec^ssais (ar a-c6s-sa), Fr. A Scotch air.

Air irlandais (ar er-lanh-da), Fr. Irish air.

Air italien (ar i-ta-li-anh), Fr. An Italian air.

Air rapide ar ra-ped), Fr. A flourish.

Ai«-s des bateliers venetiens (ar dC ba-t6-ler
v6-na-si-auh), Fr. Melod es sung by the
Venetian gondoliers and boatmen.

Airs fran^ais (ar franh-sa), Fr. French airs.

Air russes (ar riis), Fr. Russian airs.

Airs tendres (ar tanh-dr), Fr. Amatory airs ;

love songs.
Air varie (ar va-rl-a), Fr. Air with variations ;
V an air embellished and orn imented.

Ais (ais), Ger. The note A#.

Ais>dur (ais-door), Ger. The key of A# major.
This key is not in use, being represented by
Bb major.

AI.' ■.-ioll (ais-uoll), Ger. The key of A# mi-
nor. Not in use, being represented by Bb
minor.

Aise (a za), Fr. Glad, joyful ; also, easy, fac-
ile, convenient.
Aisement (a-za-manh), Fr. Easily, freely.

In the Greek
In time ; syn«
In military

Ajakli-keman (a-yak-le ka-man), Tur. A Turk-
ish instrument resembling the violin.

Akkord (ak-kord'), Ger. See Accord,

Akromat (a-kro-maf), Ger. A musician, a

singer.

Akromatisch (a-kro-ma'tlsh), Qer. See Achro-
matic.

Akustik (a-koos'tlk), Ger. See Acomtics.

A! (al), It. To the ; in the style of.

A I'abandon ^a la-banh-donh), Fr. Without
restraint ; with passionate expression.

A la ctiasse (a la shass), Fr. In hunting style.

A la franca ise (a la franh-sa'), Fr. In the
French style.

A la grecque (a la gr6k), Fr.
style.

A la mesure (a la maziir), Fr.
ouymous with A tempo.

A la militaire (a la mlH-tarO, Fr.
or march style.

A r antique (a lanh-tek), Fr. Antique, in the
style of the ancients.

Alamoth (a'la-mot), Heb. This word occurs
in Psalm Ixviii. 25. " First go the sharim
(singers), then follow the neginirn (kinnors),
in the midst are alamoth (damsels playing
on the timbrels) " Gesenius and others un-
derstand the word to signify treble music,
" vox Clara et acuta, quasi virgin um." Eut,
on the other hand, in I. Chron. xv. 20, the
names of me/i are given as players of " ne-
bels on alamoth " It is one of the many
obscure musical terms which are met with
in the Bible. It, however, seems to have
been associated with nebeis, much as the
expression sheminith is with kinnors, and
may, therefore, be supposed to refer to the
pitch or method of playing on those instru-
ments.

A la polacca (a la p6-lak' ka), It. In the style of
the polacca.

Alarum, All' armi, It. A call to arms.

" Alarums sounded and ordnance shot off."

— Shakspeare.

Originally a general shout ; afterwards, a
recognized signal by trumpets and drums.

A la savoyarde (a la sa-vwa-yard), Fr. In the
style of the airs of Savoy.

Albada (iil-ba'da), Sp. A morning serenade.

Alberti bass. A bass consisting of arpeggios
or broken harmony, e. g.:

&.C.

So called after its reputed inventor, Dome-
nico Alberti, who died in 1739.

Albogue (al-bo-ga'), Sp. An instrument be-
longing to the flute species.

ii arm, a add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moo7i, H but, u Fr. 80U7id, kh Ger. ch, nh nasal.

(40)

ALC

DICTIONARY (/F MUSIC.

ALL

Alcaics. Several kinds of verse, so called
from Alcacus, a lyric poet and their in-
veutor.

Alemanian. Pertaining to Alemau, a lyric
poet.

Alemanian verse. A verse consisting of six
auapests or tlieir equivalents, with the ex-
ception of the last two syllables, which are
omitted.

Aleluya (a-16-loo'ya), Sp. Hallelujah.

Alemana (a-16-ma'na), Sp. An old Spanish
dauce.

Alexandrian verse. A verse consisting of
twelve syllables, or twelve and thirteen al-
ternately.

Al fine (til fe'n6), It. To the end.

Al fine e poi la coda (iil fe'ng a, p6-e la ko'da).
It. "After playing to where the fine is
marked, go on to the coda.''

Aliquot tones. Accessory or secondary
sounds; tones indistinctly heard, which
are always produced with the principal
tone, at harmonic intervals above it. See
Partial Tones. The flageolet tones of the
violin.

A ritaiienne (a ll-ta-li-anh), Fr. In the Ital-
ian style.

A livre ouvert (a le-vr oo-var), Fr. At the
opening of the book. To play a piece at
first sight.

Al (iil), \

Air (all). j = a it, "up to;" e.g.,ac-

Alla (al-la), jf I eel. al presto, increase the

AUe ({il-16), ■ { speed up to presto. Also,

Agli(al-ye), I in the style or manner of.

Alio (al-lo), /

Alia breve (al-lii bra 'vfi), i<. A quick species
of measure, marked ^ equivalent to 2-2.
two counts in a measure. This measure is
to be distinguished from 4 4 measure,
marked Q which has four beats and is
generally slower. Each contains the value
of a breve— equal to two semibreves, or four
minims. Modern composers often sub-
divide these measures into two parts, each
containing two halves, and this is called
Alia Cappella time to distinguish it from
the Alia Breve, from which it is derived.

Allacaccia (al'lii kat'tshi-ii). It. In the style
of hunting music.

Alia camera (iil'la kii'mfi-rii), It. In the style

of chamber music.
Alia cappella (al'lii kap-pfil'lii), It. In the

cnnrch or sacred style ; derived from Alia

Breve style, the bar being subdivided. See

Alia breve.

Alia diritta (al'la di-rit'ta), It. In direct as-
cending or descending style. With the
right hand.

Alia irancese (al'lii friin-tsha-z^), j-, \ In the
Alia franzese (al'lii frau-tsa-z6), j French
style.

Alia hanacca (Jil'lii hii-niik'ksi), It. A kind of
dance lesembling the polonaise.

Alia madre (iil'lii ma'dr6). It. To the Virgin
Mary. Songs and hymns addressed to the
Virgin Mary.

Alia maniera turka (al'lii mii-ni-a'ra toor'ka),
It. in the Turkish style.

Alia marcia (al'la milr'tshl'ii). It. In the style

ot a m..rch.

Alia mente (al'la min'iA), It. Extempora-
neous. ( V\ Contrapuiito alia mente.)

Alia militare (al'la ml'll-tii'r^). It. In the mil-
itary style.

Alia moderna (al'lii mo-d6r'na). It. In the
modern style.

Alia moresco (iil'lii m6-r<^.s'k6), It. In the
Moorish style.

Alia Palestrina (iil'lii pii-les-tre'na,). It. In the
style of Palestrina ; in the ecclesiastical
style.

Alia polacca (iil'lii pu-liik'kii). It. In the time
and style of a polonaise or Polish dance.

Alia quinta (al'la, kwln-tii), It. At, or in, the

fifth.

Allargando (iil-liir-ghiin'do). It. Gradually
slower and louder; in broader style;
" widening."

Alia ri versa (iil'lii re-v6r'sa), It. In an oppo-
site direction.

Alia rovescio (iil'lii r6-v6'sh6). It. In a reverse
or contrary movement.

Alia russe (al'lii roos-s6). It. In Russian style.

Alia scozzese (ill'la, sk6-tsa'z6), It. In Scotch

style.
Alia siciliana (al'la se-tshl-ll-ii'nii). It. In the
style of the Sicilian shepherd's dance.

Alia stretta (iil'lii str6t'ta). It. Increasing the
time; accelerating the movement. In close,
compressed style.

Alia tedesca (iil'lii t6-d6z'kii), It. In the Ger-
man style.

Alia turka (al'lii toor'ka). It. in the Turkish
or Oriental style.

Alia unisono (al'lii oo-ne's6-uo). It. See AW

uuisono.

Alia veneziana (iil'lii ve-n6-tsl-a'nii), It. In
the Venetian style.

Alia zingara (al'lii tsen'gil-rii). It. In the style

of gipsy songs.

Alia zoppa (iil'lii tsop'pii), It. In a constrained
and limping style.

Alia sza-It. A .sign which, when placed above
the staff, indicates that with each note
played, a note a third higher must be
played, and when placed below the staflf, a
note a third lower.

Alia 6ta. A sign, which, when placed above
the staff, indicates that with each note
played, a note a sixtli higher must be
played, and when placed below the staff, a
note a sixth lower.

iarm, ft add, a ale, ecnd, e eve, i ill, I isle, 6 old, 6 odd, oo moon, iX but, ii Fr. sound, kh Oer. ch. nh nasal.

(41)

ALL

DICTIONARY OF MUSIC.

ALL

Air antica (al-lan-te'ka), It. In the ancient

style.
All' espagnuoia (iil-lt^ss-pau-yoo-o'lai, //. In

the Spanish style.

Air improviso (al-lem-pro-ve'zo), t^ I With-
Air improvista (al-lem-pro-ves'ta), " / out
previous ^ludy ; extemporaneously.

Air inglese (al-leu-gla'z6), It. lu the English
style.

Air italiana ^al-le-ta-ll-a'na), //. In the Ital-
ian style.

Air ongarese (al-lon-gii-ra'z^), //. In the Hun-
garian style.

Air ottava (iil-lot-ta'va), H. At the octave.
(1) A direction to play an octave higher or
lower. In the former case the words are
placed above the note or notes ; in the lat-
ter case below them. The word bnssa
("low" — at the low octave) is sometimes
added. Instead of aW uttam the abbrevia-
tions aW 8i'(i and 8?'aaie often used. ('2) This
expression is also used in scores to indicate
that one instrument has to play with an-
other in octaves.

Air ottava alta (iil-lot-ta-va al-tii), It. In the
octave above.

Air ottava bassa ^al-lot-ta-va bas-sii), It. In
the octave beloAV.

All' unisono (ai-loo-ne'so-no), //. In unison ;
a succession of unisons or octaves.

Air 8va. An abbreviation of All' ottava.

Alle (al-16), It. To the ; in the style of.

Alle (.ari§), Ger. All: alle InstrumeiUe, all
the instruments; the whole orchestra.

Allegramente (al-16-gra-men't6), It. ) Gaily,
Allegrement (iil-la-grC-miinh), Fr. | joyfully,
quickly.

AUegrante (iil-lC-gran'tg), It. .Toyous, mirth-
ful.

Allegrativo (al-16-gra-te'vo), It. Gladdening,
cheering, blithe.

Allegrettino (al-16-gret-te'no), It. A diminu-
tive of Allegretto, and rather slower.

Allegretto .al-le-gr6t'io , It. Rather light and
cheerful, but not as quick as allegro.

Allegretto scherzando(al-16 gr^t'tosk^r-tsan'-
do,,, It. Moderately playful and lively.

AIIegrezza(al-le-gr6t'za), j. I Joy, gladness,
Allegria (iil-ie-gre'a), ^'" \ cheerfulness,

gaiety.

Allegrezza, con, It. With cheerfulness, joy,
animation.

Allegri di bravura (al-16-gre de bra-voo'ra).
It. Compositions written in a brilliant and
efllective style.

Allegrissimamente (al-]6-grl-sI-raa-m6n'tC), It.
Very joyfully ; with great animation.

Allegrissimo (al-l^-grls'sl-mo), //. Extremely
quick and lively; the superlative of Alle-
gro.

Allegro (iil-la'gro), Fr. and It. Quick, lively;
a rapid, vivacious movement, the opposite
to the pathetic, but it is frequently modi-
fied by the addition of other words that
change its expression.

Allegro agitato (iil-la'gro a-jl-tii-to), //. Quick,
uiih anxiety iiud agiiati«>n.

Allegro appassionato (al la'gro ap-pas-sl-o-nii'-
lo , It. t^iuicli and passiouate.

Allegro assai (iil-la'gro iis-sa'e,, It. Very quick.

Allegro briilante (iil-ia'gro brel-liin't6), It. Re-
quiring a brilliant style of execution.

Allegro comodo (iil-la'gro ko'mo-do). It. With
a convenient degree of quickness, " conven-
ience " liere determined according to the
besttffect of the pass ge, in its details and
spirit, and not with reference to the con-
venience of the performer.

Allegro con brio (iil-la'gro kon bre'6), /(.
Quick, with brilliancy.

Allegro con brioso (iil-la'gro kon bre-o'zo), It.
Joyful and bold.

Allegro con fuoco (iil-la'gro kon foo-6'ko). It.
Quick, with tiro and animation.

Allegro con moltissimo moto (.iil-la'gro kon
m6l-tes'.^i-m(3 mo'io). It. A very quick alle-
gro ; as fast as possible.

Allegro con moto, It Quick, with more than
tlie usual degree of movement.

Allegro con spirito (iil-la'gro kon spe'rl-to^. It.
(Juicii, witn much spirit.

Allegro di bravura (iil-la'gro de bra-voo'rii),
//. Quick, with brilliant and spirited exe-
cution.

Allegro di molto (iil-la'gro de mol'to), It. Ex-
ceedingly quick and animated.

Allegro fuocoso (iil-la'gro foo-o-ko'zo), It.
With a great deal of tire and animation.

Allegro furioso (iil-lil'jgro foo-rl-6'z6), It.
Quick, with fury and impetuosity.

Allegro gajo (iil-la'gro ga'yo), It. In a gay and

spirited style.

Allegro giusto (iil-la'gro joos'to), It. Quick,
with exactness; in steady and precise time.

Allegro magrazioso (iil-lfi'gro mil grii-tsl o'zo),
It. Quicli, but gracefully.

Allegro ma non presto (iil-lii'gro mii non
pres-to). It. (Juick, but not too fast.

Allegro ma non tanto (iil-la'gro mil non tau-
t5), If. Quick, but not too much so.

Allegro ma non troppo (iil-la'gro mii non trop-
po). //. Quick and lively, but not too fast.

Allegro moderato (iil-la'gro m6-d6-ra'to). It.

Moderately quick.
Allegro molto (iil-la'gro mol-to), It. Very

quick and animated.
Allegro non molto (iil-la'gro non mol'to), It.

Not very fast.
Allegro non troppo (iil-la'gro non tr6p'p6). It.

Quick, not loo fast.

a arm, & add, a ale, C end, e eve, I ill, I isle, 6 old, 6 odd, oc moon, iX but, u Fr. sound, kh Ger. ch, nh nasal.

(42)

ALL

DICTIONARY OF MUSIC.

ALT

Alleg^ro risoluto (til-la'gro re-zo-loo'to), It.

Quick, Willi vio'or and decisiou.
Allegro veloce (;U-la'f:ro vi5-kytsbC), It. Quick,

wiiu exirciuo vclucily.

Allegro vivace (aMa'e:ro vG-va'tshe), It. With
vivaciiy, Very rapidly.

Allegro vivo (iil-la'gro ve-vo), It. Witli great
liic i'.iul rapidity.

Allegrusio 'iil-l(5-groo'zl-6). It. Good-humor-
ed, [>pnghiiy.

Allein (ill-lia'), Oer. Alone, single.

Alleinsang (al-liu'siing), Ger. A solo,

Alleinsanger (al-lm'sa,ug-6r), Ger. A solo-

:s;Uger.
Aileinspieler (al-lin'spe-16r), Ger. One who

plays a solo.
Alleluia (al-lfi-loo-yii), Fr. Praise the Lord:

Hallelujah.
Alielujah (al-16-loo-ya), Ueb. An ascription of

praise; Hallelujah.

Allemande (ail-miiuhd), Fr. A German air.
Also ail obsolete dance form in common
measure, beginning upon tbe last beat. The
measure was slow, and the steps wery made
in a rapid, sliding maimer, as in the inodern
wallz, but there was no turning, only a pe-
culiar entwining and unloosening of the
arms of the dancers in the various steps. It
is said by some that the Allemande wns in-
vented in the lesser provinces of Germany
or Switzerland, but its antiquity is un-
known. Scarlatti, Corelli, Bach. Hundel,
and other composers of the period they rep-
resent, incorporated the measure ol this
dance in their suites, sonatas, and lessons,
in which it was written in common time of
four crotchets in a measure. But many
peasant dances of this name are iu 3-4 or 3-8
measure.
Allentamentoial-lfia-ta-mSn'to), j^ \ Relaxa-
Alientato (iil-lgn-ta'to), j tiou,giv-

iug way, slackening of the speed.

Allentando (iil-lCn-tau'do), It. Decreasing the
movement until the close.

Allied tones. Accessory tones.

Allmalich (iil'ma-likh), Ger. Little by little.

Al' loco (iil-lo'ko), It. To the previous place ;
a term of reference.

Allonger (tll-16nh-zha), Fr. To lengthen, pro-
Jong, delay.

AHonger I'archet (tll-16nh-zha liir-sha), Fr.
W) lengthen or prolong the stroke oi the bow
m violin music.

Alma (al-mii). Ara. The name given in the
o lent to singing and dancing girls, who are
hired to furnish amusemeutat publicenter-
tainments and to sing dirges at funerals, etc.

Alman"* \ '^^^ name of an old slow dance
Alitiand ) ^^ ^ dignitied character.

Almanes, pi. See Alman.

Alma Redemptoris uil-ma re-dCm-to-ris), lai.
A hymu to the Virgin.

Almees (iil-mas), Ara. Arabian dancing girls.

Almehs (al-mas), Tur. Turkish singing and

dancing girls.
Alpenhorn (al-p'n-horn), Ger. The Alpine or

cow horn.

AI piacere (iil pe-a-isha'rC), It. At y>leasure.

rieo -1 piacere.

Al piu I iil pe'ooj. The most.

Alphabet. The seven letters used in music,
A, B, C, D, E, F, G. When more are requir-
ed, either aseen<ling or descending, the let-
ters are repeated in the same order.

Alpine horn. An instrument made of the
bark of a tree, and used by the Alpine shep-
herds lor conveying sounds a longdistance.

Al rigore di tempo (iil re-go' rC de tf'm'poi, //.
lii very rigoiuus. and strict time.

Al rigore del tempo (iil re-sro'r{^ d^l t^m'poi, It.
In Very rigorous and strict time

Al ri verso (iil re-V(?r's6), It. Reverse, back-
ward motion.
A la russe (ii iil riiss), Fr. In the Russian style.
Al seg. An abbreviation of Al segno.

AI segno (iil san'yo). It. To the sign ; mean-
ing tiiat the performer must return to the
sign ■jj^: in a previous pai t oi the piece and
play from that place to the word fine, or
the mark /tn over a double bar. The sign
itself # is sometimes used in place of the
direction al segno.

Alt (iilt), It. High. This term is applied to
the notes which lie between f on the tifth
line of treble statf and g on the fourth
added line below.

Alta (iil'ta), 7iC. High, or higher; Ottava alfa,
an octave higher.

Alta (iil' til), Sp. A dance formerly used in
Spain.

Alta=viola (iil'tii-ve-6'la), Jit. A counter tenor
viol.

Altclarinet (tilt'klii-rl-n6t'). Oer. A large clari-
net, a tifth deeper than the ordinary clari-
net.

ALtedesco (iil tS-des'ko), It. In the German
?lyle.

Altera prima donna (al't^-ra pre'mii don'niii.
It. On^ of two principal female singeis.

Alteratio (iil-te ril'tsi-6), Lat.^ Changed, ang
Alterato (ii.-te rii'to), jf<. >mented. In

Altere (iil-ii5-ra'). i'>. ; composition n

means di)Ubling the value of a note.

Altered notes. Notes changed by accidentals.

Alternamente (al-t^r-nii-mCn't^), It. Alter-
nating, by turns.

Alternando (iil-ter-nan'do). It. See Alterna-

mcntt.
Alternations. Melodies composed for bells.

a arm, a add, a ale, Q end, e eve, 1 ill, i isle, 6 old, 6 odd, oo moon, tl but, ti Fr. sound, kh Ger. ch, nh nasal.

(43)

ALT

DICTIOIsARY OF MUSIC.

AMA

A2ternativo (iil-tgr-ua-te'vo), It. A movement
aiteruatiig with aiiDther. A sort of trio,
of le>s imi)ortance thau the movement with
wbich it alteruates.

Altgeige (alt'ghl-ghe), Ger. The viola, or ten-
or violin.
Ait horn. A cornet in E-flat.
AJtl (al'le), It. High ; the plural of alto.

Altieramente ^al-te-^r-ii-mgn'tei, //. With
grandeur; haughtily.

Altisonante(al-ti-so-nau'tOs II. Loud-souiid-
mg.

Altisono (al-te'so-no), It. Sonorous.

Altisonous. Highsouuding. A term for-
merly used to denote the highest part in-
tended for the natural adnli male voice.

Altiso (iil-te'zo), It. An abbreviation of Alii-s-
sinio.

Altissimo (al-tis'sl-mo). It. The highest ; ex-
tremely high as to pitch. It i> applied to
all the high treble notes which are more
than an octave above F, on the fifth line of
tlie treble stall".

Alt:st. An alto singer.

Altista (al tes'tii), //. ) One who has an alto

Altiste (ai-test), Fr. / voice.

Alto .iil'to), It. High. (1) One of the four
chief classes of the human voice ; the deeper
of the two classes of the female vo'ce, which
in Euglaiid is more commonly called con-
tralto. There are to be distinguished thiee
different liinds of alto voices: those oi
w imen, boys, and men. Among the latter
are again to be distinguished those of the
castratl Aii^ oi the alti iKitanili, tenori acuti,
ov fdlsetti. The last-mentioned male altos,
in iCngland also called counter tenors, mai{e
u.se of a developed /a/s' /to (head voice). The
English music written for thiskind of voice
demands a compass from g to c". The alti
naturnli, who, till tlie introduction of the
castrati, sang in the churches of Italy and
elsewhere the soprano and alto parts, are
said to have sung up to a". For the compass
of the female alto see Contralto. (2) Alto is
also one of the names of the stringed instru-
ments, which is a little larger and a fifth
lower in pitch than an ordinary violin.
Viola. Tenor, Siud Bratsche a,re ay nonyms. The
thrt-e upper strings of the viola correspond
with the three lowest of the violin. The
question very naturally arises why the term
alto (high) should be applied to the lowest
voices and a low-pitched instrument. The
reason is probably to be found in the fact
that this part was formerly sung by very
high male voices, and the notes represent-
ing its usual range were written by means
of the V, clef which brought them lipon the
highest lines of the staff and upon added
lines above.

Alto basso ' iil-to biis'so), //. .V primitivt^ in-
sirumeut formerly in use it northern Italy,
cousistingof a wooden box, over whicn were
stretched a few gut strings, which the per-

former struck with a stick held in his left
hand, while he played on a flageolet held in
his right hand.
Alto clef. The C clef on the third line, which
makes the note on that linec'. It is used fur
the alto voice, viola, etc.

m

^

Alto concertina. A concertina having tht

Cum pass of a viola.
Alto flauto liil-to flii-oo'to), It. An alto flute ;

Used Ml bands.
Alt' ottava liii- 6t-ta'va), It. The same notes

an octave higher.

Alto primo liil-io pre'mo),//. The highest alto.

Alto secondo (iil-to s6-k6n'd6), It. The lowest
alto.

Alto tenore (iil-to l^-no'r^, It. The highest
tenor.

Alto trombone. A trombone with the nota-
li in on ttie alto clef. Its compass is from
the small c or e to the one-lined a or two-
lined c.

Alto viola (al-to ve (3'lii), It. The viola, or

tenor violin.

Alto violino (iil to ve o-le'no). It. Small tenor
violin on which the alto may be played.

Altpo.saune (iili-p6-sou'n6), Ger. Alto trom-

boiie.

Altra iiil'trii), ^. lothpr anothpr
Altro (iii'tro;, ^'- |'-"^^er, anotner.

Altri (iil'tre), //. Others.

Altro modo iii'tro mo'do), /<. Another mode

or manner.

Altsanger(tilt'sang-6r),Crer. Altosinger, coun-
ter tenor sitiger.

Altschliissel (iil 'shliis-s'l), Ger. The alto clef ;

I he C clef on the third line.
Altus(iil'toos),7va/. Thealtoor counter tenor.

Altviole (iilt'fi-o-16), Ger. The viola, or tenor
violin.

Altzeichen (iilt'tsi-k'n),(Ter. See AUschlitAsel.

Alzamento (al-tsa-mSn'to). It. An elevating

of the voice; lifting up.
Alzamento di mano (iil-tstl-m6n'-t6 de mii'no),

//. To elevate the hand in beating time.

Alzando (iil-tsiin'do). It. Raising, lifting up.
Al. zop. An abbreviation of Alia zoppa.

Amabile (ii-mii'bl-16), It. Amiable, gentle,

graceful.

Amabilita (ii-mii bl-ll-tii'), It. Tenderness, aihi-

«bili;v.

Amabilita, con. With amiability.
Amabilmente (ii-mii-bfl-men't^). It, Amiably,

ge u 1 1 > .
A major. The major mode founded on it.
Amarczza i ii-mii ret'zat, It. Bitterness, sad-

%arm, & add, a ale, $ end, e eve, i ill, I isk, 6 old, 6 odd, oo moon, 0 but, ii Fr. sound, kh Oer. ch, nh nasail.

(44)

\MA

DICTIONARY OF MUSIC.

ANA

Amarezza, con. It.

Miirovv.

With bitterness ; with

Amarissimamente (a-ma-rts-sl-ma-m$n't6),y-. )

Amarissimo (a-ma-rls'sl-mo), ' j

Very bi tterly in a mournful, sad, and afflict-
ed manner.

Amaro (a-ma'ro), It. Grief, bitterness, afflic-
tion.

Amateur (am-a-ttir), Fr. One who has taste
and proficiency in music, but does not
practice it as a profession. As compared
with an artist, an amateur is one who lias
learnt nothing thoroughly. Distinguished
from Dilettanti, one who toys with art, and
Cognoscenti, one who knows an art, but
does not practice it.

Amati. A name applied to violins made by
the brothers Amati, in Italy, in the middle
of the seventeenth century. They are small-
er than the ordinary violin, and distin-
gui>hed for their peculiar sweetness of tone.

Ambitus (iim'bl toos), Lnt. Compass or range
ot sounds; also, the distance between the
higlKst and lowest sounds.

Ambo (iLm'bo), Lat. The desk at which the
canouci were sung in the middle ages.

Ambon (anh-bonh), J'/-. The ambo. «

Ambrosian chant. A series of sacred melo-
dies oichanis collected and introduced into
the Church by St. Ambrose, Bishop of Milan,
in the fourth century, and supposed to have
been borrowed from the ancient Greek
music.

Ambrosianus cantus (iim-bro-sl-a'noos kiin'-
tuos), jLa<. Ambrosian chant.

Ambubaje (am-boo-bii'yg), Gr. The name of a
society of stri»lliug flute-players among the
ancient Greeks.

Ambulant (iinh-bii liinh), i^'/-. Wandering; an
iiiueraut musician.

Ame (iim), Fr. The soundpost of a violin,

viola, etc.

Amen (a'men), Heh. " So be it." A word used
as a tenninati n to psalms, hymns, and
oihcr sacred music.

Amen chorus. A chorus in which the word
ameu lurms the principal language.

Ameno (il-ma'no), It. Charming, pleasing,

sweet.

American fingering. That style of fingering
in which the sign x is used to indicate the
thumb in piano-playing, in distinction from
the German or foreign fingering, in which
the tliumb is called the first finger.

American organ. A reed i istrument of the
harm.tainiu kind, differing from harmonl
ums i 1 the method of the bellows (which
sucks the ^ir through the reeds, instead of
expelling it through th. m). Also ditifeniig
in tone quality, wh.ch is broader and less
thin and nasal— merits due in j-art to the
suction-bellows, in part to superior voicing
of the reeds, and in part to resonance added

by the hollow spaces within the case The
American organ owes its suction-bellows
to the late Jeremiah Carhart, and its name
and resonant cases to Mason & Hamlin.
All makes of this instrument now, how-
ever, partake of its characteristic excellen-
cies.

A mezza aria (ii mSt'sa a'ri-a\ //. An air
partly in the style of a recitative; between
speaking and singing.

A mezza voce (:l m6t'sa v6'tsh^\ j. | In a

Amezza di voce ii rafit'sfl de vo'tshe), /soft,
subdued tone; with half the power of the
voi(!e. The term is also applied to instru-
mental music.

A mezza manico (ii mfit'sii ma-n6'k6\ //. In
vioiin-playing, the placing the hand near
the middle of the neck.

A=moli (a-moll), Ger. The key of A minor.

A molto cori (a mol'to ko'rc). If. Full cho-
ruses ; a collection of choruses.

A monocorde (a monh-o-kord), Fr. On one

string only.

Amore (ii-mo'rg), It. Tenderness, affection,

love.

Amore, con. It. With tenderness and affec-
tion.

A moresco (a m6-r6s'k6), It. In the Moorish
style ; in the style of a moresco or Moorish
dance.

Amorevole (a-mo-ra'vo-le), If. Tenderly, gen-
tly, loviugly,

Amore volmente (a-m6-f6-v61-m6n'te). It.
With extreme tenderness.

Amorosamente (a-mo-ro-za-m6n't6). It. In a
tender and affectionate style.

Amoroso (ii-mo-ro'zo), It. See Amorosamente.

Amphibrach (am'fi-brakh), Ger. A musical
foot, comprising one suort, one long, and
one short note or syllable, accented and
marked thus, — - — ' —

Amphimacer (ilmTi-ma-tsgr), Gr. A musical
foot, comprising one long, one short, and
one long note or syllable, accented and
marked thus, — -^ — '

Amphion (am'fi-6n), Gr. The most ancient
Greek musician. He played upon the lyre.

Ampollosamente (am-pol-lo-za-men'tf), j. \
Ampolloso(am-p61-lo'z6), ^ • j

In a bombastic and pompous manner.

Ampoule (iinh-poo-la), Fr. High-flown, bom-
bastic.

Amusement (a-miiz-manh), Fr. A light and
pleasing composition introduced as an exer-
cise in a course of piano studies.

Anabasis (a-nii'bii-sls), Gr. A succession of
ascending tones.

Anacreontic (a-na-kr6-6n'tlk), Gr. In theBac-

chanaiiuu or drinking style.

Anafil la-uii-fel'), ^V- A musical pipe used by
the Moors.

& arm, d, addy a ale, S end, e eve, 1 HI, i isle, 6 old, 6 odd, oo moon, iX hut, \\ Fr. sound, kh Ger. ch, nh vasal.

(45)

ANA

DICTIONARY OF MUSIC.

ANG

Anafilero (a-na-fe'16-r6) , Sp. A player on the

auatil.
Anagaza (a-na-gii'tha), Sp, A bird-call.
Anakara (il-na-ka'ra), It. The kettledrum.
Anakarista (a-na-ka-ris'ta), //. A tympani&t,

or ketlU-druDi-player.
Anakrusis (a-nii-kroo'sis). The up stroke in

couducting or beating time.

Anajisi (a:na:i:.ze), li \ ^^^ analysis.

Analyse (a-na-lez), tr.\ •'

Analyzation. The resolution of a musical
compos) lion into the elements which com-
pose it. for the sake ol ascertaining its con-
struction.

Anapest (ii'na-pest), Gr. A metrical foot, con-
taining two short notes or syllables, and a
long one, accented and marked thus, -'-^— '

^rn I J or two unaccented tones followed
by an accented tone, thus, J J 1 J

Anche (iinhsh), Fr. The reed, or mouthpiece,
of the oboe. bas«oon, clarionet, etc. ; also
the variuus reed-stops in an organ.

Anche d'orgue (iinhsh d'org), Fr. A reed-stop
of an organ.

Ancia (iln-tshe'ii'), It. A reed.

Ancient flute. An instrument of the oboe
kind, composed of two tubes, with a mouth-
piece attached, then called douUe-flute. It
is not certain whether both tubes were
sounded together, but probably not.

Ancora (iin-ko'ra), It. Once more, repeat
again ; also, yet, still, etc.

Ancor piu mosso (iinkor pe-oo mos'so). It.
Still mure motion, quicker.

Andacht (iin'dakht), Gcr. Devotion.

Andachtig un'dilkh-tig), Gcr. Devotional.

Andamento(an dii-mea'to). It. A rather slow
movement; also, an accessory idea or epi-
S(jde introduced into a fugue to produce va-
riety.

Andante (an-diin'tC), It. A movement in mod-
erate time, but flowing steadily, easily,
gracefully. This term is often modi tied,
both as to time and style, by the addition
of other worus; as,

Andante affettuoso (iin-diin'tC af-f^t-too-o'zo),
Jf. Mode;aiely, and with much pathos.

Andante amabile (iin-dan'tC a-ma'bl-lt^), It.
An andante expressive of aff.'Cliou.

Andante cantabilc (an-dan't6 can-ta'bi-16), //.
Anoaute, and in a singing and melodious
st\ le.

Andante con moto (iin-dan'tg kon mo' to). It.
Moving easilj, with motion or agitation;
rather lively.

Andante grazioso (an-dan'tC grii-tsi-o'zo). It.

Moderately slow iu time, and iu graceful,

easy style.
Andante largo (an-dan't6 lar'go), //. Slow,

broad, distinct, and exact.

Andante maestoso (andan'tS ma-6s to'zo). It.
Moving rather slowly and in majestic style.

Andante ma non troppo, e con tristezza (an-
dau'te ma nou tro^'po, a kon tres t^l'sa), It.
Not too slow, and with pathos.

Andante non troppo. Moving slowly, but not
t'O much so.

Andante pastorale (iin-dan'iC piis-to-ra'lg). It.

Moderately slow and ia simple, pastoral

style.
Andante piu tosto allegretto (iin-dan'te pe'oo

tos-toJil 1^-giCa'to), It. Andante, or almost

allegretto.
Andante quasi allegretto. It. An andante

nearly as rapid as allegretto.
Andantemente (iin-dante-miJn'tO), It. See

Aiutcuite.

Andantino (an-diin-te'no), //. Diminutive of
andante. Opinions are divided as to whether
it denotes a slower or faster movement than
andante. But the general idea makes an-
dantino a little faster than andante, shad-
ing toward allegretto. Italian lexicogra-
phers take the latter view, but non-Italian
composers do not ^eem so unanimous.

Andantino sostenuto e simplicemente, II
< canto e poco piu forte (an-diin-ie'no s6s-t6-
noo'to a sliii-pie-tshC-m^n'to, el kiin-to a p6-
ko peoo forliJ). Iu a sustained and simple
manner, with the melody a little louder than
the other tones.

Andno. An abbreviation of Andan4;iuo.

Andar diritto (iin-diir' di-ret'to). It. To go

straight on.
Andare a tempo (iinda'rfi a tSm'po). It. To

play or sing in time.
Anelantemente (a-n^-lan-tC-m6n't6), It. Anx-

iou.>ly, ardently.
Anelanza (ii-nC-lan'tsa), T. 1 Shortness of
Anelito (ii-uc^-le-to) / breath.

Anemochord. A species of iEolian harp.

Anemometer. A windgauge, or machine for
Weighing the wind in an organ.

Anfang (un'filng), Ger. Beginning.

Anfanger (iln'fCng-Cr), Gcr. A beginner.

Anfangs^iinde (an-fangs-grun'd6), Ger. Ru-
dimeius, elements, principles.

Anfangsritornell (an'fiings-re-tor-ner), Ger.
Introductory symphony to an air.

Anfiihrer (an'fii-r6r), Gcr. A conductor, di-
rector, leader.

Angeben (iin'ga-b'n), Ger. To give a sound;
to uttjr a tone; den Ton amjeben, \o give
out the tone.

Angelica (au-ga'ii-kii), Ger. \ An organ-stop;

Angelique (iinh-zha-lek). Fr. \ also an angelot.

Angelot. An old musical instrument, some-
what similar to the lote.

Angelus (iin'gC-loos), I.at. " The Angel of
the Lord" The angelic annunciation.
Also, the praye -time of ihv Angeius, name-
ly, morning, iioon and evening.

•Karm, a add, a ale, Qcnd, e eve, i ill, i isle, 6 old, 6 odd, oo moon, Ci but, ti Fr. sound, kh Ger. ch. nh nasal.

(46)

ANG

DICTIOXARY OF MUSIC.

ANT

Angemessen (iiu'g^hO-rnC's's'n), Ger. (-'ouforin-

iiuU', .-uilaole, fit.

Angenehm (an'ghe-uam'), Ger. .\grceable,
|ii a^iug, sweet.

Angkloung (iiuk-loong), Jav. A rude instru-
luL'iiL (ij tue Javanese, mat'e of different
lengths oi bun boo l"a.stened to a .stijp of
\v<i. d. A son of xyloplione.

Angla'se (anh-^laz). Fr. \ In the English

Angljco (^an'gle-kb). /^ j" style; atuneadapl-
e>i loran E:i-,llsli aimr country dance.

Angore (iin-go'rO), /'. Distress, anguish, pas-
sion, grief.

Angoscevole (^an-go-she'vo-lei, It. Sad, sor-
row tul.
Angoscia (;in-g6'sh;i), ,, 1 . „x-

Angosciamente (iin-go-sha-men'te), • j ^"-^"
iety, angiiish, grief.

Angosciosamente (Jin-go-.shu-zii-men'lt?), //.
jVpprelieusively, anxiously, sorrowfully.

Angoscioso (,;lu-go-sho'zo), If. Afflicted, dis-

t es ed.
Angstlich (iingst'likhj, Ger. Uneasy, timid,

anxious.

Anhaltend (an'hill-tend), Ger. ColTtiuuous,
(jonsiaiit, holding out.

Anhaltende Cadenz {an'hal-t(5u-d(5 ka-dt5uts'),
Ger. A pedal note or organ point ; a pro-
tracted caduiice.

Anhang (iin'hang), Ger. A postscript, an ap-
pendix, a coda.

Anima (ii'ni-ma). It. Soul, feeling ; animated,
lively.

Animato (a-nl-mJi'to), It. Animated ; with
life and spirit.

Animazione (^a-ni-ma-tsl-o'ue). If. Animation.

Anime (anh-i-ma),Fr. I Animated, lively,
Animo (ii'nl-mo), It. j spirited.

Animo, con, If. With boldness.

Animo corde (a'nl-mo kor'de), Lnf. An in-
strument invented in 1789 by Jacob Schnell,
of Paris. The tone is produced by wind
passing over the strings.

Animosamente (a-ni-mo-za-m<5n'te). It. Bold-
ly ; resolutely.

Animoso (iL ril-rao'zo), It. In an animated

manner; lively, energetic.

Anklang (iiu'klang), Ger. Accord, harmony,
sympathy.

Anlage (an'la-gh6), Ger. The plan or outline
of a composition.

Aniaufen ( an'lou-f'n), Ger. To increase in

sound, to swell.

Anieitung (an'li-tooug), Ger. An introduc-
tion, a preface.

Anmuth (an'moot), Ger. Sweetness, grace.

Anmuthig(an'moo-tlg), Ger. Agreeable, pleas-
ant, sweet.

Anonner (£ln-n6nh-na), Fr.
blunder or stammer.

To hesitate,

Anpfeifen (iin'pfi-f'n), Ger. To whistle at; to
ins- at.

Ansatz (tin'siits), Ger. The position of the
vocal parts (glottis, etc.) in singiiig. The
emboucuure (>f a wind insirumeiit.

Anschlag (au'shliig), 6'cr. Ton<;h ; manner
of striking the keys. 2. Obsolete term for
a peculiar kind of appoggiaiura.

Anspielen (an'spel'n), Ger. To play first.

Anstimmung i^an'stlm-moong), Gn-. Intona-
tion, tuning.

Answer. A term used in fugue.

Anteludium (an-te-loo'dl-oom), Lat. A pre-
lude, C)r introduction.

Antecedent. The subject of a fugue or of a
point of imitation.

Anthem. A vocal composition in the sacred
style, set to words generally taken from the
Bible. There are anthems with and without
accompaniment. The forms In which this
kind of composition presents itself are very
varied. " There are five speciesof anthems,"
says Dr. Busby. "(1) The Verse and Chorus
anthem, consistingof verse and chorus, but
beginning in verse; (2) the Veri-e anthem,
containing verse and chorus, but beginning
in verse ; (;>) the FaU antliem, consisting
wholly of chorus ; (4) the Solo anthem, con-
sisting of solcjs ana choruses, but without
verse; and (n) the Instrumeidal anthem."
Verses are those portions of an anthem that
are meant t) be performed by a single voice
to each part.

Anthema. An ancient Greek dance with song.

Anthem, choral. An anthem in a slow, meas-
ured style, after the manner of a choral.

Anthem, full. An anthem consisting wholly

of chorus.

Anthem, solo. An anthem consisting of solos

and choruses.

Anthologie (an-to-16-ghee'), Fr. and Ger. An-
thology, a(;ollection of choice compositions.
Lit.," a gathering of flowers."

.Anthologium (an-tho-lo'gl-oom), Gr. The
name of a book in which are collected the
hymns, prayers, and lections of the Greek
Church.

Anthropoglossa (an-thro-po-glos'sa), Gr. The
vox fiUmana, an organ-stop somewhat re-
sembling the human voice.

Antibacchius (iln'tl-biik-kl-oos). A musical
foot of three syllables, the first two long or
accented and the last short or unaccented,

- thus, ^.

Antica (an-te'kii). It. Ancient.

Anticipamento (iin-te-tshi-pa-mgn'to), It. An-
ticipation.

Anticipation. The taking of a note or chord
before its natural and expected place.

ii arm, a add, a ale, 6 end, e eve, i ill, \ isle, 6 old, 6 odd, oo moon, H but, u. Fr. sound, kh Ger. ch. nh nasal.

(47)

ANT

DICTIOISARY OF MUSIC.

APP

Anticipation. The introduction of a note pre-
vious to the entrance of the harmony to
which it belongs. The anticipations are in-
dicated in the illustrations by *.

* * I 1-4

g

22:^

Anticipazione (iin-te-tshi-pii-zi-o'nC), //. See
Anticipation.

Antico (iin-te'ko), It. Ancient.

Antico, air (an-te'ko, all'), It. In the ancient
style.

Antienne (,an-ti-6n' i , Fr. An anthem.

Antifona (iiu-tifo-na), It. and Sp. An anthem. .

Antifonal (iin-ti fo-niil), Sp. } A book of

Antifonario (iin-ti-lo-na'ri-o), If. j anthems ;
an anthem-siuger.

Antifonero (iin-ti fo-na'ro), Sp. A precentor.

Antiphon. The chant or alternate singing in
churches and cathedrals.

Antiphona (an-tif'o-na), Gr. An anthem.

Antiphonaire (iinh-te-fo-nar'), Fr. A book of
anthems, responses, etc.

Antiphonarium (an'ti-fo-na'ri-oom), Gr. The
collection of antiphoi:s used in the Catho-
lic Church ; they are sung responsively by
the priest and congregation.

Antiphonary. Book of anthems, responses,
etc., in the Catholic Church.

Antiphone (iin-tif-o-nC), Gr. The response
made by one part of the choir to another, or
by the congregation to the priest in the Ro-
man Catholic service ; also, alternate sing-
ing.

Antiphonon (iin-tif'o-non), Gr. In ajicient
Greek music, accompaniment in the octave.

Antiphony . The response of one choir to an-
other when an anthem or psalm is sung by
two choirs; alternate singing or chanting.

Antistrofa(iln-ti-stro'fa), Sp. An ancient Span-
ish dance.
Antistrophe. \ The second couplet of each
Antistrophy. j period in the ancient Greek
odes sung in parts; that part of a song or
dance which was performed by turning
from left to right, in opposition to the
strophe, which turns from right to left.

Antithesis.- Counter subject. In fugues this
term is applied to the a'nH^ve. ; it generally
signifies contrast

A parte (ii piir-tC), It. On the side of.

A parte equate (ii pilr-tea-kwii'l§). It. A term
applied to a musical performance where the
voices or instruments sustain an equally
prominent part; where two or more per-
formers sustain parts of equal diflficulty.

A passo a passo (ii piis-s6 ii piis-so), It. Step by
step ; regularly.

Apertus (ii-per'toos), Lat. Open ; as, open dia-
pason, open canon, etc.

Apfelregal (ap'f61-r6-gal), Ger. Apple-register,
a reed-stop in old organs ; no longer in use.

Aphonic {Si.-i6-ue),Fr. Aphony,want of voice.

Aphonous. Being destitute of voice.

Aphony. Dumbness, loss of voice.

A piacere (ii pe-ii-tsha'r6). It. At pleasure.

A piacimento (a pe-a-tshe-m6n't6). It. At the
pleasure or taste of the performer.

A piena orchestra (ii pe-a'na 6r-k6s'tra), It.

For full orchestra.
A piomb (ii plomh), Fr. Firm, in exact time,

with precision.
A poco (ii po'ko), //. By degrees, gradually.

A poco a poco (ii po'ko ii po'ko). It. By little

and little.
A poco piu lento (ii po'ko pe'oo 16u-t6), It. A

little slower.
A poco piu mosso (a, po'ko pe'oo mos-s6). It.

A little quicker.
Apollo, or, Apollon. An instrument of the

lute class, with twenty strings, invented in

1678 by Prompt, a musician of Paris-

Apollino (a-p61-le'no). Or. An harmonic in-
vention or contrivance combining the dif-
ferent qualities and powers of several kinds
of instruments, and capable of playing
them separately or all together.

Apollo. In ancient mythology, the god of
music, and said to be the inventor of the
lyre.

Apollo lyra. An instrument shaped like a
lyre, with a brass mouthpiece lite a horn ;
now obsolete.

Apollonicon. An organ, invented by John
Henry Voller in 1800. It had immense self-
acting machinery, bringing the whole power
of the instrument into operation at once,
producing the effect of a full orchestra. It
had six keyboards, and could be played
upon by six performers at the same time.
Was exhibited in London.

Apotome (ii'po-t6-m(5), Gr. That portion of
a major tone that remains after deducting
from it an interval less, by a comma, than
a major semitone.

Appassionatamente (iip-piis-si-o-na-tii- "\
mCn'tC), /

Appassionatamento lap-piis-si-o-na-ta- > It.
mCn'to), \

Appassionato (iip-piis-si-6-na,'to). J

Passionately, with intense emotion and feel-
ing.

Appeau (ap-po), Fr. Tones which resemble
the singing of birds,

Appel (i^.p-pei), Fr. Call of the drum.

Appenato (iip-pC-nii'to), It. Grieved, distress-
ed ; an expression of suffering and melan-
choly.
Applaud issement (iip-pl6-dess-m5nh), Fr. \
Applauso(iip-plti-oo'zo), /^ j

Applause.

a arm, a add, a ale, S end, e eve, i ill, i isle, 6 old, 6 odd, oo 7noon, H but, ii Fr. sound, kh Ocr. ch, nh juucU.

(48)

APP

DICTIONARY OF MUSIC.

ARI

Applicatur (ap-pli-ka-toor'), Ger. The art of
fingering.

Appoggiando (;lp-p6d-jan'do), j, J Leaning
Appoggiato (Jip-poil-jii'to), * j xipon,

dwell upon, drawn out.

Appoggiatura (ap-p6d-ja-too'ra), Jt. Leaning
note, grace note, note of embellishment.
An accessory tone, or giace note, situated
one degree from the principal tone. The
appogtjiatura is 'sometimes written as a
grace note, and .'sometimes is written out in
full. It is struck upon the beat, in the time
of its own principal tone, and is longer or
shorter according to the nature of the pass-
age. See Introduction, page 14.

Appoggiatura, compound. An appoggiatura,
consisting of two or more grace notes or
notes of embellishment.

Appoggiatura, inferior. An appoggiatnni
situated one degree below its principal note.

Appoggiatura, superior. An appoggiatnni
situated one degree above its principal note.

Appoggiatura (ap-pod-ja-too'rC), It. See Ap-

pogytutura.

Apprestare (ap-pr6s-ta'r^), It. To prepare, or
put in a condition to be played. .'

Appretiren (iip-prg-te'-r'n), Ger. To set in or-
der.

A premiere vue (il prg-mi-ar vli), Fr. 1 At first
A prima vista (apre'ma vez'ta), 7^ | sight.

Apre (ilpr), Fr. Harsh.

Aprement (apr-m6nh), Fr. Harshly.

Aprete (ilp-rd-ta), Fr. Harshness.

A punta d'arco (apoon'ta diir'ko), If. With
the point of the bow.

A punto (a poon'to), It. Punctually, exactly,
correctly.

A quatre mains (ii ktltr manh). Fr. \ For
A quattro mani (ii kwJit'tro mii'ne), //. j four
hands. For two performers on one piano-
forte.

A quattro, or, a 4, //. For four voices or in-
struments ; a quartette.

A quattro parti (it kwat'tropiir-te), It. In four
paits.

A quatre voix (ii katr vwii), Fr. \ For

A quattro voci (a kwiit'tro vo'tshe), //. jfour
voices.

A quatre seuls (ilkatr sul), Fr. } For four
A quattro soH (il kwiit'tro .s6-le), II. j solo

voices or instruments.

A quattro tempo staccati e vivace (il kwiit'tro
tfim'postak-kii'te a ve-vil'tsh6), It. The meas-
ure in four time to be taken with spirit and
animation.

Ar (ilr), For, Air.

Arbrtrii (ar-bit'ri-e), Lat. Certain points, or
embellishments which a singer introduces
or improvises at pleasure while singing an
aria or tune.

Arbitrio (iir-be'tri-6). It. At the will or pleas-
ure of the performer.

Arc (iirk), Jt. The bow; an abbreviation of
Arco.

Areata (a.r-ka'ta), It. Manner of bowing.

Arcato (iir-ka'to), It. Bowed, played with the
bow.

Arche (iir'khg), Ger. The sounding-board of

an organ.

Arcicembalo (iir-tshi-t.sh(?m'bii-lo). It. A cem-
balo, or liarpsichord, invented in the six-
teenth century, having au enharmonic
scale. Little is known about it.

Archeggiare (iir-kad-jii'rCi, It. To use the
bow, to fiddle.

Archet (iir-sha), Fr. ) . . ,. ,

Archettino (ar-ket-te'no), 7^. ; A violm-bow.

Archetto (iir-ket'to),

It. ] A little laow.

Arcicellouir-tshi-tshCl'lo), " j

Archiluth (iir-she-liitt, Fr. ] r, . n ^

Arciliuto (ilr-tshel-yoo'toj, It. / J^ee ^irc/uufe.

Archlute. .\ theorbo or lute with two nuts
and sets of strings, one for the bass. The
strings of the theorbo were single, but in
the archlute the bass strings were doubled
with an octave and the small strings with a
unison.

Arco (iir'ko). It. With the bow {a,iter pizzicato).

Ardente (iir-d6n'te\ //. With fire, glowing,
vehement.

Ardentemente (iir-d6n-t6-m6n't6), It. Ardent-
ly, vehemently.

Ardentissimo (iir-d6n-tis'si-m6), It. Very ar-

deuilv.

Arditamente (ar-de-tii-m6n t6), //.
witn ardor.

Boldly,

Arditezza (ar-di-t6t'sii), If. Boldness.

Ardito (ilr-de'to). If. Bold, with energy.

Ardito dt moito (iir-de'to de mol'to), It. Pas-
sionately, with much force.

Aretinian syllables. The syllablts ut, re, me,
fa, sol, la, introduced l)y Guidod'Arezzo for
his system of hexachords, or six notes.

Argentin (iir-zhiln-tan\ Fr. Silver-toned.

Arghool (iir-ghooli, Tnr. A musical instru-
nicut of the Turks, of the llute species.

Aria (:i'ri-ii), It. An air ; a so!ig ; a vocal com-
position for a single voice, w ith instrumen-
tal accompaniment. The aria, sucfi as we
find it in the opera, oratorio, cantata, etc.,
in the structure of wliicli itforms oneof the
most important elements, was developed in
the seventeenth century. Of the varieties
of the aria form none is historically more
noteworthy than the aria with da capo— that
is, a compo.sitiou consislingof a more or less
extended first part, a shorter second part,
and a repetition of thofirst part. Foralong
period it was the prevalent type. Most of
the other varieties of tlie aria form spra-. g
out of this one. For instance, that in w hich
a free, modified repetition took the place of

ii arm, 5. add, a ak, 6 e^id, e eve, i ill, 1 isle, 6 old, 6 odd, 00 moon, il but, ii Fr. sound, kh Ger. ch, uh nand.
4 (49)

ARI

DICTIONARY OF MUSIC.

ARP

the da capo; or that in which the repetition
was altogether dispensed with ; or that in
which the center of gravity was to be found
in the second part, and so forth. Arias,
however, have often been written in the
rondd form, aud also in what we may call
the abridged sonata form. Since Mozart,
the great luasters have departed more aud
more from the conventional pattern, and
hav e taken for their guides, as regards form
as well as sentiraenr,, the character and
mood of the person for whom, and the na-
ture of the situation for which, the aria is
intend d. See Air.

Aria buffa (a'ri-a booffii), It. A comic or hu-
morous air.

Aria cantabiie (a'ri-a kan-ta'bi-16). It. An air
i.i a graceml and melodious style.

Aria concertata (ii'ri-a kon-tsh^r-ta'ta) . It. An
air, with orchestral accompaniments, in a
concertante style ; a concerted air.

Ariaconcertante, J^ An aria with ohlignfo
instrumental accompanimerxt— i. e., an aria
in which one or more instruments vie with
the voice.

Ariad' abilita (a'ri-ii da-bel-li-ta'), It. A dif-
ficult air, requiring great skill and musical
ability in the singer.

Aria di bravura (a'ri-Ji de bra-voo'rii). It. A
florid air in bold, marked style, aud permit-
ting great freedom of executior.

Aria di cantabiie, It, See Aria cantabiie.

Aria fugata (a'ri-a foo-ga'ta). It. An air ac-
companied in the fugue style.

Aria d' ostinazione (a'ri-a dos-ti-na-tsi-o'nC),
It. An arid all parts of which are essential-
ly counterpoints to the same bass figure
(called basso ostinato) repeated over and over.

Aria parlante (ii'ri-a par-lan't6), It. An air in
the declamatory style ; a recitative a /tm;;o.

Aria tedesca (a'ri-a tfi-d^s'ka), It. An air in

the German style.
Aria und Chor (a'ri-a oond kor), Ger. Air aud

chorus.

Arie (ii'ri-a), It. pi. \ . •

Arien (ii'ri-gn), Ger. pi. j ^^^^ ^^ ^°^S^-

Arie aj^giunte (ii-ri-a iLd-joon'tS), //. Airs
added to or introduced into an opera or
other large work.

Arietta (ii-ri-6t'ta). It. \ . „i,^^x „,•„ ^^ w,^i^^
Ariette (ii-ri-et), Fr. \ ^ ^^^rt air or melody.

Arietta alia veneziana (a-ri-6t'tii iil'lii v6-na-
t>-l-a'uii). It. A short air in the style of the
Venetian barcarolles.

Ariettina (a-rl-6t-te'na), It. A short air or
melody.

A rigore del tempo (ii re-g6'r6 d61 t6m'p6). It.
In strict time.

Arigot (ii-ri-g6\ Fr. A fife.

Ariosa Cii-ri-6'za), It. In the movement of an
aria, or tune.

Ariose cantate (ti-rl-6'z6 kan-ta't6), It. Airs
in a st>le between a song and recitative, in-
troducing frequent changes in time and
manner.

Arioso (iir-i-o'zo), Ji!. In style of an air; me-
lodious. Historically considered, the aria
marks a single moment in the course of a
dramatic action. The text often consists of
buD a few words, many times repeated (as
we find in Handel's oratorios, etc.), and the
musical development is the main thing.
The 'opposite of aria is rec'iative (q. v.), in
which the declamation of thes^llaDlesisthe
main thing, colored, perhaps, by means of
clever orchestration. The arioso stands be-
tween these extremest In modern practice
it has had a great development, especially
at the hands of Wagner. An arioso declaims
the text about as carefully as a recitative ; it
accentuates the emotional moment of the
drama about as consistently as the aria ; but
it is of a more flexible chamcier, and, being
less bou'id by conditions of symmetry, is
free to follow the delicate emotional transi-
tions or shadings of the text in a way im-
practicable for an aria in classical form.
The problem of the composer in composing
an arioso for an important moment of a work
is to indulge himself in xree fantasy to the
extreme extent needed for iiamatically rep-
resenting the text, and at the same time not
depart from symmetry, or, at least, a quasi
symmetry, and a unity of key satisfactory to
ti^e musical ear.

Arm. A small piece of iron at the end of the
roller of an organ.

Armer la clef (iir-ma' la kla). Fr. The signa-
ture ; or, tne flats and sharps placed imme-
diately alter the clef.

Armoneggiare (ar-m6-n6d-jii'r6). J<. To sound

iu harmony.
Armonia(ilr-mo'ni-a,), It. Harmony, concord.
Armoniaco (iir-mo-ni-a'ko). It. Harmonized.
Armoniale (iir-mo-ni-ii'16), It. Harmonious,

concordant.
Armoniato (iir-mo-ni -ii'to), It. See Armoniaco.
Armonica (iir-mo'ni kii). It. Tho earliest form

of the accordion ; a collection of musical

glasses, so arranged as to produce exquisite

effects.

Armonica guida (iir-mo'ni-ka gwe-da), It. A
guide to harmony.

Armonici (iir-mo-ne'tshi). It. Harmonic.

Armonico (iir mo'ni-ko), It. Harmonious.

Armoniosamente (ilr-m6'ni-6-zii-m6n't6). It.
Harmoniously.

Armonioso (iir-mo-ni-o'zo), It. Concordant,

harmonious.

Armure (iir-miir), Fr
kev.

The signature of the

A rpa (iir'pii) , „ \ ^, j^
Arpe(iir'p6), ^^' ji^enarp.

Arpa d' eolo (iir'pii da o'lo), It.
harp.

An Eoliap

si arm, il add, a ale, 6 end, e eve, lill,l isle, 6 old, 6 odd, oo moon, i:ibut,\X Fr. sound, kh Ger. ch, nh nasal

(50)

A UP

DICTIONARY OF MUSIC.

ATE

Arpa doppia (iir'pa dop'pi-a), It. The double-
action liarp ; it meaut formurly a harp with
two strings to each note.

Arpanetta (sir-pii-nCt'ta), jf ) A small harp or
Arpinella (ar-pi-uOl'jiij, j" lute.

Arpeg. Au abbreviation of Arpeggio,

Arpegement (ar-pazh-mauh), Fr. An arpeg-
gio.

ArpeggI (ar-p6d'je), It. Arpeggios.

Arpeggiamento (ar-p6d ja-mgn'to), It. In the
styie of the harp; arpeggio.

Arpeggiando (ar-pedjiin'do), ja ( Music

Arpeggiato (ar-p6d-ja'i6), jplaj^ed ar-

peggio, in imitation of the harp ; harp mu-
sic.

Arpegglare (ar-p6d-ja'r6), It. To play upon
tuc harp.

Arpeggiatura (ar-pgd-ja-ton'rii), It. Playing
arpeggio, or in the btyle of the harp.

Arpeggio (ar-pM-jo'j, It. Playing the notes

Oi achord (JUi(!k- written. Plajed.

ly, one after aii-
o t h er, in i he

f^

m

m

Mr

(•i w

t""^

i*r

mr \ H

^Si —

m \ ' JB

f lJ>*» f\J>0^ — l^

harp style, thus.

Arpeggio accompaniinent. An accompani-
uienL which consi-is chiefly of chords
played in arpeggio style.

Arr )

Arrane ^ Abbreviations of Arrangement.

Arrangement. The selection and adaptation
of acomposition or parts of a composition
to instruments for •which it was not origi-
nally designed, or for some other use for
which it was not at first written.
Arranger (iir riinh zha), Fr. } To ar-

Arrangiren (ar-ranh-ghe'r'n), Ger. /range mu-
sic; for particular voices or instruments ; to
arrange orchestral music for the pianoforte.

Arsis (iir'sis), Gr. The up stroke of the hand
in beating time.

Ars musica (ars moo'si-ka), Lat. The art of
muMC.

Art (iirt), Ger. Species, kind, quality.

Art de I'archet (iirt diih liir-sha), Fr. The
art « f bowing.

Articolare (ar-ti-ko-la'r6), It. \ To pronounce
Articuler (ar-ti-kii-la), i^r. jthe words dis-
ti CLly ; to articulate each note.

Articulate. To utter distinct separate tones ;
to sing with a distinct and clear enuncia-
tion.

Articulation. A distinct and clear utterance ;
cUHrand exact rendering of every sylla-
ble and tone.

Articoiato (ar-tl-ko-la'to), J'. Articulated, dis-
liiKtl.^ enunciated.

Articolazione (ar-ti-ko-lil'tsi-o'nO), //. Exact
and d.stinct pronunciation.

Artikuliren (iir-tik-oo-le'r'n^, Ger. To articu-
late.

Artista (iir-tls'ta), /<. 1 An artist; one who
Artiste (iir-tist'), Fr. /excels in the composi-
tion or performance of music.

As (Jis), Ger. The note A'p>.

Asas (as-iis), Ger. A-double-flat.

Ascoitatore (as-kol-ta-to'r^), If. An auditor,
a hearer.

As=dur (iis-door), Ger. The key of A> major.

Asheor (a'sheor), Ilcb. A ten-stringed instru-
ment ot the Hebrews.

As^moll (iis-moll), Ger. The key of A^ minor.

Asperges me (;is-ptlr'Kes ma). Lat. The open-
ing of the xMats in the Catholic service.

Aspirare (iis-pira'rdi. If. To breathe loudly ;
to use too much breath in singing.

Asprezza(as-pr6t'tKa),/<. Roughness, dryness,

harshness.

Assai (as-sii'e), It. Very, extremely, in a high
degree In composition with other terms i',
intensifies everything, as. Allegro assai,
Very allegro, etc.

Assai piu (avsii'e pe'oo), It. Much more.

Assemblage (as-siinh-blazh), Fr. Double-

tongui iiig on the flute; executing rapid

passages on wind instruments.

Assez (iis-ja). Fr. Enough, sufiiciently.
Assez lent (as-^a liiuh), Fr. Rather slowly.

Assoluto (Jis-so-loo'to , It. Absolute, free,
alone, (me voice.

Assonant. Having a resemblance of sounds.

A.ssonante (as-s6-nan'te),7^ Harmonious, con-

S. Hi. lit.

Assonanz (iis-so-niints'), Ger. ) Similarity, or
Assonanza (^as-so-nan'tsa). It. j consonance of

tone.

Assourdir (ilR-soor-der'), Fr. To muffle, to
deaien, to stun.

Assourdissant(ils-soor-dis-sanh), Fr. Deafen-
ing, .stunning.

A sue arbitrio la soo'6 ar-bl'tri-6), 1

A sue bene placito (a soo'6 ba-ng plU'- jf I

tsni-tO), -^ • j

A sue comedo (ii soo'6 k6'm6-d6\ j

At pleasure, at will, at the inclination or

discretion of the performer ; synonymous

with Ad libitum.

A sue bene placimento (a soo'6 ba-nS pla'tshi-
mCn'to), It. An old term, signifying At the
will or pleasuie of the performer.

Atabal. A kind of tabour used by the Moors'.

A temo ^^' I ^^'^^sviations of A tempo.

A tempo (ii t6m'p6). It. In time. A term
used to denote that, after some deviation or
relaxation of the time, the performers must
return to the original movement.

A tempo comedo ii t6m'p6 k6-m6-d6). It. In
coiiveuieut time; an easy, moderate time.

A tempo deir allegro (ii t6m'p6 del liil-la'gro).
It. In allegro time.

i arm, a add, a ale, 6 end, e eve, i ill, i islt, o old, 6 odd, oo moon, il hut, ii Fr. sound, kh Ger. ch, nh 7iasal.

(51)

ATE

DICTIONARY OF MUSIC.

AUG

A tempo d! gavotta (ii tem'po de ga-vot'ta), It.
Ill the time of a gavot ; moderately quick.

A tempo giusto (ii t^^m'po joos'to), It. In just,

strict, exact time.
A tempo ordinario (a t6m'po or-di-na'ri-o^, It.

In ordinary-, moderate timie.

A tempo rubato (a tfra'po roo-ba'to), It. Ir-
regular time; deviation in time so as to
give more expression, but so that the time
of each bar i? not altered on the whole.
See Rubato.

Athem (a' tern), Ger. Breath, breathing, respi-
ration.

Athemholen (a-t6ni-h8'rn), Ger. To breathe,
to respire.

Athemzug ^a-t6m-tsoog), Ger. Act of respira-
tion, breathing.

Athmen (ilt'men), Ger. To blow softly.

A ton basse (it t6nh bass), Fr. In a low tone

of voice.
A tre, or, a 3 ( a tra), It. For three voices or

instruments; a trio, or terzetto.

A tre corde (il tra kor'dfi), It, For three

strings: with three strings. Discontinue

the soft jtedal.
A tre mani (a tra mil'ni), It. For three hands.
A tre parti ^il tra pjlr'ti), It. In three parts.
A tre soli lii tra so'li), It. For three solo

voices.
A tre soprani (il tra, so-pril'ni), //. For three

soprano voices.

A tre voci (il tra vo'tshi), It. For three voices.

Atril (ii-treV), ^P- A missal-stand.

A trois, or, a 3 (a. trwii), Fr. For three voices
or instruments.

A trois mains (ii trwii miinh), Fr. For three
hands.

A trois parties (ii trwJi piir-te), Fr. In three
parts.

A trois voix (a trwa vwa), Fr. For three

voices.
Attacca (at-tak'ka), j. \ At-

Attaccasubito(at-tak'kasoo'bi-t6), " j tack
or commence the next movement immedi-
ately.
Attacca 1' allegro (at-tak'ka lal-la'gro),/^ Com-
mence the allegro immediately.
Attaccare (iit-tilk-ka'rg), It. \ To attack or com-
Attaquer (iit-tii-ka), Fr. j mence the per-
formance.

Attendant keys. Those keys having most
sounds in common with any given key ; the
relative ke s. In C major the attendant
keys are its relative minor A, the dominant
G, and its relative minor E, the subdomi-
nant F and its relative minor D.

Atto (iit'to), It. An act of an opera or play.

Atto di cadenza (at'to de ka-d6n'tsa), It. The
point in a piece where a cadence maybe in-
troduced.

Atto primo (at-to pre'mo), It. The first act.

Attore (at-to'rg), It. An actor or singer in an
opera or play.

Attori (at-to're), It. The principal actors or
singers in an opera.

Atto secondo (at'to s6-k6n'd6), It. The second
act.

Atto terzo (at-to tfir'tso), It. The third act.

Attrice (a,t-tre'tsh6), It. An actress or singer.

Aubade (6-bad), Fr. A morning serenade.

Audace (a-oo-da'tsh?), It. Bold, spirited, au-
dacious.

Auf (ouf), Ga-. On, upon, in, at, etc.
Aufblasen (ouf'bla-z'n),(Ter. To sound a wind
instrument.

Auf dem Oberwerk (ouf d6m 6'bgr-wark), Ger.
Upon the upper work, or highest row of keys
in organ-playing. Generally indicates the
swell organ.

Auffassung (ouf'fas-soong), Ger. Conception,
reading of a work.

Auffiihrung (ouffii-roong), Ger. Perform-
ance.

Aufgeregt (ouf'gh6-r6ght), Ger. Excited, agi-
tated.

Aufgeweckt (ouf'gh6-w6kt), Ger. Sprightly,
lively, cheerful.

Aufgewecktheit (ouf'gh6-w6kt'hIt),(?er. Live-
liness, cheerfulness.

Aufhalten (ouf'hiil-t'n), Ger. To stop, to re-
tard, to keep back.

Aufhaltung (ouf'hal-toong), Ger. Keeping
back; a suspension.

Auflage (ouf'lii-ghC), Ger. Edition.

Auflosung (ouf'16-zoong), Ger. The resolution

of a discord. Also, a natural (tj).
Aufs (oufs), Ger. To the, on the.
Aufschlag (ouf'shliig), Ger, Upbeat; the uiv

accented part of a bar.

Aufsteigende Tonarten (ouf'sti-gh6n-d6 ton'-
iir-t'n), Gtr. pi. Ascending scales or keys.

Aufstrich (oufstrikh), Ger An up bow.

Auftakt (ouf'takt), Ger. The unaccented part
of a bar ; especially the commencement of a
piece, or division of a piece, when it docs
not open with a note on the first accented
part of the bar, but on a later unaccentea
one.

Auftritt (ouf'tritt), Ger. A scene

Aufzug (ouf'tzoog), Ger. Act of a play (>r
opera.

Augmentatio (oug-m6u-ta'tsi-6), Lat. Aug-
mentation.

Augmentation. Applied to intervals which
are chromatically enlarged beyond the com
pass of the corresponding perfect or major
intervals. (2) In canon, the repetition < f a
subject in notes of greater value, as halves
for quarters, etc.

Augmente (og-manh-ta'), Fr. Augmented.

a arm, & add, a ale, 6 end, e eve, I ill, 1 isle, 6 old, 6 odd, 00 moon. Hi hut, ti Fr. sound, kh Oer. ch, nh nasal.

(52)

AUG

DICTIONARY OF MUSIC.

avp:

Au^mentazione (oug-m6ii-ta-tsi-6'ne), It. lu-
c reuse.

Augmented. An epithet api'lierl to such in-
tervals as arc more than a major or perfect.

Augmented fifth. A fifth containing four

whole tone.-, or steps.
Augmented fourth. A fourth equal to three

wliule steps.
Augmented intervals. Those which include
a semitone more a perfoct nrth Augmented fiftii
than major, or per- r -y Q

feet, intervals ; as,

3^

Augmented octave. An interval equal to five

v'hole tones, or steps, and two semitones, or

half steps.
Augmented second. An interval equal to

one whole and one half step, equal to three

half steps.
Augmented sixth. An interval equal to four

wholt! tones, or steps, and one semitone,

or half step.
Augmented unison. A semitone, or half step.
Augmento (ii-oog-mCn'to), It. Augmentation.
Auletes (ou-la't6s),Cr. A flute-player, a'piper.
Auletic. Pertaining to a pipe; (little used).

Au lever du rideau (o IC-va dilh re-do), i^v. At
tho rising of the curtain.

Aulo (a-oo'lo), It. \ A species of ancient
Aulos(ou'los), GV. J flute.

Aulodia (a-oo-lo'di-ii). It. Singing, accom-
panied by the flute.

Aumentazione (a-oo-m6n-ta-tsi-o'n6), 7/. Aug-
meniation.

A una corda (ii oo'na kor'da), It. On one
string.

Aus (ous), Ger. From, out of.

Ausarbeitung'ous'ar-bi-toong),G'er. The last
finish or elaboration of a composition.

Ausdehnung (ous'da-noong),(rer. Expansion,
exieusiou, development.

Ausdruck (ous'drook), Ger. Expression.

AusdrucksvoII (ous'drooks-foll), Ger. Ex-
pressive.
Ausfuhrung (ous'fii-roongj.G'er. Performance.

Ausfiillung (ous'ful-loong), Qer. The filling
up, the middle parts.

Ausgabe (ous'ga-b6), Ger. Edition.

Ausgang (ous'gang), Ger. Going out, exit,
conclusion.

Ausgehalten (ous'ghg-hiil-t'n), Ger. Soste-
nuto.

Ausgeigen (ous'ghi-g'n), Ger. To play to the
end.

Ausgelassen (ous'gh6-las's'n),Ger. Wild, un-
governable.

Ausgelassenheit (ous'gh^-liis's'n-hlt), Ger. Ex-
travagance, wantonness.

Aushalten (ous'hal-t'n), Ger. To hold on, to
s{istain a note.

Aushaltung (ons'hal-toong), Ger. The sus-
taiiiiiiK of a note.

Aushaltungszeichen(ous'hal-toongs-tsl'kh'u),

Gir. A pause (,/T\j.

Auslosung (ous'lC-zoong), Ger. A mechan-
ism which permitsthehammer of the piano-
forte to immediately drop away from the
string wljile the finger yet remains upon the
key.

Ausweichen (ous'wi-kh'n), Ger. To make a
transition from one key to another.

Ausweichung (ous'wi-khoong), Ger. A tran-
sient modulation, or change of key.

Autentico (a-oo-tCn'ti ko). It. Authentic.

Auteur (o-t\ir), Fr. An author, a composer.

Authentic. A name given to those church
modes whose melody was confined within
the limits of the tonic, or final, and its oc-
tave. J

Authentic cadence. The old name for a per-
fect cadence ; the harmony of the dominant
followed by that of the tonic, or the progres-
sion of the dominant to the tonic. See Ca-
dence.

Automatic musical instruments. Those
which are played by mechanism, such as
the orchestrion, music-boxes, the a'OIian,etc.

Autor (ovi-tor'), <S'p. ") An author, a com-
Autore (a-oo-to'r(}j, 7/. ) poser.

Auxiliary notes. Tones not belonging to the
chord, but accessory to it, standing one de-
gree above or below the true harmonic tone.
They are appoggiaturas on the beat, j/assiiig
tones on the half beat, ,sMs/>f».sto//s held over
out of a previous chord, and changing notes.
See Dissonances.

Avant=scene (a-viinh-san), Fr. Before the
opening of the opera or scene.

Ave (ii-ve). Lat. Hail !

Avec (a-v(^k), Fr. With.

Avec allegresse (a-v(5kill-le-gras), Fr. Lively,

sprightly.
Avec ame ou gout (ii-vek iim oo goo), Fr.

With feeling or grace.
Avec douleur (ii-vek doo-lur), Fr. With grief,

with sadness.

Avec feu (ii-vCk fu), 7'/'. With spirit.

Avec force (a-v6k forss), Fr. With power.

Avec gout (a-vSk goo), Fr. With taste.

Avec grande expression (a-vCk granh dex-
pra-si-Onh), Fr. With great expression.

Avec lenteur (ii-vCk lilnh-ttlr), Fr. With slow-
ness, lingering.

Avec les pieds (a-vt?k 1<5 pe-a), Fr. With the
feet, in organ-playing.

Avec liaison (ii-vOii li-a-s6nh), Fr. With
smoothness.

iarm, a add, a ale, 6 eyid, e eve, i ill, i isle, 6 old, 6 odd, oo vioon, Ci but, ii Fr, sound, kh Ger. ch, nh nasal.

(53)

AVE

DICTIONARY OF MUSIC.

BAL

Avec mouvement (a-v^k moov-mCnh), Fr.

With movement.
Ave Maria (a'v6 ma-re'a). Lat. " Hail Mary."

A hymii or prayer to the Virgiu Mary.

Avena (a-va'aa), It. A reed, a pipe.

A vicenda (a ve-t3h6n'da), It. Alternately,

by turus.
A vide (ii ved), Fr. Open.
A vista (a vi'sta), J^ At sight.
A voce sola (ii v6'tsh6 so'la), It. For one voice

aJoue.

Avoir du retentissement (a-vwar dii ra-tanh-
tess-m5nh,, Fr. To be repeated.

Avoir le vois haut (ii-vwiir' luh vwiiso), Fr.
To have a louJ voice.

A voix forte (a r\va fort), Fr. With a loud
vuice.

A volonte (a v6-15nh-ta), Fr. At will, at
pleasure.

A vue (a vii), Fr. At sight.

Azione sacra (a-tsi-6'n6 sii'kra), It. An ora-
torio ; a sacred musical drama.

13

B. The name of a pitch one whole step high-
er than A. Also of the staff-df grees. repre-
senting B and iYs octaves. In (Germany the
name B is applied to the pitch B flat, B-nat-
ural being called H. This usage is gradu-
ally becoming obsolete.

Baazas (bii-zii), Fr. A species of guitar.

Babara (ba-ba'ra), Sp. A Spanish country

dance.
Bacchanalian songs. Drinking sorgs ; songs

pertaining to drunkenness and revelry.

Bacchia. A Kamschatka dance in 2-4 time.

Bacchius (biik'kl-oos), Gr. A musical foot,
consisting of one short, unaccented, and
two long, accented notes or syllables,
marked --' .

Bacchuslied{bakh'oos-led),Ger. A Bacchana-
lian Sung.

Bacciocolo (bat-tshi-o-ko'16), It. A musical
instrument of the guitar kind, common in
some parts of Tuscany.

Bachelor of Music. The first musical degree
taken at the English universities. It is not
conferred by German or continental uni-
versities.

Badinage (ba-dl-nazh),i^/'. Playfulness, sport-
iveuchs.

Bagatelle (bag-a-t61'), Fr. A trifle, a toy, a
short, easy piece of music.

Bagpipe, or, bagpipes. An an')ient wind in-
strument, still in use in many countries,
consisting of a leathern bag (into which ihe
wind is conveyed through a tube, one end
of which the player holds in his motith),
and from two to five pipes (on the shortest
of them, the chanter, which has several fin-
ger-holes, the performer plays the tune; the
others, the drove., produce each only one
uoce, which they sustain throughout). The
form and structure of this instrument vary
in different countries, and even in one and
the same country. Bagpipes with more
than one drone pipe have tire smaller drone

pipes generally tuned a fifth or an octave,
or one a fifth a 'd another hu octave, above
the fundamental note produced by the long-
est pip-, two of the smaller pi'pts being
often tuned in unison.

Baguette (ba-gh6t'), Fr. A drumstick.

Baguettes de tambour (ba-gh6t dQh tiim-
bourj, I'r. Drumsticks.

Baile (ba-e'ie), Sp. The national dances of

bpaiu.

Baisser (bas-sa), Fr. To lower or flatten the
pitch or tone.

Baisser le rideau (bas-sa lOh re-do;, Fr. To
drop the curtain.

Balalaika (ba-la-la'ka), Rns. A rude, guitar-
like instrument of theUkreiue. It has three
strings.

Balance (ba-lanh-sa), Fr. A step, or figure,
in dancing.

Balancement (bai-anhs'manh).F/-. Quivering
motion, a tremolo. Corresponding to the
Bebung, a trembling of tiie finder, v,'hich
was communicated to the strings of the vio-
lin or clavier.

Balcken, or, Balken (bal'k'n*), Ger. The bass
bar placed under the fourth atring in a
violin.

Baldamente (bal-da-m6n't6). It. Boldly.

Baldanza (bal-dan'tsa), jf \ Audacity, bold-
Baldezza (biil-det'saj, ) nCbS.

Balg (biilgh), Ger. The bellows of the organ.

Balgtreter (balg'tr6-16r), Gn\ Organ-blower,
or bellows-treader, in old German organs.

Balgzug (balg'tsoog), Ger. In an organ, the
bcilows-stop.

Balken (biil'k'n), Ger. See Balcken.
Ballabile (bal-la'bi-16), It. In the style of a
dance.

Ballad. This word is derived from hallata
(dancing-song), which in its turn is derived
from ballr're (to dance). ^The popular mean-
ing of ballad, in English, is " a simple song ;"

a arm, a add, a aUi, $ end, e eve, I ill, i isle, 6 old, 6 odd, oo moon, Ci but, ii Fr. sound, kh Ger. ch, nh nasal.

(64)

I BAL

DICTIONARY OF MUSIC.

BAR

t he spcci fio and more widely accepted mean-
inx is •' a lyrico-narralive poem, or the mu-
sic to such a poem " Ballads have been
coin{)oscd for a single voice (which is the
most reasouable couise). for several voices,
for ch'Tus with and without accompani-
me'.Jt. and also for single iustrumci.ts with
and without accompaniment, and for or-
chestra.

Ballade (bal-la'dg), Oer. "I A fiance, dancing;

Ballata ( bal-lii'ta), It. J also a ballad.

Balladenmassig(bal-la d'n-mas-s!gh),Gf?r. Af-
ter loC iuauner of a ballad.

Balladensanger (bal-lad'n'silng-^r), Ger. A
baliad-siuger.

BaUadist. A writer of ballads.

Ballad of Ballads. The designation given in
an old version of the Bible to Solomon's
Song.

Ballad opera. Light opera ; an opera in

which ballads and dances predominate.
Balladry. The subject or style of ballads.

Ballad=sing:er. One whose employment is to

siii^ ballads.

Ballad style. In the manner or style of a bal-
lad.

Ballare (bal-la-r6), It. To dance.

Ballatella (biil-ia tei'la), „ ) » ,v,^„^ v„ii„*„
Ballatetta (ual-la-t6t'ta), ^^- j^ short ballata.

Ballerina (baM6-re'na), It. A dancing-mis-
tress, a female aancer.

Ballerino (bal-^6-re'n6), It.
te.-, a male dancer.

A dancing-mas-

Ballet (bill-la), Fr. \ (1) An artistic, as
Balletto (bal-iei'to), It. /distinguished from a
social dance, performed by several persons.
(2) A kind of opera, in which there was
not much of a plot, but a greal deal of
dancing. (3) The representation of an ac-
tion by pantomime and dancing. (4) A
sprightly kind of composition for several
voices, which became popular at the end of
the sixteenth century. As many of them
had a F<t I ». burden, they were, in England,
commonly called Fa Ins.

Ballet-master. The person who superintends
ihe rehearsals of the ballet, and who fre-
quently invents the fable and its details.

Ballete. A ballet.

Balletti (ba,l-16t'te), It. Dance airs.

Ball' (t>al'le), I^.pl. Dances.

Balli della stiria (biil'le d6l-la sti'.ri-a), It. pi.
Siynuu dances, resembling waltzes.

Ball' ung^aresi (bal'loon-gii-nVze), It. pi. Hun-
garian dance in 2-4 time, generally svnco-
patc'l. or accented on the weak part of the
measure.

Ballo (buri6), //. A dance, or dance tune.

Ballonchlo (bal-lou'ki-6). It. An Italian coun-
try dance.

Band. A number of instrumental performers
playing in concert on their respective in-
struments.

Band, brass. A baud where only brass in-
sLi umeuts are played.

Band, chamber. A band whose perform-
ances Consist only of chamber music.

Band, choral. Orchestral performers.

Band, full. AVhere all the instruments proper
to a baud are employed.

Bandmaster. The leader or conductor of a
baud.

Bandola (ban-do'lii), Sp. An instrument re-
sembling a lute.

Bandora (bjin-do'rii), j. "I An ancient string-
Bandore (.biindo'rO), • j"ed instrument of
the lute or zither species.

Band, reed. A band with only reed instru
men IS.

Band, regimental. A band belonging to a
regiment ; a military baud.

Band, string. A band with only stringed
instruments.

Bandurria. (ban-door-ri'ti), Sp. A species of
Spanish guitar ; a bandora.

Banjo. A long-necked stringed instrument,
the body of which consists of a broad hoo]>
with a skin stretched over it. The strings,
from five to nine, are variously tuned. Of
great antiquity.

Bankelsanger. (ban'k'l-siing-Or), Gcr. A bal-
lad-siiiger.

Bar. Lines drawn perpendicularly across
the staff to show that the strong pulse im-
mediately follows. Hence, the bar shows
where the measure begins. The term bar
is also inelegantly used in place of measure.

Barbarism. In music it relates to false har-
mony or false modulation.

Barbiton (biir'bi-ton), Or. A name formerly
applied to the viol and violin.

Barbitos (biir'bi-tos). Int. An ancient instru-
ment of the lyre species.
Barcarola (bilr-Vii-ro'la), 7<. ") A song or air
Barcarolle (bjir-ka-rol'), /-V. j sung by the Ve-
netian gondoliers, or boatmen, w'hile fol-
iowiug their avocations.

Barcaruola (bar'kii-roo-o'la), It. The song of
the gondolier. A barcarole.

Bard. A poet and singer among the ancient
Celts. The bard was a person of great ini-

Eortance, and received great attention from
igh and low.

Bardd alan (biird a-ljln), Wei. A professor ot
music.

Bardone (biirdo'nC), It. See Bourdon.

Bar. A line drawn across the staff to show
the place of the strong accent, which is
always upon the time-space immediately
following, and hence to snow the divisioii
of measures. The measure it.self, and the
space between the bars, is sometimes called

a arm, a add, SkcUe, 6 end, e eve, iill, i isle, 6 old, 6 odd, oo moon, ti but, ix Fr. sound, kh Oer. ch, uh nasal.

(55)

".AR

DICTIONARY OF MUSIC.

BAS

abar, but improperly. Thename barmeans
•simply tlie line, aud its office is to indicate
ihe place of the strong accent. A very
heavy mark called Double Bar is used in
psalmody to indicate the end of phrases
and lines of poetry, and in instrumental
music sometimes to indicate the end of a
strain. When accompanied by dots upon
the left or right, the strain upon that side is
to be repeated. Double bars sometimes
serve to mark the measure, and sometimes
are inserted In the middle of a measure.
There is no rule upon this subject. Bars
did not come into more general use till
about the middle of the seventeenth cen-
tury. In scores they are to be met with
centuries before that time, but for the most
part only in theoretical books, as it was not
then the custom to print compositions in
score. With the rise of the monodic style
in Italy, towards the end of the sixteenth
century, bars came to the fore, as the publi-
cations with a basso continno prove. The
systems < f notation called Tablature have
almost always made use of bars.

Barem (ba-r6m'), Ger. A stopped register, of
soft 8 or 16 feet tone, in German organs.

Barentanz (bar'en-tantz), Ger. Bear dance.
Imitating the primitive music of the peas-
ant, with shrill piccolo aud drum.

Bari. An abbreviation of Baritone.

Baribasso. A deep baritone voice.

Bariolage (bilr lo-liizh), Fv. A passage for the
violin, etc., in which the open strings are
more especially used.

Baritenor. The deeper sort of tenor voice.

Bariton (ba-ri-t5nh'), Fr. \ (1) The

Baritone (ba-re'to-no), /^ [ male

Baritone, or, baryton, or, barytone.) voice
which is higher in pitch than the bass and
lower than the tenor, and participates to
some extent in the character of both. Its
usual compass is from a to f. (2) A brass
instrument with valves, having a compass
of three octaves, from b> to b't>, or from c to
c". (3) The viola di bordone (or bmdove). a
stringed instrument which went out of use
in the second half of the eighteenth cen-
tury. It had six or seven catgut strings
above the fingerboard, which were played
with the bow, and from eight to twenty-
seven wire strings below the fingerboard,
which were plucked and sounded sym pa-
th ttically with the upper ones. (4) Tlie
word barytone is often used as an epithet to
indicate an instrument related to other in-
struments as the barytone ■'oice to other
voces.

Lt&ritone clef. The F clef on the third line of

the stave,
used.

It is now no longer

b^t:

Baritono (bii-ri-to'no), It. Baritone.
Barocco (bil-rok'ko), It.\ A term applied to
Baroque (ici-rok), Fr. j music in wnicii the
liarniouy is confused aud abounding in un-
natural modulations.

Barpfelfe (bar'pfi-fg), Ger. Bear pipe; an ob-
solete reed-stop of soft intonation.

Barra (bJir'rii), It. A bar line; a bar.

Barrage (bar-riizh'), Fr. See Barre.

Barre (biir), Fr. A bar in music.

Barre (biir-ra), Fr. In gnitar-plRviriig. a tem-
poiary nut, formed by j)l;iciug theforf^finger
of the left hand acrtj^s some of lije hiruig>.

Barred C. C with a bar across it ; one of the
marks of alia breve measuie, thus, ^

Barre de luth (biir duh loot), Fr. The bridge

of the lute.

Barre de mesure (biir dQh mC-ztir), Fr. A bar-
line.

Barre de repetition (biir dfih ra-pa-ti-si-5nh),
Fr. A dotted double bar; also, a thick line
used as an abbreviation to mark the repeti-
tion of a group of notes.

Barrel. The body of a bell.

Barrel chime. The cylindrical portion of the

mechanism sometimes used for the purpose

of ringing a chime of bells.

Barrel organ. An organ in which the keys
which give the wind access to the pipes are
acted upon by pins (staples) fixed o i a cyl-
inder, which is made to revolve by turning
a handle. This turning of the handle also
sets the wind producing mechanism in mo-
tion The same principle has also been ap-
plied to small church organs, for the advan-
tage of small parishes unable to hire an or-
ganist. The cylinders, eath pegged for a
certain number of tunes, are bought and re-
newed as wanted.

Barrer. The act of employing the fc-efinger
of the left hand as a nut in guitar-playing.

Barrer, great. The act of pressing all the
strings of the guit?sr at the same time, with

- the forefinger of the left hand.

Barrer, small. The act of pressing two or
three strings of a guitar with the forefinger
of the left hand.

Barrure (biir-riir), Fr. The bar of a lute, etc.

Baryphonus (b;i-ri-f6'noos). A man with a
Very deep or very coarse voice.

Barz (bilrz), Wei. A poet-musician, a bard.

Bas (biih), Fr. Low.

Bas dessus (biih di'is-s(?), Fr. A mezzo-so-
prano, or secuud-treble voice.

Base.) The lowest, or deepest, maleA'oice;

Bass. I the lowest part in a musical composi-
tion.

Basilica (bii-zel'I-kii), It. A cathedral.

Bassa (biis'sii), It. Low, deep ; Sv'abassa, play
the notes an octave lower.

Bass afberti. A bass formed by taking the
notes of chords in arpeggios.

Bassanello (biis-'^ii-nei'lo), //. An obsolete mu-
sical iiis^trument.

Bassa ottava ' biis'sii ot-^ii'va), It. Play the pas-
sage an octave lower than written.

a arm, £1 add, a,ale, 6 end, e eve, i ill, l isle, 6 old, 6 odd, oo moon, 0 but, ix Fr. sound, kh Ger. ch. nh nasaU

(50)

HAS

DICTIONARY OF MUSIC.

BAS

Bass beam. A thin strip of wood glued in-
.si Jo the viol, nearly under the baiss string.

Bassblaser (bilss'bla-z'r), Gcr. A bassoonist.

Bass chantante (biis shanh-tanht), Fr. The

^()^iul bass.
Bass clarinet. A clarinet an octave lower

v-^au the B-flat clarinet.
Bass clef. The bass, or F clef, placed upon

ihe fourth line.

Bass concertina. A concertina having the
cumpass of a violoncello.

Bass, continued. Ba.sg continued ili rough
tlie whole piece ; the figured bass.

Basse (biiss), Fr. The bass part.

Basse ehantante (bilss shjinh-tanht), Fr. Yo-
CaI ba.ss. See Bans ehantante.

Basse chiffree (biiss shef-fr', Fr. A figured
bass.

Basse continue (bilss k^nh-te-nii), Fr. Thor-
ough bass. Figured bass.

Basse contrainte (biiss k6nh-tranht), Fr. The
coustiained, or ground bass.

Basse contre (bii«;s k6ntr), Fr. Bass counter,
double ba-s; aiso, the deep bass voice, called
by the Italians basso pro/ondo.

Basse de cromorne (biiss dfih kro-morn) (also
written cremorne), a/td Basse de hautbois

(biiss dilh ho-bwa), Fr. Old French names
lor the bassoon, but also the names of the
loAvest members of the oboe and cromorne
families.
Basse figuree (bass f!-gii-ra), Fr. The figured
bass.

Basse fondamentale (biiss fonh-diL-miinh-tiil\
Fr. The fundamental bass.

Basse taille (biiss tiillyt?), Fr. Baritone A'oicc ;
low tenor voice.

Basset horn. A variously bent and construct
ed iiisirument of the clarinet family, no
longer used by composers. It is said to have
been invented in 1770. Its compass extends
from f to c"'.

Bassett. A little bass, generally somewhat
higher than the usual bass.

Bassetto (bas-s6t't6), J<. The little bass ; also
an obsolete instrument with four strings;
also an 8 or 16-feet reed-stop in an organ.

Bass, figured. A bass figured, or accompa-
nied by numerals, denoting the harmony to
be played by the other parts of the compo-
sition.

Bass, first. High bass.

Bassflote (bass fig-t6), Ger. \ An old instru
Bass flute. jment of the bas-

soon species ; also the name of an organ stop
on the pedal, of 8-feet tone.

Bass, fundamental. The bass which contains
the roots of the chords only. This bass is
not intended to be played, but serves as a
test of the correctness of the harmony.

Bassgeige(biiss'ghl-ghe), Ger. Bass viol ; the
couirabasso.

Bass, given. A bass to which harmony is to

be placed.

Bass, high. A baritone, a voice midway be-
twccu bass and tenor.

Bass horn. An instrument resembling the
ophicleide, formerly much used in bauds.

Bassi (bas'se), It. A term implying the en-
trance of the brass instrumeui>!

Bassist (biis-sisf), Ger. i . ^

Bassista (bassi^'tii). It. j '^ >>-'^^^-^>nger.

Bass, low. Second bass.
Basso (biis'so), It. The bass part.
Basso buffo (biis'so boo f'fo), //. The principal
bdss-suiger in the comic opera.

Basso cantante (biis'so kiln-tiin'te). ^t- The
vocal bass part; also the principal bass-
singer in an opera.

Basso comico (biis'so ko'mi-ko), It. A comic
bass-si uger in an opera.

Basso concertante (biis'so kon-tsh6r-tan-te),7i!.
The principal bass; also the lighter and
more delicate parts performed by the violon-
cello, or bassoon.

Basso construtto (biis'so kun-stroot'to), It.
(jrrouud bass, constrained bass.

Basso continuo (biis'so kon-tS'noo-o), It. The
continued bass ; a bass that is figured to in-
dicate the harmony.

Basso contra (bas'so kon-tra), j-f \ A double
Basso contro (biis'so kon'tro), j bass viol ;
the lowest or gravest part of a musical com-
position.

Bass Oder F Schlussel (biiss 6'd6rF .shliis's'l),
Gcr. The bass, or F clef.

Basso d' accompagnamento (biis'so dak-kom-
piiu-yil-meu'io). It. An accompanying bass.

Basso figurato (bas'so fe-goo-rii'to), //. The fig-
ured bass.

Basso fondamentale (biis'so fon-dii-men-tii'lc},
If. The fundamental bass.

Basson (biis-sonh), Fr. Bassoon.

Basson quart (biis's6nh kiir), Fr. An instru-
ment whose toues are a fourth lower than
the ordinary bassoon.

Basson quinte(biis's6nh kilnht),i^r. A small
bassoon of the same compass as the ordinary
bassoon, but the tones are a fifth higher.

Basso numerato (bas'so noo-m6-rii't6), //. Fig-
ured bass.

Bassoon. A wind instrument with a double-
reed mouthpiece, invented about 1 joii, and
since then much improved. The Italian
name, /agiof/o (fagot, bundle of sticks), de-
scribes somewhat its outward ap|)earance.
Its usual compass extends from b> to b't> ;
its extreme upper limit is e"!?. Music for
the bassoon is written in the bass and tenor
clefs, the latter clef being used for the high-
er notes. It is not very agreeable as a solo
instrument, but indispensable in full or-

a aiTn, a add, a ale, 6 end, e eve, 1 ill, i isle, 6 old, 6 odd, oo moon, u but, U Fr. sound, kh Oer. ch, nh nasal.

(57)

BAS

DICTIONARY OF MUSIC.

BEA

chestra. The lower toues are strong and
rough, but the middle rich aud pleasing.

Bassoonist. A performer on the bassoon.

Bassoon stop. A reed-stop in the organ which,
imiiates the tunt;s of the baSbuon.

Basso ostinato (hjis'so 6s-ti-na't6), Jt. A con-
siantly recurnug bass theme, forming the
foundation of a polyphonic composition
(chaco^ue, passacagiia, etc.).

Basso primo (biis'so pre'mo), It. The first bass.

Basso ripieno (biis'so ri-pl-a'co), It. A bass
part only intended to be played in the full
or tutti passages.

Basso rivoltato (biis'so ri-vol-ta'to), It. An in-
verted bass.

Basso secondo (biis'so se-kon'do),'//. The sec-
ond ba.-,s. Tlie lower bass.

Basso tenuto < biis'so tc-noo'to^, It. Continued

bass.

Basso violino (biis'so ve-o-le'not, It. A small
bass viol.

Basspfeife (biiss pfl-fei, Ger. Basspipe, bas-
soon.

Basspommer (biiss'pom-m'r), Ger. The low-
est member of the pommer family. See Puin-
mcr.

Bassposaune(bilss'i>o-zon-uei, Ger. Basstrom-
buue, sacljbut.

Basssaite (biiss'si-tO), Ger. Bass string.

Bassschliissel (bii.ss'shliiss-s'l), Ger. The bass

clef.

Bass staff . The staff' marked with the bass
clef.

Bassstimme (biiss'stim-mt?), Ger. Bass voice,

Ijass pait.
Bass string. The string of any instrument

u,»oa wliich the lowest note is sounded.

Bass trombone. A trombone having a com-
p.iss from the great c to the one-lined e, and
noted in the F clef.

Bass tuba (biiss too-bit), Lat. See Tuba.
Bass viol. An old name for the viol da gam-

bd, now often given to the violoncello.
Bass viol, double. A stringed instrument,

the largest aud deepest toned of its class.

Bass voice. The lowest or deepest of male

voices.

Basszeichen (bilss'tsl-kh'n), Ger. The bass
Lief.

Basta (bils'tii), p 1 Enough, sufficient;

Bastante (bas-tiin'te), ' jT proceed no further

iiuie&s directed by the conductor.
Bastardilla (biis-tiir-del'yii), Sp. A species of

riuie.

Batillus (bii-til'loos), Lat. An instrument
used by the Armenians in their church ser-
vice in the place of bells. A board siruek
with a hammer.

Battement (bat-mouh'), Fr. ) An old uar.-.c
Battimento (biit-ti-m6n'to), Ji!. /for that k.^d

of short shake -n-rittPn. piayoi

called a beat.

1 "i I I I-'
Battere (biit't6-r6), It. The dowa smke in

beating time.
Batterie (biit-tre), Fr. The roll of the dru^n ;

also, a particular way of ))iaying the guitsir

by striking the strings iusiead of puLing

them.

Baton (ba-tonh'), p. \

Baton de mesure (ba-tonh' duh mg-ziir), )

The stick used by the conductor in beating

time.

Battre (batr), Fr. To beat.

Battre la caisse (biltr lii kass), ,, , )

battre le tambour (bitrlCih Ulmboor), '* j
To beat the drums.

Battre la mesure (biitr lii me-ziir'), Fr. To
beat time; tomark the time by beating with
the hand or witn a stick.

Bau (bou), Ger. The structure, the fabric, the
Construction of musical instruments.

Bauerisch (by'6r-ish), Ger. Rustic, coarse.
Bauernflote (bou'^'-n-flS-te), Ger. Rustic flute ;
a stopped register in an organ.

Bauernlied (bou'ern-led), Ger. A rustic ballad.

B cancellatum (B kiin-ts?Mii'toom), Lat. The
old name fur a sharp (^i.

B, double. The b below G gamut ; the twelfth
below the bass-clef note.

B=dur (Ba-door), Ger. The key of B^? major.

B durum (B doo'room), Lat. B hard or B ma-
jor.

Bearbeitet (b6-ilr'bi-t?t), Ger. Adapted, ar-
ranged.

Bearbeitung (be-iir'bl-toong"), Ger. Adai)ia-
tion.

Bearing notes. In tuning instruments those
erroneous, or falsely tempered fifths, on
which "the wolf" is said to be thrown.

Bearpipe. See Barpfeije.

Beat. The rise or fall of the hand or baton in
marking the divisions of time in music.
'I'hese motions, in the difterent varieties of
measure, take the following directions:
Bouhle, down, up; Tnp'e, down, left, up;
Quadruple, down, left, right, up; S(.r.tui>le,
down, down, left, right, up, up. A a im-
portant musical embellishment, consistii.g
of the principal note and the note 6'"?oi<; jr,
resembling a short trill ; also the pulsation
arising f om the interferen(•^sof two series
of ' ibrations slightly diilering in pitch.
The number of beats per second will be
equal to the number of vibrations in which
one series exceeds the other.

Beatings. Regular pulsations produced in an
organ by v)ipes of the same key when they
are not exactly in unison.

ii arm, & add, a ale, 6 end, e eve, iill, I isle, 6 old, 6 odd, oo moon, Hi but, n Fr. soxind, kh G<'.r. ch, nh nasal.

(58)

BE A

DICTIONARY OF MUSIC.

Beating; time. Marking the divisions of the
bar by meaus of the hand, foot, or baton.

Beben (ba'b'n), Ger. To tremble, to shake, to

vib-ate.
Bebende Stlmme (ba'b6n-dC stirn'mfi), Ger. A

irembliug voice.

Bebung (ba'boong), Ger. A shaking, a vibra-
tion. Oil the clavier, a treraolo made by vi-
brating the finger upon the key. (Imprac-
ticable upon the pianoforte. ) Also, a Ger-
man organ-stop.

Bee (,bt5k), Fr. The mouthpiece of a clarinet.

[iecarre (ba-kar), Fr. The mark called a nat-
ural (5).

Decco (bCk'ko), It. The mouthpiece of a clar-
iiiet, flageolet, etc.

Cecco polacco (bak'ko pG-liik'iio), If. A species
of large bagpipe used in some parts of
Italy.

Becken (bfik'n), Ger. A cymbal.

Bedeckt (be-d6kt), Ger. Covered, stopped.
Said of strings, in contradistinction to leer,
open. Also of stopped pipes.

Bedon (be-douh'), Fr. An old name l(?r a tab-
rei, or drum.

Be (ba), Ger. Flat, Bl?.

Beffrot (b6f-frwa'), Fr. The frame that sup-
ports the bell in a belfry; a belfry. The
tamtam.

Begeisterung: (b^-ghis'te-roong), Ger. Inspi-
ration, uuimation, enthu'^iHsm.

Begl. An abbreviation of Begle tuiig.

Begleiten (b(5-gli't'n), Ger. T j accompany.

Begleitende Stimmen (be-gll tCn-dC stim-
mCii), Ger. pi. 'I'ne accompanying parts.

Begleitung (b6-gli'toong), Ger. An accompa-
niment.
Beharrlich (b6-ha,rr'llkh), Ger. Perseveringly.
Beherzt (be-ha,rtst'), Ger. Courageous.
Bei.sp. An abbreviation of Bcispiel.
Beispiel (bi'spel), Ger. Example.
Beisser (bis's'r), Ger. A mordent.
BeJtone (bi'te-nC), Ger. Accessory tones.
Beizeichen (bl'tsi-kh'n), Ger. An accidental.

Belfry. A tower in which a bell or bells are
hung.

Belieben (b6 le'b'n), Ger. Pleasure; at pleas-
ure.

Beliebig (b^-le'big), Ger. To one's liking, or
l)loasure.

Beliere (ba-ll-ar'), Fr. The touguo < i a \iAl.

Bell. A vessel, or hollow body, of cast metal,
used for making sounds. It consists of a
barrel, or hollow body, enlarged or expand-
ed at one end, an ear, or cannon, by which
it is hung to a beam, and a clapper inside.
(2) A. hollow body of metal, perforated, and
containing a solid ball to give .souiids when
shaken. (3) The wide, circular opening at

the end of a trumpet, horn, and similar
instruments.

Bella (bCl'Ia), Sax. A bell.

BelUchamber. Th t portion of the tower or
ste. pie in which the bell hangs; the belfry.

Bell diapason (di-a,-pa'.s6n). An organ diapa-
son stop of clear and sonorous voice.

Bellezza (bei-iet'sii), //. Beauty of tone and
expression.

Bellezza della voce (bel-lOt'sii d(51'ia vo'tshSi.
J(. Beauty or sweetness of voice.

Bell gamba. A gamba stop in an organ, the
top of each pipe spreading out like a bell.

Bell harp. An old instrument, probably the
lyra or citheraof the ancients. (J) A string-
ed instrument, so named from its being
swung like a beli when played.

Bellicosamente (bc'l li-ko-zii mCn'tC), ,. l In
Bellicoso (.bC'I-li-ko-zo), )' a

martial and wanike style.

Bellicum (berii-kooin), Lat. The sound of a

trumpet calling lo battle.
Bell metronome. A metronome with a. small

boll that strikes at the'beginning of each bar.

Bellovv's. A pneumatic appendage for supply-
ing organ-pipes with air.

Bellows, exhaust. A kind of bellows used on
organs and other reed instruments ; the air,
when the chamber is exhausted, being
drawn in through the reeds.

Bell=ringers. Performers who, with bells of
ditfere'i tsizes, ranging from smallest to larg-
e-<t, are able to produce very pleasing and
effective music.

Belhscale. A diapason with which I. ell-
founders measure the size, thickness, weight,
and tone of their IjoIIs.

Belly. The soundboard of an instrument,
that part over which the strings are dis-
tended.

BeLmetallo di voce (Vx'l me-tiil'lo do vo'tshC),
It. A clear and brilliant voice.

Bemerkbar (be-mark'bar), Grr. Observable,
marked ; to be played in a prominent man-
ner.

Bemol (bii-mo]), Fr. i The mark called a

Bemolle (ba mdl'iej. It. j flat (b).

Bemolise (ba-mo-lez), Fr. Marked with aflat.

Bemolisee (b^-mo-ll-za'), /'''"• A note preceded
by a flat.

Bemoliser (b§-m6-li-za'), Fr. ) To flat-

Bemollizzare (bg-mol'li-tsa'r^), It. j" ten notes;

to lower the pitch by putting a flat before

them.

Ben(bilh\ j. 1 vVell srood
Bene {bii'ni), ^^- j "^^^' ^oo^-

Benedicite (ben-t5-dl'tsi-t6), Lat. .-V canticle

used at morning prayer, in the church, af-
ter the first lesson.

Benedictus bt5n'6'dic' toos), i^a;". '• iiles.sed is
He that cometh." Second part of tue Sauc-
tus, which forms the fourth part of the Mass.

a arm, a add, a ale, 6 end, e eve, i ill, i isle,o old, 6 odd, oo moon, \\ but, ii Fr. sound, kh Ger. ch. nh nasal

(59»

BEN

DICTIONARY OF MUSIC.

BIZ

Bene pSacito (ba'ng plJi'tsM-to), It. At will,
at pleasure, at liberty to retard the timeaud
oraameut the passage.

Benmarcato (bCumar-ka'to), r. } Well

Benemarcato(ba-u6niar-ka't6), * /marked,

iu a distinct and strongly accented manner.

Ben inarcato il canto (ben miir-ka'to il kiiu'to),
It. Mark well the melody.

Ben nioderato (b6u mo-de-ra'to), It. Very mod-
erate time.

Ben pronunciato (b6u pro-noou-tshii'to, ,, )
Ben pronunziato (b6n pro-noon-tsi-a'to), ^ • j
rrouoiiuced clearly and distinctly.

Bentenuto (b(5n t(5-noo to), It. Held on ; fully
sustained.

Be quadro (ba kwil'dro), It. \ The mark called
Be quarre (bakiir-ra), Fr. j a natural (tj).

Bequem (b{5-quam'), Ger. Convenient.

Berceuse (b^r-siiss), Fr. A cradle-song.

Bergamasca (bCr-gii-mas'ka), It. A kind of
rustic dance.

Bergeret (b6r-je-r(5t'). It. An old term signi-
fyiijg a sung.

Bergomask. A rustic dance. See Bergamasca.

Bergreigen (barg'rl-gh6n), Ger. Alpine mel-
ody.

Berlingozza (ber-lin-got'sii), It. A country
dance.

Berloque (b6r-lok), Fr. In military service,
th J drum calling to meals.

Bes (b(5s), Ger. The note B-double-fiat, Bpi?.

Besaiten (be-si't'n),Ger. To string an instru-
ment.

Beschleunigend (b6-shloi'nl-g6nd), Ger. Has-
tening.

Beschreibung (b6-shri'boong),(?e;-. A descrip-
tion.

Befiedern (befe'd6rn), Ger. To quill a harpsi-
chord.

Besingen (b6-sing'6n), Ger. To sing, to cele-
brate in song.

Bestimmt (bC-stimt), Ger. Distinct.

Bestimmtheit (b6-stimt'h!t), Ger. Precision,
certainty.

Betglocke (b6ht'gl6k-6), Ger. Prayer-bell.

Betonend (b6-to'nend), q I Accented
Betont(b6-t6ut), ^^' ' | Accented.

Betonung (be-to'noong), Ger, Accentuation.

Betrubniss(bC triib'niss), Ger. Grief, sadness.

Betritbt (bC-triibf), Grr. Afflicted, grieved.

Beweglich (b6-wa'glikh), Ger. Movable.

Bewegt (b6-wagt), Ger. Moved, rather fast.

Bewegung (bC-wa'goong), Ger. Motion, move-
ment.
Beyspiel (bi'spel), Ger. An example.

Bezeichnung (b6-tsikh'noong), Ger. Mark, ac-
centuation.

Bezifferte Bass (bfi-tsif f6r-t6 bass), Ger. xhe
figured bass.

B-flat. The fiat seventh of the key of C.

Bianca (be-an'kS,), It. A minim, or half r ~-

uuie. P*"

Bichord (be'kord), Lat. A tprm applied to in.
struments that have two strings to each note.

Bien attaquer une note (bi-anh at-tak-a iin

not), Fr, To strike a note firmly.
Bimmolle (bim-mol'ig). It. The mark called

a fiat (b).
B in alt (be in iilt), Tt. The third in alt ; the
tenih above the treble-clef note.

B in altissimo (be in iil-tes'si-mo), It. The
tliird nolo iu altissimo; the octave above b
iu alt.

Binary measure (bi-mVry). Common time of
two in a bar.

Bind. A tie uniting two notes on the same
(k'greo ol the staff".

Binde (ben'dC), Ger. A tie or bind.

Binding notes. Notes held together by the

lie or biud.
Bindung (bin'doong), Ger. Connection.

Bindungszeichen (bin'doung-tsi'kh'n), Ger. A
lie, or biud.

Biquadro (be-kwa'dro). It. A natural (fl).

Bird organ. A small organ used iu teaching
birds to sing.

Birne 'ber'nS), Ger. The mouthpiece of the
clarinet.

Bis (bis), Lat. Twice ; indicating that the pas-
sage marked is to be repeated.

Biscanto (bis-kan'to), //. A kind of duet;
where two are si:igiug.

Bischero (bis'ke ro), It. A peg of a violin,
violoncello, or similar instrument ; the pin
of any instrument.

Biscroma (bls-krO'inil), It.] ^ semi-quaver,
D. /I- 1 - /^ i.^ r ^i" sixteenth R

Biscrome (bis krom'), /•/•. J uote. •

Bis diapason (bis dl-a-pa's6n), Int. A double
octave, or fiiteenth: a compass of two oc-
taves.

Biseau (Di-z<5')» Fr. Tlie stopper of an organ-
pipe to make the tone sharper or flatter.

Bi»nia (bi-se'ni-u), L<it. A term applied to a
pianoforte )>assage where the Motes played
by one hand are regulariy rep«'aied by the
other.

Bisinium (bi-s6'nI-oom), Lat. A romposition
iu two parts ; a duet, or two-part song.

Bis unca (bis oou'kii), Lat. An old name for

a semiquaver.

Bisser (bis-s(?), Fr. To redemand.

Bissex (bis s*x'), Lat. A species oT guitar,

with twelve strings.
Bitterkeit (blt'ter-kit), Ger. Bitterness.

Bizzarramente ( et-.'-ar-ra-m«?n'tc*), It. Oddly,
iu a whim>ical .-^ale.

il arm, & ittd, a ale, 6 end, e eve, 1 iU, i isle, 6 old, 6 odd, oo moon, H but, u Fr. sound, kh Ger, ch, nh nasoL

(60)

BIZ

DICTIONARY OF MUSIC.

BOU

Biz^arria (beNsilr-r6'a), It. Written in a eapri-
ci'nis, I'aiilastic style; sudden, unexpected
m "dulrttions.

Bizzarro (bet-sai''ro), It. Whim-Ical, odd, fan-
l< ^t.cal.

Blanche (.bl&nshi, Fr. A minim, or half note.

Blanche point^e (bliinsh pwiinh-ta'), Fr. p .

A <li)tteJ iiult note. |

Blasebalg (bla,'s6-balg), Ger. The bellows of

an organ.
Blasehorn (blii'zg-horn), Ger. Bugle horn.

hunter's horu.
Blasetnusik (bla'z6-moo'zek'), Ger. Music for

wind instruments.

Blasen (bla'z'n\ Ger. To blow; to sound.

Blaser (bla'z'r), Ger. A blower; an instru-
ment fur blowing.

Blasinstrument (blazln-stroo-mgnt'j, Ger. A
wind instrument.

Blast. The sudden blowing of a trumpet or
other instrument of a similar character.

Blatant. Bleating, bellowing.

Blatt (bliitt), Ger. A leaf; a reed. The single
reod of the clarinet and of the basset horn.

Blechinstrumente (bl^kh ' In - stroo-m6n't6),
Ger. The brass instruments, as trumpets,
trombones, etc.

Biockflote (blok'flC-te), Ger. An organ-stop,
composed of large scale-pipes, the tone of
which is full and broad.

Blower, organ. One who works the bellows
of an organ.

Bluette. A short, brilliant piece.

B-mol (ba-mol), Fr. The character called a

tlao (I?). iSee Beniol.

B-moll (be-mol), Ger. The keyof B[? minor.

Board. A term applied to several different
members among musical instruments, as.
Fingerboard, upon which the fingers act;
Soundboard, which vitirates in the i)iano-
forte, or upon which the pipes are placed in
the organ ; Keyboard, the keys, etc.

Boat=song5. Gondolier-songs.
Bocal (bcVka.!), Fr. \ The mouthpiece of a
Bocca{bok'ka), It. ) horn, trumpet, trombone,
and similar instruments.

Bocca ridente (bok'kii ri-dt5n't6), It. " Smiling
mouih." A term in singing, applied to a

f^eculiar opening of the mouth, approach-
ng to a smile, believed to be conducive to
the production of a pure tone.

Bocchino (bok-ke'no), It. Mouthpiece of a
hurn.

Bocina (bo-the'nii), Sp. A species of largo
trumpet; a bugle horn.

Bocina de cazador (bo-the'nii d6 ka-tha-dor'),
Hit. A huntsman's Lorn.

Bockpfelfc (bok'pfl-f^), Ger. A bagpipe.

Bockstriller (boks'trll-lSr), Ger. A bad shake,
with false intonation.

Boden (bo'd'n), Qer, The back of a violin, vi-
o'a etc.

Boehm Flote. A flute of improved mechan-
ism. Invented in 18:34 by Theobald Boehm.
The improvement consists of a series of
keys by means of which the fim/ering is
simplified and the dili'erent tonalities are
more nearly equal in facility. The same
system has also been applied to the oboes
and clarinets.

Bogen (bo'g'n;, Ger. The bow of a violin, etc.

Bogenfiihrung (boVn-fii-roong), Ger. The
management of the bow ; the act of bowiiiy .

Bogeninstrumente (bo'g'n-in-stroo-mCn-tfi).
Gtr, Bow instruments ; instruments played
with a bow.

Bogenstrich (bo'g'n-strikh), Ger. A stroke of

the bow.
Bolero (bo-hVro), Sp. A lively Spanish dance,

in o-l time, with castanets.

Bomb. A stroke upon a bell ; to sound.

Bombarde (bonh-biird'), i^r. 1 A powerful
Bombardo i bom-bar'do), It. | reed-stop in an
orf.:a,i of JG-feet scale; also an old wind in-
strument of the hautboy species.

Bombardon (bom-biir'don), Ger. A large bass
wind instrumentof brass, with valves some-
thing like the ophicleide. The bombardon
was originally a very deep bassoon, now ob-
solete. The name* is also applied to an
organ-stop, a 16-feet reed.

Bombix (bom'bfx), Gr. An ancient Greek in-
sirumeut, formed of a long reed or tube.

Bonang (b5-nflng'), Jav. A Javanese instru-
ment, consisting of a series of gongs placed
in two lines on a frame.

Bones. A name sometimes given to casta-
nets ; castanets made of bone.

Bons temps de la mesure (bonh tonh duh lii
m(?-sur'), Fr. The accented parts of a meas-
ure.

Bora (,b(yra), Tvr. A tin trumpet used by the
Turkish military.

Bordone (bor-do'n6). It. ) An organ-stop.

Bourdon (boor-d6nh), Fr. /the pipes of which
are stopped or covered, and produce the 16-
feet, and sometimes the 32-feet tone ; also a
drone bass. A stopped diapason.

Bordun. See Bourdon.

Bordone falso (bor-do'nC fiil-zo), It. A term
formerly used for harmony having a drone,
bas^, c>r one of the other parts continuing in
the same pitch.

Bordun Flote (bor'doon flo't^), Ger. An organ-
stop, bee Burdone.

Bourdon de cornemuse (boor-d6nh dtlh k6rn-
miiz), Fr. The drone of a bagpipe.

Bourdon de musette (boor-d6nh dfth mii-zOt)
Fr. The drone of a bagpipe.

Boudoir piano (boo dwiir). An upright piano.
Bouffe (boof), Fr. A buffoon.

'4 arm, & add, a ale, 6 end, e eve, I ill, I isle, 6 old, 6 odd, oo moon, a hut, ii Fr. sound, kh Ger. ch. uh nasal.

(61)

BOU

DICTIONARY OF MUSIC.

BRI,

Bourree(boor-ra),Fr. A step in dauciug. A
lively oM French dauce in 4-4 or 2-1 time.
The second and fourth quarters of the meas-
ure divided.

Boutade (boo-tiid), Fr. An instrumental piece
likeu caprice or fantasia. (2) An old French
dance. (3) A kind of short ballet, which
was performed as if the performers set about
it impromptu.

Bow. An instrument consisting of an elastic
wooden rod and a number of horsehairs
stretched from the beuthead to the movable
nut. It is used in playing on the violin and
many other stringed instruments which are
made to sound by friction, the bow being
drawn over the strings and setting thcin in
vibration. Its present length is from twenty-
s(;ven to thirty inches, but formerly it was
shorter.

Bowhair. Hair used in making the bows of
violins, violoncellos, etc.; it is usually horse-
hair.

Bowhand. The right hand ; the hand which
holds the bow.

Bowing. The art of using the bow, playing
with the bow.

Bow Instruments. All instruments whose
tones are produced by the bow.

Boyaudier (b6-y6-dl-a'), Fr. A maker of vio-
liu-striug.s.

Boy choir. A choir of boys, 'rom eight to
fourteen years of age. Such organizations
are confined mostly to Episcopal and Catho-
lic churches.

B quadratum (ba kwa-drii'toom), t . ) An old

Bquadrum (bakwa'droom), "J name

for the natural {£]); formerly this was ap-
plied to the notch.

Brace. A character, curved or straight, used
to connect the diflfereut staves.

Bracliygraphy, musical. The art of writing
music in shorthand, by means of signs, char-
acters, etc.

Braccio (brii'tshl-o). If. A term applied to the
violin and other instruments of a similar
character that are held up to the neck with
the left hand and played with a bow.

BrancliQS. Those parts of a trumpet that con-
duct the wind.

Bran de Inglaterra (bran d6 en-gla-ter'ra), Sp.
An old Spanish dance. Evidently ihe Eug
lish Brawl.

Branle (branhl), Fr. A lively old dance, per-
formed in a circle.

Bransle (brauhsl), Fr. An old dance, slow,
and resembling tbe Almau.

Brass band. A number of performers whose
instruments are exclusively brass.

Brass instrument. Wind instruments made
of brass, and used chiefly fur field service.

Bratsche (bra'tshC), Oer. The viola, or tenor
violin.

Bratschen (bra'tshgn), Ger. Violas.

Bratsclienspieler (bra'tsh6n-spe']6r), Ger. Vi-
olist; one wno jilays on the viola.

Bratschenstimme (brii'ishOn-slirn'mg), Ger.
The viol part of any composition.

Brautlied (brout'led), Ger. A bridal hymn, a
wedding-song.

Brautmesse (brout'm6s-s6), Ger. Music before
the wedding ceremony ; the ceremony itself.

Brava (bra'va), fern. ^ An exclamation
Bravi (bra've), pi. It. > of approval, often
Bravo bra' vo), TOrts. ) used in theaters;

excellent, very good, etc
Bravissima (brii-vls'si-mii), feni. ^ Exceed-
Bravissimi (bra-vis'si-me), pi. It. > ingly
Bravissimo (bra-vls'si-mo), mas. ) good,

exceedingly well done.

Bravour=arie (bra-voor'a'rl-C), Ger. An aria di

(yrianird.
Bravura (bril-voo'ra). It. Spirit, skill, requir-
ing great dexterity and skill in execution.

Bravura, con (bra-voo'ra kon). It. With spirit^
and boldness of execution.

Bravuramezza(bra-voo'ram6t-sa), It. Asong
requiring a moderate degree of skill.

Brawl. ) A shaking or swinging motion.

Brawle. j"(2) An old round dance in which
the performers joined hands in a circle ; the
balls were usually opened with it.

Bray. The harsh sound of a trumpet or sim-
ilar instrument.

Brazen instruments. Brass instruments.

Brazzo (brat'so). It. Instruments played with
a bow.

Breit (brit), Ger. Broad.

Breloque (br^-lok'), Fr. In military service,
the call of u drum for breakfast or dinner.

Bretador (bra-tii-dor), Sp. A bird-call.

Brettgeige (brei'ghi-gh^). Get-. A small pocket
fiddle.

Breve (bra'v6), It. Short ; formerly the breve
was the shortest note. The notes then used
were the large, the long, and the breve. The
breve is now the longest note; it is equal to
two semibreves, or whole notes. (2) A dou
ble note. Alia breve, to the breve, i. c, a liaif-
note to each beat. A rather quick muve-
meut, formerly much used in church music.

Breve rest. A rest equal in duration to a

bruve, or double note.
Breviario (bre-vi-ii'ri-6). It. A breviary.
Breviary. A book containing the matins,

lauds, and vespers of the Catholic Church.

Brevis (bre'vis), Lat. A breve.

Bridge. A piece of wood on which the stri ugs
of stringed instruments rest, and which it
self rests on the resonance-box or re>on>nu'e-
board (soundbox or soundboard), lu which
it transmits the vibrations of the striiiL's.

Brief. An upright piece of wood, over which

the strings of a bass viol are drawn.
Brill. An abbreviation of Brillante.

it arm, a add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd. oo moon, ti but, ii Fr. sound, kh Ger. ch, nh tmsoI

Bki

DICTIONARY OF MUSIC.

BUZ

Brillante (Dnilau'tg), 7/. \ Bright, spark-
Brillante (brC-yiinht'), Fr. j Hug, briiliaut.

Brillare (hril-lii'rd). It. To play or sing in a
brilliant style.

Brillenbasse (bril-l'u h-As-se i,Ger. Lit , •' spec-
tacle ba^ses." A kind ^ ^ ~ |*i^^ ^ii»~ q
of bass called thus on 'g^'rr --d J~'^~ 1 J

account of its resem- ^ "^

blauce to a pair of spectacles.

Brimbaler (briluli-ba-la',), Fv. To ring.
Brindisi (brin-de'si), It. A drinking-song.
Brio (bre'6), It. Vigor, animation, spirit.
Brioso (brl-6'z6), It. Lively, vigorously, Avith
■ spirit.

Brise (brl-za'), Fr. Split ; broken into an ar-
peggio.

Broach. An old musical instrument, played
by turning a handle.

Brodcries (bro-dC-re'), Fr. Ornaments, em-
bollisumeuts.

Broken cadence. See Interrupted cadence.

Broken chords. Chords whose notes are not
taken simultaneously, but in a brokeu^and
iuurrupted manner.

Brokking. An old term, signifying quaver-
iug

'B rotundum (ba ro-toon'doom), La^ The char-
acter called a flat (b) ; formerly this was ap-
plied only to the note b.

Bruit (brii-e'), Fr. Noise, rattle, clatter.

Brummeisen (broom'mi-z'n), Ger. A jew's-

hari).

'■ \

Bruinnien(broom'm6u),(Tr. To hum, to drum.

Brummton (broom'tou), Ger. A humming
.siniud.

Brusquement (briisk-mOnh), Fr.
i.)Uyh, ruae.

B=.sharp. The sharp seventh of the diatonic
scale of C; in keyed instruments the same
as C- natural.

Buccina iboot'tshi-nii), It. An ancient wind
lusuument of the trumpet species.

Buccinal (book'sl-nal),'ia/. Sounding like a
liuru or trumpet.

Buccinateur (buk-si-na-ttlr'),i'V. A trumpeter.

Buccino(book'si-no^La^ To sound a trumpet.

Duccinum (book'sl-noom), Lat. A trumpet.

Buccolica (book-ko'li-ka), It.
Bucolic (booko'lik), Lut.
Bucolique (bii-k6-lek'), Fr.

Brusque,

Pastoral songs
or verses.

Buffa (boof'fa) _ | Comic, humorous, in the
Buffo (boof fo), • j comic style ; also a singer
who takes comic parts in the opera.

Buffacarlcata(boof'faka-rl-ka'ta), ry ) .
Buffo caricato (boof'io ka-rl-ka'to), I
comic character in Italian opera.

Buffet organ. A very small organ.

Buffo biirlesco (boof'fo boor-l6s'ko), It. A bu^
fo-siiiger and caricaturist.

Buffone (boof-fo-nC), It. Comic singer in an
opera.

Buffonescamente (boof-fo-nes-ka-mgn'tf), It.
In a burlesque and comical manner.

Buffo opera (boof'fo o'pf^-ra), If. A comic
opera, a burletta.

Bugle. A hunting-horn. rJ* An instrument
01 copper or brass, similar to the French
horn, but higher and more piercing. There
aredift'erent kinds, one furnished with keys,
and another kind with pistons or cylinders.

Bugle horn. A hunting-horn.

Bunge (boon'ght^), Ger. A drum; a kettle-
drum.

Bungen (boon'ghCn), Ger. To drum.

Buon (boo-du), It. Good.

Buonaccordo (boo-d-niik'kOr'do), It. An in-
strument resemblinga pianoforte, but small-
er, to accommodate children.

Buona nota (boo-(3-nil nO'La), It. Accented

note.

Buona mano (boo-6'nil mil'no), It. A good
hand, a brilliant performer.

Buon gusto (boo-on goos'to). It. Good taste;
rehnement of style.

Burden. A regular return of the theme in a
song at the close of each verse ; the chorus.

Buria (boor'Ui),

Burlando (b oor-Uin'do!, -.

Burlesco (boor-ies-kfj), -'^•

Buriescamente (boor-igs-kii-men-te), _,

Faceiious. dn-ll, comical ; in a playful man-
ner.

Burlesque music. A musical composition or
performance, in which light and trifling
matters are treated with great gravity and
solemnity, and serious matters turned into
ridicule.

Burletta (boor-iet'tai, It. A comic operetta;
alight musical and dramatic piece, some-
what in the nature of the English farce.

Burasca (boor-rjis'ka), //. A composition de-
scriptive of a tempest.

Burre (biir), Fr. A dance melody.

Burthen. See Burden.

Busna (boos'na), It. A species of trumpet.

Buzz. A low, humming noise.

a arm, & add, a ale, 6 end, e eve, I ill, i isle, 6 old, 6 odd, oo moon, a but, li Fr. sound, kh Oer. ch, uh nasal.

(63)

DICTIONARY OF MUSIC.

CAT)

O

C. The first note of the modern scale, called
by the French ut, and by the Italians do.
The major scale of C is called the natural
scale, because it has no flais or sharps.

C C. I ^; 1 The lowest note on the man-

-^ uals of an orgau, and is called

— _J. an 8-feet note, that being the

■^" length of the open pipe required

to produce it.

C C C. This note is an octave below C C, and
requires u IG-feet pipe,

C C C C. A note an octave below C C C ; it
requires a 32-feet pipe.

C with one ftroke ; the German method of in-
dicating middle C. The six notes above it
are marked iu the same manner.

C with two strokes; an octave above C with one
stroke.

C with three strokes ; an octv. ve above C with
two strokes.

C with four strokes; an oct^e above C with
three strokes.

H Indicates common time of four crotchets,
or quarter notes, in a bar.

M This character indicates alia breve or alia

^ capella time.

C. A. The initials of Col arco; sometimes
used in abbreviation.

Cabaletta (ka-bii-let'ta), It. A simple melody
of a pleasing and attractive character ; ah
operatic air.likc the rondo in form; acavalet-
ta. Literally, " a little horse," a descriptive
term based on the characteristic movement
of the accompaniment, which is generally
iu triplets, like a horse cantering.

Cabinet d'orgue (kab-l-na d'org), Fr. The
case, or cabinet, iu which the keys of an or-
gau are sometimes placed.

Cabinet pianoforte. An upright pianoforte.

Caccia (kat'tsha), J/. A hunt. Alia cnccia, in

huuting style; t. e.. hearty, free, offhand.

Caccia, alia (kat'tsha al'la), It. In the hunt-
ing style.

Cachucha (kJi-tchoo'tcha),Sp. A popular Span-

ibh diiuce, iu triple time.
Cacofonia (ka-ko-fo-ni'a), 7/. ) Wantofhar-
Cacophonie (kslk-o-fo-ne), Fr. J mony, cacoph-
ony.

Cacofonico (ka-k6-f6'Di-k6), 7<. Cacophonous,
discordant.

Cacophony I ka-k6f'0-ny). A combination of
discordant sounds, false intonation, bad
tones.

Cad. An abbreviation of Cadenza.
Cadence (ka-danhs), Fr. A shake, or trill;
also, a close in harmony.

Cadence. A close. Lit., "a fall." The term
applies to melody as well as to harmony; d)
to the last melodic step of a strain (not nec-
essarily a " fall " as regards pitch, but al-
ways a subsidence of motion into relativt;
rest), and to a shake or brilliant passage or
more or less extent, which leads up to the
close of a piece, or part of a piece {v. Caden-
za) ; (2) to two chords whicn form a close,
mark a point of rest, complete or incom-
plete.

The harmonic cad.ences may be divided into
four classes. (D The chords of tne domi-
nant and tonic form a, jull, or aidhrntic, ca-
dence, which is perfect when tiie bass has
the fundamental note of the first and of the
second chord, and the highest part the oc-
tave of the fundamental note of the second
chord (a), but otherwise is imperfect (aa). (2)
The chords of the subdominaut (major or
minor) and tonic form the plarjal cadence.
According to some theorists it is, like tlie
authentic, a full close; according to others
it is not (b). (8) The chord of the tonic (c),
or any other chord (cc), and thatof the dom-
inant form a half close, or semicadBnce. Some
writers, however, call this cadence imper-
fect. Indeed, the nomenclature is very un-
settled. (4) An interr^'pted, deceptive, or false
cadence occurs where the chord of the dom-
inant is followed by any chord except that
of the tonic (d).

(a)

1 Jl^ __

1 <^.

[ <fh""^ —

1 \S\} '^

'^

<rL>

^

tf^

\1^

rzj'

-^^

p

-»

& arm , a add, a ale, C e.d, e eve, 1 ill, i isle, 6 old, 6 odd, oo moon, H but, li Fr. sound, kh Oer. ch, n h nasaC.

(64)

CAD

DICTIONARY OF MUSIC.

CAL

-g. u

32rrn

I

id)

:g=

':B=ScM

Cadence, authentic. A perfect, or final, ca-
deuce; the liannony of the dominant, f.)l
lowed by that of the tonic, or tiie progres-
sion of the doniiuant to tlie tonic.

Cadence brisee (ca-dens bre sa\ Fr. An ab-
rupt shake, begiuuiug with the auxiliary
tone.

Cadence, church. The plagal cadence.'

Cadence evitee (6v-6-ta), Fr. " Avoided ca-
dence." A dominant chord followed by an-
other dissonance, or by an unexpected reso-
lution.

Cadence, half. A cadence that is imperfect ;
a close on the dominant.

Cadence Imperfaite (a,nh-p6r-fa), Fr. An im-
perfect cadence.

Cadence, imperfect. Half cadence.

Cadence interrompue (anh-ter-r6nh-pu), Fr.
An interrupted cadence.

Cadence-marks. Short lines placed perpen-
dicularly to indicate the cadence-notes in
chanting.

Cadence parfaite (par- fat), Fr. A perfect ca-
dence.

Cadence perlee (p6r-la), Fr. A brilliant ca-
dence.

Cadence rompue (r6nh-pii), Fr. A broken, or
interrupted, cadence.

Cadence, suspended. Where tho cadence
passes throIl^h several modulations from
the dominant to tho tonic ciiuid.

Cadencia (ka-d6n'thi ii). So. ) n,/i^„^^
Cadens (ka'dCns). Lat. | Cadence.

Cadenz (ka-dfints), Ger. ") A cadence; an or-
Cadenza (ka-d6n'tsa), It. |naraentnl passage
i -trodnced near the dose of a song or s >lo,
either bythecomposerorextemporau'-onsly
by the performer. A cadence (7. i'.). in Eng-
lish ihe word cadenza is used in t e sense of
a short, Oram »re or hss expended fl)nri«h.
which docs not form j)!ii t of tiie rhythmical
structure •.£ a Ci>mpo.>itinn, but is a mere
intercalation. Such flourishes mav be met
with anywhere in t'^e course of V'>ral and
instrumental corapositiou>,m'>re especially,

however, at tho end of the last solo of pieces
for solo voi'-ts or instruments In tLearia
and kindred forma tlie cadenza was a p-om-
iiient feature. It assumrd, however, the
greatest importance in theconeerio; ihere
the fiouri>h expands often into a brilliant
fantasia on themes of the composition into
which it is intro niced— a fantasia either
improvised by the performer or written out
iu full by the composer. The.^e long con-
certo cadenzas oceur in the lir-t and last
movemeius, at the end ( f the lust a ilo, and
begin usually on the chord of th.-foUithand
sixth, preceding the full close (dv^minaut,
tonic).

Cadenza d' inganno (kftdgn'tsa den-gfin-no),
//. Aa iateirupted, cr deceptive, cadence.

Cadenza fiorita (kii-dgn'tsa fS-o-re'tii). If. An
ornaie, tltri I Cctdcuce, with giaccsaud eui-
bellisaments.

Cadenza sf'iggita (i<a-d^n-t«{isfoog-ghe'ta'), It.
A a uvOiUcvi, oi' biokcu, cad^'uce.

Cadenza sospesa (kji-d^n'tsil sos-pa'zii), It. A

su-pendv,J c...dence.
CsBsure (sg-sur). Fr. ") (1) A panso in
Caesura (tshe'soo-ra), It. [-verse, so introduced
Caesura (t^a-so'»'ra), L"t.) nst )a d tlu^ recital
and make the \ csifica'ion in re )■ elodions.
(2; A cut. The breaniit tlie ( iid< f a ])liiase.
(3) The rhytnmic te miuatiDU ot aiiv^ pas-
sage consisting of more tiian one musical
foot. (4) The last accented nute ox a phrase,
section, or pciioJ.

Caesural (tsa-soo'ral), Lot. Rplating to the

cajsura, or to tiio pau-e, in iue voice.
Caisse (kass), Fr. A drum.
Caisse roulante (ka«s roo-lanht), Fr. Thes'de

drum, the budy being 01 wuud and ratUer

long.
Caisses claires (kass klar), Fr. The drums.
Cal. An abbreviation of Calando.
Calumus (ka la-rnooo) or, Calamus pastoralis

(kii-lii'moos pas-io-ra'li<;), Lut. A lecd, or

pipe, used by saephcrds.
Caland (ka-lan'T). _ \ ftradnally dimin-
Calando (ka-la'i'j6). " J ishing tiie tone mid

retarding the ti.ne; beComin^' Suiier and

slower by degrees.
Calascione (ka.-la-shi-o'n6). It. A species of

guitar.
Calathumpian music. A disnoHant combi-
nation ot sounds. A \'>w and grotesque ])er-

formance upon instrumeuis, uumusicalaud

out of tune.
Calata (ka-la'tii), It. An Italian dance in 2-4

time.
Calcando (kal-kan'io). If. Pressing forward

and hurrying tne time.
Calcant (kal-kiint). Grr. The bellowa-trcader

in old Germu.u organs.
Ca!l. The beat of a drum.
Call, adjutant's. A drumbeat dlfctinsr the

baid autl licld music to lake the righi cf the

line.

£ arm,, a add, a ale, 6 end, e eve, i ill, I iile, 6 old, 6 odd, 00 moon, ft but, ii Fr. sound, kh Qer. ch, uh na&al.
6 (65)

CAL.

DICTIONARY OF MUSIC.

CAN

Calmness, tran-
quiliiiy, repose.

Calliope (kai-le'6-p6). In pagan mythology
tbe mnse that presided over eloquence and
heroic poetry. (2) An instrumeut formed of
metal pipes, with keys like an organ ; they
are placted on steam engines sometimes, and
the tones are produced by currents of steam
instead of air.

Calma (kal'ma),

Calmate (kal-ma'te), It

Calmato (kal-ma'to),

Calo. An abbreviation cf Calando.

Calore (ka-lo'rC), It. Warmth, animation.

Caloroso fkii-lo-ro'zo), It. Very much anima-
tion aud warmi-h.

Calumeau (kal'd-mo). A reed, or pipe.

Catnbiare (kam-bi-a're), It. To change, to al-
ter.

Camera (ka'me-ra), K. Chamber; a term ap-
plied to music composed for private per-
formance or small concerts.

Camera musica (ka-m6-ra moo'zl-ka),/<. Cham-
ber muMC.

Caminando (ka-rai-nan'do), A Flowing, with
easy aud gentle progression.

Campana (kam-pa'nii). It. A bell.

Campanada (kiim-pa-na'da), It. Sound of a
bell.

Campanarum concentus (kam-pa-na'-
room k6n-sSn'l(>os), r^^

Campanarum modulatio (kam-pa-na'-
nunn mo-doo-la'tsl-o),
Ringing of bells or cnimes : chiming of bells.

Campanarum pulsator(kam-pa-na'room pool-
sa'Lorj, Lat. A ringer of bells.

Campaneila (karn-pa-ngl'la), j, \ A little

Campanello (kam-pa-ugl'io), ' j bell.

Campanetta (lcam-pa-n6t'ta) , It. A set of bells
tuucd diatouically, and played with keys
like a pianoforte.

Campanile (kam-pa-ne'16), It. A belfry.

Campanoloj?y (kam-pa-n61'6-gy). The art of
riugiug bcils.

Campanone (kam-pa-no'nfi), It. A great bell.

Canarder (ka-nar-da'),-?'^. To imitate the tones

of a duck.
Canarie (ka-na-reO, JPr. ^ An old dance, in
Canaries (ka-na'res), En.> lively 3-8 or 6-8, and
Canario (ka-na'ri 6), It. ) s o ra e I i m e s 1'2 8,

lime of two stiains. It derives its name

from the Canary Islands, from whence it is

suppobcd to have come.
Cancan (kan-kan). A vulgar kind of dance.

Cancellen (kan'sgl-l'n), 6rr. Grooves. The

sunt 11 channels in an organ wiudchest, con-

duciiiig air to the pipes.
CanceUinsf sign. A natural (tj) employed to

reuiove the effect of a previous flat or sharp^
Cancrizans (kan-kre'tsans), j. ) Retro-
Cancrizante (kan kri-tsan-tf), " j grade

luovcmeut; going backward.
Canere (kii'ng-rf ), Lat. To sing ; to play upon

an instrument.

Canevas (kan-6-va'), Fr, Unconnected words
set to music. (2) The rough sketch, or draft,
of a song, indicating the measure of the
verses required.

Cangiare (kan-ji-a'r6). It. To change, to alter.

Canna (kan'na), It, A reed, or pipe.

Cannon. The portion of a bell by which it is

suopeuded.

Cannon=drum. Th*» tomtom used by the na-
tives of the East Indies.

Canon (ka'i'6n). In ancient music, a rule, or
method, for determining the intervals of
notes. A musical composition f^r two or
more voice-parts, in which the essential
thing is that each of the parts in turn sings
the very same melody (called the subject),
note for note, while the other voices make
harmony with it. The simplest form of
canon is the old form called a Round, so
called from the voices following each other
round and round through the very same
notes, but at intervals producing harmony.
A canon may have one subject or more
than one, and it may be for two voices or
more than two. Hencesueh names as " 2 in
1," meaning that two voices have a single
subject; "4 in 2," meaning that four voices
have two subjects, etc.

Canons are further named from the inter-
val in which the se<'Oijd voice I'egins. For
instance, at a) below, the second \oice en-
ters in the octave of the same ))hi>se as
given out by the fir^t voice. It is, ther. fore.
a canon "2 ia 1 " at the octave At b) the
second voice enters in the under fifth, at.d
at c) in the over sixth. See, also, Imitation,

#

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f^9^mm

-0). /'• }

A canon.

Canone (ka'n6-n€),
Cannnico (kii-uo-ni-ko),

Canone al sospiro (ka'no-nS al sos-pe'ro), It.
A canon whose difterent parts co-mmeuceat
the distance of a crotchet rest from each
other.

Canone aperto (ka'no-nS a-par'to), It. An open
canon ; a canon of which the solution or de-
velopment is given.

a arm, a add, a ale, e end, ~i eve, i ill, i isle, 6 old, 6 odd, oo moon, Ci but, ii Fr. sound, kh Ger. ch. nh nasal,

m

CAN

DICTIONARY OF MUSIC.

CAN

Canone chiuso (ka'n6-n6 ke-oo'zo), It. A close
or hid'ten canon, the solntion c>r develop-
ment of which must be discovered ; also au
enigmatical canon.

Canone in corpe (kil'no-n<5 in kor'pa), It. A
pcrpeiual fugue.

Canone partito (kii'no-ne pilr'ti-lo), Lnt. A
pcrpt'tuiii fdgne, in which all the parts are
written ia partitions, or different lines, or in
separate parts, with the i)roper pauses which
each is to ob>erve.

Canone sciolto (ka'no-ut5 she-61'to), It. A free
canun, nut in the strict style.

Canon, free. A canon not ia strict conform-
ity lo the rules, the melody of the first part
n.»t being followed throughout.

Canon, hidden. A close canon. See Canone

chiutiu.

Canonical mass. A mass in which the differ-
ent farts ui tue musical service are in strict
cauoiiical order.

Canonical hours. The daily offices of devo-
tion prescribed to the Roman Catholic
cleray. They are: (1) Matins and Lauds;
(2) Prime; (3) Tierce; (4) 8ext ; (5) None;
(6) Vespers; (7) Compline. Of these, Matins
and Lauds, Vespers, and Compline wre called
the greater hours, and the others the lesser
hours.

Canonic imitation. Imitation in which a sec-
ond voice more or less closely follows the
melody previously given out by another
voice, and Ht a certain interval above or be-
low, and with more or less close exactness.
See Canon and Imitation.

Canon, infinite. A canon, the end of which
leads to the beginning ; a perpetual fugue.

Canon perpetuus (kii'uon pir-pa'too-oos), Lat.
iS<.e Canon, infinite.

Canon, mixed. A canon of several voices, be-
ginning at different intervals.

Canon, strict. A canon in which the rules of
this form of composition are strictly fol-
lowed.

Canore (ka nor), Fr.

Canoro (kti-no'ro). It.

Canorus (kii-uo'roos), Lat.

Cant. An abbreviation of Canto and Cantate.

Cantab. Au abbreviation of Cantabile.

Cantabile (kan-ta'bl-]6), //. That can be sung ;
in a melodious, singing, and graceful style,
full of expression.

Cantabile ad libitum (kau-ta'bi-l{5 iid lib-I-
tooui). It. In singing siyle, at pleasure.

Cantabile con molto portamento (kiin-ta'bi-16
kou moi'io por-iii men'to), It. in singing
style with a great deal of portamento ; ia a
melodious style, with embellishments at
pleasure, but few and well chosen.

Cantajuolo (kiin-tu-yoo o'lo), j. I A street
Cantambanca(,kau-tam-ban'ka), | singer;

an itinerant musician; a contemptuous

name for a singer. *

Musical, tune-
ful, harmonious.

Cantamento (kiiu-ta-mgn'to), It. Tune; air.

Cantando ikiin-tiin'do), It. lu a melodious,

singing style.

Cantans (kiin-tiins), Lat. Singing,

Cantante (k:Ln-tan't6), It. A singer ; also a
part iatended for the voice.

Cantante ariose (kan-tiln'l(5a,-ri-6'ze),7if. A spe-
cies of melody which, by its frequent
changes of measure and convcrsaiiimal
style, first served to mark the distinction be-
tween air ai.d recitative.

Cantar a la almohadilla (kan-tiit' a la al'mo-a-
del'Na), >p. 'losing alone, and without be-
ing accompanied by instruments.

Cantare (kan-ta're), It. To sing, to celebrate,

to praise.

Cantare manierata (kan-ta-r6 ma-ni-6-ra'ta),7<.

To sing with too many embellishments,

without taste or judgment.
Cantarina (kan-ta-re'iiii), Up. A woman who

Slugs 111 public.

Cantata (kan-ta'ta), K. i The word original-
Cantate (kanh-tat), Fr. Vly meant something
Cantate (kau-tii'tS, Ger ) sung, in contradis-
tinction to s meihing played (.sonata). So
varied are the innumerableexemplifications
of the cantata that it is impossible to define
its character. Now this name is given to a
vocal composition of some extt-nt, cousist-
iiig of recitatives, arias, choruses, etc., with
orchestral accompaniments in most cases;
formerly it often signified a short vocal com-
position for one voice, with organ, harpsi-
chord, or some other simple accompani-
ment. Indeed, the range <f the can tala may
be said to extend from an elaborate song to
a short oratorio, and an opera not intended
for the stage.

Cantata amorose (kan-ta'ta a-m6-r6'z6), It. A
Cantata having love f. r its? nbjcct.

Cantata moral! o spiritual! (kan-iii'ta mo-ra'-
le o spe-ii-too-a'le). It. A cantata designed
for the church.

Cantatiila'kan-ta-tn'la), /if.) A short can ta-
Cantatille (kanh-ta tel), i^r. Vta; an air pre-
Cantatina (kan-ta-te'na), It.) ceded by a reci-
tative.

Cantator (kiin-ta'tor), Z,a^ A singer, a chanter.

Cantatore (kiinh-ta-to'i-C), It. A male singer.

Cantatorium(kan-ta-to'rl-oom),ia^ The book
froui which the priests in the Roman Cath-
olic .service chant or recite the responses.

Cantatrice (kan-tii-tre'tshg), It. A female
singer.

Cantatrice buffa (kan-ta-tre'tsh6 boof'fa), It. \

Cantatrix (kan-la'trix), Lat. ]

A female singer; a woman who sings in

comic opera.

Cantazzare (kan-til-tzii're), It. To sing badly.

Cantellerando (kiin tCJl-lC-riiii'do), It. Singing

with a. subdued voi'-e ; murmuring, trilling.

Canterellare (kan-t6-r61-la'r6), It. To chant,
or sing.

il arm, a odd, a ale, e end, e eve, I ill, i isle, 6 old, 6 odd, oo moon, H but, u Fr. sound, kh Uer. ch. nh nasal

(67)

CAN

DICTIONARY OF MUSIC.

CAN

Canterino (k^n-tfi-ie'no), //. A singer; a

ci-iMuier.
Cantrca (Uati'tl ku), J^ ) Canticles ; the
Cantica3 (,kaii't.-(sa), Lat. { fliieieut landi, or
Canticl vkiiri'tl l.>hei. It. i,l. fsacitci Sv»u>iS ol'
Cantico ( au-tekOi, Sp. ) ihe Roman Cath-

o.io Ciiurch.
Canti carnascialeschi (kan'te car-uiis- ^

Canti charnevall (ka-'tS l-ar-nfi-va'le), J

boujiS ot iiie carnival week.
Canticle. A snored hymn, or song. (2) A

cauiu, a division of a soug.

Cantico (ka'i'tl-k6\ //. ) . canticle

Canticum (Kiiu'ti-koom), Lat. J ^ canutie.

Cantillate (kiln'til-la e). To chant, to recite
vviih musical tones.

Cantillation. A chanting, a recitation with
Hi usicul modulations.

Cantillatio (kan-til-la-tsl'o), Lat. A singing
si.\ le oi declamation.

Cantilena (kan-tl-la'na). It. Thfi melody, air,
or principal] |)art m any oompooition ; gen-
erally ihe higlKSt Vocal i>ai t.

Cantilena scotica (kan-ti-la'na sko'ti-kii), It.
A be tch uir or tuae.

Cantilena (kiin-ti-la'nS), It. A cantilena.

Cantino ( kiin-te'iio), It. The smallest string of
the \ loliii, guiiar, etc.

Cantio (kiin'tsio), Lat A song.

Cantique (Kauh-tek'), Fr. A canticle, or hymn

of ira.se.
Cantique des cantiques (kanh-tek' d6 kanh-

lek'j, /v. bolomoLi's Song.

Canto (kiin'to), //. (1) A song, a melody. (2)
Tliearr OI sinying. (3) 'Jhe highest i)art in
co-ceited muhic. (4) The soprano voice
ff)) The liif^he&t string of an instrument.
(V. Cantino.)

Canto a cappella (a kap-p^l'la). It. Vocal

cliurrh muMC without iualruiueutal accom-

].aiiiiucnt.
Canto Anibrosiano (am-bro-zi-a'no), It. Am-

brusia.i chant.
Canto armonlco (kiin'to ar-m6'ni-k6). It. A

p..rt-soi.g lor two, three, or more voices.

Canto clef. The C clef when placed on the

tiibt hue.
Canto concertante (kan'te k6n-tsh6r-ta.n't6),

It. Tho treble of the principal concerting

parts.
Canto cromatico (kan'to kro-ma'ti-ko), It.

Cliromaiic vocal music;.
Canto fermo (l:an't6 far'mo). It. A chant or

melody. (2) Choral siu^iim in unison on a

pliiu melody. (M) Any subject consisting

of a few long, plai.i notes, given as a theme

for couiiierpoiut.

Canto fi2:urato (kiin'to fe-goo-rfi'to). It. A

li ur«jd nicJody.

Canto fioritto (kiin'fo f5-6-ret't6), It. A song
iuwhiea many ornaments are introduced.

Canto funebre (k^n'to foo-na'br6), It. A fu-

ne al so g.
Canto Gregoriano (kan'to gr6-go-ri-a'u6), It.

'1 iio Grce.or.an ehaut.
Canto llano (kiln' 6 1 'a'no). Sp. \ The plain
Canto piano (.kiiu'io piit-uO;, It. ^ chant or

suu^.
Canto necessario (kan'16 na-tch6s-s{i'ri-6), It.

A ter. 1 indicating those parts that are to

sing througn the whole piece.

Canto primo (kiin'to pre'mo), It. The first
treble or soprano.

Cantor (kiin-tor'). It. A singer, a chanter.

Cantor (kiin'tor), j . \ A

Cantor choralis (kan'tpr ko-rii'lis), j pre-

centor ; a leader of the choir.

Cantorate (kiin-t6-ra't6), It. A leading singer
of a choir.

Cantore (kiin-to'rC), It. A singer, a chanter,
a poet.

Canto recitativo (kan-to ra-tshi-ta-te'vo), It.
Keeitaiive. declamatory singing.

Cantorei (k!ln-to-ri'),(?fr'. The dwelling-house
of the cantor. (2) A class of the choristers
in tho public school.

Cantoren (kiin-to'r'n), Ger. Chanters, a choir

of SlUbClS.

Canto ripieno (kiin'to re-pi-a'no), It. The
treble of the grand chorus; the ]>art that
siu'^s or plays only in the grand chorus.

Cantoris (kiin-to'r!s), Lat. A term used in ca-
thedral music to in 'icate the passages in-
tended to be sung by those singers who are
plactd on that side of the choir where the
cantor or precentor sits. This is u>nally <'n
the lef'-ba.id side on entering the choir
from the nave.

Canto rivoltato (kan'to re-vol-la'to), It. The
treble changed.

Canto secondo (kiin'to s6-kon'd6), It. The sec-
ond ticole.

Canto simplice (kiin'to sim-ple'tsh6), It. A
p.ain song.

Cantrice (kiin-tre'tshg). It, \ A female singer

Cantrix (kiin'trix), Lat. j a songstress.

Cantus (kiin'toos), Lat. A song, a melody;
albo the treble, or soprano part.

Cantus Ambrosianus (kiin'toos ara-bro-si-S,'-
noos), Lat. The four chants, <t melodies,
introduced into the Church by St. Ambrose,
Bishop of Milan, in the fourth century, and
which are supposed to be derived from an-
cient Greek me.odies.

Cantus figuratus (kiin'toos fe-goo-rii'toos),I-a<.
Embellishvd t-r figurative cnauis or melo-
dies.

Cantus firmus (kiin'toos flr'moos). Lat. The
plain song or chaiit. See Canto jernio.

Cantus Qregorianus (kiin'toos gr^-go-rl-a'-
nc»os), Lat Those four cimnt^, or melodies,
introduced into the Church Ity 8t. Gregory,
and which, wiih tlie Ambrosian chants,
formed a series of eight modes, or tones, as
they were called.

&a7^i,&add,&ule,6en^.,eeve, iill,ii8le, 6old,6odd, oomoon, H bui H -f's ■sof^nc'- kh Ge^. ch, nhnasai.

(68)

CAN

DICTIONARY OF MUSIC.

CAR

Cantus mensurabilis (kan'toos m6n-soo-ra'bl-
lis), Lat. A regular, or measured, melody.

Cantus mollis (kan'toos mol'lis), Lat. A song
wriiieu iu tlie lumor key.

Canum (ka'nilm), Tur. A Turkish musical
instrument, on which the ladies play.

Canzona (kan-tso'na), « ) Song, ballad, can-
Canzone (kiin-tso'iiC), jzonet. (2) A grace-
ful and s mewhat elaborate air, iu two or
three strains, or divisions. (3) An air in
two or three parts, with passages of fugue
and imitation, somewhat similar to the
madrigal.
Canzonaccea (kiin-tso-nat'tshg-a). It. A low,
trivial song, a poor canzone.

Canzoncina (kiin-tsou-tshe'na), It. A short
canzone, or song.

Canzone sacra (kan-tso'nC sa'kra), K. A sacred
soug.

Canzonet. A short song, in one, two, or three
parts.

Canzonnetta (kau-tso'n6t'ta), It. A short can-
zone.

Canzoni (kan tso'ni). It. A sonata; in con-
nection with a )>assage of music it has the
same meaning as alKgro.

Canzoniere (kau-t>6-ni-a're), It. A songbook.

Canzonina (kan-tso-ne'na), It. A canzonet.

Capelle (ka pSl'ie), Qer. A chapel, a musical
band.

Capellmelster (ka'p^l'mis'tSr), Qer. The di-
rector, composer, or master of the music in
a choir.

Capo (kii'po). It. The head, or beginning ; the

top.

Capodastro (ka po-das'tro). It. See Capotasto.

Capo d' inestrumenti (ka'po din-6s-troo-m6n'-
tij, It. The ie;uier, or director, of the in-
strumental pei formers.

Capo d' orchestra (ka'po d6r-k6s'tra). It. The
leader of the orchestra.

Capona (ka-p6'ua), Sp. A Spanish dance.

Capotasto (ka-p6-tas'tO), It. The nut. or up-
pe. part, of the fintjerboard of aviolin, vi-
oloncello, etc. (2) A small instrument used
by guitar-players to form a temporary nut
upon the fingerboard to produce certain ef-
fects.

Capo violino (ka'po ve-o-le'no), It. The first
violin.

Cappella (kap-pei-la). It. A chapel, or church.
(2) A band of musicians that sing or play in
a church.

Cappella musica (kap-p61'la moo'zl-ka), It.
Chapel or cnurch music.

Capriccietto (ka-pret-shl-et'to), It. A short
capriccio.

Capriccio (ka-pret'shi-6). It. A fanciful and
irregular species of composition; a species
of fantasia; in a capricious and free sty^e.

Capricciosamente (ka-pret-8hI-6-za-m6n'te),I<.
Capriciously.

Capriccioso (karpret-shl-6'z3). It. In a fanci-
ful and capricious style.

Capricci (ka-pret'shi). It. 1 A caprice. See
Caprice (ka pres), Fr. i Capriccio.

Caprice. A whimsical, fanciful style of com-
position. See Capriccio.

Capricieusement (ka-pre-siis-m6nh'), Fr. Ca-
priciously.

Capricieux (ka-pre-sii), Fr. In a fanciful and
capricious style.

Car. (kar), It. An abbreviation of Carta.

Caracteres de musique (kar-tlk-tar' dth mii-
zek') Fr. A term applied to mu.>ical signs;
all the marks or symbols belonging to mu-
sical notation.

Caramillo (ka-ra-mel'yo), Sp. A flageolet, a
small flute.

Caressant (ka-r6s-sanh), Fr. Caressing, ten-
derly.

Carezzando (ka-rgt-tsan'do), « ") Inacaress-
Carezovole ika-ret-R6-v6'16), ' J

ing and ten-
Exaggerated, cari-
A caricature,

der manner.

Caricato (ka-rl-ka'to). It.
cature.

Caricatura(ka-ri-ka-too'ra), It.
au exdgo'erated representation.

Carillon (k£i-ril-y6nh), Fr. Chime. See Caril-
lons.

Carillon a clavier (ka-ril-y5nh ;l kla-vi-a), Fr.
A set of keys and pedal.><, acting upt)U the
bells.

Carillonement (ka ril-y6nh-manh), Fr. Chim-
ing.

Carillonner (ka-ril-yo-na'), -Fr. To chime or
ring bells.

Carillonneur (ka-ril-yo nvlr'), Fr. A player, or
ringer, of bells or carillons.

Carillons (ka-ril-yonh'). Fr. pi. Chimes; a
peal or st t of bells, upon whic^i tunes are
plnyed bytlie niMChii ery of a clock, or by
m- ans of keys, like tiio^e of a i ianODrte.

(2) Short, simi'le airs, adapted t.) such i.ells.

(3) A stop iu au organ, to imitate a peal of
bells.

Carita (ka-re'ta), It. Tenderness, feeling.

Carita, con (ka-re'tji kon). It. "With tender-
ness.

Carmagnole (kar-miin-yol'), Fr. A famous
French revoluti'Miary s ujr. It cara-i i:ito
vogue in J79J, and derivis irs name from the
Piedmonteso towa Carmaguola.

Carmen (kar'mgn), Grr. \ A tunc, a song, a
Carmen (kii^'mgnj, Lat. J poem.

Carmen natalitium (kiii'mea nii-ta. le'tsi-oom),
Lat. A carol.

Carol. A sonir (2) A song rfjn' find exulta-
tion, a sonr of (lev tio >. (8) U.d buliuds
sung at Christmas and Easter.

ftoTTw, a add, a ale, eend, e eve, iill, i isle, 6 old, 6 odd, oo moon, a. but, ii Fr. sound, kh (Jer ck. n h nasal.

(69)

CAR

DICTIONARY OF MUSIC.

CES

A ballad, a dauce with
To sing iu a war-

The
great

d i s -

' Ori-

the

Snappers ;

castanets,

used ill

dancing.

Carola (ka-ro'la), It.
singing.

Carolare (ka-ro la'rS), It.
bliiig manner, to carol.

Carcletta (kii-io-lCt'ta), If. A little dance.
Carolle (ka-rol'), I'r. A carol.
Carrure des phrases (ktir-riir d6 fraz), Fr. The
quiidraturc, ur buiancing, of the phra.ses.

Cartel (kiir-tgl), Fr. The first sketch of a com-
pubitiuu, or of a full bcore. (Obsolcic.)

Cartellone (kar-tei-lo'n6), It. A large playbill ;
tliu printed catalogue of operas to be per-
formed during the i^eagon.

Cassa (l:as'sa), It. The drum.
Cassa grande (kiis'sa gran'dfi), jf )
Cassa militate (kas't^a mi-li-ta're), J
arum iii military music.

Cassatio (kas-sa'tsl-o), lat. ^ Lit., •'
Cassazione (kas-sa-tsi-6'n6), It.> missal.'
Cassation (kas-cii'tsi-on), G^r. ) ginally
conciiuding piece of a musical performance,
afterwards a kind of serenade consisting of
several instrumental pieces.

Castajnet. Castanet.

Castagnetta (ka^^-ttin-yet'ta), It.

Castagnettes (kas-tiinh-yet'), Fr.

Castagnole (kas-tan-y6'16), .Sp.

Castanetas (kiis-tau-ya' tas), Sp.
See Castanets.

Castanets. Snappers used to accompany
drtucing; an instrument of music formed
of small, concave shells of ivory or hard
wond, shaped like spoons. Castanets are
used by dancers in Spain and other south-
ern countries to mark the rhythm of the
bolero, cachucha, etc.

Castanheta (ka«-tan-a-ta). For. ") Casta-

Castanuelas (kas-tan-yoo-a'las),Sp. J nets.

Castrate (kas-tra'td), /^. A eunuch. A male
singer with a soprano voice.

Catch. A humorous composition for three
or four voices, supposed to be of English
invention, and dating bark to the Tudors.
The parts are so contrived that the singers
catch up each other's words, thus giving
them a different sense from that of the
original reading.

Catena di trilli (ka-ta'na de trel'le), It. A
chain, or succession of shakes.

Catgut. A small string for violins and other
instruments of a similar kind, made of the
intestines of sheep and lambs, and some-
times cats.

Catling. A lute-string.

Cauda (kou'da), Lat. Coda.

Cavalletta (ka,-val-16t'ta% n \ \ «„k->i«*j.-
Cavalletto (ka-va-lfii'to), ^^- j ^ cabaletta.

Cavalquet (kav-al-ka')> Fr. Trumpet signal
lor the cavalry.

Cavata(ka-va'ta),//'. Production of tone ; also
n small soii«. sometimes preceded by a reci-
tative; acavatina.

CaVatlna (kii-va-te'na), 7<. ■) An air of one
Cavatine (kav-a-len';. Fr. j strain only, of dra-
matic style, someiimcs preceded by a recjta-
tive.
C. B. The initials of Col basso and Contra
basso.

C barre (biir-rai, i'V. 1 .,,. , ^ ^ -,

Charred. / 1 he character ^ used

to indicate alia breve or lUsl capella time.

C clef. The tenor clef. It is called the C clef
because on whatever line it is ))laced itgives
to the notes oi that line Ih ■ name and pitch
of middle C. Is used also for Sop. and Alt.

C=dur (tsa-door), Gcr. The key of C major.

Cebell. The name of an old rir in common
lime, characterized by a quick and sudden
alternation of high and low notes.

Celebrer (sa-16-bra'), Fr. To celebrate, to ex-
tol, to praise.

Celeramente (tsha-16-ra-m6n't6). It. Quicklv,
fast.

Celere (tsha'16-r6), It. Quick, rapid, with ve-
locity.

Celeridad ('ha-la-ri-dad'), -Sip. "I Celerity, ve-

Celerita (tha la-rl'ta), i/. Vlocity, rapid

Celerite (sa-la-ri-tii), Fr. ) ity.

Celeste {sa-16st'), i^r. Celestial, heavenly; in

some passages it indicates tie employment

of the pedal which acts on the edestiua, or

soft stop. Also a tremolo sioi>, or a stop

consisting of a sot of reeds or pipv^s a very

little sharp, giving rise to a moderately

quick beat or waving.

Celestial music. Among the ancients, the
harmony of sounds supposed to resnlt from
the movements t f the hcc^venly bodies.

Celestina (tsha-16s-te'na). It An orga'i stop
of small 4-leet scale, producing a very deli-
cate and subdued tone. Also a tremolo
stop in reed organs.

'Celli (tshgl'le). An abbreviation of Violon-
celli.

'Cellist (tsh^l'lOst). An abbreviation of Vi-
oloncellist ; one who plays the 'Cello.

'Cello (tshei'io). An abbreviation of Violon-
cello.

Cemb. An abbreviation of Cemballo.

Cembalista {tshgm-bii-lez'ta). It. A player on
the harpsichord ; also a player on the cym-
loals.

Cembalo ftsh6m'ba-16"), j, \ A harpsichord ;

Cembolo (tshfim'bo-lo), " jalso the name for
a C}mbal.

Cenobites. Monks of a religious order, who
live iu a convent and perform the services
of the choir.

Cento (ts6n-t6), Lat. A composition formed
by one hundred verses and passages from
other authors, and disposed in a new order.

Centone (tsen-to'ne), Lat. A cento, or medley
of different tunes or melodies.

.Ces (ts6s), Ger. The note C^.

a arm , ft add, a ale, dend.e eve, i HI, i isle, 6 old, 6 odd, oo moon, H but, il Fr. sound, kh Qer. ch, nh. nasoL

(70)

CES

DICTIONAKY OF MUSIC.

CHA

Ces-dur (tses-door),G'er. The note of C^ major.
C. espr. An abbreviation of Con espressione.

Cesura. i A pause in verse introduced to aid
Cesure. j the recital and rendf i the versifica-
tion more melodious. See desura.
Cetera (tsha't6-rii), It. A cittern, a guitar.

Cetera tedesca (tsha'tfi-rii t6-d6s'ka), It. The
German zither, a ten-fetriuged instrumentof
the lute class.

Ch. An abbreviation of Choir and Chorus.

Cha chi (kii ke>. A Chinese instrument, simi-
lar to the kin, but having the chromatic
scale.

Chacona (tsha-k6'na),.?p. \ Achaconne, aslow,
Chaconne(sha-k6nh),i^r. J graceful Spanish
movemeu', in 3-4 time, and composed upon
a ground bass It is usually stated that the
chaconne is in the major mode, and that
pas<acaille, which is somewhat similar to it
in rhythm, is in the minor. This is not the
case, as the follwwiug theme, on which
Bach's celebrated Ciaccona for violin solo is
founded, will show :

A dance like a saraband. Sec Cha-

Chacoon.

cona.

Chair organ. Found in old organ music. See
Vhuir orijaii.

Chal. An abbreviation of Chalumeau.

Chalil (kii-lel'), II'"b. An old Hebrew instru-
ment, similar to a pipe or tiute.

Chalmey. See Chalumeau.

Chalotte. A tube of bra«s, made to receive
the reed of an organ-pipe.

Chalmeau (shai-mo'). p ) An ancient rus-

Chalumeau (sha-lii-mo), j tic fluto. re-
sembling the hautboy, and blown thrcmgh a
calamus, or reed. Thp term is also applied
to some of the low notes of the clarinet.

Chamber music. ^Insio composed for private
performance, or for small concerts before a
select audience, such as instrumental duets,
trios, quartets, etc.

Chamber voice. A voice especially suited to

the execution of parlor music.
Changeable. A term applied to chants which

may be sung either in the major or minor

mode of the key or tonic in which they are

written.

Changer de jeu (shanb-zha. diih zhii), Fr. To
change the stops or registers in an organ.

Changes. The various alternations and differ-
ent p.issagLS produced by a peal of beils.

Changing notes. German," wechseln Tonen,"
dissonant tones occurring upon the unac-
cented part of the beat. Changivg tones dif-
fer from passing tones in this, that whereas
passing tones lead acrossfrom oneconsonant
toneto another, changingtones return again

to the consonant tone from which they
"changed." For instance, upon the chord
of do in the progression do re mi, re would
be a passing tone ; but in the progression do
re do, the re would be a changing tone.

Chans. An abbreviation of Chanson.

Chanson (shilnh-sOnh), Fr. A song.

Chanson bachique (shanh-s6nh bak-ek'),i^r-. A
drinKiug-suug.

Chanson des rues (shann-s6nh d6 rii'), Fr. A
street song ; a vaudeville.

Chansonner (shauh-s6nh-na'), Fr. To make

SuUgS.

Chansonnette (shanh-s6nb-n6t'), Fr. A little
or short song, or canzonet.

Chansonniere (shanh-s6nh-ni-ar'), i^^. A fe-
male soug-wriier.

Chansons de geste (shanh-s6nh dilh zh6st),
Fr. 'J he romances formerly snng by the
wandering minstrels of the mid-'le ages.
Literally, "Songs of Docis." These were
great national epics of France, wh ch had
tbeir oriti;iu from about A. D. 8oo to 1300.
Among the most famous were "The Song of
Roland " and the " Songof Antioch." These
epics appear to have grown up oui of the de-
tached labors of several generations of min-
strels, each adding something of his own to
the store, as he had received it from his
master.

Chant. A simple melody, generally harmo-
nized in four parts, to which lyrical portions
of the Scriptures are set, part of the words
being recited ad libitum aud part sung.
A "single" chant consists of only two
strains. A "double" chant consists of
four. (2) To recite musically, to sing.

Chant (shanh), Fr. The voice part ; a song or
melody. Singing.

Chant amoureux (shanh-ta-moo-riih), Fr. A
love-song, an amorous ditty.

Chantant (shiinhtanh), Fr. Adapted to sing-
ing ; in a melodious aud singing style.

Chantante (shanh-tanht), Fr. Singing.

Chantante bass (shanh-tanht bass), Fr. Vocal
bass.

j Chant d' eglise (shanh d'6-glez'), Fr. Church

i singing.

Chant de Noel (shanh dtih no-filO.-Fr. A Christ-
mas carol.

Chant des oiseaux (shanh d6swa-zo'),i''r. Sing-
ing of the birds.

Chant de triomphe (shanh dti tre-(5nhf), JFV.
A triumphal song, a song of victory.

Chant du soir (shanh d\i swar), Fr. Evening

chant.
Chantee (shan-ta), Fr. Sung.

Chanter. One who chants. (2) The pipe that
sounds the treble or tenor in a bagpipe.

Chanter (shanh-ta'), Fr. To sing, to celebrate,
to praise

a, arm, & add, &ale,^ end, e eve, 1 ill, i ide, 6 old, 6 odd, oo moori, d but, u Fr. sound, kh Oer. ch, nh nasal.

<71)

CHA

DICTIONARY OF MUSIC.

CHI

Chanter & livre ouvert (shauh-ta' a 16vr oo-

vai'j. ^f"- To si^g t,t sight.
Chanter k pleine voix (shanh-ta' a plan yw&),

Fr. To Lo ia fuii Voice.
(ihanter, arch. Tlie chief chanter, the leader

Oi liiO Cil^UtS.

Chf^nterelle (sha"h-t6 rgl), Fr. Treble string ;

tuj i,ma»icisD st~iDg cf the \ioliu.
Chanterres (shiinli-te-re), Fr. The singers of

Mni^s a <i ballads iu ihe tenth and follow-

li.g ccui,uri«.s.
Chanter r (shiiuh-ttlr'), Fr. A singer.
Chp^^eur des rues (shauh-ttir d6 rii'), Fr. A

Cha-'terie (shanhtre'), -Fj*. ) Institutions cs-
Chantry. Itablished and en-

dowed for tho purpose of singing the souls
of ihe founders out of purgatory. A church
or oh. (jcI endowed with revenue for the
purpo.^e of saying mass daily for the souls
of the douor.<.
Chant pastorale (shanht pas-to-ral'), Fr. A
pua.orul song.

Chantry priests. Priests selected to sing in
li..j c-a..try.

Chantcucc (shanh-tiis'), Fr. A female vocalist.

Chant funebre (shanh fii-nabr), Fr. Dirge, a
f uaer^l soi.g.

Chant sur le livre (shanh soor luh levr), Fr.
A bar af" Ills kind ( f counterpoint, or des-
cnut, as it \v«s termed, performed by several
voice--, each singing ex tempore. An extem-
poraneous counterpoint added by one or
more singers t) the canto frrmo sung by
otliers. It is identical ^Ylthco7^trapunto alia
nu ute.

Chant, Phrygian. A chant intended to ex-
cite tho hearers to fury and rage.

Chant, Roman. The Gregorian chant.

Chant sacre (shanh tsakr), Fr. Sacred music.

Chantor. A singe r iu a cathedral choir.

Chantre ^«hantr), Fr. A chorister, a chanter,
u isiUoiug boy.

Chapeau chinois (sha-ro' she-nwa'). Fr. A
crescent, or sec of small bells, used in mili-
tary music.

Chapelle (shap-fil'), Fr. A chapel. See Cap-

peda.

Characteristic chord. The leading, or prin-
cipal, chor.i.

Characteristic note. A I'^ading note. The
louiih and seventh f. om lao tonic.

Characters. A general name for musical

si^us.
Charalcterstucke(ka-ra''-t'r stuk'g),(?^r. Char-
acieiisiic piec s. Pieces descriptive of
moods, impression?, and events.

Charivari (sha-rl-va'rt), Fr. Noisy music,
inMiie with ti.i dishps, horns, bells, etc.;
clai or; a mock serenade.

Charlatan (shar-la-tanh'). Fr. A quack ; an
iraposter; a superficial artist who makes
great pretensions, which are not justified in
performaiice.

Chasse (shass), Pr. Hunting; in the hunting
style.

Chatsoteroth (kat-so'te-rOth), „.}. )The
Catzozerath (kat-z6-ze'rath), ■"^" | silver
trumpet of the ancient Hebrews.

Che (ka), It. Than, that, which.

Che chi (ka ke). One of the eight species in-
to which the Chinese divide their musical
sounds.

Chef (shaf), Fr. Leader, chief.

Chef=d'attaque (sha-diit-tak), Fr. The leader,
or principal first-violin performer ; also the
leader of the chorus.

Chef=d'flBuvre (sha-doovr), Fr. A master-
piece, u capital performance; the principal,
or most importaut.oomposition of an author.

Chef°d'orchestre (sha-dOr-kSstr), Fr. The
kader of an orchestra.

Cheipour, Pt. A Persian trumpet used in
militaiy service.

Chelys (ka-lts), Gr. A species of lute, or viol.

Cheng chi (k6ng ke). One of the eight spe-
cies into which the Chinese divide their
musical sounds.

Cherubical hymn. A hymn of great imrnr-
tanoe in the service of the Holy Communion.
" Holy, holy, holy," etc.

Chest of viols. An old expression applied to
a set < f viols, two of which were basses, two
tenors, and two trebles, each with six strings.
Toese instruments were particularly adapt-
ed to those compositions called fantasias.

Chest lo*ice. } '^^^ ^°^^^* register of the voice.

Chest, wind. A reservoir in an organ for
holding the air, which is conveyed from
thence in 'o the pip^s by means ofthe wind
trunks and channels.

Chevalet (shav-a-la'), Fr. The bridge of a vi-
olin, viola, etc.

Cheville (sh6-vel'), Fr. The peg of a violin,
viola, etc.

Chevrotement (8h?-vr6t-m6nh), Fr. A tre-
mor or shake in singing.

Chevroter (sh6-vr6-ta'), Fr. To sing with a
trembling voice; to make a bad or false
shake.

Chiara (ke-ji'ra), ^. "I Clear, brilliant, pure

Chiaro (ke-a'ro), '''• j as to tone.

Chiaramente (ke-a-ra-m6n't5), It. Clearly,
brightly, purely.

Chiarentana (ke-a-r6n-ta'na), It. An Italian
countiy dance.

Chiarezza (ke-a-r6t'sa), It. Clearness, neat-
ness, purity.

Chiarina (ke-ii re'na), It. A clarion.

a arm, a add, a ale, 6 end, f ev€,l ill, 1 iaie, 6 old, 6 odd, oo moon, ilbut,iX Fr. sound, kh Oer. ch. nh nasal.

(72)

CHI

DICTIONARY OF MUSIC.

CHO

Chittarrina (ket-tar-re'na), T^. \ The sn
Chittarrino (ket-tir-re'uo), | Neapoli

Chiaroscuro (ke-ii-ros'koo-ro), If. Light and
shade ; ihe modifications of piano and forte.

Chiave {kc-lx' ;•(;), II. A clef, or key.

Chiave maestro (ke-ii'vc"' mii-a.s'tro), H. The

luudaracntui key or note.
Chlckera(ke'k6 rii^, Ifin. An instrument used

in India, havins? four or five strings and

played w ith a bow.

Chiesa (ke a'zii), It. A church.

Chiffres (shefr), Fr. Figures used in har-
mony and thorough bass.
Chifla(tshe'fla). ^ ) . ^u:„f,„

Chifladera(tshe-fla'de-ra), ^i'- ) ^ whistle.

Chifladura (tshe fla-doo'ra), Sp. Whistliug.

Chiflar (tshe-flar'), -Sp. To whistle.

Chime. A set of bells tuned to a musical
scale ; the sound of bells in harmony ; a cor-
respondence of sound.

Chime°barrel. The cylindrical portion of the
mechanism sometimes used lor ringing a
chime of bells.

Chimney. In an organ, a small tube passing
through tho cap of a stopped pipe.

Chinese flute. An instrument used by the
Chinese, made of bamboo.

Chinese musical scale. A scale consisting of
five notes without semitones, the raii-ic be-
ing written ou five lines iu perpendicular
columns, and the elevation and depression
of tones indicated by distinctive names.

Chinnor (also Kinnor) (ken-nor"), jr^, ) An
Chinor(ke-n6r), ^''^"- | in-

" strument of the harp or psaltery species,

supposed to have been used by the ancient

Hebrews. See Kinnor.

Chirimia (tshe-re'mi-ii), Sp. The hautboy.

Chirogymnast (ke'ro-ghlm'nJist), Gi: ) A
Chirogymnaste (ke'ro-gim-niis't?). It /square
board, on which are placed various mechan- j
ical contrivances for exercising the fingers
of a pianist.
Chiroplast(ke'r6-plast), Gr. A .«mall machine
invented by Logier, to keep the hands and
fingers of young pianoforte-players in the
right position.

Chitarone (ke-ta-ro'nC), It. A large, or double,
guitar.

Chitarra (ke-tar'ra), It. A guitar, a cithara.

Chitarrista ^ke-tar-res'ta), //. One who plays
on the guitar.

Chittarra coll' arco (ke-tar'ra kol lar-ko). It.
A species of guitar played with a bow like a
violin.

small

litan

guitar.

Chiuso (ke-oo'zo), It. Close.

Cho. Abbreviation of Chorus.

- Choeur (kilr), Fr. The choir or chorus.

Choice notes. Notes placed on different de-
grees in same measure, either or all of
which may be sung.

Choir. That part of a cathedral or church set
apart for the singnrs. (2) The singers them^-
selves, taken collectively.

Choir, boy. A choir formed of boys from
eight t') fourteen years of age. These choirs
are cou fined mostly to the Episcopal Church.

Choir, grand. In organ-playing, the union
of all the reed stops.

Choir organ. In a large organ, the lowest
row of keys is called the choir organ, which
contains siime of the softer and more deli-
cate stops, and is used for accompanying
solos, duets, etc.

Chor (kor), Gev. [pi. Chore.) Choir, chorus
choir of a church.

Choragus (ko-ra'goos), Lat. The leader of the
chorus iu the Greek and Roman drama.

Choral. Belonging to the choir ; full, or for
many voices.

Choral (ko-niV), Ger. Psalm or hymn tune;
choral song or tune.

Choral anthem. An anthem in a simple,
measured style, in the manner of a choral.

ChoraNbook. A collection of choral melodies
either with or without a prescribed har-
monic accompaniment.

Choralbuch (ko-ral'bookh), Gcr. Choral-book;
a book of hymn tunes.

Chorale (ko-ra'16), Ger. pi. Hymn tunes.

Choral hymn. A hymn to be sung by a
chorus.

Choralist. Chorister, choir singer.

Choraliter (ko-rall-ter), ^ \ In the

Choralmassig (ko-ral'mas-sig), jstyleor

measure of a psalm tune or choral.
Choral service. A form of religions service

iu which the priest sings in response to the

choir, and the entire liturgy is intoned or

chanted instead of being read.

Choraltar (k6r'al-tar'),G'er. The high, or great,
altar.

Choramt (kor'Smt), Ger.
choral service.

Cathedral service.

Chorautus (k6-rou'toos), Lat. The name given

by the ancient Romans to the bagpipe.

Chord. Two or more tones sounding together
harmonically. With reference to their mu-
sical quality, chords are (^vided into har-
mony, or natural chords (all the tones of
which are partialsof the fundamental), and
combination chords (imitations of the former
but composed of elements belonging to dif-
ferent fundamentals). To the form< r belf)ng
the major triad and the chord of the domi-
nant seventh. In the key of C, these :

n=S=fl

^=:

Com Di nation chords are of every kind,

a arm, & add, a ale, S end, e eve, i ill, i isle, 6 old, 6 odd, oo vioon, a but, vi Fr. sound, kh Ger. ch. nh nasal.

CHO

DICTIONARY OF MUSIC.

CHO

from the least appealing of all, the minor
triad, to the most dissonant of sevenths and
ninths According to another view, all
chords are triads (three tones), sevenths
(four tones), or ninths (five tones). Ami all
are derived from forms like the following:

Chorda (kor'dii), Lat. A string of a musical

instrument.
Chord, accidental. A chord produced either

by uaticipatiou or suspension.
Chorda characteristica (kor'da kii'rak-te-rls'ti-

kii I , Lat. The loading, or characteristic, note

ur tune.
Chorda, dominant septima. The dominant

cord of the seventh.
Chords essentiales (kor'da Cs-s6n'tsi-a'16s),

fjit. These are the tonic, third and fifth of

each diatonic mode or scale.
Chordae vocales (kor'da v6-ka'16s), Lat. Vocal

Chord, anomalous. A chord in which one or
more ot the intervals are greater or less than
of those of the fundamental chord.
Chordaulodian. \ The name given tea mu-
Chordomelodion. ) sical instrument resem-
bling a large )i rrel organ, self-acting. It
was iuventcJ 1/ iCaufmanu, of inesdeu.

Chord a vido (kord a ve do . If. A name for-
merly given to a sound drawn from the open
string ot a violin, violoncello, or similar in-
strument.

Chord, characteristic. The principal chord ;
the leading chord.

Chord, chromatic. A chord that contains one
or more chromatic tones.

Chord, common. A chord consisting of a fun-
damental note, together with its third and
filth.

Chord, dominant. A chord that is fomid on
ihe dominant of the key in which the musiti
is written. (2) The leading, or cuaraciuns-
tic chord.

Chord, equivocal. A name sometimes given
to the diminished seventh.

Chordienst (kor'denst), Ger.

service.
Chord, imperfect common.

ed on the leading tone,
third and diminished fifth.

Chord, inverted. A chord whose lowest tone
is not the fundamental but the third, fifth,
or seveuth from the true fundamental.

Chordirector (kor'di-r^c-tor'), Oer. The direc-
tor who traius the chorus at the opera-house.

Chord, leading. The dominant chord.

Chord nona. Chord of the ninth.

Chord of the eleventh. A chord founded on
the chord of the ninth by adding the inter-
val of the eleventh.

Choir or choral

A chord found-
It has a minor

Chord of the fifth and sixth, (f) The first
inversion of the chord of the seventh,
formed by taking the third of the original
chord for the bass, and consisting of that
together with its third, fifth, and sixth.

Chord of the fourth and fifth, (t) Chord
of the eleventh, with the seventh and ninth
omitted.

Chord of the fourth and sixth. (4) The

second inversion of the common chord.

Chord of the ninth. (9) A chord consisii
of a third, fifth, seventh, and ninth with k>
root.

Chord of the second and fourth. (2) The

third inversion of the seventh.

Chord of the seventh. (7) A chord consist-
ing of the root, together with the third, fifth,

and seventh.

Chord of the sixth. (6) The first inversion
oi iLi. common chord.

Chord of the third, fourth, and sixth. (6\

TlieK'Cond inversion of the chord of \t'

the seventh.

Chord of the thirteenth. Founded on the
chord of the ninth by adding the eleventh
and the thirteenth.

Chord of the critone. Third inversion of
the dominant seventh containing a super-
fluous fourth.

Chordometer. An instrument for measuring

Miiugs.

Chords, derivative. Chords derived from the

fii'idamei lal <-hords.

Chords, diminished. Chords having minor
thirds and diminished fifths and sevenths.

Chords, imperfect. Those which do not con-
tain all the intervals belonging to them.

Chords, relative. Chords containing one or

more tones in common.
Chords, small threefold. A common chord

with a minor third.

Chord, threefold. The common chord.

Chord, 1 ansient. A chord in which, in order
to smoo^a til : transition from one chord to
another, notes are introduced which do not
form any component part of the funda-
mental harmony.

Chore (k(?'rC), Ger.pl. (."hoirs, choruses.

Chorea (ko'r6-a), Lat. A dance in a ring ; a
dance.

Choree (ko'ra), Gr. In ancient poetry a foot
of two syllables, the first long, the second
short; the trochee.

Choreus (k6'r6-oos), Lat. The choree, or tro-
chee.

Choriambus. A musical foot, accented thus :

Chorion (ko'rI-6n), Gr. A hymn in praise ol

Cybele.
Chorl praefectus (ko're pra-fek'toos), Lat. A

chanter.

a arm, ft add, a ale, 6 end, 3 e,ve, 1 ill, I isle, 6 old, 6 odd, 00 mooji ,iibiit,\\ Fr. sound, kh Ger. ch, nh nasal.

(74)

CHO

DICTIONARY OF MUSIC.

OIA

Chorist (ko-rlsf), Oer. ) A chorister, a cboral-
Choriste (ko-rest), Fr. | singer.

Chorister. A leader of a choir ; a singer.

Chorknabe (kor'knii-bC), Ger. SIngiug-boy.

Chorocitharistae (ko-ro-tsl-tii-rls'tai, T.at. A
concert of instrumenis and voices; those
who play to dancing.

Chorsang^er (kor'sang-gr), p ^ A chorister.

Chorschtiler (Koi-shii'ier), "^'^- j" a choral-
singer; a member of the choir.

Chorton (kor'ton ),G'fr. Choral tone : the usual
pitch or intonation of the organ, and, there-
fore, of the choir. A choral tune.

Chorus. A company of singers; a composi-
tion intended to be sung by a number of
voices. (2) Among the ancient (irt'eks the
chorus was a band of sint:frs anu dancers
who assisted at the performance (if their
dramas, and occup.ed that part of the thea-
ter answering to the present parquut.

Chorus, cyclic (se'klik). The chorus among
the ancient Athenians which performed at.
some of their dramatic representations,
dancing in a circle around the altar of Bac-
chus.

Choruses, martial. Choruses in commemora-
tion of v/aiiike deeds.

Jhorus=tone. See Chorton.

Jhriste eleison (kris-t§ Sb-Y\' 9,6\i), Or. O Christ,
have mercy; a part of the Kyrie, or lirst
movement, in a mass.

i^hristmas carols. Light songs, or ballads,
commemorating the birth < f Christ, sung
during tlie Cnristiaas holidays.
i^hristmesse (kri^t'm^s-sC), p ) Christmas
^hristmette (krist'met-t6), J maiin&.

Chroma (kr6'ma),(Tr. The chromatic signs ; a
sljaip (,^) or tlat (b).

i^hroma diesis (kro'mii di-a'sis), Gr. A semi-
tune, or half tone.

Chroma duplex. The double sharp, marked

by the sign X or #ff.

Jhromameter (kr6-ma-m6't6r). A tunirTg fork.

i^hromatic. This word, derived from the
Greek ('/?ror«o, color, hasa twofold meaning.
(I) III modem music, progressing ))y semi-
tones, chromati? in distinction fr<»m dia-
tonic ((/. v.). Chromatic notes are notes of
the diatonic scale altered by sharps, tiais, or
naturals. A chromatic scale is tnie which
proc.eds throughout by semitones. ( I'. !)la-
t rue ecalc.) A chroniaticaily altered clior.l
is a chord which contains oneurmor.^no es
foreign to the key to which it belongs, one
or more notes proper to the key beings harp-
ened or flaitened a semitone. (2) in the
musical genus called by the aucieiit Creeks
chromatic;, the tetrachbrd (a series of four
notes, a division of the scale) ascended by
two semitones and a tone and seniitoue ; for
instance, fc c dt> e.

Chromatic depression. The lowering a note
ty a semitouo.

Chromatic elevation. The elevation oi a note
by a semitone.

Chromatic instruments. All instruments
upon whirl! chromatic tones and melodies
can be produced.

Chromatic keyboard. An attachment ap-
plied t ) the ordinary keys of a piano, for the
i)urpose of enabling players of moderate
skill to execute with greater facility tUt;
simple chromatic scale, chromatic runs, ca-
denzas, etc.

Chromatic keys. The black keys of a piano-
lone. (2) Every key in the scale of which
one Of more chromatic tunes occur. Not
sanctioned by good usage. • ■.

Chromatic melody. A melody the tones of
wliieh nio\e by chnnnatic intervals.

Chromatic scale. A scale which consists of
twelve semiioiies, or half steps, in an octave.

Chromatic signs. Accidentals; sharps, flats,
and iialurrtls.

Chromatictuning^fork. A tuning-fork sound-
ing ail tiie ivdie.sana semilonesof the octave.

Chromatid suoni (Uromii'ti-tshe soo-6'ni). It.
Ciiiuiiiaiic Sounds.

Chromatics, accidental. Chromatics employ-
ed in piepariug lUe leading note of ilie mi-
nor ."^cale ; cliromatics incidentally em-
ployed.

Chromatique (kro-mi'tek), Fr. \ Chromatic,
Chromatisch (kro-miit'ish), Ger. j moving by
semitones.

Chromatiquement (kro-ma-tek'monh), Fr.
Cliroi(iatieali> .

Chromatisches Klangg:eschlecht (kro-mii-tl'-
shes Ivliing gh0-shl6kht'), Ger. The chro-
maiic-genus or mode.

Chromatische Tonleiter ikro-mii'ti-sh^^ ton'll'-
ler), ijcr. The (uiromatic scale.

Chronometer (kro-no-ma't^r), Gr. The name
given to any niachinefor measuring time.

Chronometer, Weber. An invention of God-
Irey Weber, similar to a metronome, btit
simpler in ci-nstruction, consisting of a
chord m>-rked with fifty-five inch s aces,
and having a weight attaciied t) its lower
end. The rate of motion is varied by the
length of the cord.

Chrotta (krot'tii), //. The primitive fiddle,
dill'ei ing from the modern in the absence of
a neck ; the crowle.

Church cadence. Another name for tlie pla-
gal cadence.

Church modes. See Gregorian modes.

Chute (shiit), Fr. Obsolete mark of embel-
lisument, equivalent toalongappoggiaiura.

Ciaccona ((she-ak-ko'nii), jf |AslowSpfln-
Ciacconne (tshe-ak-kon'ne), 'J ish dance.

geneially constructed ou a ground bass.

See Chacon lie;

Ciaramella (tshe ii-ra-mei'la). It. A bagpipe.

aarm, &. add, a ale, 6 end, e eve, I HI, i isle, 6 old, 6 odd, oo moon, <i but, ii Fr. sound, kh Ger. ch, nh nasal.

(70)

'It?

D'lCTIONARY OF MUSIC.

CLA

Cicuta (tse-koo'ta), Lat. A pipe or flute made

from the hollow stalks of the hemlock ; a

shepherd's pipe.
Cicutrenna (tshe-koo-tren'na), It. A musical

pipe.
Cimbale. See Cimbel.

Cimbali (tshem-ba'le), K. r>?. 1 Cymbals ; mili-
Csmballes (vlm-bai), />. pi. ) tary inhtru-

u^eiils used lo mark the time.
Cimbalello (them-bJi-la'yo), iS>. A small bell.

Cimbel (tsim'bel), Ger. A mixture stop of
acute tuue.

Cimbelstern (tsim'bei-starn). Grr. Cymbal
siar. A I oreau-stopconsistiii^ of five bells,
and composed of circular pieces of melal
cut in the form of a star, find i>lactd ai the
t 'P of the instrument in front.

C in alt. The eleventh above the G, or treble,
c ef note ; the fourth nuie in alt.

C in altissimo. The octave above C in alt;
the fourth uote in altissimo.

Cinelie, 7, ) A cymbal ; a Turkish mu-

Cinellen, jsical instrument, more noisy

than musical.

Cink (tsink), Gn\ A small reed-stop in au or-
gan, bee Kinkhorn.

Cinnara (tshen'na-ra), It. The harp of the
Kumans.

Cinq («ankh), -Fr. "1 Five; tho fifth voice

Cinque (tsheu'kwfi), It. J or part in a quintet.

Cinyra (&in'§-ra). An old name f(jr the harp.

Ciphering (sl'f6r-lng). The sounding of the
])iies of the organ when the keys are not
touched ; due to leakage in the valves.

Circular canon. A canon which goes through

the twelve major keys.
Circle of fifths. A method of modulation

which conveys us round through all the

scales back to the point from which we

started.
Circular scale. The row of tuning-pins and

the wrest-plank of a piano, made in a curved

form, in order to throw the strings farther

apart.
Cis (tsis), Ger. The note C#.
Cis=cis (tsis-tsls), Ger. The note C-double-

sharp, C#ff, CX.
Cis=>dur (Isis-doorO.Ger. The key of C^ major.
Cis^moll (tsis-moll), Ger. The key of C# minor.

rLstellaCtsis-tei'la), Lat. A small chest or box,
1 1 iaiigular in shape, and strung with wires,
\x hic.i are struck with little rods. See Dul-
cimer.

Cistre (sestr), Fr. A cithern, a small harp.

Cistrum. See Cittern.

Citara (tshe'tii-ra), It. A cittern, a guitar.

Citaredo (tshe-ta-ra'do), ^. ) A minstrel, a
Citarista (tshe-ta-res'ta), ^'' /player upon the

harp cr ciltera.
Cithar (tsith'ilr), Dan. A cittern.

Cithara (t^e'ta-ra), Lat. \ The lute, an old in-
Cithara (thet'a-ra), Sp. j strument of the gui
tar kind.

Cithara bijuga (tse'tii-ra bi-yoo'ga), Lat. A
cithiira, ho called fr'^m its having two necks
which determine the length of tLe strings.

Cithara hispanica (thet'a-ra his-piinl-ka), Sp.
The bpanish guitar.

Cithara, keyed. The clavicitherium.

Citharodia (tsi-thji-ro'dl a), Gr. The art of
singing to the lyie or cithara.

Citharcedus (tsi-t!i-rC'doos),Za/. He who plays
\\\K,n a iiarp or cithara.

Cither. \ An old instrument of the lute or

Cithera. / guitar species; the oldest on rec-

Cithern. ^ ord had three strings, which were

Cittern. \ afterward increased to eight,

Cythorn. j nine, and up to twenty-four. The

cither was very popular in the sixteenth

ceiitiiry. The cittern and guitar seem to be

derived from the same Greek word.

Citole (tsl-to'IC), Lat. An old instrument of
the dulcimer species, and probably synony-
mous with it.

Cittam. The ancient English name of the
guitar.

Civettena (tsbe-vCt-ta'rl-a), It. Coquetry ; in
a Coquettish manner.

Clair (klar), Fr. Clear, shrill, loud.

Claircylindre (klar-sManhdr). An instru-
ment invented hy Chladui in 1787, for the
purpose of experimenting in acoustics.

Clairon (kla-r6nh), Fr. Trumpet ; also the
name of a reed-stop in the organ.

Clamor. In bell-ringing, a rapid multiplica-
tion of strokes.

Clang. A sharp, shrill noise. See Klang.

Clango (kliin'go), Lat. To clang, to sound.

Clangor (klan'gor), Lat. A sound, noise; the

clang of the trumpet when blown power-
fully.
Clapper. The tongue of a bell.
Claquebois (kiak-bwa), Fr. A three-stringed

viol
Clar. An abbreviation of Clarinet.
Clara voce (kla'rii vo'tsg), Lat. A clear, loud

voice.
Clarabella (kla'ra-bgl'la) j^, ") An organ -stop
Claribella (kla'ri-bei'la), ^°^- f of eight-feet

scale, with a powerful, fluty tone; tne pipes

are of wood and not stopped.
Claribel flute. An organ-stop of the flute

species.
Clarichord. See Clavichord.
Clarichorde (kiar-i-koid), Fr. The clarichord,

or ciavi...hord.
Clarin (kla'ren), Ger. A clarion; also the

name of a four-feet reed-stop in German

organs.
Clarinblasen (kla-ren'bla-z6n).(Ter. Soft notOP

or tunes upoa the trumpet. -^

a arm, a add, a ale, 6 end, e eve, i HI, i isle, 6 ol4, 6 odd, 00 moon, Ci but, U Fr. sound, kh Oer, ch, t^ ntifc'

(76) /

OLA

mCTIONAKY OF MUSIC.

CLA

Clarinet. One of the most important wood
wind instruments. It is said to have been in-
vented about 1700 by .1. C. Denner, of Nu-
reiubtrg. It consists of a cylindrical tube,
with finger-holes and keys, which tei mi-
nates in a bell, and has a beak-like m -uih-
piece with a single beating reed. Its ex-
treme compass extends ffuni e to a'". '1 here
are clarinets of ditferent pitch; those com-
monly uised in the orchestra are the clarinets
in C, ia B[?, and in A. The clarinets in 1),
E\}, F, A\}, etc., are rarely used except in
military bands. Ail clarinets, the one in C
excepted, are transposing instruments; that
is to srty. they do not sound the notes which
are written. For instance, the B\> clarinet
sounds thi'm a tone lower, and the A clari-
net a minor third lower. Music f-r the clar-
inet is written in the G clef. ( V. t'haluincau.)
Besides the above-mentioned clarinets,
there are a bass clarinet and abaritoneclar-
inet. Now clarinets are also made of ebon-
ite. Also an organ-stop, voiced like a clari-
net.

Clarinet, alto. A large clarinet, curved near
the mouthpiece, and a fifth deeper than the
ordinary clarinet.

Clarinet, bass. A clarinet whose tones'are an
CvJtave deeper than those of the C or Bt» clar-
inet.

Clarinettista (kla-rl-n6t-tes'ta), It. ) A per-

Clarinettiste (kiar-I-net-lest), Fr. J former
upon tne clarinet.

Clarinetto (kla-ri-n6t't6), It. A clarinet.

Clarinetto d'amore (kla-ri-n6t't6 dii-mo're), It.

A species of clarinet a fifth lower than the

C clarinet. An alio clarinet.
Clarinetto dolce (kla-rl-net'to dol'tshe), It. A

species of clarinet a fifth lower than the C

clarinet.
Clarinetto secondo (klii-rl-uet'to s6-k6n'd6), It.

The second clarinet.
Clarino (kla-re'no). It. ) A small, or octave,
Clarion. | trumpet; also the

name of a 4-feet organ-reed stop, tuned aa

octave above the trumpet-stop. The term

is i'lso used to indicate the trumpet parts in

a full score.

Clarion harmonique (kla-rl-6nh ha,r-m6nh-
nC'k'), Fr. An organ-reed stop. See Ilar-
launlipie.

CIarionet°flute. An organ-stop of a similar
kind to th'e stopped diapason.

Clarone (klii-ro'ng), It. A clarinet.

Clarus (klii'roos), lat. Loud, clear, bright.

Clarte de voix (kliir-ta dilh vwa), Fr. Clear-
U(.v.s of voice.

Classic, or, Classical. These words are used
i 1 music, as in t..e other arts and in litera-
ture, i:i various sens s, which oftt-n moreor
less overlap. (1) "Of thefiisc class, of the
first rank ; " more especially applied to the
older, universally ackuowledy-d, masters
and their wo ks, those of the best epoch of
theart. (2) Having, or re.«enibling,tije style

and temper of these masters and their works
—their perfectness of form, and sobriety,
and ideal beauty of contents. The opposite
of " classical " in this sense is " romantic"
{q. v.). Also in popular use to designate
serious music in general, as distinguished
from the merely ad captavAum and ephem-
eral.
Classical music. Standard music ; music of
liisc rank-, written by composers of tne high-
i St order.

Clause. A phrase.

Clausel (klou'z'l), Qer. i A close, a ca-
Clausula (klou'siVlii), Lat. J dence, a conclud-
ing musical pnrase.

Clav. An abbreviation of Clavecembalo, Clav-

icLiord, and (Jlavecin.

Clavecin (,klilv-e-si5nh), Fr. The harpsichord.
Clavecin acoustique (khlv-^-sanh a-kooz-tek),

Fr. An instrument of the harpsichord or

pianoforte class, now obsolete.
Clavicymbalum (kla-vi-tsim'ba-loom). Lat.

The Laipsieiiord ; spinet.

Ciavicymbel fklil-vi-tsim'b'l), Ger. A clavi-
chord.

Claveciniste (kltl-vC-sflnh-est'), Fr. A harpsi-

choru-piuycr, or maker.

Clavessin (klJlv-6 sanh'), Fr. The harpsichord.

See Ctuvtcin.

Claviatur (kla-vi-ii-toor'), Ger. The keys of a
harpsichord, piano, etc.

Clavicembalo (kla-vi-tsh6m'ba-16), It. }

Clavicembalum (Kia'-vi-tsem-bii'loom), Lat. j
The harpsichord.

Clavichord. A small, keyed instrument like
the spinet, and the forerunner of the piano-
forte. The tone of the clavichord was agree-
able and impressive but not str"ng. The
strings were ma le to vibrate by means of a
small brass upright, called a tangent, fl^ed
in the key. The trtn^ent "stopped" the
string (like a violinist's finger) and caused
it to souud at the same time.

Clavicytherium (kla-vi-tsT-ta'ri-oom), Lat. A
species of upriglit harpsichord, said to have
been originally in the form of a harp or
lyre. It Wris invented in the thirteenth
century. ai>d was the earliest approach to
the modein pianoforte.

Clavicylinder. An instrument exhibited in
Pans iii 1806. It was supposed t ) consist of
a series of cylinders, which were operated
upon by bows set in motion by a crank and
brought in contact with the cylinders by
means of the keys of a fingerboard.
Clavier (kia-ver), J'r. I The keys or key-
Clavier (kiii fer'), Ger. j board of a pianoforte,
org'tn, etc. Also an old name for the clavi-
chord.
Clavierauszu8:(kla-fer'ous'tsoog),G«'. An ar-
ran>iemeni of a full score for the use of piano-
players.
Clavieren (kla-fe'r6n),Ger. pi. The keys. See
Clavier.

a arm, & add, aofe, 6 end, e eve, I ill, i isle, 6 old, 6 odd, oo moon, H but, u Fr. sound, kh Get. ch, nh nosat.

(77)

OLA

.DICTIONARY OF MUSIC.

COL

Clavierlehrer (kla-fer'la'rfir), Ger. A piano-

lurLc-leaciier.
Clavierschule (kla-fer-shoo'I^), Ger. A piano-

fuilu iustiuctiou book.
Clavierspieler (kla-fer'spe'ler), Ger. A piano-

lorie-piayer.
Clavierstimmer (klil-fer'stim'raer), Ger. A

piuuoiorie-luuer.

Clavieriibung (klii-fer'ii'boong), Ger. Exer-
cises fur tiic clavichord.

Clavierunterricht (kla-fer'ooii'ter-rikht), Ger.

LeshuiiS or iiistrucuou ou the piauoiorte.
Clavis (kla'vis), L"t. \ . ,„,. „ ,.
Clavis (kia'vis), Ger. / ^ ^^> ' ^ ^let.
Clear flute. An organ-stop of 4-feet scale, the

tone ol' which is very clear aud lull.

Cle(kla), p \ A key: a character nsed to
Clef (,kla). '^" J determine the name and pitch
of the notes on the staff to which it is pre-
fixed.

Clef, alto. The C clef ou the third line |
of the staff.

Clef, baritone. The F clef when placed |
ou the third line.

Clef, bass. The character at the begin niner
of the staff, where the lower or bassc^ji
notes are written, and serving to indi- t^S:

cate the pitch and name of those notes.

The F clef.

Clef, C. So called because it gives its name
to the notes placed on the sauie line witn it-
self.

Clef, counter tenor. The C clef when placed
on the third line in order to accommodate
the counter teuor voice.

Clef d'accordeur (kla dilk-k5r-dtir), Fr. A
tuniug-hamnier.

Clef de fay (kla dilh fa), Fr. The F, or base,

clef.

Clef descant. The treble, or soprano, clef.

Clef d'ut (kla doot), Fr. The C clef.

Clef, F. The base clef.

Clef, French treble. The G clef on the b'^t-
tom line of tlie staff; formerly much nsed
in French music for the violin, flute, etc.

Clef, German soprano. The C clef placed |
ou the first line of the staff for soprano

Clef, mean. The tenor clef

Clef , mezzo=soprano. The C clef when placed
ou lue Second Ime of the sialf.

Clef note. The note indicated by the clef.

Clef sol (kla sol), Fr.
clef.

The G, or treble,

Clef, soprano. The C clef placed on the first

line. (Obsolete.)
Clef, tenor. See Mean ckj.
Clef, treble. The G clef; soprano cle*.

Cloche (klosh), Fr. A bell.

Clochette (kio-shef), Fr. A little bell; a hand
beil.

Clocks, musical. Clocks containing an ar-
rangement similar to a barrel organ, nu)v* d
by weights and springs, and producing vuii-
ous tunes,

Clorone. A species of clarinet which is a fifth
lower than the clarinet; alto clarinet.

Close. A cadence ; the end of a piece or pas-
sage.

Close harmony. Harmony in which the
notes Of parts are kept as close together as
possible.

C major. The diatonic scale or key of C with-
out flats or sharps.

C minor. The diatonic scale or kev of C witk
niiuur third aud sixth.

C=raoll (tsa-moll), Ger. The key of C minor.

C natural. C without fiat or sharp.

C. O. An abbreviation of Choir organ.

Co (ko), )

Coi (KO-e), It. \ With; with the.

Col (kol, i

Coalottino (ko-il-lot-te'no), It. See Conccrtiiw.

Cocchina (K:o-ke'-na), It. An Italian conutrv
. Uciuce.

Coda (ko'da), Jf. The end; a few measures
added to the end of a piece of music to
make a more effective termination.

Coda brillante (ko'dii bril-lan'te). It. A bril-
liant termination.

Codetta (ko-d^t'ta), It. A short coda or jms-
sage added to a piece, or serviug tu couueet
oue movement wiili another.

Coffre (kofr), Fr. The frame of a lute, guitar,

etc.
Cogli kol'ye). It. With the.

Cogli stromenti (kol'ye stro-men'te), II. pi.

With tuc; instruments.
Cognoscente (k6n-yo-sh$n't^). It. One well

versed in music ; a cuunoisseur.

Coi bassi (ko'e bas'se), //. With the basses.

Coi fagotti (,ko-e fii-got-te), It. With the bas-
soons.

Coa violini (kor ve-6-le'ne), //. With the vio-
lins.

Colachon (ko-la-sh6nh), Fr. An Italian in-
strument, much like a lute, but with a
longer neck.

Col arco (kol Jir'ko), It. With the bow. See
CoW (Lrcu.

Colascione (ko-liis-shi-o'nC), It. An iustru-
mcut like the guitar, with two strings only.

Col basso (kol biis-so), It. With the bass.

Ccl C. An abbreviation of Col canto.

Col canto (kol kiin'to), It. With the melody,

or voice. See VoUa voce.
Coll (kol), )

Colla (kol'lii), It. ^With the.
Collo fkol'lo), )

aorw, a add, a ale, eend, e a?c, i ill, i isle, 6 old, 6 odd, oo moon, 0 but, it Fr. sound, kh Ger. ch. nh Ticwal.

OOL

DICTIONARY OF MUSIC.

COM

Colla destra (kol'la das'trii), It. With the right
haiul.

Colla massima discrezione (kol'lii mas'sl-mii
(lis-krC t^lo'ii^), It. With the greatest dis-
cretion.

Colla parte (kol'la par't6), It. With the part ;
inlieating that the time is to be accommo-
dated to the solo singer or player.

Colla piu gran forza e prestezza (kol'la pe'oo
tcrii u'n'zii a pr^s-t^i'znt, It. As loud and as
qii:ckly as possible.

Colla punta d'arco (kol'lii poon'tti diir'ko), It.

V, itn the point, or tip, of the bow.
Colla sinistra (kol'la si- nis'tra), It. With the

left baud.

Colla voce (kol'la vo'tshg), //. With the voice,
implying that the accompanist must accom-
modate and take the time from the singer.

Coirarco ikol liir'ko), It. With the bow ; the
notes are to be played with the bow, and
not pizzicato.

College songs. Songs for the use of, and sung
by, loUege students; usually of a convivial
aiid spirited character.

Col legno (kol lan'yo), It. With the b^w-stick.

Col legno deir arco (kol Ian' yo del liir'ko), Tt.
With the bow-stick ; strike the strings with
the wooden side of the bow.

Colle parti (k6ri<5 par'te), It. With the prin-
cipal parts.

Colle trombe (kol'lC tr6m'b6), It. With the
trumpets.

Coir ottava(koll6t-ta-va),/<. With the octave.

Colofane (k6l-6-fane), Fr.

Colofonia (ko-lo-fo'ni-a), It.

Colophane (k6l-6-fane), Fr.

Colophon (kOl-o fc3nh), Fr.

Colophonium (k6-lo-f6'ni-oom),Ger.

Colophony, Eng.
ilesin ; used for the hair in the bow of a vi-
olin, etc., to enable the performer to get a
better hold upon the strings.

Coloratura (kolo-ra-too'rii), J^ ") O rn a-
Colorature (ko-lo-ra-too'r6). It. ^mental
Coloraturen (ko-lo-rJi-too'ren), ^rer. j passages,
roulades, embellishments, etc., in vocal mu-
sic. This word, the plural form of which,
in Italian, is colorature, is, less properly,
but very conveniently, tised also in connec-
tion with instrumental music.

Combination, or, Combinational tones. See

Resultant tones.

Combination pedals. See Composition pedals.

Come (ko'mg), It. As, like, the same as.

Comedie (k6m-a-de), Fr. Comedy, play.

Com^dien (k6m-a-di-anh'), Fr. \ . A come-
Comediante (k6-ma-di-an't6), Sp. j d i a n, an

actor.

Comedienne (k6m-a-dl-anh'), Fr. An actress.

Comedy, lyric. A comedy specially adapted
for singing.

Come il]Q/-imo tempo (ko'm^el pre'm6t6m'pC),
Jt. In the saTne time as the first.

Come prima (ko'mC pre'mii), It. As before, as
at first.

Comes (k(3'mC'S). Lat. The companion, or an-
swer, to the dux (guide), or subject, of a
fugue.

Come sopra (k6'm(5 so'pra), It. As abovo : as
before ; indicating the repetition of a previ-
ous, or similar, pas.sage.

Come sta(kr)'me stii). It. As it stands; per-
form exactly as written.

Come tempo del tema (ko'mfi tt^m'po del ta'-
mii), //. lu the same time as the theme.

Comico (ko'ml-ko), //. | Comic; also a

Comique (k6-mek'), Fr. J comic actor, aud a
writer of comedies.

Comic opera. Burlesque opera ; an opera iu-
terspersed with light songs, dances and jests.

Comic song. A song set to comical, humor-
ous words.

Comiquement (ko-mek'manh),jP/-. Comically,
jocosely.

Cominciante(ko-min-tshi-an't6), It. A begin-
ner in music, etc.

Cominciata (ko min-tshi-ii'ta), It. The begin-
ning, the commencement.

Comma (koni'mii), It. This is the name of
various small intervals not used in practical
music, forming the difference between two
notes of nearly the same pitch. Two of these
small intervals are: (ij The comma siinto-
num, or the comma of Didymus. wtiich is
the difference between a major and a minor
tone, ecjjual to the ratio 80:81. (2) The cow ma
ditonicum, or comma of Pythagoras, which is
the difference between the twelfth tifth
(just intonation, not tempered) aud the
seventh octave above a given note.

Commedia (kom-ma'di-a), It. A play, a com-
edy ; also a theater.

Comma il faut (k6m el fo), Fr. As it should
be.

Commencant (k6m-manh-sanh), Fr. A begin-
ner in music, etc.

Commencer (k6m-manh-sa), Fr. To begin, to
commeU'Ce.

Commodamente (kom-mo-da-m6u'te),7^ With
ease and quietude.

Commodo (kom-mo'do), It. Quietly, compos-
edly.

Common chord. A chord consisting of a bass
note with its third aud fifth, to which its
octave is usually added.

Common chord, imperfect. A chord consist-
ing of a bass, accompanied by its minor third
and imperfect fifth.

Common hallelujah meter. A stanza of six
lines of iambic measure, the syllables of
each being in number and order as follows;
8,^6, 8, 6, 8, 8.

Common measure. Four-pulse measure.

il arm, a add, a ale, 6 end, e eve, i ill, i isle,6 old, 6 odd, oo moon, tl6u/, ii Fr. sound, kh Ger. ch, nh nasal,

(79)

COM

DICTIONARY OF MUSIC.

CON

Common meter. A verse, or stanza, of four
lines i'l iambic measure, the syllables of
each being in number and order, thus, 8, 6,
8,6.

Common particular meter. A stanza of six
lines in iambic nieas'ire, the number and
order of syllables us follows : 8, 8, 6, 8, 8, 6.

Common time. Common measure.

Common turn. A turn consisting of the prin-
cipal note, the note above it, and the note
below it.

Comodamente (ko-m6-da-m6n't§), j^ ) Con-

Comodo (ko'mo-do'i, ') ven-

ieuily, easily, quietly, with composure.

Compass. The range of notes or sounds of
whlL'h any voice or instrument is capable.

Compiacevole (k6m-pl-a-tsha'v6-16), r, |

Compiacimento (k6m-pi-a-tshi-m6n'to), " J

Agreeable, pleasing, attractive.
Compiacevolmente (kom - pl-a-tsh6-v61-ni§n'-

t6), It. In a pleasant and agreeable style.

Complainte (kOm-planhf), Fr. A religious
ballad.

Complement. That quantity which is want-
ing to any Interval to fdl up an octave.

Complementary part. That part which is
added to the subject and counter subject of
a fugue.

Complete cadence. A full cadence.

Complin (kom'plln), Lat. Evening service
during Lent in the Catholic Church.

Componiren (kom-po-ne'r'u), Ger. To com-
pose mubic.

Componista (kom-po-nes'ta). It. A composer,
an author.

Composer (k6nh-p6-za), Fr. To compose mu-
sic.

Composer. One who composes ; one who
writes an original work.

Compositeur (k6m-p6-si-ttir'), -Pr.^ A com-
Compositore (k6m-p6-si-t6'r6). It. Vposer of
Componist (kom-po-ulsf), Gtr. ) music.
Compositeur de fugues (k6m-p6s-I-t(lr' dtih
fiig), Fr. A composer of fugues.

Composition. Any musical production ; the
art of inventing or composing music accord-
ing to the rules of harmony.

Composition, free. That which deviates
faomewhat from the rules of composition.

Composition, erotic. That which has love for
its subject.

Composition, strict. A composition that ad-
heres rigidly to the rules of art.

Composition pedals. Pedals connected with
a system of mechanism for arranging the
stops of an organ Invented by J. C. Bishop.

Compositor, music. A person who sets mu-
sic type.

Compositura (kom-p6-sI-too'ra), j. \ A.

Composizione (k6m-p6-sI-tsi-o'n6), J com-
position, or musical work.

Composizione di tavolino (kom-po-si-tsi 6'n6
detJi-vo le'u6),7<. Table music, music sung
at table, as glees, catches, rounds.

Composso (kora-pos'so), j, } Composed, set

Composto (kom-pos'to), /tomu.sic.

Compound intervals. Those which exceed
the extent of an octave ; as a ninth, tenth,
etc.

Compound stops. Where three or more or-
gan-stops are arranged so that by pressing
down one key they all sound at once.

Compound measures. Those which include,
or exceed, six parts in a measure, and con-
tain two, or more, principal accents, as, 6-4,
6-8, 9-4, 9-8, 12-8, etc.

Con (kon), It. With.

Con abbandono (kon ab-ban-do'no), It. With
passion, with ardent feeling.

Con abbandono ed espressione (kon ab-ban-
do'-no C I C's-pras-sl-6'n6), It. With passion-
ate feeling and self-abandon.

Conaffetto(k6naf-f6t't6), * r/ U" »»

Con affezione (kon af-l6t'tsi-6'n6), -'^- J affect-
ing manner, with warmth

Con afflizione (kon iif-fie-tsl-o'nfi), It. With af-
tliclioa, mournfully.

Con agilita (kon a-jll-i-ta'). It. With agility,

neatly.

Con agitazione (kon a-ji-ta-tsI-o'n6), It, With

agitation, hurriedly.
Con alcuna licenza (kon al-koo'nii le-tsh6n-

tsJi), It. Willi a certain degree of license as

regards time and expression.
Con allegrezza (kon al-16-gret'tsa). It. With

lightness, cheerfully.

Con alterezza (kon al-t6-r6t'tsa), It. With an
elevated and sublime expression.

Con amabilita (kon a-ma-bil'i-ta), It. With

gculleness and grace.
Con amarezza (kon a-ma rgt'tsii), It. With af-

Uictiou, with a sense of grief.

Con amore (kon a-m6'r6), It. With tenderness
and atfection.

Con anima (kon a'ni-ma), J. | Withanima-

Con animo (kou ii'ni-mo), " J tion and bold-
ness.

Con animazione (kon ii-ni-ma-tsl-o'n^). It
With animation, decision, boldness.

Con audace (kon ii-oo-da'tshg). It. With bold

ness, audacity.
Con beliezza (kon b61-15t'tsa),7^ With beautj

of tone and expression.
Con bizarria (kon be-tsiir'rl-a), It. Capricious

ly, at tne fancy of the player or composer.
Con bravura (kon bra-voo'ni). It. With brav

ery, with boldness.

Con brio (kon bre'6), It, With life, spirit

brilliancy.
Con brio ed animato(k6n bre'6 6d a-nl-msi'to),

It. With brilliancy and animation.

Con calma (kon kal'ma), It. With calmness
and tranquillity.

a arwi, & add, a ale, 6 end, e eve 1 Ul, i isle, 6 old, 6 odd, oo moon, ti hut, ii Fr. sound, kh Oer. ch, nh nasoL

m

CON

DICTIONARY OF MUSIC.

CON

Con calore (k5n ka-16're), It. With warmth,
with fire.

Con carita(k6n ka-re'ta), It. With tenderness.

Con celerita (kon tsha-ie-rl-tii'), It. With cel-
erity, witu rapidity.

Concento (kon-tshgu'to), It. Concord, agree-
meut, harmony of voiCLS and instruments.

Concentrate (kon-tsh6n-ira'r6), It. To concen-
trate the sounds. It also means to veil the
sounds in mystery.

Concentus (k6n-ts6n'toos), Lat. Harmonious
blendiug of sounds; concord.

Concert. A performance in public of practi-
cal musicians, either vocal or instrumental,
or both. (2) Harmony, unison.

Concert, amateur. A concert of nonprofes-
sional musicians.

Concertando (kon-tsh6r-tan'd6), It. A concer-
taute.

Concertant (k6nh-.<56r-tanh'), Fr. Performer
in a concert, a musician.

Concertante (k6n-tsh6r-tan't6). It. A piece in
which eai;h part is alternately principal and
subordinate, as in a duo concertante. (2) A
concerto for two or more instruments, with
accompaniments for a full hand. (3) A fe-
male concert singer.

Concertato (kon-tshCr-ta'to), It. In an irregu-
lar and extemporaneous manner. See, also,
Concertante.

Concerted music. Music in which several
voices or instruments are heard at the same
time ; iu opposition to solo music.

Concertgeber (k6n-ts6rt'ga'b6r),Crer. One who
gives a concert.

Concertina (kon-tsh^r-te'na), II. A small mu-
sical instrument, hexagonal in form, which,
as regards construction, is somewhat simi-
lar to the accordion {q. v.). The Enelish
treble concertina has a compass of about
three and a half or four octaves (from g to
g"") wiih all the intermediate semitones,
and is a double-action instrument — that is,
on expanding and compressing the bellows
the same note is produced. The tenor, bass,
and double-ba^s concertina are, like the ac-
cordion, single-action instruments, produc-
ing different notes on expanding and com-
pressing the bellows. Charles Wheatstone
patented the concertina in 1829. The Ger-
man concertina is a less jierfect instrument
than the English concertina; it is a single-
action instrument, and its scale is not chro-
matic.

Concertina, alto. A concertina having the
compass of the viola.

Concertina, bass. A concertina having the
compass of the violoncello.

Concertina, soprano. A concertina having
the compaas of the violin.

Concertino (k6a-tsh6r-te'n6). It. A small con-
certo. (2) The opposite of r/pierto— namely,
principal, or concertante; for instance, vi-
olino concertino, principal violin. (S; The

name concertino Is sometimes applied to a
first-violin part in which are entered the
obligato passages of the other parts. ( V. Con-
certo g rosso.)

Concertiren (k6n-ts6r-te'r'n). Oer. To accord,
to agree iu sound; also a soli movement
where each instrument or voice has in its
turn the principal part.

Concertmeister (kon-tsfirt' mis'tfir), Ger. The
leader of the orchestra, the first of the first
violins.

Concerto (k6n-tsh6r't6). It. (1) A concert. {2,
A composition consisting generally of three,
rarely of four, movements, for one or more
solo instruments, with orchestral ace 'ra-
paniment. Its form is, on the whole, that
of the sonata; its distinctive features are
the tutti (the orchestral ritornelli) and cer-
tain peculiarities arising from the inten-
tion to display 'the solo instrument and the
powers of the player. As one of these pe-
culiarities may be mentioned the cadenzas
played by the performer t.f the solo part just
before the concluding tutti of the first and
the last movement. ( V. Sonata&ud Cadenza.)
The customary tutti, which, for instance, in
Mozart's concertos, appear in diffusive full-
ness, are in more modern times often cur-
tailed or altogether omitted. This is espe-
cially the case with the long introductory
tutti, which generally presented both the
first and thesecondsubject.afterwards taken
up by the solo part or solo parts. Also the
cadenzas have lost much of their former im-
portance. In other words, the concerto, at
one time a show-piece, has more and more
become a tone-poem. Concertos without or-
chestral accompaniment need hardly be
mentioned; they are exceptional, and of
very rare occurrence.

In its earliest application the word " con-
certo" was synonymous with "concent,"
signifying not a definite form, but a compo-
sition'in parts, either purely vocal or vocal
and instrumputal, Giuseppe Torelli. who
died in 1708, is regarded as the inventor of
the modern concerto. The development of
the concerto runs parallel, one may say is
identical, with that of the sonata. The
earlier exemplifications of these forms differ
indeed often only in name. With Mozart
(1756-1791) the concerto reached, so to speak,
maturity. (See the following articles) :

Concerto, a solo. A concerto written for the
purpose of displaying the powers of a par-
ticular instrument, without accompani-
ment.

Concerto da camera (kon-tsh6r'to da kii'mf-
laK It. Chamber concerto. Contra to Con-
certo grosso.

Concerto di chiesa (kon-tshfir'to de ke-a'za),
It. A concerto for church use.

Concerto doppio (kon-tsh6r'to dop'pi-o). It. A
concerto fur two or more instruments.

Concerto grande (kon-tsh6r't6 grand), Fr. \

Concerto grosso (K6n-tsh6r'logi6s-s6). //. )
A grand orchestral composition for many
instruments; a grand concert.

a arm, & add, a ale, 6 end, e eve, i ill, i isle,6 old,6 odd, oo moon, H but, \i Fr. sound, kh Oer. ch, nh nasal.
6 (81)

CON

DICTIONARY OF MUSIC.

CON

Concerto spirituale (kou-tsbOr'to spe-re-too-
a'lcM. It. A miscellaneous concert, consist-
ing chiefly of sacred or classical music.

Concert, operatic. A performance of music
selected from operas.

Concertsaal (kon-ts6rt'sal),&er. Concert-hall.

Concertspieler (kon-ts6rt'spe-ler), Ger. A solo
player, concerto player.

Concert spirituel (kon-ts6rt'spe-re-too-al'), Fr.
See Concerto spirituale.

Concertstuck (k6n-ts6rt'stuk),Ger. A concert-
piece ; a concerto.

Concert pitch. The pitch adopted by general
consent for some one given note, and by
which every other note is governed. The
so-called French normal diapason is now
generally adopted, commitcd from A—A'A't
vibrations persecond. This is nearly a half
step lower than the concert pitch in use by
American piano-makers previous to about
1885.

Concitato (kou-tsM-ta'to), It. Agitated, per-
turbed.

Conclusione (k6n-kloo-zl-6'n6), It. The con-
clusioQ. or winding up.

Con comodo (kon ko'mo-do), It. With ease, in
convenient time.

Concord. A harmonious combination of
sounds ; the opposite to a discord.

Concordant. Agreeing, correspondent, har-
monious. Concord depends upon the fre-
quency of coincidences between vibrations
of the different tones composing the cin-
cord. Hence the most agreeable concord is
that of the octave, of which the ratio is !:_>,
a coincidence occurring with every vibra-
tion of the lower tone. The next is that of
the fifth, in which the ratio is 2:3. a coinci-
dence occurring with every second vibra-
tion of the lower tone. And so the concords
shade off through the intervals of the har-
monic series, which follow the ratios 1:2:3:4:
.5:6:7:8:9:10, etc.
Concordanza (k6n-k6r-dan'tsa),I<.^ cci^nnr^
Concorde (k6n-k6rd). Fr. Larmonv

Concordia (kon-kor'di-a), It. j ^^armony.

Con deiicatezza (kon d61-I-ka-t6t'sa), Tt. With
delicacy and sweetness.

Con desiderio (kon da-zi-da'ri-6), It. With-de-
sire and ardent longing.

Con devozione (kon da-v6-tsl-o'n6), It. With
devotion, devoutly.

Con diligenza (kon dl-ll-j6n'tsa), K. With care
and diligence.

Con discrezione (kon dls-kra-tsi-6'nt5). It.

With discretion; at the discretion of the

X^erformer.
Con disperaziOne (kon dis-pg-ra-tsi-o'n^), It.

With despair, violence of expression.

Con divozione (kon de-vo-tsi-6'ne), It. With
religious feeling ; in a devotional ir.anner.

It.'^

J. \ Withen-
^ j ergy and

Con dolce maniera (kon dOl'tshe ma-ni-

a'n'i),
Con dolcezza (kon d61-ts6t'tsa).
In a simple, delicate manner ; with softness,
sweetness, delicacy.

Con dolore (kon do-16'r6), It. Mournfully,
with grief and pathos.

Conductor. The master, or chief, of an or-
chestra, who directs the time and perform-
ance of every piece with his baton.

Conductus (kon-dook'toos), Lat. A very old
species of descant, which, instead of being
founded upon some popular melody, was
entirely original, both descant and har-
mony, and entirely independent of every-
thing but the imagination of the composer.

Con duolo (kon dooo'16). It. Mournfully,

with grief.
Conduttore(k6n-doot-to'r6), It. A conductor.

Con eleganza (kon a-16-gan'tsa). It. With ele-
gance.
Con elevatezza (kon a-16-va-t6t-tsat, j, \
Con elevazione (kon a-16-va tsi-o'ng), • j
With elevation of style; with dignity.

Con energia (kon a-nfir-je'a),
Con energ-tco (kon a-n6r'ji-k6),
empliasis.

Conentusiasmo kon6n-too-zi-as'm6),7if. With
enthusiasm.

Con equalianza (kon a-kwa-li-an'tsa), It. With

i-mooihuess and equality.
Con e senza stromenti (kon a s6n-tsa stro-

mgn'te), It. With and without instruments.

Con esp. ) An abbreviation of Con espres-
Conespres. f sioue.

Con espressione (kon as-pr6s-si-o'n6). It. With
expression.

Con facilita (kon fa-tshe-li-tii'), It With facil-
ity and ease.

Con espressione dolorosa (kon as-pr6s-si-6'n6
do-lo-io'zii). It. With a sad expression.

Con estro poetico (kon as'tro p6-a'tI-ko), It.
With poetic fervor.

Con fermezza (kon f6r-m6t'tsa). It. With firm-
ness.

Con festivita (kon f6s-te'vi-ta), It. With fes-
tive gayety.

Con fiducia (kon fe-doo'tshi-ii), It. With hope,
with contideuce.

Con fierezza (kon fe-6-r6t'tsa), It. With lire,
fiercely.

Con flessibilita (kon fl6s-sl-be'li-ta), It. With
freedom, flexible.

Con forza (kon for'tsa), It. With force ; with
veiiemence.

Con freddezza (kon fr6d-d6t'tsa),7/. With cold-
ness and apathy.

Confrerie de St. Julien (kon-fra're ddh sa"h
jii-n-iinh'), Fr. An ancient French associa-
tion, or club, of ballad-singers and itinerant
fiddlers.

ii arm, a, add, a ale, e end, e eve, x ill, i isle, 6 old, 6 odd, oo moon, \1 but, ii Fr. scund, kh Oer. ch, nh nasal.

(82)

CON

DICTIONARY OF MUSIC.

CON

Hurriedly, with

With fire and

'ith fury,
rage, vehe-

Con fretta (kon frgt'ta), It.

aa iucrease of time.
Con fuoco (k6a foo-6'ko), It.

passive!!.
Con furia (kon foo'ri-a), J■^ | Wi1
Con furore (kou foo-ro'rg), ' J

uie^ce.
Con garbo (kod gar'bo), It. With simplicity

and elegance.
Con gentilezza (kon j6n-tM6t'tsa), It. With

gruce and elegance.

Con giustezza Hcon joos-tfit'tsa), It. With
justuetis and precision.

Con giustezza dell' intonazione (kon joos-

tet't^ii dGl Ien-t6-na-tsi-6'u6j, It. With just

and correct imoualion.
Con gli (kou gle), It. pi. With the.
Con gli stromenti (kon gle stro-m6n'te), It.

Witn the instruments.
Con gradazlone (kou grii-da-tsi-o'ng), It. With

gradual increase and decrease.
Con grande espressione (kon gran'dg 6s-prSs-

hi-6'ue). It. Willi much expression.
Con grandezza (kou grau-d6t'tsa)„ //. With

dignity a..d grandeur.
Ccn gravita (kou grii-vi-ta'), It. With gravity.
Con grazia (kou gra'tsi-a), It. With grace and

elegance.
Con gusto (kou goos'to), It. With taste.
Con impeto (kou em'p(5-'6), j. ")

Con impetuosita (kon em-pg-too-6-si-ta'), j

With impeLUujjity and vehemence.
Con impeto doloroso (kou era'p^-to do-lo-ro'-

zoj, It. With pailietic force and energy.

Con indifferenza (kon iu-dlf-fe-rgn'tsJi), It. In

an easy and iudiftcreut manner.
Con innocenza (kou in-n6-tsh6n'tsa), It. In a

simple, artless style.
Con intlmissimo sentimento (kon iu-ti-mls'-

sl-nio s§n-tl-m6n'i6), It. With very much

feeling; with great expression.

Con intrepidezza (kou in-tr6-pi-d6t'tsa), It.
With intrepidity, boldly.

Con ira (kon e'rii), It. With anger.

Con isdegno (kon es-dan'yo), It. With anger,
angrii.v .

Con ismania (kon es-ma'ni-a), It. In a fren-
zied style.

Con istrepito (kon es-tra'pl-to). It. With noise
and bluster.

Conjoint degrees. Two notes which immedi-
ately follow each other in the order of the
scale.

Conjunct (kon-yoonkf), Lat. A term applied
by the ancient Greeks to tetrachords, or
fourths, when the highest note of the lower
tetrachord was also the lowest note of the
tetrachord next above it.

Conjunct succession. Where a succession of
tones proceed regularly upward or down-
ward through successive scale degrees.

I

Con leggerezza (kou Igd-jfi-rfit'tsa), r.

Con leggierezza(kon 16d-jI-6-r6t'tsa),
With lightness and delicacy.

Con lenezza (kon 16-nCt'tsa), It. With mild-
ness, swci^tness.

Con lentezza (kon 16n-t6t'tsa), It. With slow-
ness, lingering.

Con maesta (kou ina'6s-ta'), It. With majesty

and gra^ideur.
Con malanconia (kon raa-ian-ko-ne'al, i
Con malenconia (kon ma-16n-ko-ne'a), It. >
Con malinconia (kon ma-lin-ko-ne'ii), )

With an expression of melancholy and sad-
ness.
Con mano destra (kon ma'no d§s'tra>. j. )
Con mano dritta (kou ma'no dret'lii), ' j
With the right hand.

Con mano sinistra (kou mii'no se-nis'tra). It.
With the left hand.

Con misterio (kou miz-ta'rI-6), It. With mys-
tery, with au air of mystery.

Con moderazione (kou mo-dS-ra-tsi-o'nS), //.
Wita a luoUerate degree of quickness.

Con molto espressione (kon mol'to fis-prSs-s!-

6'ne), It, Wiiu Uiuch expression.

Con molto carattere (kou mol'to ka-rat't6-re),
It. \\ iih luueh eiiaraeter aud emphasis.

Con molto passione (kou mol'fo piis si-6'n6),
It. With luuea passion and feeling.

Con molto sentimento (kou mol'to s5u-ti-
nien'ioj. It. With much feeling or senti-
ment.

Con morbidezza (kou m6r-bl-d6t'tsa),7^ With
excels of feeling or delicacy.

Con moto (kou mo'to). It. With motion ; not
dragging.

Connecting note. A note held in common by
two successive chords.

Con negligenza (kon iial-yi-j6n'tsa), II. In a
n^ghgeac maaner, without restraint.

Con nobilita (kon uo-be-li-ta'), It. With no-
bility.

Connaisseur (kon-na-silr), p | One skilled

Connoisseur (kon-wa siir), •Jin music; a
good judge and critic- of musical composi-
tion and performance.

Con ottava (kon 6t-ta'va\ j. \ With the oc-

Con 8va. Jtave; to be

played in octaves.

Con passione (kon pas-st-6'n6), It. In au im-
passioned manner, with great emotion.

Con piacevoIezza(k6u pe-a-tsh^-v6-l(^t'tsii), It.
Wiih pleasing and graceful expression.

Con piu moto (kou pe'oo mo'to). It. With in-
creased motion.

Con precipitazione (kon pr6-tshi-pi-ta-tsl-6'-
n6), It. With precipitation ; iu a hurried
manner.

Con precisione (kon prg-tshe-zi-o'nC), It. With
exactness-aud precision.

Conprestezza (kon pr6s-t§t'tsa). It. With pre-
cision and exactness.

a arm, a add, a ale, eend, e eve, i ill, I isle, o old, 6 odd. oo moon, H but, u Fr. sound, kh Ocr. ch, nh nasal.

CON

DICTIONARY OF MUSIC.

COK

Con rabbta (kon rabTDx-a), It. With rage, with
fury.

Con rapidita (kon ra-pe-di'ta'\ It. With rapid-
ity.

Con replica (kou ra'pll-ka), It, With repeti-
tion.

Con risoluzione (kon re-z6-loo-tsi-6'ne), It.
Witii firmness and resolution.

Con scioltezza (kol she-61-t6t'tsa). It. Freely,
disconnectedly.

Con sdegno (kon sdan'yo), It. With wrath ;
in an angry and scornful manner.

Consecutive. A term chiefly applied to pro-
gressions of perfect fifths and octaves, which
are permissible only under certain condi-
tions or for special purposes. They are most
objectionable when the parts which thus
offend are extreme parts. C:ousecutive uni-
sons are likewise prohibited. But the pro-
hibition of consecutive octaves and unisons
applies only to individual parts, not to the
doubling, reinforcing, of one part by an-
other. Hidden consecutives are discussed
in the article Hidden Fijiha and Hidden Oc-
taves.

Consecutive fifths. Two or more pe "ect fifths,
immediately following one Hnottier in simi-
lar motion. Consecutive fifths aredisa>;ree-
able to the ear, and forbidden by ihe laws of
harmony.

Consecutive octaves. Two parts r^oving in
unison or octaves with each other.

Con sempliclta (kon s?m-ple-tshi-ta'), It. With
simplicity.

Con sensibilita (kon sgn-sl-be-li-ta'), It. With
sensibility and feeling.

Con sentimento (ko-i sf n-ti-mea'to). It. With
feeling and sentimeut.

Consequent (kdn-sC' kw(?nt), Lat. } An old
Consequente (kon s6-kw6n't(5). It. | term,
meaning the answer in a fugue, or of a point
of imitation.
Conservatoire (k6n-s6r-va-twar'), Fr. ~\

Conservatoria (k6n-s6r-vft-t6'rl-a), It. I

Conservator!© (kon-s6r-va-t6'ri 6)), It. S-

Conservatorlum (kon-sgr-fa-to'ri-oom) Ger. \
Conservatory. J

A school or academy of music in which ev-
ery branch of musical arc is taught and an
art-standard maintained.
Con severita (kon s6-va'ri-ta). It. With strict
and severe style.

Consolante (kon s6-lan't6). If. xn a cheering
and cousoling manner.

ConsoIataniente(kon-s6-la-ta-m6n't5), It. Qui-
etly, cheerfully.

Con solennita (kon so-len-ni-ta'), It. With

solemnity.
Con somma espresslone (k6n som'ma Cs-pr6s-

si-6'ne), It. With very great expression.

Consonance. An accord of sounds agreeable
and satisfactory to the ear ; the opposite to
a discord or dissonance. See Concord.

Consonant. Accordant, harmonious.

"( A conso-
) nauce, a

To harmo-

With a so-

With the

Consonantamente (k6n-s6-nan-ta-m6n'te), It.

Accordantly.

Consonantla (kon-so-nan'tsi-S,), Lat. Accord,
agreement of voices.

Consonant sixths. The major and minor
sixths.

Consonant thirds. The major and minor
thirds.

Consonanz (kon-so-nants'), Ger.
Consonanza (kon-so-nan'tsa), //.
coucord.

Consoniren (kon s6-ne'r'n), Ger.
nize ; to agree in sound.

Con sonorita (kon so-no-ri-ta'), It.
norous, vibrating kind of tone.

Con sordini (kon sor-de'ni), It. pi
mures. This indicates: (1) in pianoforle-
playiug that tlie soft pedal has to be used;
(2) "in violin, viola, etc, playing, that a
mule has to be placed on the bridge ; (;5) in
horn, trumpet, etc., playing, that n mute
has to be inserted into ihe bell. Sordini is
the plural of tiordino. ( V. Sordino.)

Con spirito (kon spe'ri-to). It. With spirit, life,
energy.

Con strepito (kon stra'r>i-t6\ It. In a boister-
ous manner, with impetuosity.

Con stromenti (Von stro-mg-^'tl'). It pi. \
Con strumenti (kon stroo-men'tl), It. pi. j
With the instruments; meaning that the or-
chestra and voices are together.

Consuavezza(^6nsoo-a-vet'tsa), j. 1 With
Con suavita(k6 i soo-a'vx-ta), j sweet-

ness and delicacy.
Cont. An abbreviation of Contano.
Contadina (kon-ta-de'nii), J^. A country dance.

Contadinesco (kon-tii-di-nes'ko), It. Rustic,
in u luiul style.

Contano (kon-ta'no), It. To count, or rest; a
term applied to certain parts not ])la\ed for
the time being, while tho other parts move
on.

Con tenerezza (kon te-nC-rCt'tsa), It. With ten-
derness.

Con timedezza (kon te-m(5-d6t'tsa), It. With
timidity.

Continto (kon ten'to). It. With various shades
of expression.

Continuato (kon-te-noo ii'to), It. Cjntinued,
held on, sustained.

Continued bass. See Basso continuo.

Continued harmony. A h^rraonv that docs
not change, though the ba&s varies.

Continued rest. A rest cr>"tinuing throui:h
sever- ^^""
al sue- 1
cessi
mef

uros, the number of moastircs being indi-
cated by a figure over a whole rei>t.

Continuo (kon-te'noo-o), //. Without cessa-
tion.

Plaj.-
2 2 3 3 2 3

4 2 3 .■> 2 3

a arm, & add, a ale, 6 end, e eve, i ill, I isle, 6 old, 6 odd, oo moon, H but, ii Fr. sound, kh Ger. ch, nh nasal.

(84)

CON

DICTIONARY OF MUSIC.

CON

Continuous horizontal line. A Hue iudicat-
iug luai the passages are to be played as unj-

S0i;8.

Contra (kon'tra), It. Low, under.

Contrabassist. A double-bass player.

Contrabass (k6n'tra-bas), It. ) The

Contrabbasso (,k6u'trab-bas-&6), It. V double

Contrabass viol. ) bass.

Contraddanza (kon-trad-dan'tsti), It. A coun-
try dance.

Contra=fagotto (kon'tra- fag-got' to), It. The
double bassoon ; also the name of au organ-
stt'p of 16- or 32-feet scale.

Contr' aiti (kon-tral'te). The higher male
voices, usually called counter tones.

Contralto (kon-tral'to) It. The deepest species
of female voice.

Contranquillezza(k6n tran-kwil'16t-tsa), t. )

Con tranquiilita (kon tran-kwil-lit-ta') j

With tranquillity ; with calmness.

Contraposaune(k6u'tra-p6-zou'n6), Ger. Dou-
ble tromboue ; a 16- or 32-reed stop in an
organ.

Contrappuntista (kon-triip-poon-tez'ta), //.
One skilled in counterpoint.

Contrappunto (kOn-trap-poon'to), 7^.» Coun-
terpoint.

Contrappunto alia decima (kon-trap-poon'to
al'lii da'tshi-ma), It. A species of double
couuterpoitit, wbere the principal counter-
point may rise a tenth auove, or fall as much
below, the subject.

Contrappunto alia mente (kon-trap-poon'to
al'lii men'ie), It. See Cliant sur le livre.

Contrappunto doppio (kon-trap-poon'to dop'-
Y>i-6), It. Double counterpuint.

Contrappunto doppio alia duo decima (kon-
trap-poon'to d6(./pi-6 al'lii duo o da'tshi ma),
It. Double counterpoint in the twelfth.

Contrappunto sciolto (kon-triip-poon'lo she-
ol'to), It. A free counterpoint.

Contrappunto sopra il soggetto (kon-trap-
poou'io so'prii el s6>l-j6t to). It. Counter-
point above the subject.

Contrappunto sotto il soggetto (kon-trap-
poon'to soi'to el s6d'jet-t6), It. Couuierpoiut
below the subject.

Contrappunto syncopato (kon-triip-poon'to
sen-ko-pii'io), It. The syncopation of one
part for the purpose of producing discord.

Contrapunkt (kon'tra-poonkf), Ger. Counter-
point.

Contrapunctum floridum (kon-trii-poonk'-
tooin flo'ri-doom), Lat. Ornamental coun-
terpoint.

Contrapunctum in decima gravi (kon-trii-
poonk'toom ia da't^i-mil gra've), Ldt. A
term given to double counterpoint when
the parts move in tenths or thirds below
the subject.

Contrapuntal. Relating to counterpoint.

Contrapuntist. "^

Contrappuntista (k6n-trM.p-poon-tez'ta), It. J
One skilled In counterpoint.

The

Contrapuntus simplex (k6n-trti-poon' toos
sim'pl(5xj, Lut. ISimple couuterpoint.

Contr' arco (k(3n-triir'k6), ft. Bowing an iu-
struiue it in a manner contrary to rule.

Contrario (koa-tra'ri-O), It. Contrary.

Contrary bow. A reversed stroke of the bow.

Contrary motion. Motion in an opposite di-
rection to some other part; one rising as the
other falls.

Contrassoggetto (k6n-triis-s6d-j6t't6), It. The
counter subject of a fugue.

Con trasporto (kon triis-por'to), It. With an-
ger, excitement, passion.

Contra tempo (kou-tra t6m'p6), //. Against
the time ; syncopation, one part moving in
a slower progression than the other parts.

Contra tenor. See Counter tenor.

Contratone (kou'trii-t6-n6), Ger. A term ap-
plied to the deeper tones of the bass voice.

Contra violone (kon-trii ve-6-16'n<5), It. \

Contre=basse (kdntr-bass), Fr. J

double bass.

Contredance (k6ntr-danhs), Fr. A country
(lance, a dance in which the parties engaged
stand in two opposite ranks.

Contra partie (k6ntr par-te), Fr. The second
part.

Contrepoint (k5ntr-pwanh), Fr. Counter-
point.

Contre=sujet fkOntr-sii-zha). Fr. The counter
subject, or second subject in a fugue.

Contre=temps (kOntr-tiinh), Fr. Syncopation,
driving notes, notes tied and accented con-
trary to the natural rhythmic flow of the
measure.

Contretenour (k6ntr-t6-noor'), Fr. Counter
tenor.

Con tristezza (kon trez-t6t'tsa), It. With sad-
ness, with heaviness.

Contro (kon-tro). It. Counter, low.

Con tuttaforza (kon toot-tiifor'tsa), j. \

Con tutta la forzaikou toot-ta, lii for'tsii), • \
With all possible force, with the whole
power, as loud as possible.

Con variazone (kon vii-rI-ii-tsi-o'n6), It. With
variations.

Con veemenza (kon va-a-m6n'tsa), It. With
vehemence, force.

Con velocita (kon v6-16-tshl-tii'). It. With ve-
locity.

Conversio (kon-vCr'si-o), Lat. Inversion in
counterpoint.

Con vigore (kon ve-g6'r5). It. With vigor,
sprigntiiuess, strength.

Con violenza (kon ve-6-16n'tsa). It. With vi-
olence.

Con vivacita (kon ve-vil-tshl-ta'), j, \ With
Con vivezza (kon ve-vCt'tsa), / liveli-

ness, vivacity, animation.

Con voce rauca (kon vo'tshe ra/oo-kti), It.
With a hoarse or rough voice.

a arm, & add, a aXe, <^end, e eve, I ill, i isle, 6 old, 6 odd, oo moon, tl but, u Fr. sound, kh Oer. ch. nh nasal

C«5)

co^

DICTIONARY OF MUSIC.

COR

Con volubilita (kou v6 loo-be-li-ta'). It. With
volubility, with fluency and freedom of
performance.

Con zelo (kou tga'lo), It. With zeal.

Con 8va. An abbreviation of Con ottava.

Con 8va ad libitum. With octaves at pleas-
ure.

Coperto (ko-p^r'to), It. Covered, muffled.

Coppelt'lote (kop'p'l-flo-tfi), iTcr. Coupling-
tiuif ; an organ-stop of the clarabella or
stopped diapason species, intended to be
used in combination with some other stop.

Copula (ko'poo-la), Jf. I A coupler. An ar-
Copule (ko-piil'), Fr. j rangenient by which
two rows of keys can be connected together,
or the keys connected with the pedals.

Copyright. The exclusive right of an author
or his representative to print, publish, or
sell his work during a specified term of
years.

Cor. An abbreviation of Cornet.

Cor (k5r), Fr. A horn, commonly called the
French horn.

Corale (k6-ra'16), II. Choral ; the plain chant.

Cor anglais (k6r iiuh-glas), Fr. "English
horu." This instrnraent is a large-sized
oboe, with a compass from e to a". But
as the coi' anglais is a transposing instru-
ment, and sounds a perfect fifth lower than
the notes written for it, these latter extend
from b to e'

A slow dance in

3-2 or 3-4 time.

Corda (kor'dii), It. A string ; una confn, one

string. Used to denote the soft pedal on

the piano, as against tre carde, three strings,

or the full power of the instrument.

Cordatura (kor-da-too'ril), It, The scale or

series of notes by which the strings of any

instrumeut are tuned.
Corde (k6rd), Fr. A string.
Corde a boyau (k6rd a bwa-yo), Fr. Catgut;

strings for the violin, harp, etc.
Corde a |our (k5ra ii zhoor), t, | Ati open
Corde a vide (kord a ved), ' j string on

the violin, viola, etc.

Cor de chasss (k5r dah shass), Fr. The hunt-
ing horn ; the French horu.

Corde de luth (k6iJ duh loot), Fr. A lute-
string.

Corde fausse (kOrd foss), Fr. A false or dis-
sonant string.

Cor de postilion (k6r dilh pos-tel-yonh), Fr.
Posiillion's horn.

Cordes de Naples (kOrd dflh Na-pl), Fr. The
strings imported from Naples for the vio-
lin, harp, etc.

Cor de signal (k5r diih sen-yai), Fr. A bugle.

Cor de vaches (k6r dCi vii-sha), Fr. The cow-
boy's hoin.

Corde vuide (k6rd vwed), Fr. An open string
on the violin, viola, etc.

Corante (k6-ran't6), j, "I
Coraato (ko-rau'to), * /

Cordiera (k6r-di-a'ra). It. The tailpiece of a
violin, viola, etc.

Cordon de sonnette (k0r-d6nh ddh s5n-nat),
/'/■. A bell I ope.

Coreografia(ko-re-o-gra-fe'a), It. The method
of describing the figures of a dance.

Coriambus (ko-ri-am'boos), Gr. In ancient
poetry, a foot consisting of four syllables,
the first and last long and the others short.

Corifeo (ko-ri-fa'o), Ji. The leader of the dances

in a ballet.
Corista (ko-res'ta), It. A chorister.

Cormorne. A soft-toned horn ; also a reed-
stop in English organs. See Cremona.

Corn (korn), Wei. A horn.

Cornamusa (kor-na-moo'za), It. A species of

bagpipe.
Cornamute. A wind instrument, a species of

bagpipe.
Cornare (kor-na're), It. To sound a horn or

cornet.
Come (k5rn), Fr. A horn.

Corne de chasse (k6ru ddh shass), Fr. See

Cor de chatine.
Cornemuse (k5r-nuh-muz), Fr. Bagpipes.

Cornet. (1) An obsolete wind instrument,
generally made of 'wood, of which there
were several kinds, of different sizes. ( V.
Cornefto.) (2) The name of several organ-
stops, generally mixtures of 3 to 5 ranks. (3)
A brass instrument of the trumpet family.
( V. Cornet a pistoiis.)

Corneta. \ A name sometimes applied to a

Cornetto. j reed-stop in an organ of 16-feet
scale.

Cornet a bouquin (k5r-n6t ii boo'kanh), Fr.
Cornet ; bugle horu.

Cornet a pistons (k6r-nCt ii pes-t6nh), Fr. A
brass instrument of f^^e trumpet family with
valves (g. v.), by means of which a chromatic
scale can be produced. It is usually in the
key of Bt>, and has one or more crooks (A,
A\f, G), and, therefore, the notes written for
it (from ftf toe'") sound a tone, minor third,
niMJor third, or peifect fourth lower. The
soprano cornet is in the kt y of E[>. Cornets
in other keys are also to be met with, but
are less common than those above men-
tioned.

Cornet dreifach (kor-ngf dri'fiikh), Ger. Cor-
net with three ranks, in German organs.

Cornctt (kor-ngf), Ger. \ . „f..„p^

Cornetta (kor-nfit'tii), It. j ^ cornei.

Cornetica(kdr-na'ti-kii), .''p. ") A small cor-

Cornettino (kor-nfit-te'no), It. J net.

Cornetto (kor-nCt'to), It. A cornet.

Corn! (lior'ne), It. pi. The horns.

Cornist. \ A performer on the cornet or

Corneter. j horn.

Corniste (k6r-uest'), Fr. A plaj-er upon the
horu.

Corno (kor'no), It. A horn.

?. arm, a, add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd. oo moori, H but, u Fr. sound, kh Ger. ch, nh nasal.

m

COR

DICTIONARY OP MUSIC.

COIT

COrno alto (kdr'uo ftl'to), It. A horu of a high
pi.ch. See Horn.

Corno basso (kor'no bas'so), It. A bass horn,
a iiur.i of a low pitch.

Corno crotnatico (kor'uo kro-mti-tl-koi,/^ The
curouiaiic iiorii.

Corno di bassetto (kor'no de has s6t'l6^ It.
The Vjasset lioru. A species of clarinet a
fiftli lower than the C clarinet. (2) A deli-
cate-toued reed-organ stop of 8-feet scale.

Corno di caccia (kor'no de kat'tshi-a), It. The
hantiag, ur French horu.

Corno dolce (kor'no dol'tshg), It. Soft horn ;
an organ-stop, occurring both in tbe man-
uals and pedals.

Corno in B basso, It. A low B horn.

Corno inglese (kor'no en gla'z^), It. The Eug-
lish horu, an alto oboe.

Cornopean. An organ-reed stop of 8-feet pitch
hud broad scale; also a wind instrument of
the trumpet species. See Cornet d pistons.

Corno primo (kor'no pre'mo). It. The first

iMfi!.

Corno quarto (kor'uo kwiir'to), It. The fourth
horu. .'

Corno quinto (kor'uo kwin'to), It. The fifth

horu.

Corno secondo (kor'uo s6-k6n'd6), It. The sec-
ond h »rn.

Corno sordo (kor'no sor'do), It. A horu with
da ;pers.

Corno ventile (kor'no v6n-te'l?\ It. \

Cor omnitonique (k6r 5nh-ni-t6-nek), Fr. j

Chromatic horn , with valves or keys for pro-

duciug the semitones.

Coro (ko'ro), It. \ A choir, a chorus, a piece
Coro (ko'io), 8p. j for many voices.

Corona (ko-ro'na), r/ I A pause or

Coronata (ko-ro-uii'ta'i, ^^- J hold (^).

Coro primo (ko-ro pre'mo), /if. The first chorus.

Corps ^kor), Fr. The body of a musical iu-
sL.um ut. (2) A band of musicians.

Corps de ballet (kor dilh bai-la), Fr. A gen-
eia.1 name for the performers in a ballet.

Corps de voix (kor dUh vwa), Fr. Body or
lu Iness of tone.

Corrente fk6r-r6n't6). It. An old dance tune

ill hh) v triple time. See Coranto.
Correpetiteur (k6r-ra-pa-ti-tiir'), Fr. \ A mu-
Corripetltore (kor-ri-p6-ti-to'r6), It. | sician
who iustrucis the chorus singers of the
o:».r.i.

Coryphjeus (ko-rl-fa'oos), Gr. The conductor

of the chorus. See Cori/eo.

Coryphee (ko-ri-fa\ Fr. The leader or chief
of tue group of dancers in a ballet.

Cosaque (ko-sak), Fr. The Cossack dance.
Cotil. An abbreviation of Cotillon.
Cotition (ko-tel-ydnh), Fr. Lit., " petticoat."
•• A social game iu form of a dance." The

cotillon has no characteristic music. A
waltz, j.>al"p, or any other dance tune is
used for the purpose.
Couac (kwftk), Fr. The " quack " of the clar-
inet, oboe, and bassoon, caused by a bad
reed or reeds, deranged keys, wearied lips,
etc.. which iu English is "also called the
•' goose."

Coule (koo-la'), Fr. {V Slurred, legato. (2)
A gra(!e consisting of two or three ascending
or descending note.s, forming, as it were, a
double or triple appoggiatura.

Counter. A name given to an under part, as,
couuler teuor.

Counter bass. . A second bass.

Counter dance. See Confredanse.

Counterpart. The part to be applied to an-
other, as, the bass is the counterpart of the
treble.

Counterpoint. Point against point. (1) The
an of jiddiug one or more parts to a given
part. (2) A part or parts added to a given
part.

The eciutrapuntal style is distingiiished
from the liarm mic iu'this, that whilst the
latti'r consists of a melody acconipanied by
chords, ilvj former is a simultaneous com-
bination of several melodies, or melodic
part-<. The supreme contrapuntal forms are
Canon ami Fugue.

In teaching counterpoint, theorists assume
generally five species; (a) Note against note
— aseniibreve against a semibreve; (b) two
notes against one -two minims against a
semibreve; (c) four notes against one— four
crotchets against a semibreve; (d) synco-
pated counterpoint— the second minim of
one bar tied to the first of the following bar
against, a semibreve entering on the first part
of each bar; (e) florid counterpoint— a mix-
ture of the three preceding species.

Further, counterpoiut is divisible into
simple and double counterpoiut. The lat-
ter differs from the former in this, that its
parts are invertible, i. e., may be transposed
an octave, or ninth, tenth^ twelfth, etc.,
above or below one another. Counterpoint
is called triple vvben three, aud quadruple
when four parts are mutually invertible.

Counterpoint, double. A counterpoint that
admits of an inversion of the parts.

Counterpoint, equal. Where the notes are of
equal duraiion.

Counter subject. (1) The second theme in
double fugues and fugnes with two subjects
in distinction from the principal subject.
(2) The subject accompanying the answer
(the resumption by one part of the subject
proposed by another) of a fugue. But 'the
accompaniment of the answer gets this name
only when it is retaiued throughout the
fugue. (3) A melody forming a counter-
point against a cautus firmus.
Counter tenor. Male alto voice. ( V. Alto.)
Countertenor. High tenor; the highest male
voice. It is generally a falsetto.

Ixarm, a add, a ale, 6 eiui, e eve, i ill, I isle, 6 old, 6 odd, oo moon, Ci but, ii Fr. sound, kh Ger. ch, nh nasal.

(87)

cou

DICTIONARY OF MUSIC.

CRO

Counter tenor clef. The C clef, when placed
on the third liue.

Counter theme. See Counter subject.

Country dance. Whether " country " means
hero simply " rustic," or has to be regarded
as acorruption of *' contra," is still a matter
of C')ntroversy. But whatever the right iii-
terpretaiiou may be, a country dance is a
contra dance. One writer defines it as "a
dance in which partners are arranged oppo-
site to each other." Another writer, after
remarking that at the commencement the
gentlemen are arranged on one side and
the ladies on the other, proceeds thus in
his description of the dance: "In its fig-
ures the dancers are constantly changing
places, leading one another back and for-
ward, up and down, parting and uniting
again. The numerous different figures,
which give an interest to this dance, are
generally designated with a particular
name. The music is sometimes in 2-4 and
sometimes in 6-8 time" ("Chambers's En-
cyclopaedia"). To this has, however, to be
added that these are the most common,
but not the only times in which country-
dance tunes have been composed.

Coup de baguette (koo dtih ba-gw6t), Fr. Beat
oi the drum.

Coup de cloche (koo dQh kl6sh), Fr. Stroke of
the clock.

Couper le sujet (koo-pa Kih soo-ja,, Fr. To
curtail or contract the subject or theme.

Coupler. See Copula.

Couplet (koo-pla), Fr. } A stanza, or A'^erse;

Couplet. I two verses or lines of

poetry forming complete sense.
Coups d'archet (koo dar-sha), Fr. Strokes of

the buw ; ways or methods of bowing.
Courante (koo-riinht), Fr. Running; an old

dance in triple time. The second part of

a suite, usually in passage work,

Courtal (koor-lal), ^ An old instrument;

Courtaud (koor-to), Fr. > a species of short
Courtaut (koor-to), ) bassoon.

Covered consecutives. Implied consecu-

tives.
Covered octaves. Consecutive octaves that

ure implied in the movement of the voices.

C. P. Abbreviation of Colla parte.

Cr. )

Cres. r Abbreviations of Crescendo.

Cresc. )

Cracovienne (kra-k6've-6nn'), Fr. A Polish
dance in 3-4 time. Similar to the mazurka.

Cravicembalo (kra-vi-tsh6m-ba'16). It. A gen-
enil name for all instruments of the harp-
sichord species.

Creio (kra'dS), Lat. I believe. Third part of
iLe Catholic mass.

Crembalum (kr6m-bii-loom), Lai. A jew's-
harp.

Cremona (krC-mo'nii), It. An organ-stop ; the
name of a superior make of violins from

the place where the violin was perfected-—
Cremuua, in Italy.

Cremcrn. A reed-organ stop of 8- feet scale.

Cres. al forte, or, al ff . Increasing as loud as

possible.
Cres. al fortissimo. Increasing to very loud.
Crescendo (kr6-sh6n'do), It. A word dpnot-

ing a gradually incrtasing power < f tone;

it is often indicated by the sign -=r.

Crescendo al fortissimo (krg-suCn'do til for-
tes'si-mo). It. Increase the tone until the
greatest degree of power is obtained.

Crescendo al diminuendo (krg-shgn'do al ^
de-nie-noo-6nd6). It. I

Crescendo e diminuendo (kr6-sh6n'd6 a I
de-me-noo-6fi-(i6), Jf. r

Crescendo poi diminuendo (krg-shgn'do
p6-e de-me-noo-^ii-do). It.

Increase and then diminish the tone ; in-
dicated often by the sie,n -===-

Crescendo e incalcando poco a poco (kr^-
shen'do a eu-kai-kaii-c(6 po'ko a po'ko), Jt.
Increasing the tone and hurrying the time
by degrees.

Crescendo il tempo (krg-sh6n'doel tfim'pd), It.
lucreabe the time of the movement.

Crescendo nel tempo e nella forza (kre sh6n'-
do n6l t$iu'po a ngl'la f6i't!saj, It. lucrense
in time and power.

Crescendo poco a poco (kr6-sh6n-d6 po'ko a
po'ko), It. Increasing the tone by little and
little.

Crescent. A Turkish instrument made of
small bells hung on an inverted crescent.

Cres. dim. An abbreviation of Crescendo e
diminuendo.

Cres. e legato (krfis. a 16-ga't6), It. Crescendo
and legato.

C, reversed. A sign in old music of a dimi-
nution ot one half the value of the notes.

Croche (krosh), Fr.
note.

A quaver, or eighth

Croche double (krosh doo-b'l), Fr. A '^
semiquaver, or sixteenth note, 1^

Croche pointee (krosh pwiin-ta), Fr. A ipzz
dotted quaver, ^cz

Croche quadruple (krosh kwa-drii-pl), Fr. ipi
A hemidemisemiquaver, or sixty-fouKth itfz
note. v"

Croche triple (krosh tre-pl), Fr. A demi- 5^
semiquaver, or thirty-second note. :j^

Crochet (kro-sha), Fr. The hook of a quaver,
semiquaver, etc.

Croma ^kr6'ma), It. A quaver, or eighth note.

Cromatica (kro-ma'tl-ka j^ ) Chromatic, re-
Cromatico (kid-mii'ti-ko Jfernug to iiiter-

va.s and scaks.
Crome (kro'mS), It. pi. Qunvers ; whpn writ-
ten uudercrotchetsor m.nims, it shows that
thosi notes are to be divided into quavers.

&arm,&add, a, ale, Send, eeve, iill,iisle,6old, 6 odd, oomoon,-Q.but,\x Fr.sound, kh Oer. ch. nh nasal.

(88)

CRO

DICTIONARY OF MUSIC.

OW

Cromhorn (krom'horn), Ger. A reed-stop in

an organ.
Crommo (krom'mo), It. A choral dirge or

lamentation.
Cromorne (kr6-m6rn), Fr. The name of a

family of obsolete reed wind instruments.

In Germany it was called Krummhorn

(crooked horn). Cromorne is said to be a

corruption of cormorne {cor, horn ; viorne,

dim, gloomy).
Crooked flute. An Egyptian instrument in

the shape of a bull's horn.

Crooked hdrn. \ The buccina ; a wind
Crooked trumpet. ) instrument of the an-
cients.

Crooks. Curved tubes which are inserted into
horns, trumpets, etc., for the purpose of al-
tering the key. The A crook, for instance,
in making the tube of an instrument in Bt>
longer, makes its pitch also a semitone
lower.

Cross. The head of p lute; a mark for the
thumb, placed over a note.

Cross flute. A transverse flute, a German
Hate, so called in distinction from the flag-
eolet, played from the end, like a clarinet.

Crotale (kro-tiil'). i^J*. | Anancientmu-

Crotalo (kro'alo), It Vsical instrument,

Crotalum (kro ta'loom),(?r. ) n s e d by the

priests of Cybele. From the reference made

to it by different authors it seems to have

been a small cymbal or a species of Castanet.

Crotales. Little bells.

Crotchet. A note equal in value to half a ipi
minim. ±z:

Crotchet rest. A rest equal in duration jpz
to a crotchet. ziz

Crowd, Eng., Crwth (krooth). Wd. A more
or less lyre-shaped instrument, the strings
of which were originally tv/auged ; after-
wards it was also played upjn with a bow,
modifications of structure being conse-
quently introduced.

Crowle. An old English TvJ/id instrument of
the bassoon species.

Crowther. See Croivder.

wrucifixus (kroo-ts^-fix'oo.^), Lat. Part of the
C)xao in a mass.

Cruit (kru-it), Iri. An ancient musical in-

sTument of the Irish. See Cnvth.
Crt^pezia (kroo-pa'zi-a), Gr. Wooden clogs

worn by the Greek musicians in beating
time.

Crutchetam. Name originally given xo the
croichei.

Crwth (krooth), Wd. An old Welsh instju-
,ment, having six strings, resembling the\i
olin.

C. S. The initials of Con sordino.

Csardas (tsiir-das), Magyar. A Hungarian
(Magyar) dance in 2-4 or 4-4 time. Triple
time is very exceptional, and not true to
the national character. The Csdrdiis (from
Vsdnla, inn on the heath) is often preced-
ed by a moderate movement called Las»u
(from Z-mssa/t. slow). The quick movement
is called Fris (from the German Frisch,
fresh, brisk, lively).

C-Schliissei (tsa'shliis-s'l), Ger. The C clef.

Cto. Abbreviation of Concerto.

Cuclear (koo-kla-iir'), Sp. To sing as the

cuckoo.
Cue. The tail, the end of a thing. The last

words of an actor on a stage, serving as an

intimation to the one who follows, when to

speak and what to say.

Cum cantu (koom kan'too), Lat. With song,

with singing.
Cum Sancto Spiritu (koomsank'to spe'ri-too),

Lat. Fart of the Gloria in a mass.
Currendaner (koor-rgn-dii'ner), p "ISchool-
Currende (koor-r6n'de), ^ ' ) boys,

or young choristers, chanting in procession

through the streets.

Custo (koos-to, 7<. \A direct ^W. A
Custos (iioos't6s),-La/. j mark sometimes

placed at the end of a staff to indicate the

note next following.
Cylinder. Part of the horn. (Ventil, piston.)

Cymbales (sanh-biil), Fr. ) Circular metal
Cymbals. | plates used in

bunds, usually in combination with the
great drum ; they are clashed together, pro-
ducing a ringing, brilliant effect.

Cymbalum (tsim-bil-loom), or,Cimbalum. Lat.
Instrument of the dulcimer kind, used by
the gypsies.

Cymbale (sanh-biil), Fr. ) A mixture organ-

Cymbel (tsim'b'l), Ger. /stop of a very acute
quality of tone.

Cypher system. An old system of musical
notation, in which the notes were repre-
sented by numerals.

o; "n, a add, a ale, & end, e eve, 1 ill, 1 isle, 6 old, 6 odd, oo moon, U hut, ii Fr. sound, kh Ger. ch, nh Ha.<aL

(89)

MCTIONARY OF MUSIC.

T)a:\

13

D. The second Bote in the diatonic scale of C.

Da (dii), It. By, from, for, through, etc.

Dabbuda fdab-boo-dii'). If. A psaltery, a spe-
cies of harp.

Da capo (dJl kii'po), It. From the beginning ;
an expression placed at the end of a move-
ment to indicate that the i)erformer must re-
turn to the first strain.

Da capo al fine (dii kii'po ill fe'n§). It. Return
to tne beginning and conclude with the
woid Fine.

//.

Da capo al segno (dii kii'po ill san'yo), Jt. lle-
pc-at fruni the sign .;§[••

Da capo fin al segno (dii kii'po fen ill san'yo),
It. Return to the beginniug and end at the
sign :S-:

Da capo e poi la coda (dii kii'po a po'e lil ko'dil).
It. Begin again and then play to the coda.

Da capo senza repetizione, e pbi \e coda (dii
kii'po san-tsii nVpa-ti-tsi-6'n6, a po'e lilko'dil),
//. Begin again, but without repetition, and
then proceed to the coda.

Da capo sin' al segno (dii kii'po sen 'dl san'yo),
//. Return to the beginning and conclude

at the sign .•^:.

D' accord (diik-k6rd'), Fr. \ In tune, in
D' accordo (diik-kor-do), It. J concord, in har-
mouy.

Dach (diikh), G€r. Lit., "roof." The upper
part of the sound-box of a stringed instru-
ment.^ The belly of a violin, etc.

Da chiesa (da ke-a'za), It. For the church.

Dactyl (diik'til), Lat. A metrical foot, consist-
iug of one long syllable, followed by two
short ones, marked thus, — ^^.

Dactylion (diik-til'i-6n), Gr. An instrument
invented by H. Herz, with a view to assist
pianists in making their fingers independen t
and of equal strength and suppleness. It
consists ot ten rings that haug above the
keyboard and are fastened to steel springs.

Dactylus (dilk'ti-loos), Lat. See Dactyl.

uada. A term used in drum music to indi-
cate the left hand.

DaJna (dil-e'nil). ) A kind of Lithuanian
Dainos (dii-e'uos). | folksong that has love and

friendship for its subject. Dainos is the

plural of daina.

Daire. The tambourine, or hand drum.
Daktylus (diik'ti-loos), Gr. A dactyl.

Dagli (dal'yi),
Dal (dill),
Dair (diilT),
Dallafdiil'lii).
Dalle ((lill'16),
Dallo (dill'lo),
sing.), i, (]li (m

Contractions of the
preposition da, and the
masculine and femi-
nine, i-ingularfud plu-
ral, forms of the defi-
nite article il, In (m.
plur.), la (f. sing.), le (f.

plur.). From the, by the, of the, etc.

Da lontano (dii lon-tii'no\ //. "At a distance;
ib.e music is to sound as if far away.

Dal segno (dill san'yo). //. From the sign ••jS--
A mark directing a repetition irom the sign.

Dal segno alia fine (dill san'yo iil-lil fe'u^), It.
From ihe sign lo the end.

Dal segno fin al segno (dill san'yo fen ill san'-
yoi, If. Fiom isigu lo sign.

Dal teatro (dill ta-ii'tro). It. In the style of
iheuter music.

Damenisation. The syllables da, me, ni, po,
tu, la. be, which Graun employed in his sol-
mization.

Damper. A little cushion of felt connected
with the piano-key in such a manner that,
being raised when the key is depressed, )'.
permits the string to vibrate. \Vhen the key
is released the damper falls upon the string
and stops the vibration. (2) The mute of
brass instruments.

Damper^pedal. That pedal in a pianoforte
whlcn raises the dampers from the strings
and allows them to vibi ate freely. Its use
is indicated by the abbreviation ped.

Dampfen (dam'pf?n),<?6r. To muffle, or dead-
en, the tone of an instrument.

Dampfer (dam'pfCr), Gcr. A mute, or damper.

Dance, morrice. "^ A dance in imitation of

Dance, morris. Vthe Moors, usually per-

Dance, morriske.j formed by young men

dressed in loose frocks, adorned with bells

and ribbons, and accompanied by castanets,

tambours, etc.

Dances. Certain tunes composed especially
for dancing.

Danklied (diink'led), Ger. A thanksgiving

song.

Danse (dilnhs), Fr. A dance tune.

Danse contra (dilnhs kOntr), Fr. A country

dance, a quadrille.
Danse de matelot (diinhs dOh mSt-a-lo), Fr.

A aance resembling the hornpipe.
Danza (dan'fsii), It. A dance.

a arm, S. add, a ale, 6 end, e eve, iill, i isle, 6 old, 6 odd, oo moo7i, H but, ii Fr. sotmd, kh Ger. ch, nh nofol

(90)

DAN

DICTIONARY OF MUSIC.

DEM

Danzetta (dan-tset'tii), It. A little dance, a
short dance.

Da prima (da pre'ma), It. At first ; from the
begiuaing.

Darabukkeh (da-ra-boo'kCh). A small Ara-
bian drnm, made in various forms.

Dar la voce (dar la vo'tsh?), It. To strike, or

give, tiie keynote.
Darmsaite (diirm'si-tg), p ) Gut strings
Darmsaiten (darm'si-t'n), j used for

llie harp, violin, guitar, etc.

Oarsteller (dar'stei-16r), Ger. A performer.

Da scherzo (da skart'so), It. In a lively, play-
ful manner.

Das (diis), Ger. The ; neuter form of definite
article.

Dasselbe (das-sgrb^j, Ger. The same.

Dauer (dou'6r), Ger. The length, or duration,

of notes.
Daum (doum), Ger. The thumb.

Daumenklapper (dou'men-klap-pCr),Ger. Cas-
tanet, snapper.

D. C. The initials of Da capo.

D=dur (da'door), (rer. D major; the-SeyofD

major.

Debut (da'bii), Fr. First appearance ; the first
public performance.

Debutant (da'bii-tanh), p ) A singer or

Debutante (da'bu-tinht), (performer who

appears for the first time before the public.

Decachord (d6k'a-k6rd), J An an-

Decachordon (d6k ii-kor'don), Lat. >-cient mu-
Decacordo (dfik-a-kor'do). It. ) sical i n-

strument of the harp or guitar species, with

ten strings. It was called by the Hebrews

Ilaaur.
Oecamerone (d6k-a-m6-r6'n6), It. A period of

ten days ; a collection of ten musical pieces.

Decani (d6-ka'nl), Lat. pi. In cathedral music
this t^-rm implies that the passages thus
marked must be taken by the singers on the
side of the choir where the dean usually sits.

Decide (de-se-da), _ . Fr 1 With de-

Decidement (dfi-se-da-manh),
with resolution.

I

cision,

Decima (da'tsl-ma), Lat. A tenth ; an inter-
val of ten degrees in the scale, also the name
of an organ-stop sounding the tenth.

Decime (da-sem), Fr. A tenth See Decima.

Decimole. A musical figure formed out of
tlij division of any note or ehord into ten
l)arts, or notes, of equal value.

Decisif (da-se-slf), Fr. Decisive, elear, fi^rm.

Decisione (da-tshe-zi-6'n6). It. Decision, firsa-

UC'SS.

Decisivement (da-se-zev-monh), Fr. Deei-

sively.

Decisive (da-tshi-ze'vo), j^ ) In a bold and
Deciso (da-tshe'zo), j decided manner.

Decke (d<5k'd), Oer. The soundboard of a vi-
olin, violoncello, etc.; also the cover or lop
in those organ-stops which are covered or
stopped.

Declamando (d6k la-man'do), It. With de-
clamatory expression.

Declamatio (dCk-la-ma'ti-6), It. Declamation,
recitative.

Declamation. Dramatic singing. The art of
rendering words with the proper pronunci-
ation, accentuation, and expression. The
mastery of this art is as necessary to the
singer as to the speaker.

Declamazione (d<5k-la-ma-tsi-o'ne). It. Decla-
mation.

Decorative notes. Notes of embellishment,
appoggiaturas, etc.

Decres 1 Abbreviations of Decrescendo.

Decrescendo (da-kr6-sh6u'.d6). It. Gradually
diminishing in power of lone :==-.

Decuplet. A group of ten equal notes, to be
played in an aliquot part of a measure.

Dedicato (dSd-l-ka'to), It. ) Dedicated.
Dedie (da-di-a), i'r. )

Deficiendd (da-fe-tshi-6n'do), It. Dying away.

Degli (dal'ye), 7<. Of the.

Degre (d6-gra'), Fr. A degree of the staff.

Degree. A line or space of the staff.

Del (del), It. Of the.

Delassement (da-lass-miinh'), i^?-. An easy and

agreeable composition.
Deliberatamente (d^-ie-b(3-ra-ta-m6n't6), ri \
Deliberate (d6-le bg-rii'to), (

De.iberately.
Delicatamente (d61-i-ka-ta-men't6), It. Deli-

caiely, smoothly.

Delicatesse (da li-ka-t6ss), Fr. \ Delicacy,

Delicatezza(d$l-i-ka-tet'za). Z<. jr^imed exe-
cution.

Delicatissimamente (del-i-kii-tes-si-ma- )

men'tg), It. >

Delicatissimo (d61-I-ka-tis'i;l-m6), )
With extreme delicacy.

Delicate (dei-i-ka't6),J<. Delicately, snaoothly.

Delie (d6-le), Fr. Loose, light, easy.

Delirio (d6-le'ri-6), It. Frenzy, excitemen..

Deliziosamente (d6-lit-si-6-2a-m6n't6). It. De-
iiciously, sweetly.

Deir (deU), )

Della(d61'la), J. (. Of thp bv thp Ptf'
Delle (dei'lfi), ^''- C ^^ ^^^' ^^ ^^^' ®^^
Dello (derio), )

Dem (d6m), Ger. To the. Dative form of the
definite article.

Demancher (da-miinh-sha), Fr. To change or
alter the position of the hand ; to shift on
the violin, etc.; to cross hands on the piano-
forte, making the left hand play the part of
the right, and vice versa.

a arm, a add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, U but, u Fr. sound, kh Ger. ch, nh nasal.

(91)

DEM

DICTIONARY OF MUSIC.

DlA.

Demandc (dfi-manhd'), Fr. The question, or
proposition, of a fugue ; called also dux, or
leading subject.

Demi (dS-me'), Fr. Half.

Demi^baton (dS-meT>a't5uh),Fr. A breve rest.

Demi^cadence (d6-me1ca-danhs'), Fr. A half
cadence, or cadence on the dominant.

Deinl=staccato (da-me'stak-ka'to), Fr. Half
staccato. The tones slightly separated, but
not so much as in staccato. Demi-staccrtto
differs from nou legato in that the former
is positive and the latter is merely nega-
tive, the tones failing to connect, but nut
being purposely separated.

Deini=mesure (d6-me'm$-zur'), ., )A min-
Demi=pause (d6-me'poz), ( im or

half rest.

Detni^quart de soupir (dO-me'kar dilh F|^
soo-per), Fr. A demisemiquaver rest. P—

Detnisemiquaver. A short note, equal in
duration to one half the Jj ff

semiquaver, made thus, R or thus, 5

Demisemiquaver rest. A mark of silence. ^
equal in duration to a demisemiquaver, */
made thus, ^-

Demi=soupir (de-me'sooper, Fr. A quaver

rest.

Demi^ton (de-rne t5nhj, Fr. | An interval of a
Demitone (dC-me'ton). ) half-tone.

Denoument (da-noo manh), Fr. Conclusion,
the catastrophe of an opera, play, etc.

De plus en plus vite (dtih plii zilnh plii vet),
Fr. Mv.ro and more quickly.

Depressio (dg-prC's'si-o), It. The fall of the
hand ia beaiing time.

Depression, chromatic. Depression by a

clirouiatic sign.

De profundis (dC pro-foon'dis), Lat. " Out
of tlie depths. O Lord.'' Que of the seven
penitential psalms.

Der (dttr), Gcr. The singular masculine form
of the derinite article, and genitive feminine
form of same. '2.) Of the.

Dergleichen (der-gli'kh'n), Gtr. The like.

Derive (d6-re-va), Fr. Derivative.

Derivative cliords. Chords derived from oth-
eis by inversion.

Des (dgs), Ger. The note Dt>. Also genitive
form of definite article. From the, of the.

Desaccorde (daz-ak-kQr-da),Fr. Untuned; put

out of tune.
Desaccorder (daz-ak-k5r-da), Fr. To untune,

to put out (.-f tune.

Descant. Harmony, extemporaneous or rther-
wi.se, sung or ■|)]ayed to a given melody or
theme. See Discunt.

Descant clef. The treble, or soprano, clef.

Descend. To pa.ss from a higher to a lower

tune.
Descendant (de-siinh-danh), Fr. Descending.

Deschant (d6-shanh), Fr. Discant.

Des=dur (dSs'door), Ger. Db major.

Design. A design, or T'lau. Sometimes iised
in place of motive, but more generally to in-
dicate the plan of a larger part of u cumpo-
sition.

Des=moll (d&-m611), Ger. The key of Di? mi-
nor.

Desperazione (d?s-p6-ra-tsi-6'n6), It. See Dis-

jjerazione.

Dessauer Marsch (d6s'sou-§r marsh), Ger. A
famous instrumental march, one of the na-
tional airs of Germany.

Desssn (d(5s-Fanh), Fr. The design, or sketch,
of a compositiou.

Dessus (dCs-siis), Br. The treble, or upper,
part.

Desto (des'to), II. Brisk, sprightly.

Destra (des'tra), It. Right; dcstra mano, the

right hand.
Detache (dfi-ta-shaj, Fr. Detached, staccato.

Determinatissimo (da-t§r-mi-na-les'si-m6). It.
Very ileiermined, very resolutely.

Determinate (da-tt5r-mi-na't6)./^ Determined,
resolute.

Determinazione (.da-tf r mi-na-tsi-6'n6),/i'. De-
termination, resolution.

Detto {det't(3), //. The same.

Deutlich (doit'llkh), Gcr. Distinctly.

Deutsche Flote (doit'shg fio'te), Ger. A. Ger-
man llute.
Deux (dii), Fr. Two.
Deuxieme (dii-zi-am'), Fr. Second.

Deuxieme position (dii-zi-am' p6-ze'si-onh),
Fr. The second position of the hand or lin-
gers in playing the violin, etc.

Devoto (da-vo'io), It. Devotit, religious.

Devozione (da-vo-tsi-6'n^). It. Devotion, re-
ligious feeling.

Dextra (dC'X-trii). Lat.\rr.y^ ... j^ ,
Dextre (dextr), Fr. j ^'^^ ^^S^* ^*"^-

Di (de), //. Of, with, for, etc.

Dialogue. .\ oomposition in which two parts,
or vuices, respond alternately to each other.

Dialog© (de-a-16'go), //. ) . dialn^ne
Dialogue (de-ii-log'), Fr. | ^ dialogue.
Diana (de-a'na), /^ 1 The reveille; the beat
Diane (di-iiu-iih), Fr. (of drums at daybreak.

Diap. An abbreviation of Diapason.

Diapason (de-a-pa's5n), Gr. \ The whole oc-
Diapason(di-a-pa's6n), Eng. j tave. (I) Aii oc-
tavo, (i) The Compass of a voice or instru-
ment. (:;) Pitch ; as lUe diapason normal
of the French. (4) The English name of the
organ-stops which the Italians and Germans
call characteristically "principal" (Princi-
pale, J'riiKtipal). The diapasons are the
most importaut foundation stops of the
organ.

a arm, & add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, iXbut,iX Fr. sound, kh Ger. ch, nh nagaL

(92)

DIA

DICTIONARY OF MUSIC.

DIM

Diapason, open. An organ-stop the pipes of
wliich are open at the tup, and made oi
metal.

Diapason, stopped. An organ-stop, generally
of wood, haviuti Its pipes closed at their np-
per end with a wooden plug by which it is
tuned.

Diapente (de a-p6n't6), Gr. A perfect fifth ;
also an organ-stop.

Diapente col ditono (de-a-pt5n't(5 kol di-to'uo),
Gr. A major seventh.

Diaphonie (de a-fo'ne). ) ;1) Clear, transpar-
Diaphony (de-af-6-ny). I ent; two i>onnds
heard together. (2) In Greek music it meant
dissonance, as symphony meant conso-
nance. (3) Ode of the earliest attempts at
simultaneous combination of notes in the
middle ages. It preceded discant, which in
its tuin was followed by counterpoint.

Oiaphonics (de-a-fon'iks). The science of
iTifrdCLed sounds.

Diaschisma (de-ii-skis'ma), Gr. This term is
to be met with in mathematical calculations
of the ratios of intervals. It is the name of
various small intervals not used in practical
music.

Diastema (de-as't6-ma), Gr. An interval.

Diatonic (di-a-tOnlk). (1) Through the tones.
In modern music.as distinguished from chro-
maiic. A diatonic scale is one consisting of
the tones belonging to the three principal
harmonies of the key, and of no others ; that
is to say, of tonic, subdominant, and domi-
nant, whether the mode be major or minor.
(2) The Greeks distinguished their modes as
diatonic, enharmonic, and chromatic, which
differed J rom each other in the nature of in-
tervals composing them. See Key, mode.

Diatonic flute. A flute capable Of producing
ttie various shades or difFereuces of pitch of
the major and minor r es.

Diatonic melody. A me' /in wliich no tones
foreign to the key are l. jd.

Diatonico (de-a-to'nl-ko). It. '\
Diatonique (de-a-t6nh-nek'), Fr. >-Diatonic.
Diatonisch (de-a-ton'ish), Ger. )

Diatoniquement (de-a-t6nh-nek'manh), Fr.

Uiatouicaily.

Di bravura (de bra-voo'ra), It. In a brilliant,
florid style.

Di chiaro (de ke-a'ro), It. Clearly.

Dichord idi-k6rd), Gr. (1) A two-stringed in-
strument. (2) An instrument the strings of
which are tuned in pairs.

Dichten (dihk't'n), Ger. To compose metric-
ally.

Dichter (dihk'tgr), Ger. A poet, a minstrel.

Di colto (de kol'to), It. At once, instantly,
suddenly.

Didactic. That which is calculated to in-
struct.

Die (de), Ger. The plural form of the definite
article. Also feminine singular.

) To rai.se the pitch
J of a note, either at

Diesare (de-a-zJi're), It.

Dieser (di-a-za), jPr. J of a note, ^. ^„

the signature or in the course of a composi-
tion, by means of a sharp.

Diese (dl-az), Fr. A sharp (iJ).

Dies ira5(di'gze'ra), Lat. " Davof vengeance,"
a venerable hymn of the Church. Second
movement of the Requiem.

Diesis (de-a'sis), Gr. and It. ) A quarter of a
Diesis (di-a'sis), JPr. j tone;lml(a

semitone. A term which has been applied
to various small intervals, mostlv to inter-
vals smaller than a semitone. (2) "The iianii-
given to the sharp in Italy, and also iu
France.
Dies, music. Steel punches for the purpose
of stamping music-plates.

Diese, double. A double sharp (##).

Die zeu£:menon (de tsig'm6-n6n), Gr. The
third tretachord disjoined from the second.

Difference tones. See Resultant tones.

Difficile (def-fe'tshi-16), It. Difficult.

Digitorium. A small, portable, dumb instru-
ment, with five keys, for exercising the fin-
gers.

Digital exercises. Exercises for strengthen-
ing the fingers and rendering them inde-
pendent of each other.

Dignita (den-}a-ta'), ") Dignity, grand-

Dignitade (den-yi'ta'd6). It. y eur, great-
Dignitate (den-yi-ta't6), j ness.
Di grado (de gra'do), It. By degrees ; step by
step ; in opposition to di salto.

Digressione (de-grgs-si-o'nC), //. A deviation
from the regular course of a piece.

Diletant (de-le-tiinh'), Ger. ) A lover of
Dilettante (de-let-tanh't6). It. jart ; an ama-
teur who composes or performs without
making music a profession.

Dilettosamente (de-l6t-t6-za-m6Li'tC),/^. Pleas-
antly, agreeably.

Dilicatamente (de-li-ka-l!i-m6n't6), It. Deli-
cately, softly. See Delicatamente.

Dilicatezza (de-li-ka-t6t'sa.), //. Delicateness,

softness, neatness.

Dilicatissimamente (de-H ka-tes-si-mii-m^n'-
t6j, It. With extreme softness and delicacy.

Dilicatissimo (de-li-ka-tes'si-rao). It. With ex-
treme softness and delicacy.

Dilicato (de-li-ka'to), It. Soft, delicate.

Diligenza (de-li-j6n'tsa), It. Diligence.

Diligenza, con (de-li-j6n'tsak6n), //. In a dil-
igent and careful manner.

Diludium (di-loo'di-oom), Lat. An interlude.

Diluendo (di-loo-6n'd6), It. Diminishing; a
gradual dying away of the tone until it is
extinct.

D2tti ")

Dimin. j Abbreviations of Diminuendo.

a arm, a add, a ale, eend, e eve, i ill, i isle, 6 old, 6 odd, oo moon, a but, u Fr. sound, kh Ger. ch. nh /vo.>uv.

(93)

DIM

DICTIONARY OF MUSIC.

DIS

Diminished. This word is applied to inter-
vals or chords which are less than miuor or
perfect iulervals.

Diminished chords. Chords that contain
d.miuiblied iucervals.

Diminished fifth. An interval equal to two
whole tones and two semitones.

Diminished fourth. One whole tone and two
semitones.

Diminished imitation. A style of imitation
in which the answer is given in notes of less
value than that of the subject.

Diminished intervals. Those which are one
ci.romatic semitone less than miuor or per-
fect intervals.

Diminished octave. One chromatic semitone
less than a full octave.

Diminished seventh. One chromatic semi-
luue less than a minor suvenlh.

Diminished sixth. One chromatic semitone
less than a miuor sixth.

Diminished third. One chromatic semitone
less than a minor third.

Diminished triad. A chord composed of the
miuor third and the diminished or imper-
fect fifth.

Diminue(dl-men-oo-a'), Fr. Diminished.

Diminuendo (de-me-noo-an'do), It. Diminish-
ing gradually the intensity or power of the
tone.

Diminuer (di-me-noo-a'), Fr. To diminish.

Diminution. In counterpoint this means the
imitation of a given subject, or theme, ia
notes of shorter length or duration ; in op-
position to augmentation.

Diminuzione (de-mi-noo-tsi-o'ne), It. Dimi-
nution.

Di molto (de mol'to), It. Very much ; an ex-
pression which serves to augment the mean-
ing of the word to which it is applied.

D in alt, K. Thefifth notein alt ; thetwelfth
above the G, or treble-clef note.

D in altissimo, It. The fifth note in altissimo ;
the twelfth above G in alt.

D'inganno (den-giin'no), It. An unexpected

ending.
Di nuovo (de noo-6'vo), It. Anew, once more,

again.
Dioxia. A perfect fifth ; the fifth tone, or

sound.
Di peso (de pa'zo), It. At once.
Diphonium. A vocal duet.
Di posta (de pos'tii). It. At once.
Di quieto (de kwe-a'to). It. Quietly.
Direct. A mark sometimes placed at the end
t.f a staff to indicate the note next follow-
ing ('W). To beat time for a musical per-
formance, and to direct the interpretation.

Directeur (di-r^k-tilr'), Fr. The director, or
conductor, of a musical performance.

Direct motion. Similar, or parallel, motion ;
the parts rising or falling in the same direc-
tion.

Director. The conductor, or manager, of a
musical performance.

Direct turn. A turn consisting of four notes,
viz., the note above wrm^n. vu.m.
that over which the V'^'^'liirVI,
sign is placed, the priu- |p P^+^
cipal note, the note ^

below it, and ending with the principal note

Direttore (de-r6t-t6'r6), It. A director. See

Dlrecttur.

Dirge. A musical composition, either vo« al
or instrumental, designed to be performed
at a funeral, or in commemoration of the
dead.

Diritta (de-ret'la), 7/. Direct; straight on, in
ascending or (iesceuding intervals.

Dis (dez), Gcr. The note D±f.

Di salto (de sal'to), It. By leaps or by skips ;
in opposition to di grado.

Disarmonia (dez-ar-m6'ni-a),/if. Discord, want

of harmony.

Discant. Lit., " diverse song." (1) One of
the early phases of counterpoint. The term
signified at first the addition of a melody to
a melody. Afterwards, however, the num-
ber of the parts was not limited. According
to the number of pans employed the d iscant
was double, triple, or quadruple. (2) The
highest kind of the human voice, the so-
prano, or treble. Also the highest member
of a family of instruments, the highest reg-
ister of an instrument, and the highest part
of a composition.

Discantschlussel (diz-kant'shlii-s'l), Grr. The
soprano; the C clef placed upon the first
line, the note upon that line being called C.
It is seldom used now.

Discantstimmen (cliz-kant-s*fm'm'n),o?-, Dis=
cantregister (fiiz-kant'ra-ghis't6r),(rn-. Tiie
organ-stops which comprise only the treble,
not the bass notes. They are also called
Halhe Stimmen, half-stops.

Discantgeige (dis'kant-ghi'gh6), Ger. An ob-
solete term for the violin.

Discantist (dis-kan-tisf), Ger. Treble, or so-
prano singer.

Discantsaite (dis-kant'sl't6),Ger. Treble string.

Discantsanger (dis-kant'sang'^r), Ger. Treble

or soprano singer.
Discantus (dis-kan'toos), Lat. Discant.
Discendere (de-shan'da-r6), //. To descend.
Discepola (de-sha'po-la), It. A female pupil.

Discepolo (de-sha'p6-16). It. Disciple, pupil,

scholar.
Disciolto (de-she-ol'to), K. Skillful, dexterous.

Discord. A dissonj^nt interval, an intervnl
that does not satisfy the enr, but raust s un-
rest. The opposite of a discord is a concord.
(2) A chord which contains one or m' ire dis

a a;»i, a add, a ale, 6 end, e eve, \ill,\ isle, 6 old, 6 odd, oo moon, tl but, u Fr. sound, kh Ger. ch, nh ncwai

(94)

DIS

DICTIONARY OF MUSIC.

DIT

sonant intervals, and which, on account of
its nnsatisfying and disquieting effect, re-
quires to be resolved in to a consonant chord.
{ V. Intio'lnctioa. ) The foregoing are the uses
of this term. AS popularly employed. Prop-
erly sp -aking, liowever, discord isan unmu-
s\v'a\, iiiharmoniousefTect, which may go far
beyond the limits of the permissible. Any
inharmonious combination. A Dissonance
is a discordant combination musically em-
ployed. Inasmuch as consonance depends
upon appreciable relations between the
tones? so related, dissonance and discord de-
pend upon the clashing of vibrations and
the inability of the ear to find a common
measure or principle of unity. These clash-
ings take place in dissonance (q. v.), but the
manner in which a dissonance is used sug-
gests to the ear the resolution, the later en-
trance of the concordant tone which the dis-
sonance had temporarily displaced.

Discordant. A term applied to all discordant
or inharmonious sounds.

Discordante (dls-kor-diiu'te), It. Discordant.

Discordantemente (dis-k6r-diin-t<5-men't6), //.
Discordantly.

Discordare (dls-kor-dii'rS), It. \ To b'e out of
Oiscorder (dis-kor-da', Fr. j tune.

Discorde (d!s-k5rd), Fr. \ p),-„„„_^

Oiscordia (dis-kor'di-a), Lat. j ^iscora.
Discreto (dis-kra'to), It. Discreetly.

Discrezione (dis-krat-tsi-6'n6), It. Discretion,
judgment, moderation.

Dis^dur (dis-door),Ger. The key of D# major.

Disharmonie (dis-har-mo-ne'), Ger. Dishar-
mony.

Disharmonisch (dis-hiir-mo'nish), Ger. Un-
harmonious.

Disharmony. Discord, want of harmony.

Disinvolto (dis-in-vol'to), ,. \

Disinvolturato (dis-in-v51-too-ra't6), • j

Ort-haud, bold, not forced, naturally.

Disis (des-es), Ger. D-double-sharp.

Disjunct. Disjoined. A term applied by the
Greeks to those tetrachords where the low-
est sound of the upper one was one degree
higher than the acutest sound of the one
immediately beneath it.

Disjunct succession. A succession by skips.

Dis=molI (dis-mol),Crcr. The key of D^ minor.

Disonanza (dis-o-niint'sii), It. Dissonance.

Disonare (dis-6-na'rt5), //. To sound discord-
antly.

Di sopra (de so'pra), It. Above.

Disperato(dls-p6-rii'to),J^. Despaired of ; with
desperation.

Disperazione (dis-pO-rii-tsi-o'nfi), It. Despair,
desperation.

Dispersed harmony. Harmony in which the
notes forming the various chords are sepa-
rated from each other by wide intervals.
Strictly, chord positions in which the upper
voices exceed the compass of an octave.

Disposition. The arrangement of the stops
in an organ, disposing them according to
power, quality of tone, etc. (2) Estimate as
to cost and appointment of an organ.

Dissonance. The inharmonious relation of
tones. (See Discorrf.) Strictly speaking, dis-
sonance is the musical employment of dis-
cord. All harmonic combina'tions are dis-
sonant in greater or less degree, except the
imison, octave, major and minor thirds and
sixths, the perfect fifth, and harmonic
seventh. All dissonances are employed as
temporary substitutes for consonants,'in or-
der to render the harmonic motion more
emphatic and appealing. The disappear-
ance of thedis'^onance is generally effected
by the voice having it progressing one de-
gree to the consonant tone displaced. Most
dissonances are ^iihuT Huspensioim, held over
out of a previous chord, Apijuqqlntunis,
struck free upon the beat but resolved upon
the half beat, Passinc) toncK, introduced in
passing by degrees from one chord tone to
another, or Changing tones, where a voice
skips off to a dissonant tone and immedi-
ately returns.

Dissonant chords. All the chords except the

perfect concord and its derivatives.
Dissonant (dis-so-niinh), Fr. \ Dissonant,
Dissonante (dis-so-uan't6), //. /out of tune,
discordant.

Dissonanz (dis-so-nilnts'), Ger. \ Dissonance;
Dissonanza (dis-so-nan'tsii), It. /discord.
Dissonare (dis-so-na're). It. \ To sound
Dissoner (dis-s6-na'}, Fr. > out of tune:

Dissoniren (dis-so-ne'r'n), Ger.j to be discord-
ant.

Dissoni suoni (dis-so ne soo-6'ni), It. Inhar-
monious sounds ; discords.

Distico (dis-te-ko), Sp. A distich.

Distints suoni (dis-teu'ti soo-o'ni), It. Distinct

sounds.

Distinto (dis-ten'to), It. Clear, distinct.
Distonare (dis-to-na're), It. To be out of tune.
Distoniren (dis-(o-ne'r'n), Ger. To get out of

tune; to produce discord either in singing

or playing.

Di testa (de t6s'ta), It. Of the head, in speak-
ing of the voice.
Dithyrambe (de-ti-riihmb), Fr. \ A song or
Dithyrambe (de-ti-ram'b6), Ger. j ode sung in
ancient times in honor of Bacchus ; a wild,
rhapsodical composition.

Dithyrambic(de-thi-ram'bik), Gr. In style of

a dithyrambe.
Ditirambica (de-te-ram'bi-ka), j. IDithyram-
Ditirambico(de-te-ram'bi-k6), ■'^' ) bic.

Ditirambo (de-te-riim'bo), //. See Ditltyranibe.
Dito (de'to), It. The finger.
Dito grosso (de'to gros'so), //. The thumb
Diton (de-tonh), Fr. \ Of two parts or

Ditone (de-tone), Gr. (tones; a major
Ditono (de'to-no). It. f third or interval' of

Ditonus (di-t6-noos),La/. J two whole tones.

a arm, a add, a ale, C end, e eve, i ill, I isle, 6 old, 6 odd, oo moon, H but, ii Fr. sound, kh Ger. ch. nh nasal.

IT

DICTIONARY OF MUSIC.

BOM

Ditty. A song, a sounet ; a little poem to be

feUUJ.

Div. Abbreviation of Divisi, divided.

Divan (de'vaio, Per. Among the Persians a
tirm applied to a seriqs of poems with the
distichs ending in every letter successively ;
a collection of the writings of a single au-
thor.
Diverbia (di-ver'bi-ii), Lnl. \ A musical dia-
Diverbio (de-var'bi-6), /<. jlogue, often used
by the ancients to enrich their drama.

Divertimento (de-v6r-li-m6n'to), It. A short,
ligiit composition, written in a pleasing and
familiar style.

Divertissement (di-ver-tess'miinh), Fr. (1) A
liyht, entertaining composition, consisting
of a series of pieces, which may be in any
form. (2) A composition consisting of a
number of movements or simple tunes
loosely strung together. A potpourri. (3)
Formerly the name of a series of dances or
songs inserted in the acts of operas, ballets,
and plays. (4) Now a short ballet with Ut-
ile or no action, often a mere medley of
dances.

Divisi (rie-ve'zT), It. Divided, separated. In
orchestnil parts this word implies that one
lialf the performers must play the upper
notes and the others the lower notes. The
term has a similar meaning when it occurs
in vocal music.

Division. (1) A variation of a simple theme.
(2) A long n^'te divided into short notes. A
series of notes fv)rming a chain of sounds,
and in vocal music sung to one syllable. To
run a division is to execute such a series of
notes.

Division (di-ve-ze 5nh), Fr. A double bar.

Division du temps (di-ve-ze-5nh dti tiinh), Fr.
Time-table.

Division=marks. Figures with a curved line
above them, showing the number of equal
parts into which the beats are divided
in a group of notes, F> T> Tt T> etc.

Divotamente (de-v6-ta-m6n't6), j. \ Devout-

Divoto (de-vo'to), • jly> i" a

solemn style.

Divozione (de-vot-tsi-o'n6), It. Devotion, re-
ligious feeling.

D. M. The initials of Destra mano.

D^moll (da-moll), Gcr. The k^y of D minor.

DoCflo), It. A syllable applied to the first note
of a scale in sol-faing. In France the " fixed
Do " system prevails, whereby the name Do
is always applied to C or its derivatives (C-
sharp, C-flat) in all keys.

Doctor of Music. The h ighest musical degree
conferred by the universities. It is condi-
tioned upon presenting an extended and
meritorious composition, lasting forty min-
utes or more, for soli, chorus, and orchestra,
together with a satisfactory demonstration
in musical history, theory, etc.

Doglia (dol' yl-a), It. Grief, affliction, sadness.
Doigt (dwa), It. Finger.
Doigte (dwii-ta), Fr. Fingered.
Doigter (dwa-ta), J^r. To finger; the art of
lingering any instrument.

Doigts fixes. (dwii fek-s6), Fr. Fixed fingers.

Del. An abbreviation of Dolce.

Dolcan. Obsolete name for Dulciana, an or-
gan-stop {q. v.).

Dolce (dol'tshg). It. Sweetly, softly, deli-
cately.

Dolce con gusto (dol'tshg kon goos'to), li.
Softly, sweetly, with taste and expression.

Dolce e cantabile (dol'tshg a kiin-tii'bMS), 1'.
Sweet, soft, in singing style.

Dolce e lusingando (dol'tsht^a loo-sen-gan'do),
It. In a solt and insinuating style.

Dolce e piacevolmente espressivo (dol'tshC a
X)e-:i'tsh6-vol-m6n'te Cs-pr6s-se'vo), It. Soft
and with pleasing expression.

Dolce ma marcato (dol'tshg mamar-kii'to), It.
Soft and delicate, but marked and accented.

Dolce maniera (dol'tshS mji-ni-a'ra), //. A
delicate and expressive manner of delivery.

Dolcemente (d61-tsh6-m6n'te). It. Sweetly,
gently, softly.

Dolcezza (dol-tshet'za), //. Sweetness, soft-
ness of tone.

Dolciano (dol-tshi-a'no), j. ") A small bassoon,

Dolcino (dol-tshe'no), j formerly much

used as a tenor to the hautboy.

Dolciss. An abbreviation of Dolcissimo.

Dolcissimo (d6l-tshes'si-mo),7^ With extreme
sweetness and delicacy. A very soft organ-
stop of the dulciana quality.

Dolemment (d6-16m-manh), Fr. Dolefully,

mournfully.
Dolent (do liinh), Fr. \ Sorrowful, mourn-
Dolente (d6-16n't6). It. j ful, pathetic.

Dolentemente (do-l6n-t6-mCn'te), It. Sorrow-
fully, mournfully.

Dolentissimo (do-16n-tes's! mo), It. With ex-
treme sadness ; with very pathetic and
mournful expression.

Dolore (do-lo'rc), It. Grief, sorrow.

Dolorosamente (do-lo-ro-zii mt^n'te), j. \
Doloroso (do-lo-ro'zo), * j

Dolorously, sorrowfully, sadly.

Dom (dom), Ger. A cathedral.

Domchor (dom'kor) , Ger. The cathedral choi r.

Dominant. The name applied by theorists to
the fifth note of the fccale.

Dominant chord. A chord found on the dom-
inant, or fifth, note of the .scale, so called
from its establishing the key and requiring
the tonic to follow it.

Dominante (fi5m i-niinht), Fr. \ The domi-

Dominante (do ml-niin'te), Ger. j nant.

Dominant harmony. Harmony on the dom-
inant or fifth of the key.

a arm, a add, a ale, 6 end, e eve, \ ill, i isle, 6 old, 6 odd. oo moon, a but, ii Fr. sound, kh Ger. ch, nh nasal.

(96)

DOM

DICTIONARY OF MUSIC.

r-

IIH

Dominant section. A section tenniuating on
til J cominou chord of the dominant.

Do:ninicali psalnii(d6-iiil-ni-ka'lesal'me), Lnt.
("ertHia psalms of the Roman Catholic
Church, sung in the Vespers.

Domkirche (d6m'ker'kh6), Ger. A cathedral.

Dona nobis pacem (do'na uo'bts pa'ts^m), Lat.

"Grant us Thy peace." The concluding

movement of the Mass.

Donna (don'na), It. Lady; applied to the
principal female singers in an opera.

Dopo (do'po), It. Alter.

Doppel (dop'p'l), Ger. Double.

DoppeI=be (d6p'p'l-ba),(?fr. A double flat ([?b),

equal to a depression of two half-steps.
Doppelflote (d6p'p'l-flo't6),(?er. Double flute;

a stop in an organ the pipes of which have

two mouths.

Doppelfuge (dop-p'l-foo'ghe), Ger. Double

fugue.
Doppelflugel (dop'p'l - flu-g'l), Ger. Double
grand pianoforte. (1) An instrument in-
vented in the last century, also called Dia-
plasion and Vis-a-vis. It had at both ends
one or two keyboards, which acted upon
two separate sets of strings. (2) Piano £l cla-
viers renvers6s {q. v.).

Doppelgedeckt (d6p'p'l-g6-dekt'),G'er. Double-
stopped diapason.

Doppelgeige (d6p'p'l-ghi'ghg),Ger. An organ-
stop. See Viola d' Amour.

Doppelgriffe fd6p-p'l-grIf'f6),Ger. Double stop
on the violin, etc.

Doppelkanon (dop'p'l-ka-non), Ger. A canon
with two subjects.

Doppelkreuz (dop'p'l-kroitz), Ger. A double
sharp (#ff or X), raising a note two semi-
tones.

Doppelpunkt (d6p-p61-poonkt), Ger. Double
dot after a note.

Doppelschlag (dop'p'l-shlagh), Ger. A mor-
dent, a turn.

Doppelschritt (dop'p'l-shrit), Ger. A quick
march.

Doppelt (dop-p'lt), Ger. Double.

Doppelte Noten (d6p'p'l-t6no't'n),Ger. Double
notes.

Doppelter Trillerlauf fdop'p'l-ter trIl'16r-louf),
Ger. Double cadence.

Doppelt gestrichene Note (dop'pfilt ghg-strl'-
kh'n6 uo'ie), Ger. A semiquaver.

Doppia lyra (dop-pi-a le'ra), It. A double lyre.

Doppio (dop'pl-o), It. Double, twofold ; some-
times indicating that octaves are to be
played.

Doppio movimento (dop'pl-o mo-vi-men-to). 7/
Double movement or time; that is, as fast
again.

Doppio pedale (d6p'pi-6 p6-da'ie), It. Playing
a bass passage on the organ with the pedals
moving in octaves, etc.; that is, using both
feet at the same time.

Doppio tempo (dop'pi-6 t6m'p6), It. Dcuble
time, as fast again.

Doppo (dop'po), It. After. See Dojjo.

Dorian (do-ri an), Gr. ) The name of one of
Dorien (do-ri-anh), Fr. | the ancient modes or
scales. (1) In the ancient Greek system,
the octave species ef gabcde, and one
of the transposition scales. (2) In the
ecclesiastical system, the octave species

defgabcd, the first (authentic) mode.

Doric mode. Dorian.

Dossologia (dos-s6-16'ji-a), It. Doxology.

Dot. (1) A point placed after a note in-
creases its duration one half. {2) A point
placed above or below a note indicates that
the latter has to be played staccato (de-
tached). If there is at the same time a slur,
the notes thus marked are played mezzo
staccato (lit.," half detached "). (3) A series
of iwo or four dots placed by a double bar
indicate that the strain upon that side is to
be played twice through. See Repeat.

Dot, double. Two dots placed after a note to
increase its duration three fourths of its
original value.

Double (doo'b'l), Fr. Variation. Doubles
may be defined as repetitions of a song,
dance tune, or instrumental air, ornament-
ed with figures, graces, diminutions, runs,
etc. The term is obsolete.

the term

Two afternotes, taking

Double A, or, AA. In England
double is applied to all those pzf
bass notes from G to F iuclu- r'c^ |

sive. In Germany the rule is — iiq. — ^~-
different. See Double G. ^'^°

Double=action harp. A harp with pedals, by
which each string can be shortened two
semitones.

Double afternote.

their time from ^^ r—^ i^

the previous F^^~^^dn~H — Crd^r:
note. E*ii^rz_3tS^?!n=*z;

Double appoggiatura. A union of two short
appoggiaturas.

Double B, or, BB. See Double G.

Double bar. Two thick strokes drawn down
through the staff to divide one strain or
movement from another. In many editions
these are incorrectly placed.

Double bass. This instrument, the largest
member of the violin family, and the fun-
damental part of the orchestra, has gener-
erally either three or four strings. Tu Ger-
many the double bass is tuned as under (a),
in England most frequently as under {b),
and in Italy and France as under (c). The
double bass sounds the notes an octave
lower than they are written.

(«) {i) (c)

:^3^i^

^^-'=

j-f-n

-1 '-^

a.ar7n, a add, a ale, 6 eiid, e eve, i ill, I isle, 6 old, 6 odd, oo moon, a but, ii Fr. sound, kh Ger. ch, nh nasal
7 (97)

DOU

DI€TIONARY OF MUSIC.

BoU

^luble bassoon. This iustnimeut is an oc-
tave lower in pitch than the bassoon. Its
extreme compass extends from the double
contra B^to the small F(B„|7tof). The com-
pass of a double bassoon designed by Dr. W.
H. Stone, and made by Haseneir, of Cob-
lentz, extends from C, to c'. Also a 1(5- or 32-
feet organ reed-stop, of smaller scale and
softer tone than the double trumpet.

Double beitiol (ba-mol), Fr. Double flat.

Double C, or, CC. See Double G.

Double chant. A simple harmonized melody
in four strains or phrases, and extending to
two verses of a psalm or canticle.

Double chorde (doobl kCrd), Fr. Playing one
and the same note on the violin upon two
strings at once.

Double counterpoint. A counterpoint which
admits of the parts being inverted.

Double croche (doobl krosh), Fr. Double-
hooked ; a semiquaver.

Doubled. A term applied when one of the
notes of a chord is repeated in a diflerent
part of the same chord.

Double D, or, DD. See DouUe G.

Double demisemiquaver. A note equal in
duration to one half of a demisemi- "az
quaver; a sixty-fourth note. It is writ- .tfz:
ten thus: -ji^

Double descant. Where the treble or any
high part can be converted into the bass,
and vice versa.

Double diapason. An organ-stop tuned an oc-
tave below the diapasons. It is called a 16-
feet stop on the manuals ; on the pedals it is
a 32-f eet stop.

Double diese (doobl di-az), Fr. A double sharp

m or X).
Doubled letters. Capital letters doubled, in-
dicating that the tone is an octave lower

than where the letters stand single.
Double drum. A large drum used in military

bands and beaten at both ends.
Double dulciana. An organ-stop of small IG-

feet scale and delicate tone.
Double E, or, EE. See Double G.
Double F, or FF. See Double G,
Double flageolet. A flageolet consisting of

two tubes, blown through one mouthpiece,

and producing two sounds at one time.
Double flat. A character (bb) which, placed

upon a staff degree, indicates a depression

of a whole step.
Double flute. A flute so constructed that

two tones maybe produced from it at the

same time ; a stop in an organ. See Doppel-

fiote.
Double fugue. A fugue on two subjects.
Double G. The octave below p^yy ~iz^
• G gamut; the lowest G on

the pianoforte. In England

the term Double is applied

to all those bass notes from

G to F inclusive.

_=q;

'-=\-

An interval of two octaves ;
the bisdiapasou of the ancient

Double grand pianoforte. An instrument
wiih a Set of keys at each end, invented
by James Piersou, of New York.

Double hautboy. A 16-feet reed-organ stop

of small scale.

Double lyre. The lyria doppia, an old in-
strument of the viol kind.

Double note. A breve ; a note twice
the length of a whole note.

Double octave.

a fifteenth
Greeks.

Double quartet. A composition written for
eight instruments or voices; eight singers.

Double reed. The mouthpiece of the haut-
boy, bassoon, etc., formed of two pieces of
cane joined together.

Double shake. Two notes shaken simultane-
ously ; they must form sixths or thirds.

Double sharp. A character which, when
placed upon a staff degree, indicates an ele-
vation of a whole step. It is usually written
as follows: ## or X.

Double=stopping. In violin -playing, two

toues at once.

Double=stopped diapason. An organ-stop of
16-feet tone on the manuals; the pipes are
stopped or covered at the top.

Double suspension. A suspension that re-
tards two notes and requires a double
preparation and resolution.

Double tierce. An organ-stop tuned a tenth
above the diapasons, or a major third above
the octave.

Double time. Inelegant for Double Measure.
A movement in which every measure is
composed in two equal parts. It is marked
by letting the hand fall and rise alter-
nately.

Double=tongueing. A method of articulating
quick notes used by flute-players.

Double trill. See Double shake.

Double triplet. The union of ^^p^fcci^
two triplets; a sextole, thus: 1 1 ^ ' ' i_^ —

Double trumpet. An organ-stop of IG-feet
scale ; sometimes the lowest octave of pipes
is omitted, and it is then called the Tenor-
oon trumpet.

Double twelfth. An organ-stop sounding the
fifth above the foundation stops ; it is gen-
erally composed of stopped pipes.

Doublette (doob-lCf), Fr. An organ-stop
tuned an octave above the principal; in
England it is called the fifteenth. A mix-
ture of two ranks.

Doucet (doo-sa'), Fr. Sweet, soft, gentle.

Doucement (doos'mauh), Fr. Sweetly, softly,
pleasingly.

Douleur (doo-ltir'), Fr. Grief, sorrow, pathos.

Douloureusement (doo-loor-us-manh), Fr.
Plaintively, sorrowfully.

£l aj-m, a add, a ale, S end, e eve. I ill, I isle, 6 old, 6 odd, oo moon, a but, ii Fr. sound, kh Qer. ch, nh yiasal

(98i)

DOU

DICTIONARY OF MUSIC.

DRU

Douloureux (doo-loor-uh),Fr. Sorrowful, teu-
dor, plaiutive.

Doux (dooz), Fr. Sweet, soft, gentle.

Douzietne (doo-zhi-am'), Fr. A twelfth.

Downbeat. The accented part or parts of a
bar at which in beating time the hand or
footfalls. (F. Thesis.)

Downbow. The drawing of the bow in play-
ing a stringed instrument from the nut to
the head.

Downbow-sign. A sign used in violin mu-
sic indicating that the bow is to be drawn
down ; thus, n.

Doxologia (d6x-6-16'gi-a), Lat. \ y,^^^i^„„
Doxologie (d6x-61'o-zh6), Fr. / ^oxoiogy.

Doxology, Gr. A form or expression of praise
and honor to God, but more especially the
" Gloria iuexcelsis Deo" (" Glory to God in
the highest") and the " Gloria Patri et Filio
et Spiritui Saucto " (" Glory be to the Fath-
er, and to the Son. and to the Holy Ghost.")
The former is called the Greater Doxology
{Doxologia major), the latter the Lesser {Dox-
ologia minor.) Also versified forms of the
same.

Drag. A digore in drum music.
Drahtsaite (drat'soi't6),Ger. Music wire; wire
string.

Drama. A poem accompanied by action ; a
play, a tragedy or comedy.

Dramatic. A term applied to music written
for the stage and to all other music repre-
senting passion.

Dramaticamente (dra-ma-tl-ka-m^n't^), It. \
Dramatiquemente (dra-ma-tek-manht), Fr. j
Dramatically.

Dramatique (dra-ma-tek'), Fr. "Ir,-flvv,„t,v
Dramatisch (dra-mii'tish), Ger. | dramatic.

Dramatis personae (dra-ma'tis p^r-so'na), Lat.
The characters of an opera or play.

Dramaturge (dram-a tiirzh), J'r. \A drama-
Dramaturgo (dra-ma-toor'go). It. j tist.
Drame (dram), Fr. \ . ^-„^-

Dramma (driim'ma), It. J ^ ^i^ama.

Dramma burlesca (dram'ma boor-les'ka), If.

A comic or humorous drama.
Dramma lirico (dram'ma le'ri-ko), ")
Dramma per musica (dram-ma ■pQryit.
moo'zi-kji), j

An opera or musical drama.

Drammaticamente (dram - ma-ti-ka-m6n'te) ,

It. Dramatically, in a declamatory style.
Draniimatico (dram-ma' ti-ko). It. Dramatic.

Dcaw5tops. The. knobs or buttons by means
of which the organist brings on or takes off
certain " stops " or sets of pipes. See Stop.

Drehorgel (dra'org'l), Ger. Barrel organ.

Drehsessel (dra'sfis-s'l), -^^,. ) . ,„„„.„ . ,
Drehstuhl (dra'stool), ^^'- \^ music-stool.

Dreher (dra'fir), Ger. A slow waltz, or Ger-
man dance.

Drei (dri), Ger. Three.

Dreiachtel (dri-akh't'l), Ger. Three quavers,
oreightb-notes.

Dreiachteltact (dr!-akh't'l-takt), Ger. Measure
in 3-8 time.

Dreihandig(dri'han-dlg),6'er. For three hands.

Dreiangel (dri'an-g'l), Ger. Triangle.

Dreicliorig (dri'kor-igh), Ger. Three-choired.
Applied to any piano having three .«;trinKS
to each note. Nearly all upright pianos, hs
well as grands, belong to tliis class. Also
applied to compositions for three choirs.

Dreigesang (dri'gh6-saug'),<7cr. Trio for three
voices.

Dreiklang (dri'klang), Ger. A triad, a chord
of three sounds.

Dreimal (drl'miil), Ger. Thrice.
Dreisang (drl'sang), ^ 1 . . .
Dreispiel (drl'spel), ^^^- /^^rio.

Drelst (drist), Ger. Brave, bold, confident.

Dreistigkeit (dris'tig-kit), Ger. Boldness, con-
fidence, resolution.

Dreistimmig (dri'stim-migh), Ger. Three-
voiced.

Dreivierteltact (dri-fer't'l-takt),(?er. Measure
in 3-4 time.

Dreizweiteltact (drl-tswl't'l-takt), Ger. Meas-
uring 3-2 time, or a measure of three min-
ims.

Dringend (dring'end), Ger. Pressing.

Dritta (dret'ta), ^, ) Right ; 7nnnorfn«a, the
Dritto (dret'to), ^''- j right hand.

Dritte (drifts;, Ger. Third.

Droite (drwiit), Fr. Right; main droite, the
right hand.

Drommete (drom-mu'te), Ger. A trumpet.

Drone. The two or three pipes of the bagpipes'
which furnish the fixed and unvarying ac-
companiment to the melody of the chanter,
the third or fourth pipe. A drone bass is
often found in orchestral and other instru-
mental works. ( V. Bagpipe.)

Dronen (dro'ut^n), Ger. To give a low, dull
sound, to drone.

Driicker (dre'k'r), Ger. A sticker in organ ac-
tion.

Drum. An instrument of percussion consist-
ing of one or two skins stretched over a
frame, frequently cylindrical in form and
always circular at tlie top. There are a great
many kinds of drums— the Tambourine,
Sidedrnm. Bass, or Big, Drum, Kettledrum,
etc., the most important of which will be
noted in their places.

Druma (droo-ma),'/n. A drum.

Drum, bass. A large drum used in military

bands. See Double drum.
Drum bass. A term applied to the meie use

of the tonic and dominant in playing upon

the double bass.

a arm, & add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, H but, ii Fr. sound, kh Ger. eh, nh nasal,

(99)

DRU

DICTIONARY OF MUSIC.

DUR

Drum major. The principal drummer in a
military baud; the officer directing the
baud.

D.S. The initials of Dal Segno.

Ductus (dook'toos), Lat. Melodic movement,
or order of successive notes, which may be :
(1) rectus, direct, i. e., ascending ; (2) reversus
or reveriens, reversed, i. e., descending; or
(3) circumcurrens, circumcurreut, i. e., as-
cending and descending.

Dudeler (doo'dlfir), Ger. One who plays or
sings badly.

Dudelkasten (doo'd'1-kas-t'u), Ger. Barrel
organ; a hurdygurdy.

Dudelsack (doo'd'1-sak), q^.^ \

Dudelkastensack (doo'd'l-kiis-t'n-sak), ' j
A bagpipe, a cornamuse, a hornpipe.

Due (doo'tl), It. Two ; in two parts.

Due clarini (doo'6 klil-re'ne), It. Two trump-
ets.

Due corde (doo'6 k6r-d6), //. Two strings. See
A due corde.

Due cori (doo'6 ko-ri), //. Two choirs or
choruses.

Due pedall (doo'6 p6-da'li). It. The two ped-
als a.e to be used.

Duet. A compooition for two voices or in-
struments, or for two performers vpou the
same instrument.

Due trombe (doo'6 trom'bg). It. Two trump-
ets.

Duett (doo-6t'), Ger. A duet.

Duette (doo-6t't?), Ger. pi. \ p) .

Duetti (doo-6t'li), iLpL / ^^«^'^-

Duettino (doo-6t-te'u5). It. A short and easy

duet.
Duetto (doo-6t'to), It. A duet.
Due volte (doo'6 vol'tt?). It. Twice.
Dulcet. Soft, sweet, musical ; an organ-stop.

Dulcian (diil-se-anh'), Fr. A small bassoon.
See Dolclaao. A dulciaua stop.

Dulciana stop. An 8-feet organ-stop; of a
soft and sweet quality of lone.

Dulciana principal. A 4-feet organ-stop of
delicate toue.

Dulcimer. A very ancient instrument whose
ijrincip.il parts are a wooden frame, a
soundboard with one or soveral sound-
holes, two bridgos, and appliances for the
fastening and tuning of the wire strings
with which it is strung. A dulcimer is
played upon with two hammers.

Dumb spinnet. Another name for the clavi-
chwid.

Dumpf (doompfV p \ Of a dull, hollow,

Dumpfig (^doomp'fig),^ j muffled sound.

Dumpfigkeit (doomp'flff-klt), Ger. HoUow-
nebs, duiluess of sound.

Duo (doo'o). It. Two; in two parts; a com-
positiou for two voices or instruments; a
duet.

Duo concertante (doo'6 k6n-tsh6r-tan't6), It.
A duo in which each part is alternately prin-
cipal and subordinate.

Duodecima{doo-6-da'tshl-ma), t, \The

Duodecimo (doo-o-da'tshl-mo), j twelfth;
the twelfth note from the tonic ; the name
is also applied to an organ-stop tuned a
twelfth above the diapasons.

Duodecima acuta (doo-6-da'tsi-ma a-koo'tii),
Lat. A twelfth above.

Duodecima gravi (doo-6-da'tsi-ma gra've),
Lat. A twelfth below.

Duodecimole (doo-6-da-tshl-mo'16), It. A mu-
sical phrase, formed by a group of twelve
Lotes.

Duodramma (doo-6-dram'ma). It. Duodrama.
A dramatic piece for two performers ; more
especially a spoken drama with musical ac-
companiments, a kind of melodrama {q. v.).

Duoi (doo-o'e), It. Two.

Duole. A group of two notes to fill the time
of three of the same denomination, as in 6-8
measure two eighth-notes with a figure 2 to
occupy the time of three eighth-notes:

§ AT V equal to Jmm

Duolo (doo-6'16), It. Sorrow, sadness, grief.

Duomo (doo-6'mo). It. A cathedral.

Dupla (doo-pla), Lat. Double.

Duple time. Double time-
Duplex longa (doo'plfix lon'ga), Lat. Maxi-
ma, one of the notes in the old system of
music.

Duplication. Doubling; where one or more
of the intervals of a chord are repeated in
different parts.

Duplo (doo-plo). It. Double.

Dur (door), Ger. Maior, in speaking of keys

and modes ; as, C-dur, C major.
Dur (diir), Fr. Hard, harsh of tone. Major, as

distinguished from minor,

Duramente (doo-ra-mfin'tg). It. Harshly,
roughly ; also meaning that the passage is
to be played in a firm, bold style, and strong-
ly accented.

Durate (doo-ra'tg), It. Hard, rough ; also im-
plying false relations in harmony.

Durchcomponiren (doorkh'kom - po - ne'r'n),
Ger. Lit., " to compose through." A durch-
componirtes Lied, "a through - composed
song," is a song of which each verse has a
setting of its owu, whilst in other songs one
setting serves for all verses.

Durchdringend (doorkh-dring'Snd), Ger, Pen-
etratiug, piercing.

Durohdringende Stimme (doorkh-dring'6n-d6
stim'mej, Ger. A shrill voice or tone,

Durchfiihrung (doorkh'fii-roong),^^^. Devel-
opment. Generally applied to the free fan-
tasia serving for middle part of the main
movement in sonatas and other serious
movements.

iL arm, a add, a die, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, H but, ix Fr. soimd, kh Oer. ch, nh nasal.

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BUR

DICTIONARY OF MUSIC.

EIG

Durchgangstone (doorkh'gangs-ton-eh), Ger.
Passiug tones.

Durchgehend (doorkh'ga-Cnd). Ger. Passing,
irausieut; passiug through.

Duree (dii-ra'), Fr. Length, duration of notes.

Durement (diir-manh), Fr. Hard, harsh.

Durete (dii-rg-ta'), Fr. See Durate.

Ourezza (doorat'za), It. Hardness, harshness
of tone or expression.

Duro (doo'ro), It. Rude, harsh.
Duster (diis'tgr), Ger. Gloomy.
Duten (doo-t'n), p } A contemptuous
Diiten (du-t'u), J term, meaning to toot

or blow on a horn.

Dux (doox), Lat. Leader, guide ; the subject,
or leading melody, of a fugue.

Dynamics. This term in music has reference
to expression and the different degrees of
power or intensity to be applied to notes.

E^

E, called in France and Italy mi : the third
note of the modern scale of Guido d' Arezzo.
E, Ed (ad). It. And.

E. The smallest and most acute string on the
violin and guitar.

Ebollimento (a-b6l-H-m6n'to), It. Ebullition.
Boiling.

Eccedente (6t-tsh6-d6n't6), It. Augmented, in
speaking of intervals.

Ecclesia (gk-kla'zi-ii), It. and Lat. Church.

Ecclesiastical. A term applied to all music
written for the Church.

Ecclesiastical modes. See Church modes.

Ecclesiastico stilo (6k-kla-zi-as-tl-k6 ste'lo), It.
In the church or ecclesiastical style.

Ecco (ak'ko). It. Behold.

Echappement (a-shiip-manh), Fr. Release.
Dovble Echappement, repeating-mechanism
in a piano.

Echeggiare (a-k6d-jl-a're), It. To echo, to re-
sound.

Echelle (a-sh611), Fr. The scale, or gamut.

Echelle chromatique (a-sh611 kr6-mat-ek'),i^r.
The chromatic scale.

Echelle diatonique (a sh611 dl-a-t6nh-ek'), Fr.
The diatonic scale.

Echo (a-ko), Fr. In organ music this term
means a repetition or imitation of a previ-
ous passage, with some striking modifica-
tion in regard to tone. An echo.

Echo cornet. An organ-stop the pipes of
which are of small scale, with a light, deli-
cate tone. It is usually placed in the swell.

Eclat (a-kla'1, Fr. A burst of applause, ex-
pressions of approbation.

Eclatante (a-kla-tiinht'), Fr. Piercing, loud.

Eclisses (a-kless), Fr. The sides or hoops of
a violin, guitar, etc.

Eclogue (gk-16g),G/'. A pastoral song or poem.

Eco (a'k6), It. An echo.

Ecole (e-kol), Fr. A school, a method or
course of instruction, a style formed by some
eminent artist.

Ecole de chant (a-kol dflh shanh), Fr. A sing-
ing-school.

Ecossais (a-k5s-sa'), p„ \ Scotch ; a dance,
Ecossaise (a-k6s-saz), j tune, or air in the
Scotch style. (2) An old dance of Scotch or-
igin. It was of a grave character, and either
in 3-2 or 3-4 time. (3) Theraodern6cossai.se
is a lively coutredanse in 2-4 time, formerly
popular in France, Germany, and other
countries.

Ecossase (a-k6s-sa'z6), Ger. See Ecossaise.

Ecoutants (a-koo-tanh), Fr. Auditors, listen-
ers.

Ed (ad). It. And.

Edel (a'd'l), Ger. Noble.

Editeur (a-di-tilr), Fr. Editor, publisher.

E=dur (a door), Ger. The key of E major.

Effot (ef-fa). Fr. \ Effect ; the effect of rau-

Effetto (6f-fa't6), It. j sic upon an audience.

E=flat. The black kev of the piano or or?an
next to the left of E. The fl^it of E. The
flat seventh of F, and the second flat intro-
duced in modulating by fourths from the
natural diatonic scale.

Egalement (a-giil-manh), Fr. Equally, even-
ly, smoothly.

Egalite (a-gal-i-ta'), Fr. Equality, evenness.

Eglise (a-glez), Fr. Church.

Egloga (al'yoga), J<. ) An eclogue; a pas-

Eglogue (a-glog'), Fr. j toral poem.

Eguale (C-goo-a'lg), It. Equal, even, alike;
also applied to a composition for several
voices or instruments of one kind, as, male
voices only; female voices only.

Egualezza (a-goo-a-16t'za). It. Equality, even-
ness.

Egualmente (a-goo-al-m6n't6). It. Equally,
evenly, alike.

Eighth. An octave.

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EIG

DICTIONARY OF MUSIC.

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Eighth=note. A quaver.
Eilend (i'lgnd), Qer. Hurrying.

!•" ^^J^)'k. Ger. 1 A; an; one.
Eine (I'n^), j ' '

Einchorig (in'kor-igh), Ger. One-choired.
This term is applied (1) to any instrument
which has but one string to each note ; (2)
to a composition for one choir, to distin-
guish it from a composition for two or
more distinct choirs.

Einfach(in'fakh), Ger. Simple, plain, unorna-
mented.

Eingang (in'giing), Ger. Introduction, pref-
ace, prelude.

Eingestrichen (in'ghg-stri-kh'n), Ger. Note
of the treble marked with one stroke. This
refers to the octave from middle C to the B
above. Called also " once-marked octave."

Einheit (in'hlt), Ger. Unity.

Einhelfen (In'hei-f'n), Ger. To prompt.

Einigen (i'ni-gh6n), Ger. Some, any.

Einigkeit (i'nlgh-kit), Ger. Unity, concord,

harmony.
Einklang (in'klang), Ger. Unison.
Einleitung (in'li-toong), Ger. Introduction,

prelude.
Einleitungssatz (in'li-toongs-satz), q I t^.
Einleitungsspiel (in'li-toongs-spel), " J

troductory movement; overture, prelude.

Einmal (in'mal), Ger. Once.

Einsang (in'siing), Ger. A solo.

Einschnitt (in'shnit), Ger. A phrase, or in-
complete musical sentence.

Einsatzzeichen (in'satz-tsl-kh'n), Ger. (1)
The sign which the leader gives to the va-
rious performers to commence. (2) In a
canon, the mark which signifies the com-
mencement of the imitating voice.

Einstimmen (iu'stim-m'n), Ger. To agree in
tune, to be concordant.

Einstimmigkeit (in'stim-migh-kit), Ger. A
concord, agreement. Literally, one-voiced.

Eintonig (in'to-nigh), Ger. Monotonous.

Eintretend (in'tr6-t6nd), Ger. Entering, be-
ginning.

Eintritt (in'trit), Ger. Entrance, entry, be-
ginning.

Eis (is), Ger. The note E#.

Eisteddfod (es't6d-f6d), Welsh. A bardic con-
gress. An assemblage of bards first held in
1078.

Electric piano. A piano invented in 1851,
the wires of which were vibrated by ham-
mers actuated by electro-magnetism. Sev-
eral attempts of this kind have been made,
but all have failed.

Elegamment (61-a-gam-manh), Fr. \ r-i

Elegantemente (61-e-gan-te-m6n't6), It. J
gautly, gracefully.

Elegante (61-e-gan't6), It. Elegant, graceful.

Eleganza (6l-$-gan'tsa), It. Elegance, grace.

Elegia (61-6-je'a), It. An elegy, or monody;
music of a mournful or funereal character.

Elegiac. Plaintive, mournful, sorrowful.

Eleglaco (61-6-ji-a'k6), If. "(Mournful, plain-
Elegiaque (61-a-zhi-ak), Fr. J tivo, elegiac.

Elegy. A mournful or plaintive poem, or a
funeral-song.

Elementary music. Exercises and studies
specially adapted to beginners in the study
of music.

Elements. The first or constituent principles
or parts of anything ; the principles or rudi-
ments of musical science.

Elevamento (61-6-va-m6n'to), j. ) Grandeur,

Elevatezza (61-6-va-t6t'za), ' /sublimity,

loftiness of expression.

Elevate (61-6-va'to), It. Elevated, exalted, sub-
lime.

Elevazione (61-6-va-tsi-o'ne), It. Elevation,
grandeur.

Elevatio (61-6-va'tsi-6), Lat. Elevation. (1)
The upbeat in beating time. (2) The unac-
cented part of a bar. (3) The rising of a
melody beyond the ambitus (compass) of
the mode. (4) A motet or any other vocal
or instrumental composition performed
during the elevation of the Host.

Elevation. To the four meanings given in
the preceding article is to be added this :
(5) The obsolete English name of two orna-
ments. As one of the " smooth graces," it
is synonymous with arf ascending double
appoggiatura ; as one of the ' ' shaked graces ' '
it is more complicated.

Eleve (a-lav), Fr. A pupil.

Eleventh. An interval comprising an octave
and a fourth.

Elf (61f). Ger. Eleven.

Elfte (61ft6), Ger. Eleventh.

Eloge (a-16zh'), Fr. Praise, eulogy.

Elogy. See Eulogy.

Embellir (anh-b61-ler'), Fr. To embellish, to
adorn, to ornament.

Embellissement (anh-b61-less-m6nh), J'r. Em-
bellishment.

Embellishment. Ornament, decoration, notes
added for the purpose of heightening the
effect of a piece.

Embouchure (anh-boo-shoor), i^r. The mouth-
piece of a flute, hautboy, or other wind iu
strument; that part to which the lips a!«'
applied to produce the sound. It also refer .
to the position which the mouth must as-
sume in playing the instrument.

E°moll (a-moll), Ger. The key of E minor.

EmpMer les sons (6nh-pa-ta 16 s6nh), Fr. T.i
siDg or play in a masterly manner, without
defects or imperfections.

Empfindung (emp-fin'doong), Oer. Emotion,
passion, feeling.

aam,aadd,aaJe,eend, e eve, iiU, i isle, oold, 6 odd, oo Tnoon, ti but, ii Fr. sound, kh Ger. ch, nh Tiasal

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EMP

DICTIONARY OF MUSIC.

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Empfindungsvoll (Smp-fin'doongs-foll), Ger.

Full of expression.
Emphase (Cm-fii'zS.), Ger. Emphasis.

Emphatique (iinh-fii-tek'), Fr. I vmn-hfltinfll
Emphatisch (gmp-fa'tish), Ger. | t-mpHaticai.

Emphatiquetnent (iin-fa-tek'milnh), Fr. Em-
phatically.

Emphasis. Marked expression ; particular
stress or accent on any note, indicated thus :
>/-.,s/.,etc.

Emphasize. To sing with marked accent.

Empito ((5m-pe't6), It. Impetuosity.

Empituosamente (6m-pe-too-6-za-m6n't6), It.
Impetuously.

Emporte (anh-p5r-ta), Fr. Passionate, hur-
ried.

Emportement (ilnh-pSrt-manh), i^r. Passion,
transport.

Empresse (anh-pr6s-sa), Fr, In haste, eager,
hurried.

Empressement (anh-pr&s-mtinh), Fr. Eager-
ness, zeal.

En (tinh), Fr. In.

Enarmonico (6u-ar-m6'ui-ko),7<. Enharmonic.

Encore (iinh-kor'), Fr. Again, once more;
demand for the repetition of a piece.

Ende (t'nd'g), Ger. End, conclusion, conclud-
ing piece.
Energia (6n-?r-je'a), It. \ Energy, force, em-
Energie (en-^r-zhe), Fr. j phasis.

Energicamente (?n-er-je-ka-m6n't6), It. En-
ergetically, forcibly.

Energico (f>n-ar'ji-k6), It. Energetic, vigor-
ous, forcible.

Energique (en-6r-zhek'), Fr. | Energetic, with
Energisch (6u-iir'ghish), Ger. j emphasis.

Energiquement (en-fir-zhek-manh), Fr. En-
ergetically, forcibly.

Enfant de chcEur (anh-fanh dfih kiir), Fr.
Singing boy.

Enfasi (en-fa'zi). If. Emphasis, earnestness.

Enfaticamente (<?a-fa-ti-ka-m6n't6). It. Em-
phatically.

Enfatico (6n-fa'ti-k6), It. Emphatical, with
earnestness.

Enfiatamente ((5n-fi-a-ta-m(5n't6), It. Proudly,
pompously.

Enfler (iinh-fla'), Fr. To swell, to increase the
tone.

Enge (6ng-(?), Ger. Close, condensed, com-
pressed ; this term is applied to the stretto
in a fugue. In speaking of organ-pipes, it
means narrow, straight.

Enge Harmonic (Cng-Charmo-ne'), Ger. Con-
tracted or close harmony, the intervals or
sounds being close together.

Engelstimme (Cng'gl-stim'mC), Ger. Angel
voice. Angelica. A full-reed stop in an or-
gan.

Engfiihrung (eng'fiir-oong), Ger. "Narrow
working." The condensed canonic treat-
ment of a theme in fugue. A stretto.

English fingering. In pianoforte music the
use of a ^gn (X ) to designate the thumb, in
distinction from the German fingering,
where the thumb is designated as the first
finger.

English horn. A species of oboe, a fourth or!
a fifth lower than the instrument usually
designated by that name.

Enguichure(anh-ghe-shur'), Fr. The mouth-
piece of a trumpet.

Enharmonic ((3n-har-mon'ik). (1) In our pres-
ent system of music, with its twelve equal
semitones in the octave, those notes, in-
tervals, and scales are called enharmonic
which differ in notation but not in pitch.
Enharmonic chords are chords which have
in common one or several tones the same in
pitch but different in notation. An enhar-
monic modulation is one by means of such
chords. (2) With the ancient Greeks the
word " enharmonic " had an entirely differ-
ent meaning. In their enharmonic genus
the tetrachord presented itself as a progres-
sion of two quarter-steps and a major third ;

1 1
¥ ¥ 2

for instance, e e+ f a (a development
from the trichord e f a).
Enharmonic intervals. Such as have only a
nominal difference ; for instance, the minor
third, C, E[7, and the extreme second, C, D#;
or, the extreme fifth, C, G#, and the minor
sixth, C, A>, etc.

Enharmonic organ. An organ in which the
octave, instead of being limited to a division
of twelve intervals, contains from seventeen
to twenty-four. An organ capable of play-
ing in perfect tune within limits of the dia-
tonic modes.

Enharmonicus (gn-hiir-mo'ni-koos), Lat.

Enharmonique (iinh-har-mSnh-ek'), Fr.

Enharmonisch (en-har-mo'nlsh), Ger.
Enharmonic.

Enoncer (a-n6nh-sa), Fr. To enunciate, to
proclaim.

Ensayo (c'n-sa'yo), Sp. Rehearsal of a piece.

Enseignement (anh-san-manh), Fr. Instruc-
tions.

Enseigner (anh-sanh'ya), Fr. To instruct, to
teach.

Ensemble (anh-sanh'bl),Fr. Together. Taken
substantively this word signifies: (1) Per-
fect harmony between different parts of a'
whole; (2) mutual \uiderstauding and en-
tire agreement between the performers in
rendering a composition. A morceau d'en-
semble is a composition for two or more
parts, more especially quintets, sextets, sep-
tets, etc., in an opera, oratorio, or similar
work.

Entgegen (6nt-ga'gh'n), ^ )

Entgegengesetzt(Cnt-ga'g'n-gh(^-S(?tzt), j

Contrary, opposite, speaking of motion.

■}

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DICTIONARY OF MUSIC.

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Enthousiasme (iinh-too-zl-asm), Fr. )

Enthusiasmus (eu-too-zi-as'moos), Ger. j
Euthusiasm.

Enthusiastisch (6n-too-zi-as'tlsh), Ger. En-
thusiastically.

Entr'acte (anh-tr'-akt), Fr. Between the acts;
music played between the acts of a drama.

Entrante (gn-tran't6), ") An entrance, in-
Entrata (eu-trii'tii), It. Production, p r e-
Entrada (fin'tra'da), ) lude.

Entree (anh-tra'). Fr. Entry, entrance, begin-
ning. A pompous introduction in march
form.

Entscheidung (gnt-shi'doong), Ger. Decision,
determination.

Entschieden (6nt-she'd'n), Ger. Decided, in a
determined manner.

Entschlafen (6nt-shla'f'n), Ger. To die away,
to diminish.

Entschlossen (6nt-shl6s's'n),Ger. Determined,
resolute.

Entschluss (6nt-shlooss'), Ger. Resolution.

xintusiasmo (6n-too-zi-as'm6), J<. Enthusiasm.

Entwurf (gnt-woorf), Ger. Sketch, outline of

a composition.
Enunciato (a-noon-tshi-a'to), Jt. Enunciated,

proclaimed.
Envoy. The postscript, or ending, of a ballad.

Eolla (a-oai-a) J^ Xsee^olian.
Eohan (ao'li-an), J

Epic. A poem in the narrative style, deal-
ing with heroic incidents upon a large
scale.
Epicedio (6p-i-tsha'di-6), It. ) An elegy,
Epicedium (6p-i-se'di-am), Eng. j dirge, fu-
neral-song, or ode.

Epigonion (6p-i-go'nl-6n) Gr. \ An ancient
Epigonium (6p-i-go'ni-oom), Lat. j Greek in-
strument with forty strings, so named from
Epigonius, its inventor.

Epilogue. A speech or short poem addressed
to the spectators by one of the actors after
the conclusion of the play.

Epigone. An imitator.
Epinette (a-pe-n6t'), Fr. A spinet.
Epinicion (6p-i-ne'si-6n). A triumphal song,
a song of victory.

Episode. An incidental narrative or digres-
sion ; a portion of a composition not found-
ed upon the principal subject or theme.

Eplsodio (6p-l-s6'di-6), It. Episode, digres-
sion.

Episodiscli (ep-l-s6'dish), Ger. In the man-
ner of an episode.

Epistrophe (6p-i-stro'f6), Gr. A repetition of
the concluding melody.

Epitalamio (gp-i-ta-lii'mi-o). It. ) Epithala-
Epithalme (gp-i-tai-mg), Fr. ) mium.

Epithalamion (6p i-tha-la'mi-6n), Gr. \
Epithalamium (6p-i-tha-la-mi-oom), Gr. [
Epithaiamium, Eng. i

Epittialamy, Eng. )

A marriage song ; a nuptial-song or ode.

Epode (6-p6'd6), Gr. Conclusion of a chorus;
a short lyric poem.

Epode. In lyric poetry, the third or last part
of the ode; that which follows the strophe
and antistrophe. The word is now used
for any little verse or verses that follow one
or moVe great ones ; thus a pentameter af-
ter a hexameter is an epode.

E poi (a po'e^ It. And then.

E poi la coda (a po'e la ko'da), It. And then

the coda.
Epopee (6-p6'pa), Gr. An epic poem.

Eptacorde (6p-ta-k6rd), Fr. A heptachord, a

lyre with seven strings.

Equabile {6-kwa'bi-16), It. Equal, alike, uni-
form.

Equabilmente (6-kwa-bll-m6n't6), It. Equal-
ly, smoothly, evenly.

Equal counterpoint. A composition in two,
three, four, or more parts, consisting of notes
of equal duration.

Equal temperament. That equalization or
tempering of the different sounds of an oc-
tave which renders them all of an equal de-
gree of purity, the imperfection being di-
vided among the whole. See Temperament.

Equal voices. Compositions in which either
all male or all female voices are employed.

Equisonant. Of the same or like sound ; a
unison. In guitar music the term is used to
express the different ways of stopping the
same note.

Equisono (a-kwe'zo-no), It. Having the same
sound.

Equivocal. Such chords as may by a slight
change in the notation belong to more than
one key.

Ergriffen (ar-grif'f'n), Ger. Struck, affected,
moved.

Erhaben (ar-ha'b'n), Ger. Elevated, sublime,
in a lofty and exalted style.

Erheben (ar-ha'b'n), Ger. To raise, to elevate,
to lift up the hand in beating time.

Erhohen (ar-h6'6n), Ger. See Erfieben.

Erhohung (ar-ho'oong), Ger. An elevation.

Erh6hungszeichen(ar-h6'oongs-tsi'kh'n),Ger.
Sharps or double sharps.

Erniedrlgung(ar-ne'dri-ghooDg),Ger. The de-
pression of a note by means of a flat or nat-
ural.

Erniedrigungszeichen(ar-ne-dri-ghoongs-tsi'-
kh'n), Ger. A flat, or other sign, for lower-
ing a note a semitone.

Ernst (arnst), ^.„ 1 Earnest, seri-

Ernsthaft (amst'haft), "*" * jous; in a grave
and earnest style.

a ar j?i, a add, a ale, 6 end, e eve, i ill, I isle, 6 old, 6 odd, oo moon, ti hut, u Fr. sound, kh Oer. ch. nh ruuaZ.

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DICTIONARY OF MUSIC.

ETU

Ernsthaftigkeit (ariist'hHf-tig-kIt), Ger. Ear-
nestness, seriousness.

Ernstlichkeit (arnst'likh-kit), Ger. Earnest-
ness.
Ernst und mit steieender Lebhaftigkeit

(arnst oond mit strghCii dt'^r lab'hili'-tiph-
klt), Grr. Earnestly, and with increasing
vivacity.

Erntelied (;1rn't6-led), Ger. Harvest-song.

Eroffnung (ar-ofuoong), Ger. Opening, be-
ginning.

Eroffnungsstuck (ar-of'noongs-stvik), Ger. Ov-
erture.
Eroico (C-nVi-ko), Gr. Heroic.

Erotic (6r-6t'ic). An amorous compo.sition or
poem.

Erotical (6r-6t'i-kal). Pertaining to love.

Erotica (6-r6'ti-ka), It. Love-songs, amatory
ditties.

Erotic songs. Love-songs.

Erst (arst), Ger. First.

Erstemal (ars'tg-miil), Ger. First time.

Ertonen (ar-to'n6n), Ger. To sound, to re-
sound.

Erweckung (ar-w^k'oong), Ger. Animation,
excitement.

Erweitert (ar-wi't^rt), Ger. Expanded, de-
veloped.

Es (6s), Ger. The note Y.\>.

Esacordo (6-za-k6r'd6), //. Hexachord.

Esatta ((^-ziit'ia), It. Exact, strict.

Esatta intonazione (5-zat'ta in-t6-nat-si-6'n6),
It. Exact intonation.

Es^dur (6s-door), Ger. The key of El? major.

Esecuzione (6z-e koot si-6'ne), It. Execution,
lacility of performance.

Esempio (e-zdm'pi-6), It. Example.

Esercizio (g-zar-tshe'tsi-o). It. An exercise, a
study.

Es=es (6s-6s), Ger. The note E-double-flat

(Ebb).
Esitamentd (6-zI-ta-m6n't6), j. } tt •♦ +•
Esitazione (6-ze-tat-si-6'n6),^^- 1 iiesitation.

Es=mo!I (^s-moll), Ger. The key of Eb minor.

Esonare (e-z6-na'r6). It. To adorn, to embel-
lish.

Espace (6s-pas), Fr. A space ; the interval

between two lines of the staff.
Espagnol (gs-pan-yol), Fr. \ Spanish,

Espagnuolo (6s-pan-yoo-6'16), It. j in the

Spanish style.

Esperto (es-par'to). It. Skillful, expert.

Espirando (6s-pe-ran'd6), Sp. Diminishing to
the end.

Espirando (6s-pe-ran'd6), It. Breathing deep-
ly ; with great endeavor.

Espress. ) Abbreviations of Espressivo.

Espressione (Cs-prCs-.si-o'n*?), It. Expression,

feeling.

Espressivo (WprC's-se'vo), It. Expressive, to
be played or sung with expression.

Espringalc (es'prin-ga-lC), //. Spring dance.

Essempio (es-s(^m'pi-d). It. See Esempio.

Essential harmonies. The three harmonies
of the key: tome, dominant, and subdom-
inant.
Essential notes. The real, component notes
of achord ; in contradistinction to all mere-
ly accidental, passiug, or ornamental notes.
Esteinporale (6s-ti^m-po-ra'lC), ,. )

Estemporaneo (6s-t$m-p6-ra'n6-o), j"

Extemporaneous.
Estinguendo (t?s-tin-goo-6n'd6), i Bccom-
Estinte (?s-ien'te). It.? ing e x-

Estinto (Cs-ten'to), ) tinct, dy-

ing away gradually in'time and strength of
tone.

Estravagante (es-tra-va-gan't6), Tf } Extrav-
Estravaganza(6s-tra-va-gan'tsa), f agant.

Estremamente (6s-tra-ma-m6n't6), It. Ex-
tremely.

Esultazione (6s-ool-tat-sI-6'n6), It. Exultation.

Et (ei), Lat. And.

Eteinte (6-tanht), Fr. See Estinte.

Etendre (6-tanhdr), Fr. To extend, to spread.

Etendue (6-tanh-d\i), Fr. The extent or com-
pass of an instrument or voice.

Et incarnatus (6t in-kar-na'toos), Lat. " And
was born," etc. A portion of the Credo.

Etouffe (a-toof-fa), Fr. Stifled, smothered ; a
word used in harp-playing to signify a dead-
ening of the tones, extinguishing the vibra-
tion by touching the strings ; in pianoforte
music it means an exceedingly soft style of
playing.

Etouffer (a-toof-fa), Fr. To stifle, to deaden

the tone.
Etouffoirs (a-too-fwar), Fr. pi. The dampers.

Etre en repetition (atr anh rgp-g-te'sI-Onh),

Fr. To be in rehearsal.
Et resurrexit (6t r6-soor-r6x'it), Lat. "And

rose again." A part of the Credo.
Etta(6f ta), T^. ) Little: an Italian final
Etto(6t'to), • /diminutive; as, tron'betta, &

little trumpet.

Ettachordo (6t-ta-k6r'd6), It. Instruments
having seven strings.

Etude (a-tiid), Fr. A study. Strictly sneak-
ing, a composition for practice in whio.. the
overcoming of some one technical difficulty
is aimed at. There are, however, also 6tudos
which are studies in expression or in phras-
ing. Further, during the last half century
it has been the fashion to write Etudes de
concert, concert studies, i. e., studies in-
tended not merely for private practice, but
also, perhaps chiefly, for public display.
Not a few of these Etudes de concert are in-
deed works of imagination and exquisite
musicianship.

a arm, & add, a ale, 6 end, e eve, i ill, I isle, 6 old, 6 odd. oo moon, <i but, u Fr. sound, kh Ger. ch, nh nasal.

(105)

ETU

DICTIONARY OF MUSIC.

EXT

Etudier (a-tii-de-a), Fr. To study, to practice.

Et vitam {Hi ve'tam), Lat. " And life ever-
lasting." A part of the Credo, in the Mass.
Etwas (Ct'vas), Ger. Some, somewhat, a little.

Etwas langsamer (6t'vas lang'sa-m6r), Ger. A
little slower.

Eufonia (a-oo-f6-ne'a),7i!. Euphony; an agree-
able sound.

Eufonico (a-oo-fo'ni-ko), It. Harmonious,
well-sounding.

Euphone (iih-fon), Fr. A reed-stop in an or-
gan, of IG-feet scale.

Euphonie (iih-fo-ne'), Fr. ) Euphony, sweet-
Euphonie (oi-fo-ne'), Ger. j ness of tone.

Sounds agreeable to the ear.

Euphony. Agreeable sound ; an easy, smooth
enunciation of sounds.

Euhartnonic. Producing harmony or con-
cordant sounds.

Euhartnonic organ. An ingenious instru-
ment of American origin, invented by H.
W. Poole about the year 1S48. It contains
three or four times the usual number of dis-
tinct sounds within the compass of an oc-
tave, furnishing the precise intervals for
every key. The name was wrongly chosen,
in place of enharmonic.

Euouae. A collocation of the vowels con-
tained in and indicative of the words " Se-
culorum, Amen." According to the old
form of the letters, Evovae.

Euphon (yoo-fon). A kind of glass harmonica
with a compass from c to f'", invented by
the great physicist, E. F. F. Chladni, about
1790. The tone of tliis instrument is pro-
duced by rubbing with moistened fingers
strips of glass, which communicate their vi-
brations to rods of metal.

Euphoniad (yoo-fo'ni-ad). An instrument of
American origin, containing thirty keys
with their semitones, and combining in its
tones tho?e of the organ, horn, bassoon,
clarinet, and violin.

Euphonious (yoo-fo'nitis). Smooth and melo-
dious.

Euphonium. A bass wind instrument of mod-
ern invention, used in military bauds. It
has two tubes, played at will Irom a single
mouthpiece.

Euterpe (oi-tar'p6), Gr. The seventh muse,
celebrated for the sweetness of her singing.

Eveille (a-va-ya), Fr. Lively, gay, sprightly.

Evirati (6-ve-ra't6), II. Men with soprano
voices among the Italians, who formerly

took the treble parts in the church and
theater. They are now nearly, If not quite,
extinct.

Evolutio (6-v6-loo'isi-6), Lat. Inversion of the

parts in double counterpoint.
Executant (^x-a-koo-tanh), Fr. A performer,

either vocal or instrumental.
Exequi^e (6x-a'kwi-a), Lat. Dirge.

Exequien (6x-a'kwi-6n), Ger, Masses for the

dead.

Exercice (gx-Sr-sess'), Fr. Exercise.

Exercice de I'archet (6x-6r-sess' dQh I'ar-sha),
Fr. Practice of the bow in violin-playing.

Exercise. A musical composition calculated
to improve the voice or fingers of the per-
former.

Explosive tone. A tone produced by sound-
ing a note suddenly and with great empha-
sis, and suddenly diminishing ; indicated
thus: >, or *S/.

Expressif (6x-pras-sef')^ Fr. Expressive.

Expression. That quality in a composition
or performance which appeals to our feel-
ings ; taste or judgment displayed in ren-
dering a composition and imparting to it
the sentiment of the author.

Expressivo (6x-pr6s-se'v6), It. See Fspressivo.

Extemporaneous. Without premeditation.

Extempore (6x-t6m'p6-r6), Lat. Unpremedi-
tated, improvised.

Extemporize. To perform extemporaneous-
ly, without premeditation.

Extended harmony. See Dispersed harmony.

Extended phrase. Whenever, by repeating
one of the feet, or by any other variation of
the melody, three "measures are employed
instead of two, the phrase is termed extend-
ed, or irregular.

Extended section. A section containing from

five to eight measures.

Extraneous. Foreign, far-fetched, belonging
to a remote key.

Extraneous modulation. A modulation into
some remote key, far distant from the orig-
inal key and its relatives.

Extravaganza ((?x-tra-va-gant'sa), It. A ca-
dence or ornament which is in bad taste ; an
extravagant and eccentric composition.

Extreme. A term referring to the most dis-
tant parts, as the treble and bass. Relating
also to intervals in an augmented state ; as
extreme sharp sixth, etc.

v- arm, a add, a ale, H end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, H but, ii Fr. sound, kh Ger. ch. nh nasal.

C1M>

F

DICTIONARY OF MUSIC.

FAL

F"

Fo The name of the fourth note in the nat-
ural diatonic scale of C. A perfect fourth
above C.

Fa. A syllable applied in sol-faing to the
fourth degree of every scale.

Fa bemol (fil ba-mol), Fr. The note Ft>.

Pa-burden. A term applied by the old Eng-
lish musical writers to a certain species of
counterpoiut.cousisting of thirds and sixths
added by ear to a cantus firmus. Later it
signified any kind of improvised accompani-
ment. See Falso boraone.

Faces d'un accord (ftiss d'iin iik-kor), Fr. The
various positions of a chord.

Fach (fiikh), Ger.
ranks.

Ranks ; thus, funffach, five

Facile (fii-sel'). i!'r. Kj^utpasv
Facile (fa-tshe'l6). It J^^SHt, easy.

Facilita (fa-tehe'li-tii), It. ") Facility ; an easier
Faciiite (fii-sel-l-ta), Fr. J arrajigement or
adaptation.

Facilement (fii-sel-manh), Fr. ") Easily, vv^ith
Facilmente (fa-tshel-m6n't6), It. j facility.

Fackeltanz (fiik'l-tants), Ger. Dance v/ith
flambeaux.

Facture (fak-tiir), Fr. The composition, or
workmanship, of a piece of music.

Fa dSese (fa di-az), Fr. The key of F+f.

Fa di^se majeur (fii di-az' mii-zhtir'), Fr. The
key of F$f major.

Fa dxhsQ tnineur (fil di-az' mi-ntir'), Fr. The

key of F# minor.
Fadiesis (fiide-a'zis), 7/. Fa-sharp, F#.
Fagott (fii-gotf), Ger. A. bassoon.
Fagottino (fii-got-te'no), It. A smai. bassoon.

Fagottist (fa-got-tlsf), Ger. 1 A performer
Fagottista (fii-got-tes'tti), It. J on the bassoon.

Fagotto (fii-got'to), It. A bassoon, also an or-
gan-stop.

Fagotto centre (fa-got'to kon'tro). It. A large
l)assoon, an octave, a fifth, or a fourth lower
than the common bassoon.

Fagottone ( fa-got' to-n6). It. A large bassoon

lormerly in use, an octave lower than the

fagotto.
Fahnenmarsch (fii'nen-marsh), Ger. The

march or tune that is played when the

colors are lodged.

Faible (fa'bl), Fr. Weak, feeble, thin.
Faiblement (fa'bl-milnh), Fr. Feebly, weakly.
Faire (far), Fr. Ho do, to execute.

Faitesbien sentir lameledie (fatbl-anh'sanh-
ter' Vci ma'16-dej, Fr. Play the melody very
distinctly.

Fa, la. The burden, chorus, or refrain of
many old songs. Fa, la, etc., were much in
fashion in the seventeenth century, and are
to be found in the works of some eminent
composers.

Falalellaifa-la-M'lii), It. A nonsensical song.

Fall (fal), Ger. A cadence.

False, wrong, inharmo-
nious.

Falsa (fal'sji), It. \
Falsch (fiilsh), Ger. J

Palsch singen (fiilsh sing'^n), Ger. To sing
out of tune.

False. Those intonations of the voice that
do not truly express the intended intervals
are called false, as well as all ill-adjusted
combinations. The term false is applied in
music to any violation of acknowledged or
long-established rules, or to anything im-
perfect or incorrect.

False accent. When the accent is removed
from the first beat of the bar to the second
or fourth, it is called false accent.

False cadence. An imperfect or interrupted
cadence.

False fifth. An old term for an imperfect or
dimi 1) ished fi f th ; a fifth containing only six
semitones, as C, G^.

False relation. The principal and most ob-
jectionable kind of false relation arises
where a note which has appeared in one
part reappears immediately alter in another
part chromatically altered — i. e., a semitone
flattened or sharpened (a). As numerous
exam|)les in our best composers show, such
progressions have by no means always a bad
eff'ect. Another kind of false relation is the
occurrence of the tritonus (an augmented
fourth ordiminished fifth) between thefirst
note of the one and the second note of the
other of two progressive parts. Hence tlie
strict prohibition by the old theorists of the
progression of two major thirds {lA. The
practice and teachingof more modern times
deals with this matter in a high-handed
way.

(a) {b)

i

i^

¥

False triad. The diminished triad, formerly
so called on account of its having a false
fifth.

a arm, a add, a ale, 6 end, e eve, 1 ill, I isle, 6 old, 6 odd, oo moon, a but, ii Fr. sound, kh Ger. ch, nh nasal.

(107)

FAL

DICTIONARY OF MtJSIC.

FE]

Falsett (fal-st?t'), Ger. ) Falsetto. (1) The

Falsetto (Ial-s6t't6), It. /head voice, as distiu-

j;uisbed from the chest voice. (2) A singer

who sings soprano or alto parts with such a

voice. Falsetti must not be confounded with

castrati.

Falsette. \ A false or artificial voice ; that

Falsetto, j part of a person's voice that lies

ubuve its natural compass.
Falso (fiil'so), It. False.

Falso bordone (fiil'so bor-do-nC), //. What the
French call Faux-bourdon and the English
Fa-hurdcn. There are several kinds of falso
bordone. The most important are: (1) The
early.manuer of accompanying a melody
(cantus firraus) in thirds and sixths, with
the exception of the first and last note, with
which the highest part took the octave and
the middle part generally the fifth of ihe
tenor— i. e, the part which " holds ' the
cantus firmus. Or the melody (cantus
firm us) was in the highest part, and was ac-
companied by fourths and sixths below, ex-
cept at the close, where the lowest part took
the octave. (2) Rhythmically unmeasured
vocal compositions in simple counterpoint,
consisting of progressions of consonant
chords, whose even course, however, is in-
terrupted at the cadences by prepared sus-
pensions.
Fa majeure (fJi ma-zhiir'), p„ 1 The key of F
Fa majore (fit ma-zh5r'), ' j major.

Fa mineur (fa mi-ntir'), Fr. Key of F minor.

Fanatico (fa-nii'ti-ko). It. A fanatic or passion-
ate admirer.

Fancies. An old name for little lively airs or
tunes. See Fantasia.

Fandango (fan-dtin'go), Sp. A dance much
used in Spain, in 3-4, 3-8, and also 6-8 meas-
ure, generally accompanied with castanets
and having a strong emphasis upon the sec-
ond beat of each bar. Its characteristic
rhythm is this :

s£a- r I ££5- r c

Fanfare (fanh-fiir), Fr. A short, lively, loud,
and warlike piece of music, composed for
trumpets aud kettledrums. Also short, live-
ly pieces performed on hunting-horns in the
chase.
Fantaisie (fan-ta-z?), Fr.^ Fantasy, fancy,
Fantasia (fan-tii-ze'ii). It. j-caprice, wnim. (1)
Fantasie(fan-ta-se'),^er,j The name of Fan-
tiisia is given to various kinds of composi-
tion—to preludes consisting of a few arpeg-
gios and runs, to lengthy works full of
thought and learning, to potpourris of oper-
atic tunes, etc., which, however, all agree in
being free in style, not restricted by any defi-
nite form. (2) An improvisation. (.3) The
instrumental pieces called Fantasias (also
written Fantazias and Fhantasias), Fancies
(or Fausies), etc., were at first mostly of a
fugal nature. Those which Dr. Burney had
jn his possession were for viols, and " con-

sisted more of motets, madrigals, and in
nomines {q. v.), originally designed for voices,
than of fantasie made exprei>sly for instru-
ments." Christopher Simpson writts in
1667 that " this kind of music is now much
neglected, by reason of the scarcity of audi-
tors that understand it; their ehcs being
better acquainted and more delighted wiih
light, airy music." He names as ♦he be>t
composers of Fancies in England, Alfons*
Ferabosco, C">perario, Lupo, Mico, Whiio,
Ward, Dr. Colman, and Jenkins (4) Wofiiil
the term Fancies also applied to vocal com-
positions and to short, lively tunes.

Fantasioso (f;in-tu-zi-o'zo;, It. Fantastic, ca-
pricious.

Fantasiren (fan-(a-ze'r'n), G<r. To improvise,
to play extemporaneously.

Fantasticamente (fan-tas-ti-ka-m?n't6), if. In
a fantastic sty.e.

Fantastic© (fan-tiis'ti-ko). It. | Fantastical.
Fantastique (fan-tas-tek'), Fr. r whimsical, ca-
Fantastisch (fau-tas'tlsh), Grr. \ priciousin re-
lation to style, form, modulation, etc.
Farandole (fa-ranh-dolM, ^ \ A lively
Farandoule (fa-ranh-dool), ' j dance in 6 8

time, peculiar to Provence.
Farce. A short, extravagant comedj% inter-
spersed with airs or songs with instrumental
accompauiments.

Farsa (fiir'sa), Jf. Iparce
Farsa (far'sa), Sp. | ^^rce.

Farsa in musica (far'sa in moo'zi-kii). It. Mu-
sical farce ; a species of little comic opera,
in one act.

Fascie (fas'tshi-6). It. pi. The sides, or hoops,
of a violin, viola, etc.

Fastosamente (fas-to-za-mCn't6),7/. Pompous-
ly, proudly.

Fastoso (fJis-to'zo), It. Proud, stately, in a
loity and pompous style.

Faucette (fos6t'), ^, I Falsetto.
Fausset(fo-sa'), j

Faux (fo), Fr. False, out of tune.

Faux accord (fo Zilh-k6rd'), Fr. A dissonance.

Faux bourdon (fo boor-d6nh), Fr. See Fa-
burden.

F clef. The bass clef ; a character placed on
the fourth line of the staff so that p^j
the two dots are in the third and bs^'
fourth spaces.

F=dur (Cf-door), Ger. The key of F major.

Feathering. A term sometimes applied to a
particularly delicate and lightly detached
manner of bowing certain rapid passages on
the violin.

Feeders. Small bellows sometimes employed
to supply th large bellows of an organ
with wind.

Feier (fi't^r), Ger. Festival, celebration.

Feiergesang (fl'^r-gh^-sang), Ger. Solemn
hymn, anthem.

&arm, & add, a ale, 6 end, e eve, iiU, i isle, 6 old, 6 odd, oo moon, a but, ii Fr. sound, kh Ger. ch, nh nasal.

(108)

FEI

DICTIONARY OF MUSIC.

FiF

Feierlich '[fi'Sr-likh), Ger. Solemn, festive.
Feierlichkeit (fi'6r-likh-klt), Gcr. Solemnity,

pUlll[).

Feigned voice. A falsetto voice.

Peine Stimme (fi'ne stim'mc?), Ger. A fine
voice.

Feint. A figure in drum music.

Feinte. An old name for a semitone ; an ac-
cidental.

Feldflote (f?ld flu't<5), Ger. A peasant flute.

Feldkunstpfeifer (f61d koonst'pfi-fer), Ger. A
military musician.

Feldmusik (f^ld'moo-zik), Ger. Military mu-
sic.

Feldrohr (fgld'ror), Ger. A rural pipe of oboe
order.

FeCdton (fgld'ton), G'^c. The tone or keynote
of the trumpet and other military wind in-
Etrumeiits.

Feldtrompete (fgld-trom-pa'te), Ger, Military
trumpet.

Ferma (far'ma), It. Firm, resolute, steady.

Fermamente (far-mii-mCn'tt^), It. ,Firmly,

steadily.
Fermata Car-ma'tii), It. \ A pause or hold
Fermate (far-mii'tC), Ger. j marked thus, ^.

Fermate (far-rnii'tS), j, ) Firmly, steadily,
Fermato (far-mii'io), " j resolutely.

Fermement (far-me-miinh), Fr. Firmly, res-
olutely.

Fermo (far'mo), It. Firm, resolute.

Feme (fa.r'u6), Ger. Distance.

Fernwerk (fgrn'wfirk), Ger. Distant, or re-
mote, work , term applied to a particular
row of keys ia Germau organs.

Feroce (fa-ro'tsh?). j. \ Fierce,

Ferocemente (fa-ro tshC-men'tg, " j with an
expression of lerociiy.

Ferocita (fa-ro-tshi-ta'), It, Fierceness, rough-
ne.ss.

Fertig(f6r'tigh). Ger. Quick, nimble, dexter-
ous.

Fertigkeit (ffir'tigh-kit), Gcr. Quickness, dex-

teiily.
Fervemment (far-va-raiinh), Fr. Fervently,

vehemently.

Fervente (far-v6n'tC), It, Fervent, vehement.

Ferventemente (far-ven-t6-m6n't6), j, ) Fer-
Fervidamente car ve-dii m6n't6), * j vent-
)y, Vihome.itly.

F.irvido (far'vi do)/ It. Fervent, vehement.

Fes (I'Cs), Gcr. The note Y\>,

Feses (fa'sCs), Ger. F-double-flat.

Fest (f6st), Ger. Feast, festival; also firm,
steady.

Festigkelt (f 6s' tig-kit), Ger. Firmness, steadi-
ness.

Festivamente (fgs-te-va-m6n'te), It. Gaily,
brilliantly.

Festivita (f6s-te-vi-ta'). It. Festivity, gayety.

Festive (f6s-te'vo), It. Merry, cheerful, gay.

Festlich (fgst'llkh), Ger. Festive, solemn.

Festlichkeit (f6st'likh-kit), Ger. Festivity,
solemnity.

Festlied (fSst'led), Ger. A festive song.

Festoso (fgs-to'zo). It. Merry, cheerful, gay.

Festouverture(f6st'6-ver-tii're), Ger. Festival
overture ; an overture in a vigorous, bril-
liant style.

Festzeit (ffist'tslt) Ger. Festival-time.

F. F. Fortissimo ; very loud.

F. F. F. Very fortissimo ; as loud as possible.

Feuer (foi'6r), Ger. Fire, ardor, passion.

Feurig (foi'righ), Ger. Fiery, ardent, passion-
ate.

Fiacca (fe-ak'ka), j. "I Feeble, weak, languish-

Fiacco (fe-ak'ko), " / ing, speaking of the
tone.

Fiasco (fe-as'ko). It. The technical term for a
failure ; a complete breakdown in a mu-
sical performance.

Fiato (fe-a'io). It. The breath, the voice.

Fiddle. A common name for violin.

Fiddler. A common name for violinist, usu-
ally applied to a poor player.

Fiddlestick. A violin-bow.

Fides (fe'd^s), Lat. (1) A catgut string; (2) A

sttiuged instrument.
Fidicen (fe'di-ts^n), I//'. A harper ; one who

plays upon a stringed instrument.

Fidicina (fe'di-tse'na), Lat. A woman who
plays upon a stringed in-trumeni.

Fidicula (fe-de'koo-la), Lat. A small lute or
guitar.

Fiducia (fi-doo'tshi-ii), It. Confidence.

Fiedel (fe'd'l), Ger. A fiddle, a violin.

Fiedelbogen (fe'd'l-bo'g'n), Ger. A fiddle-
stick, a violin-bow.

Fiedelbrett (fe'd'1-brgt), Ger. A squeaking
fiddle.

Fiedler (fed'ler), Ger. A fiddler.

Fiel. An old name for the fiddle, or violin.

Field music. Music for military instruments;
martial music.

Fier (fe-a'), Fr. Proud, haughty.

Fieramente (fe-Sr a-m6n'tt5). It. Fiercely, ve-
hemently, boldly.

Fiere (fi-ar), Fr. Proud, lofty, fierce.

Fierement (fl-ar-miinh), Fr. In a fierce man-
ner.

Fieramente assai (fe-a-ra-m6n'tS iis-sii'i). It.
"Very bold and energetic.

Fiero (fe-a'ro), It. Bold, energetic, lively.

Fierte (fer-ta'), Fr. Fierceness, boldness.

Fife. A simple cross flute (v. Flute), generally
either in the key of F or Bl?, and chiefly-
used in military "music in combination

j. arm, a add, a ale, 6 end, e eve, I ill, i isle, 6 old, 6 odd, oo moon, H but, u Fr. sound, kh Qer. oh, nh nasal.

(109)

FIF

DICTIONARY OF MtJSlC.

fIS

with the side-drum in what arc called

drum-and-flfe bands.

Fifer. One who plays on the fife.

Fiffaro (fe'fa-ro), It. A fife.

Fifre (fefr), Fr. A fife, also a fifer ; the name
is also applied to one of the stops in a har-
monium.

Fifteenth. An inteival of two octaves : also
the name of an organ-stop, tuned two oc-
taves above the diapasons.

Fifth. The interval from any tone of the scale
to the fifth above or below, the extreme
tones themselves being counted.

Fifth, augmented. An interval containing
four whole steps.

Fifth, diminished. An interval containing
two vvnole steps and two half-steps.

Fifth, perfect. An interval containing three
whole sieps and one half-step.

Fifths, consecutive. Two or more perfect
fifths immediately following one another in
two parallel parts of the score.

Fifth , sharp. An interval consisting of eight
semitones.

Figur (tl-goor'), Ger. A musical figure, phrase,
or idea.

Figura (fe-goo-ra'). It.
ornament.

Note employed as an

Figuralgesang (fi-goo-ral'ghg-siing'), Oer.
Varied and ornamented chant, as opposed to
plain chant.

Figurantes (fe-gu-ranhf), Fr. Those dancers
in a ballet who do not dance singly, but in
groups and many together. In the drama,
people who figure without having anything
to say.

Figuration. An ornamental treatment of a
passage, by introduciog passing tones, ap-
poggiaturas, etc., in one or mora of the
voices.

Figurato (fe-goo-ra' to), It. \ Figured, florid,
Figure (fi-gii-ra'), Fr. j embellished.

Figured. Free, florid ; a term applied to an
air which, instead of moviug note by note
with the bass, consists of a free and" florid
melody. It also means indicated or noted
by figures.

Figured bass. A shorthand system of noting
harmonies. It consists of a bflss part with
figures which indicate the principal inter-
vals of the intended chords. In the case of
triads, unless they are inverted, the bass is
generally left without figures. Accidentals
affect the corresponding intervals of the fig-
ures beside which they stand. An acci-
dental standing by Itself affects the third
above the bass note. A stroke through a
figure shows that the interval is sharpened
a semitone. An oblique stroke under or
above a bass note indicates that not the note
thus marked, but the following one, is the
basis of the harmony to be taken; horizon-
tal lines indicate that a harmony has to

be continued whilst the bass' proceeds, and
the words tasto solo or the sign o indicate
that nothing but the bass notes is to be
played.

Figures of diminution. Numerical charac-
ters which diminish the duration of t)»e
notes over which they are placed. T.--ri
notes with a figure three are called triplets .
Vv'here there are two triplets a figure six is
used.

Filar la voce (fe lar lii vo'tsh?). If. To spin
out, to prolong the tone, gradually aug-
menting and diminishing the sound of the
voice.

Filarmonico (fe-lar-mo'ni-ko), It. Philhar-
monic, music-loving.

Filer (fi-la), Fr. To spin, to draw out.

Filer le son (fi-la luh sonh), Fr. See Filar la
voce.

Filet de voix (fi-la duh vwii), Fr. A very thin
voice.

Fileur (fi-ltir), Fr. A spinner ; a stringmaker.

Filum (fe-loom), Lnt. A name formerly given
to the stem of a note.

Fin (fanh), Fr. The end.

Fin al (fen ill). It. End at ; play as far as.

Final. The final is in the church modpswhat
the tonic is in our modern musical system.
In the authentic modes the final is on the
first degree, in the plagal modes on the
fourth degree of the scale. Besides these reg-
ular finals (i.e., "concluding notes") ihere
are also irregular ones (confinals), which oc-
cur frequently in the endings (4 the Psalms
and in the sections of the Responsories,
Gradual s. and Tracts.

Final close. Final cadence.

Finale (fe-na'l6), 7^^. (1) The concluding move-
ment of a sonata, symphony, etc , and the
concluding divisions of the acts of an opera.
This latter kind of finale is a culminating
ensemble piece, many-membered in move-
ment and matter, and generally with
chorias. (2) A final (g. v.).

F in alt. The seventh above G in alt; the
seventh note in alt.

F in altissimo. The octave above F In alt
the Seventh note in altissimo.

Fin a qui (fen ii kwe), It. To this place.

Fine (fe'nc^). It. The end, the termination.

Fine del aria (fe'n6 del a'ri-a), It. The end of
the air.

Fine del atto (fe'uS del at'to), It. The end of
the act.

Finemt:nt (fanh-miinh), Fr. Finely, acutely.

Fingerboard. That part of a stringed instru-
ment on which the fingers press; the key-
board, or manual, of a pianoforte, organ, etc.

Fingered. A term applied to piano music,
signifying that figures or other characters
are applied to the notes to show the method
of fingering.

& arm, & add, a ak, e end, he e,\ ill, i isle, 6 old, 6 odd, oo moon, XxhutfXa Fr. sound, kh Ger. ch. nh nasal.

FIS

DICTIONARY OF MUSIC.

FLA

Fingering, American. The use of the sign
(X) to indicate the thumb in pianoforte-
playing, in distinction from the German or
foreign fingering, in which the thumb is
called the first finger.
Fingering, foreign. \ A method of finger-
Fingering, German. ) iug piano music Avhich

designates the thumb as the first finger.
Fingerleiter (fing'Cr-lI'tgr), Ger. Finger-Guides.
Ftrgern (fing'Crn), Ger. To play, to finger.
Fingersatz ( fing'Sr-satz\ Ger. Fingering.
Finished. A term applied to those vocal or
instrumental performers who have attained
an advanced and artistic execution.
Finita (fe-ne'tji), jf \ Finished, ended, con-
Finito (I'e-ne'toj, • ) eluded.

Finite canon. A canon which is not repeated.
Fino al (fe'no iil), //. Play t.^- far as, stop at,

''ud at.
Fin qui (feu kwe). It. To this place.
Fint (fent\ \ Feigned, false, interrupted,
Finto (fen'to), ) in respect to cadences; a feint,

or deceptive, close.

Floca(fe-o'ka), j. X'a^^.^r, t^i..^ fp-fiip
Fioco (fe o'ko), ^^- I hoarse, taint, leebie.

Fiochezza (fe-o-k^fza), //. Hoarseness.

Fioreggiante (fe-o-r^'d-ji-iin't^?).//. Too ornate,
decorated Avith roulades, cadences, etc.

FiorettI (fe-o-ri^t'te), It. Little graces, or or-
naments, in vocal music.

Fioriscente (fe-o-ri-sh6n't6, jf 1 Florid,

Fiorito (fe-o-re'to), j abounding

with ornaments.

Fiorita cadenza (f6-o-re'ta ka-d^nt'sJi), It. A
cadenza whose last note but one is divided
into many notes.

Fioritezza (fe-6-ri-t^t'sa), It. Embellishment,
a florid style of performance.

Fioritura (fe-6-ri-too'ra), It. Literally, "a
flowering." A florid melodic ornament.
Fioreggiare, the corresponding verb, signi-
fies to ornament (flower) a melody by t:olv-
ing its principal elements into a multiplic-
ity of shorter notes of varied pitch. Fioriture
is the plural of fioritura.

First. A word applied to the upper part of
a duet, trio, quartet, or any other composi-
tion, vocal or instrumental; such parts
generally express the air.

First bass. High bass.

First inversion. A term applied to a chord
when the bass takes the third. See Inversion.
First soprano. The high soprano.
First tenor. The high tenor.
Fis (fis), Ger. The note F#.
Fis=dur (fis-door), Ger. The key of F# major.
Fis-fis (fis-fis) Ger. The note F-dou-ble-sharp.
Fis-moll (fis'moll), Ger. The key of F#

minor.
Fistel (fts'tel), Ger.

Feigned voice ; falsetto.

Fistola (fi.s'to-la). It. ) . ^ .

Fistula (fis'too-la), Lat. | ^ ^^^^' * P^P®'

Fistula dulcis (fls'too-lii dool'tsis), Lat. This

was once a common flute, and was blown

at the end. See FMte a bee.
Fistula Germanica (fis'too-la ger-ma'ni-kii),

Lat. German flute.
Fistula Panis (fis'too-la pa'nfs), Lat. The

Pandean pipes; wind instruments of the

ancients.
Fistula pastoralis (fis'too-la pas-to-ra'lis), Lat.

The Pandean pipes ; wind instruments of

the ancients.

Fistula pastorica (fis'too-la pas-i6-ri-ka), Lat.
Name given by Cicero and other classical
writers to the oaten pipe used by the audi-
ence in the Roman theaters to express
their disapprobation.

Fistulator (fis'too-lii'tor), Lat. \ A piper, a

Fistulatore (fes'too-la-to're), It. ^ player on a
fiute ur flageolet.

Fistuliren (fis-too-le'r'n), Ger. (1) To sing or
speak with the head voice. (2) In speaking
of organ-pipes, to overblow, i. e. to sound
one of the upper partial notes instead of the
fundamental note.

Fithele. The old English name for the fid-
dle.

Fixed syllables. Syllables which do not
change with the change of key. The Ital-
ians use fixed syllables.

Flachflote (flakh-flo'te) , Ger. Shallow flute;
llageolet ; also an organ-stop of rather thin
tone.

Flageolet (fla-zh6-6-la'), Fr. I A small flftte k

Flageolet (fla-gh6-o-iet'), Ger. j bee, that is.
a straight flute, with a plug in the mouth-
piece which leaves only a narrow slit for the
breath to pass through. (2) An organ-stop.
(:^>) Flageolet tones are those ethereal sounds
produced on stringed instruments (violin,
harp, etc.) by lightly touching a string in
certain places with a finger, and then set-
ting it in vibration by drawing the bow
over it or plucking it. {V. Harmonics.)

Flageolet, double. A flageolet having two
lubes.

Flagioletta (fla-ji-o-lgt'ta), It. (See Flaaeolet.)

Flam. In drum music a grace note or stroke
corresponding with the appoggiatura in
other compositions. There are two flams,
the open and the close. The latter is made
as rapidly as possible, so that the two notes
are almost together. The open flam is not
so close.

Flaschinett (flash l-net), Ger. The flageolet

Flat. A character which lowers a note one
semitone (1?).

Flat, double. A character composed of two
flats, indicating a depression of two semi-
tones (bW-

Flatter la corde (flat-ta la kord), Fr. To play
the violin, etc., in a soft, expressive man-
ner.

a arm, a add, a ale, 6 end, e eve, i ill, I isle, 6 old, 6 odd, oo moon, tl 6m/, ii Fr. sound, kh Ger. ch. nh nasal.

(Ill)*

FLA

DICTIONARY OF MUSIC.

FLU

Flautandoffla-oo-tan'do), j^ ) Flute-like tone;
Flautato (flji-oo-ta'to), j that qunlity

of tone obtained by drawing the bow

smoothly and gently across the strings over

that end of the fingerboard nearest the

bridge.
Plautina (fla-oo-te'nin, r. ).A small flute, an
Flautino (fla-oo-te'uo), j octave flute; a

l)iccolo.
Plautista (fla-oo-tes'ta), It. A performer on

the flute.
Flauti -nisoni (fla'oo-te oo-ne'so-ne), It. The

flutes in unison.
Flauto (fla'oo-to), It. A flute.

Flauto a becco (fla'oo-to a bgk'ko), It. A
beaked flute. A flute having a mouth-
piece like a flageolet.

Flauto ad libitum (fla'oo-to), It The flute
part may be played or omitted.

Flauto alto (fla'oo-to ill'to), It. A tenor flute
used iu bauds.

Flauto amabile (fla'oo'to a-mti'bi-lC), It. The
name of an organ-stop of soft and delicate
tone.

Flauto amoroso (fla'oo-to Ji-mo-ro'zo), It. A
4-feet organ-stop of delicate tone.

Flauto dolce (fla'oo-to dol'tshe), It. An organ-
stop of soft, agreeable tone.

Flauto piccolo (flii'oo-to pek'k6-16). It. An
octave flute, a small flute of very shrill
tone ; a flageolet

Flauto tacere (flii'oo-to ta-tsha'r6), It. The
flute is not to play.

Flauto tedesco (fla'oo-to t6-d6s'k6). It. A
German flute.

Flauto terzo (fla'oo-to tfirt'so), It. The third
flute.

Flauto transverso (fla'oo-to trans-v6r's6), j, )

Flauto traverso (fla'oo-to tra-v6r-so), ' j

The transverse flute— thus named because
it is held across, and blown at the side,
contrary to the flftte a bee ; it is also often
called the German flute. The name is also
applied to an organ-stop.

Flebile (fla'bi-ie), It. Mournful, sad, doleful.

Flebilmente (fla-bil-m6n't6\ It. Mournfully,
dolefully.

Flessibile (fle-se'bM^), It. Flexible, pliant.

Flessibilita (fl6-si-be-li-ta'). It. Flexibility.

F=L6cher (6f-lokh'6r), Ger. The f holes, or
soundholes, of a violin, etc.

FIon=flon (fl6n-fl6n), Fr. Bad music ; trash.
Also the burden of certain old vaudevilles.

Florid. Ornamental, figured, embellished.

Florid counterpoitit. Figured counterpoint.

Flotchen (flot'kh6n), Ger. A little flute, a
pipe, a flageolet.

Flote (flo'te), Ger. A flute.

Floten (flo't'n), Ger. To play upon the flute.

Flotenspieler (flo't'n-spe'ier), Ger. A flute-
player.

Flotenstimme (flo't'n-stim'm^), Ger. A soft,
sweet voice ; the part for the flute.

Flotenzug (flo't'n-tsoog), Ger. A flute-stop in
an organ.

Flote traverso (flo't^ tra-v6r's6), Ger. The
German flute ; also an organ-stop. See

Flauto traverso.

Flotist (flo-tisf), Ger. A flute-player.

Flourish. An appellation sometimes given
to the decorative notes which a performer
adds to a passage, with the double view of
heightening the effect and showing his own
dexterity and skill.

Fluchtig (fliikh'tigh), Ger. Lightly, nimbly.

Fliichtigkeit (fliikh'tigh-kit), Ger. Lightness,

fleetness.
Fliigel (flii'g'l), (rgr. Awing; a harpsichord,

a grand piano.
Fliigel (flvi'g'l), Ger. Lit., " wing." A grand

pianoforte. Formerly a harpsichord,
Flugelhorn (flfi'g'l-horn), Ger. (1) A bugle.

(2) A keyed brass instrument which is made

in various keys and forms. The Kenthoru,

Klappenhorn, and Cornet belong to the

genus Flugelhorn.

Fluit inoit), Dut. I A flute
Fluta (floo'ta), Lat. | ^ "^'^®-

Fluepipes. Those organ-pipes (metal as well
as wooden) which are made to sound by
forcing the wind through a slit (the wind-
way) at the top of the foot, and against a
sharp edge (the upper lip , which divides
the wind, part of which only enters the body
of the pipe. The fluevjork is the aggregate
of such pipes.

Flute. An organ-stop of the flue species, the
tone of which resembles that of the flute.

Flute. There are two kinds of fl>ite : the flfite
a bee (beak flute), or direct flute, and the
fltjte traversiere, or cross flute: the former
has a plugged mouthpiece atone end of the
tube, the latter is blown through a lateral
hole. Excepting the flageolet, the flute a
bee has entirely disappeared, at le«st among
the art-producing European nations. The in-
strument understood when we now speak of
the flute is the cross flute, also called Ger-
man flute. It is generally made of wood,
sometimes of metal, and consists of a conical
tube, stoppedat its wider end, and provided
with six fingerholes and a number of keys.
As improved by Boehm, it has a compass
from c' to c"". Music for this instrument,
which is one of the most important mem-
bers of the orchestra, is written as it pounds.
A small, or octave, flute, the flauto piccolo
(with a compass from d" to a"" ; Avritten
d'— a'") is also sometimes used in the orches-
tra. In military bands flutes in El? and in
F, and small flutes an octave higher, are to
be met with. Now flutes are also made cy-
lindrical and of ebonite. The so-called flute
of ancient Greek music was not a true flute,
but a sort of imperfect oboe. Of the same
nature, probably, were the double flutes,

a arm, & add, a ale, 6 end, e eve, I ill, i isle, 6 old, 6 odd, oo moon, iX but, u Fr. sound, kh Ger, ch, nb nasal.

(112)

FLU

DICTIONARY OF MUSIC.

FOR

figured upon ancieut monuments, consist-
ing of two tubes, diverging from each other
at an acute angle. It is not certainly known
whether both tubes were sounded simulta-
neously, and if so, whether the resulting ef-
fect was that of a melody with harmony or
a melody with a drone bass, but the latter is
regarded as more probable from the circum-
stance of similar flutes being still extant in
Abyssinia and elsewhere.

Flute, Fr. The same as flautando and flau-
tato {q. v.).

Flute a bee (floot a b6k), Fr. " Beak flute."
A direct flute. It has a beak-shaped mouth-
piece with a plug which leaves only a nar-
row aperture for the breath to pass through.
There was a whole family of flutes u bee,
bass, tenor, alto, etc. ( V. Flute.)

Flute allemande (floot til-manhd), Fr. The
German flute.

Flute, Boehm (bom). A perfected flute, in-
vented by M. Boehm, of Germany, in 1882.
It differs from the common flute in having
the size and location of ihe holes arranged
In their natural order with keys.

Flute conique (floot kuu-ek), Fr. Conical
flute; an organ-stop.

Fluted. A term applied to the upper notes
of a soprano voice when they are of a thin
and flutelike tone.

Flute d'allemande (flute d'al-miinhd), Fr. A
German flute.

Flute d'amour (floot d'a-moor), Fr. A flute
the compass of which is a minor third be-
low that of the German flute ; the name is
also applied to an organ stop of 8- or 4-feet
scale.

Flute, diatonic. A flute capable of producing
all the diflTerent tones of the major and mi-
nor diatonic scales.

Flute dolce (floo'te dol'tsh^i, If. A flute with
a mouthpiece like that of a flageolet.

Flute douce (floot doos\ Fr. Soft flute ; the
flfite a bee ; there were lour kinds, the treble,
alto, tenor, and bass.

Flutee (floo-ta\ Fr. S'oft, sweet.

Flute harmonique (floot hilr-monh-ek), Fr.
See Harmonic flute.

Flute, octave. A flute the tones of which
range an octave higher than the German
flute.

Flute octaviante (floot 6k-ta.-vi-anht), Fr. Oc-
tave flute, an organ-stop.

Flute ouverte (floot oo-var), Fr. An organ-
stop of the diapason species.

Flute, pastoral. \ A flute shorter than the
Flute, shepherd's, j transverseflute and blown
through a lippiece at the end.

Fluter (floo-ta), Fr. To play the flute.

Flute traversiere (floot trilv-gr-si-ar), Fr. The

transverse, or German, flute.
F=molI (ef-moll), Ger. The key of F minor.

Foco (fo-ko), It. Fire, ardor, passion.

Focosamente (f6-k6-za-m6n't6), It. Ardently,
vehemently.

Focosissimo (fo-ko-ze'si-mo), //. Very ardent-
ly, with a great deal of passion.

Focoso (fo-ko'zo), It. Fiery, passionate.

Foglietto (fol ye C't'td), It. A name given to a
flrst-violin part which contains all the ol)-
ligato passages of the other parts. A fogli-
etto is used by the player who assists at tiie
rehearsals of ballets, sometimes by con-
ductors instead of a score, and also by the
leader of the orchestra.

Fois (fwii), Fr. Time.

Fols premiere (fwa pr6m-i-ar), Fr. The first
time.

Fois deuxieme (fwa dvi-zi-am), Fr. The sec-
ond time.

Folia (fo'li-a), Sp. A species of Spanish dance.

Folio, music. A case for holding loose sheets
of music ; a wrapper used in a music-store
for the convenience of classifying the music.

Follia di spagna (fol'yi-ii de span-yii), Sp. A
species of composition invented by the
Spaniards, consisting of variations on a
given air.

Fondamentale (f6n-da-m6u-ta'16), It. Funda-
mental ; fundamental bass.

Fondamento (fon-da-m6n't6). It. The funda-
mental bass : the roots of the harmony.

Fond d'orgue (f5nh d'org), Fr. The most im-
portant stop in an organ, called in England
the open diapason, 8-feet scale. In Germany
this is called the 8-feet principal.

Foot. A certain number of syllables consti-
tuting a distinctmetrical element in a verse.
In very old English music it was a kind of
drone accompaniment to a song which was
sustained by another singer.

Form . The arrangement of material in a tone
poem into symmetrical and effective order.
The plan of a music-piece with reference to
its verses, cantos, and division ; in short, its
metrical structure. The laws of musical
form have in view clearness and compre-
hensibility in musical works, as well as sym-
metry pure and simple. There are certain
typical forms which are used oftener than
others, and which are often approximated
closely by forms apparently novel and free.
These are the Fugue Song, Song-form with
Trio, Variation, Rondo, and Sonata-piece.
(See Introduction.)

Fbrlana (for-la'na), J^ ) A lively Venetian
Forlane (f6r-lan'), Fr. ) dance in 6-8 time.

Fort (for), Jf'j-. iLoudstron?
Forte (for'tg). It. j ^°^^' s"ong.

Fortement (fort'manh), Fr. ) Loudly,
Fortemente (f6r-t6-men't6), It. j powerfully,
vigorously.

Fortezza (for-tet'za), It. Force, power,
strength.

a arm, a add, a ale, &*end, e eve, 1 ill, i isle, 6 old, 6 odd, oo mooii, H but, ii Fr. sound, kh Oer. ch, nh nat^ai.
8 . (113)

FOR

DICTIONARY OF MUSIC.

FRI

Forte=p!ano (for-t^-pe-a'no), It. ) The piano-

Forte=piand (f<3rt-pi-a'n6), Fr. V forte ; a key-

Fortepiano ( for'.e-pi-a'no), Ger. ^ ed i n s t r u-
meut oi Germau invention. 80 called from
its cap!iV)ility<)f expressint< different degrees
of power or intensity of tone.

Forte possibile (for'tS pos-se'bi-lS), II. As loud
as possible. ,

Fortiss. An abbreviation of Fortissimo.

Fortissimo (for-tei'si-mo), J<. Very loud.

Fortissimo quanto possibile (for'tes'si-mo
kv\;in-io pos-se'L-i-ie), It. As loud as possi-
ble.

Fortschreitung (f(3rt'shn-toong), Ger. Pro-
g.essiun an narraony).

Fortsetzung (fort'sgt-soong), Ger. A contin-

UULJOII.

Forza (fort'sti), //. Force, strength, power.

Forzando (for-tsan'do), jf | Forced ; laying a

Forzato (for-tsa'to), )' stress upon one

note or chord ; sometimes marked V A >.

Forzar la voce (fort'siir lii vo'tshg). It. To
force the voice.

Forzare (for-tsii're), It. To strengthen.

Fourchette tonique (foor-shfit t6nh-ek), Fr.
A tuniijgfork.

Four=part song. A song arranged for four
pans.

Fourth. A distance comprising three dia-
tonic intervals; that is, iwo tones and a
half.

Fourth flute. A flute sounding a fourth
higher than the concert flute.

Fourth shift. The last shift in violin-play-
ing.

Fran^aise (friinh-saz'), Fr. A graceful dance
iu 3-4 lime.

Franchezza(fran-k6t'za), It. Freedom, confi-
dence, boldness.

Franfaise (fra-^-saz'), Fr. \ French ; in

Franzese (fran-tsa'z6), /^ > the French

Franzosisch (friln-lso'zish), Gcr.l style.

Frappe (frap), Fr. Stamping, striking; a pe-
culiar mrtuner of beating time or striking
notes with force.

Frapper (f rap-pa), Fr. To beat the time ; to
strike.

Frase (fra-z6), It. A phrase; short musical
passage.

Frasi. Phrases.

Fraseggiare (fra-s6d-jl-ar'6). It. To phrase;
to deliver a melody or idea properly, Ic,
with expression.

Frauenstimme (frou'6n-stIm'm6), Ger. A fe-
male voice.

Freddamente (fr6d-da-m6n't6). It. Coldly,
without animation.

Freddezza (fr6d-det'tsa), It. Coldness, frigid-
ity.

Freddo (frCd'do), It. Cold, devoid of senti-
ment.

^

Fredon (fr6-d6nh), Fr. Trilling ; a flourish oi
other extemporaneous ornament.

Fredonnemente (frg'don-manh), Fr. Hum
miuii.

Fredonner (fra-donh-na'), Fr. To trill, to
shake; also to hum, to sing low.

Free composition. In a free style; a com-
position not ill strict accordance with the
rules of musical art.

Freemen's songs. Little compositions for
three or four voices, in use about ICOO.

Free reed. A reed-stop in an organ, in which
the tongue by a rapid vibratory motion to
and fro produces the sound. The tone of
a free reed is smooth and free from rattling,
but not usually, so strong as that of the
striking reed.

Fregiare (fra-ji-a'r6). It. To adorn, to em-
bellish.

Fregiatura (fra ji-a-too'ra). It. An ornament,
an embellishment.

Frei (fri), Ger. Free.

Fremissement (fra'mess-manh), Fr. Hum-
ming, .singing in a low voice.
French horn. See Horn.

French sixth. One form of an
augmented sixth ; a chord
comp(sed of a major third,
extreme fourth, and extreme
sixth.

French treble clef. The G clef on the bottom
line of the staff, formerly much used in
French music for violin, flute, etc.

Fresco (frgs'ko), j.

Frescamente (fr6s-ka-m6n't^), '
ly, lively.

Fretta (frgt'ta). It. Increasing the time; ac-
celerating the movement.

Frets. Thin strips of wood, metal, or ivory,
inserted transversely in, and slightly pro-
jecting from, the fingerboard of various
stringed instruments— the old viols, lutes,
theorboes, and the still flourishing guitar—
in order to facilitate correct stopping. Cat-
gut frets, too, are found on old instruments.
Strings bound round the necks of instru-
ments were, indeed, the earliest frets.

Freude (froy'dC), Ger. Joy, rejoicing.

Freudengesang (froy'd'n-gfi-sang'), Qer. A

song of joy.
Frcudsg (froy'digh), Otr. Joyfully.
Freudigkeit (froy'digh-kit), Ger. Joyfulness,

joyousness.
Fr i (frr, Ger. Free, unrestrained as to style.
Freie Schreibart (fri'6 shrib'art), Ger. Free

style of composition.
Friedensmarsch (fre'd'ns-miirsh), Ger. A

march in honor of peace.
Frisch (frish), Ger. Freshly, briskly, lively.

Friska. The quick movement in the Hun-
garian national dances called Czdrdas.
(See C.)

) Freshly,
j vigorous-

a arm, a add, a ale, 6 end, « eve, i ill, \ isle, 6 old, 6 odd, oo moon, Q but, u Fr. sound, kh Ger. ch, nh nasal.

(114)

PHI

DICTIONARY OF MUSIC.

FUG

Frivolo (fre'v6-lo), It. Frivolous, trifliug,
trashy.

Frdhgesang (fr6'gh6-sang'), Ger. A joyous
song.

Prohlich (fro'llkh), Ger. Joyous, gay.

Frohlichkeit (fro'likh-kit), Ger. Joyfulness,

gi^yt-KV-
Frohnamt (fron'anit), Ger. High Mass.
Frosch (frosh),(Ter. The lower part, or nut, of

a violiu-bow.

Frottola (frot'to-la), Jf. A ballad, a song, gen-
erally of erotic seniiment. Mi>sically it was
between the artistic madrigal and the en-
tirely simple folksong called Villanella.
('urreni in Italy during the fifteenth and
sixleeuih centuries.

Friihlingslied (rrii'lings-led),Crer. Spring-song.

Friihmesse friih'm(?s-s6), p \ Matins, early
Frtihstuck (fiu'sliik), ^^^- J Mass.

F=5chlussel (6f-shliis's'l), Ger. The F or bass
ciuf.

Fu$;a (foo'ga). It. A flight; a chase. See

Fiujuc.

Fuga authentica (foo'ga ou-t6n'ti-ka), Lnt. A
fujuo Willi an authentic theme or subject.

Fuga canonica ((foo'ga kii-no'ni-ka), Lat. A
canon.

Fuga contraria (foo'ga kon-tra'ri-a), Lat. A
fugue iu which the answer is generally in-
verted.

Fuga doppia (foo'ga dop'pi-a). It. A double

fugue.

Fuga irregularis (foo'ga ir-r6g-oo-la,'ris), Lat.
An irregular fugue.

Fuga libera (foo'ga lib'6-ra), Lat. A free fugue.

Fuga mixta (foo'ga mix'ta), Lat. A mixed
fugue.

Fuga obligata (foo'ga 6b-li-ga-ta), Lat. A strict
fugue.

Fuga partialis (foo'ga par-tsi-a'lis), Lat. The
common form of the fugue intermixed with
passages of a different character.

Fuga propria (foo'ga pro'pri-a), Lat. A regu-
liir fugue strictly according to rule,

Fuga plagale (foo'ga pla-ga'16), It. A fugue
with a plagal theme or subject.

Fuga ricercata (foo'ga re-tsh6r-ka'ta). It. An
uciilicial fugue.

Fuga sciolta (foo'ga she-ol'lii), 7<. ) A free
Fuga soluta (foj-gii s6-loo'la), Lat. J fugue.
Fuga totalis (foo'ga to-ta'lls), Lat. A canon.

Fugara (foo-gii'ra), Lat. An organ-stop of the

),aiaba species, of 4-feet tone.
Fugato (foo-gii'to). It. In the style of a fugue.
Fuge (foo'ghfi), Ger. A fugue.
Fuge galante (foo'ghg ga-lan't6), Ger. A free

fugue in tiie style of chamber music.
Fugha (foo'ga), It. A fugue.
Fughetta (foo'ggt'ta). It. A short fugue.

Fugirtes (foo-ger't6s), ^-„ \ In the fugue
Fugirt(foo-gert), ^^' j style; fugirt is

also applied to the ranks of a mixture stop

in an organ.

Fugitive pieces. Ephemeral, short-lived com-
positions.

Fugue. This word is derived from the Latin
fuga, flight, and a certain kind of musical
composition has been called thus because
" one part, as it were, tries to flee and escape
from the others ; but it is pursued by I hem,
until they afterwards meet in an amicable
way, and finally come to a satisfactory un-
derstanding." The technical description
must necessarily be less simple than this
poetical one.

There are fugues for instruments, for voices
and for instruments and voices combined.
A fugue may be in two, three, four, five, aud
more parts. The word fugue had not always
the same meaning as in our time and since
the days of J. S. Bach and Handel, the mas-
ters of masters; but it always signified an
imitativeform— a canon or something more
or less like what we call a fugue. Various
kinds of fugues are enumerated under fuga
with its accompanying epithets. A fugue,
in its final evolution, consists of an exposi-
tion and two or more developments, which
generally are connected by episodes, fn a
fugue in four parts the exposition is some-
whatlikethis: Onepart propoststhesabject;
a second part fc^llows with the answer (i. e.,
the imitation of the subject at the fifth above
or fourth below); a third part resumes the
subject an octave higher or lower than the
part which commenced ; and a fourth part
brings up the rear with the answer an octave
higher or lower than the par twhi(;ii was sec-
ond in the order of succession. The coun-
terpoint with whicb the part that first enun-
ciates the subject accompanies the answer
is called countersub^ect, but it is properly
so called only when it recurs as an accom-
paniment with the subsequent enunciations
of the subject and answer. Sometimes the
subject aud countersubject are simulta-
neously introduced. When after an epi-
sode, short or long, the first development
begins, the subject is taken up and answered
by the parts in another order of succession.
Supposing the alto to have begun before,
the tenor or soprano or bass will begin
now. Further, the imitations will be at
different intervals of pitch and time. The
drawing closer together of the subject and
its answer, so that the latter begins beore
the former has completed its course, isc!ill«-(l
the stretto. This contrivance is especially
resorted to in the last development. Other
contrivances that may be utilized are the
augmentation, diminution, inversion, 8nd
retrogression of the subject. The stretto is
frequently followed by a pedal-point, on
which the subject is piled up in various lay-
ers, so -as to form a striking conclusion to
the whole. The matter out of which the
episodes are wrought may be new, but
oftener ('n order to insure unity) is derived

Harm, & add, a ale, 5 end, e eve. I ill, i isle, 6 old, 6 odd, oo moon, H but, ii Fr. sound, kh Ger. ch, nh nasal.

(115)

FUG

'DICTIONARY OF MUSIC.

l^UR

from the subject, countersubject, or other
accompaniments of the subject.

An important division of fugues remains
yet to be noticed, namely, that into real and
tonal fugues. A real fugue Is one In which
the answer is an exact transposition of the
subject; a tonal fugue is one in which the
answer is an imitation of the subject slight-
ly modified for the purpose of keeping with-
in tlie same key.

Two words often heard in connection with
fugues may be here explained. Coda, or
codetta, is the name given to the notes
which are appended to the subject when at
Us conclusion the answer does not strike in
at once. R-^percussion is the reappearance
of the subject and answer in a new order
with regard to succession and pitch in the
various developments of a fugue.

Double, triple, and quadruple fugues are
fugues with two, three, and four subjects.
Two kinds of double fugue have to be dis-
tinguished : (1) That in which two subjects
are first separately worked out and only
subsequently combined. (2) That In which
the second subject enters at once with the
first subject as a constant countersubject.
See, also, under Faga.
Fugue, counter. A fugue in which the sub-
jects move iu contrary directions.

Fugue, double. A fugue on two subjects.

Fugue renversee (fiig ranh-v6r-sa'), Fr. A
fugue, the answer in which is made in con-
trary moiiou to that of the subject.

Fugue, strict. A fugue in which the fugal
iorui and Us laws are strictly observed.

Fugue, perpetual. A canon so constructed
tnat its termination leads to its beginning,
and hence may be continually repeated.

Fugue, simple. A fugue containing but a

single subject.
Fuguist. A composer or performer of fugues.

Fiihrer (fiih'rgr), Ger. Conductor, director;
also the subject or leading theme in a fugue.

Full. For all the voices or instruments.

Full anthen.. An anthem in four or more
parts, without verses or solo passages ; to be
sung by tne whole choir in chorus.

Full band. A band in which all the instru-
ments are employed.

Full cadence. See Perfect cadeace.

Fiillflote (fiil'flo-tg), Ger. Filling-flute; a
stopped organ-register of 4-feet tone.

Full orchestra. An orchestra in which all
the stringed and wind instruments are em-
ployed.

Full organ. An organ with all its registers
or stops in use.

Full score. A complete score of all the parts
of a composition, vocal or instrumental, or
both combined, written on separate staves
placed under each other.

Funereal,
mournful.

Fivefold ; five

For five

Full service. A service for the whole choir
iu chorus.

Fullstimmen (fiill'stim-m6n), Ger. "Filling
voices." Parts added for giving resonance
and fullness to the chords, without charac-
ter as independent voices.

Fundamental. Properly speaking, the root
of a series of partial tones. The tone of
which all tones in a harmony chord are
partials. The root of a chord.

Fundamental tones. A name sometimes
applied to the three root-tones of a key,
namely, the tonic, subdominaut, and dom-
inant.

Funebre (fii-ngbr'), Fr.
Funerale (foo-n6-ra'16), It.
Funereo (foo-na'r6-6), It.

Funf (funf), Ger. Five.

Funffach (fiinffakh), Ger.
ranks, speaking of organ-pipes.

Fiinfstimmig (funf'stim-mig), Ger.
voices.

Punfte (fuuf'te), Ger. Fifth.

Fiinfzehnte (fi\nftsan-t6), Ger. Fifteenth.

Funzioni (foon-tsi-o'ne). It. pi. Oratorios,
masses, and other sacred musical perform-
ances in the Roman Catholic Church.

Fuoco (foo-o'ko), It. Fire, energy, passion.

Fuocoso (foo-6-k6'z6), It. Fiery, ardent, im-
petuous.

Fur (fur), Ger. For.

Fiir beide Hande zusammen (fiir bi'd6 han'd^
tsoo-zam'men), Ger. For both hands to
gether.

Fiir das ganze Werk (fiir \

diis ^^iin'tsg wark), Ger. ( For the full organ.
Fur das voUe Werk (fur f

das fol'16 wark, Ger. )

Fiir die linke Hand allein (fiir de liu'kfi hand
al-llu'), Ger. For the left hand alone.

Fiir die rechte Hand allein (fiir de rekh'tfi
hand al-lin'), Ger. For the .right hand
alone.

Fureur (fi\-riir'),/r. ) Fury passion, rage.

Puna (foo'ri-a), It. ^

Furiant (fo^'ri-ant), Ger. A quick Bohemiao

dance with sharp accents and changing

varieties of measure. Called also Furie.
Furibondo (foo-ri-bon'do). It. Furious, mad,

extreme vehemence.
Furie (fi\-re), Fr. Fury, passion.
Furieusement (fii-riiz-manh\ i^r. ) Furi-
Furiosamente (foo-ri-o-za-m6n't6),Ji. j

ousl/, madly.
Furioso (foo-ri-6'z6), It. Furious, vehement,

mad.

An antiquated
dance.
Furniture stop. An organ-stop, consisting

of several ranks of pipes, of very acute

pitch. A mixture stop.

Furlandd (foor-lan'do), „ )
Furlano (foor-la'no), * J

a arm, & add, a ale, 6 end, e '■re, i ill, i isle,6 old, 6 odd, oo moon, H but, u Fr. sound, kh Ger. ch. nh nasaU

(116)

FUR

DICTIONARY OF MUSIC.

GAM

Furore (foo-ro'rg), It. Fury, rage, passion.
Fiir zwei Manuale (flir tswi' ma-noo-ii'ie),
Cr'er. For two manuals, in oigan-playing.

Fusa (foo'sii), Lat. A quaver.

Fusee (fii-za), Fr. A very rapid roulade or
passage ; a skip, etc.

Fusella (foo-s^l'la), Lat. Name formerly ap-
plied to the demisemiquaver.

Fuss (foos), Ger. Foot ; tiie lower part of an
organ-pipe.

Fiisse (fus'sC), Ger.pl. Feet.

Fiissig (fus'sig), Ger. Footed : S-fiissig, or,
uchtjiissiy, of 8-feet size, or scale.

Fusstbn (foos-ton), Ger. The tone or pitch;
as, H-Fusstoii, or, Achtfusston, a pipe of 8-feet
tone.

Fut (fooe), Fr. The barrel of a drum,

Fz. An abbreviation of Forzando.

O

Q. The name of the fifth note in the nat-
ural diatonic scale of C, to which is applied
the syllable sol ; it is also one of the names
of the highest, or treble, clef. Abbreviation
of gauche, left hand. ,

Gabel (ga'b'l), Ger. A fork.

Gagliarda (gal-yi-ar'da), It. A galliard.

Gagfliardamente (gal - yi - ar - da - m6n' te), It.
Briskly, gaily,

Qagliardo (gal-yl-ar'do). It. Brisk, merry, gay.

Gai (ga), Fr. Gay, merry.

Gaiement (ga-manh), „ \ Merrily, lively,
Gaiment (ga-mauh), jgay.

Gaillarde (ga-yard'), Fr. Merry, brisk ; also a
galliard,

Gaillardement (ga-yard'manh), Fr. Merrily,
briskly.

Gaio (ga1-6), It. With gayety and cheerful-
ness.

Gaits (ga-e-ta), Sp. A bagpipe; also a kind
of flute ; a street organ.

QaMfltl): ^^- } Gay, merry, lively,

Gajamente (ga-ya-m6n't6), It. Gaily, cheer-
fully.

Galante (ga-lan'te), j.. "(Gal-

Galantemente (ga-lan-t6-m6n't6), J lantly,
boldly.

Galanteriefug:e (ga-lan-t6-re'foo-gh6), Ger. A
fugue in the free style,

Galanterien (ga-lan-t6-re'6n), Ger. pi. The or-
naments, turns, trills, etc., with which the
old harpsichord music was embellished.

Qalanteriestucke (ga-lan-te-re'stii'ke), Ger.pl.
Pieces in the free ornamental style.

Qalanterstyl (ga-lant'6r-stel),G'er, Freestyle,
ideal style.

Galliard. A lively old dance in triple time,
formerly very popular. Of Italian origin.

Galop (gai'6), Fr. A quick round dance, in
2-4 time.

Galopade (gai-6-pad'), Fr.")
Galopp (galop'), Ger. }- A galop.

Galoppo (ga-lop'po), It. )

Galoube (gii loo-ba), p ) A small flute
Galoubet (ga-Ioo-ba'), /with three holes,
sometimes to be met with in France, espe-
cially in Provence.
Gatnba (gam'ba). It. The viol di gamba, or
bass viul. See that term,

Ganiba=bass. A 16-feet organ-stop, on the

pedals,

Gamba major. A name given to a 16-feet or-
gan-stop, or double gamba.

Gam be (gam'bS), Ger. Viol di gamba.

Gam beta (gam-b6-ta'), Sp. An ancient Span-
ish dance.

Gambette (pam-bgt't6), Ger. A small, or oc-
tave, gamba stop in an organ.

Gambviole (gamb-fe-o'16), Ger. An instru-
ment resembling the violoncello.

Gamma (gara'ma). It. \ The Greek name of
Gamme (gam), Fr. j the letter G (F). In
musical terminology the word gamma has
been employed variously. (I) As the name
of the lowest note (G) of the Guidonian
scale. (2) As the name of that scale. (3) In
the sense of scale, or gamut, generally. (4)
In the sense of compass of a voice or instru-
ment, the succession of notes from the low-
est to the highest. See following.

Gamma ut, or, F ut. The name of the note
G, the lowest note in the old solmisation.
From this name is derived the English word
gamut.

Gamme chromatique (gam kro-ma-tek'), Fr.
The chromatic scale.

Gamme descendante (gam dg-sanh-diinht),
Fr. Descending scale.

Gamme de sol majeur (gam ddh sol ma-zhiir),
Fr. Scale of G major,

Gammed'ut majeur (gam d'iit ma-shiir), Fr.
Scale of (' major.

a arm, a add, a ale, 6 end, e eve, I iU, i isle, 6 old, 6 odd, oo moon, H but, u Fr. sound, kh Ger. ch. nh nasal.

(117)

GAM

DICTIONARY OF MUSIC.

GEF

Gammes en bemols (gam sanh ba-mol), Fr.
Scales wiih flats.

Gatntne majeure montante (gam ma-zhiir'
m6uh-tantit'),i^^. An ascending major scale.

Gammes. Exercises on the scale.

Gamut. The scale of notes belonging to any
key.

Gamut G. Thu,t G which is on the first line
of the bass staff.

Gamut, Guide's. The table or scale intro-
duced by Guido, and to which he applied
the syllables ut, ra, mi, fa, sol. la. It cont*
sisted of twenty notes, namely, two octaves
and a major sixth, the first octave distin-
guished by the capital letters, G, A, B, etc.,
the second by the small letters, g, a, b, etc.,
and the major sixth by double letters, gg,
aa, bb, etc.

Ganascione (ga-na-shi-o'n6), It. An Italian
lute.

Gang (gang), Ger. Pace, rate of movement or
motion.

Ganiles (ga'ni-16s), Sp. Fauces, organs of the

voice.
Ganz (gants), Ger. Whole, entire ; also all,

very.

Ganz lang£am (gants laug'sam), Ger. Very
slowly.

Ganze Note (gan'ts6 n6'i€),Ger. A whole note,
or semibreve.

Ganzer Ton (gau'ts^r ton), ^ \ A whole

Ganzton (gants-ton), " J tone. Im-

proper expression for " a whole step.'' The
interval of a major second.

Ganzes Werk (gan'ts6s wSrk), Ger. The full
organ.

Ganzschluss (ganz shloos), Ger. Real close
of a piece as opposed to the Halbschltiss, or
half close.

Ganzverhallend (gants'fer-hal'16nd),6rer. En-
tirely dying away.

Garbatamente (gar-ba-ta-m6n't6). It. Grace-
fully.

Garbato (gar-bii'to). It. Graceful.

Garbo (giir'bo), It. Simplicity, grace, elegance.

Garibo (ga'ri-bo). It. A dance, a ball.

Gariglione (ga-rel-yl-o'n^), It. Chime, mu-
sical bells.

Garnir un violin de cordes (giir-ner' \"uih ve-6-
lauh duh k5rd), Fr. To string a violin.

Garrire (gar-re'r6), It. To chirp, to warble like
a bird.

GastroIIen (gast'rol-l'n), Ger. A terra applied
to a singer or actor on a starring expedition.

Gauche (gozh), Fr. Left.

Gauche main (gozh manh), Fr. The left hand.

Gaudente (ga-oo-d6n't6). It. Blithe, merry,

sprightly.

Gaudentemente (ga-oo-d6n-t6-m6n't6),/<. Joy-
fully, merrily.

Gayly, briskly,

ak-^
ak- f

Gaudioso (ga-oo-dI-6'z6). It. Merry, joyful.

Gavot (ga-v5t'). Fng. ) A dance consisting
Gavotta (ga-vot'taU It. /-of two light, lively
Gavotte (ga-v6t), Fr. ) strains in common
time.

Gaymente (ghe-m6u't6), Sp.
lively.

Gaytero (ghe-ta'ro), Sp. One who plays on a
bagpipe ; a piper.

Gazzarra (gat'ear-ra), It. Rejoicings with

music nd cannon.

G clef. The treble clef ; a character composed
of the letters G and S, for the sylla- ^_
ble sol, whi h in modern music in-
variably turns on the second line of
the staff. Tt was formerly used upon
other degrees.

G doubl , or. Double G. The octave below G
gamut.

G^dur (ga'door), Ger. The key of G major.

Geberdenspiel (gh^-bSr'd'n-spel), Ger. Panto-
mime.

Geblase (gh6-bia's6), Ger. Bellows, apparatus
for blowing.

Gebrochen (gh6-bro'kh'n), Ger. Broken.

Qebrochene Akkorde (gh6-bro'kh'-ng ak-

kor'd^), Grr.
Gebrochener Accord (gh6-bro'kh'-n6r ak-

kord), Ger.

Broken chords, chords played in arpeggio.

Gebrochene Stimme (gh6-br6'kh'-n6 stim'-
me), Ger. A broken voice.

Gebunden (ghg-boon'd'n), Ger. Connected,
syncopated, in regard to the style of playing
or writing.

Gebunde.ie Note (ghg-boon'd6-n6 no't^), Ger,

A tied note, a note which is to be held and

not repeated.
Gebundener Styl (ghg-boou'de-n^r stel), Ger.

Style of strictly connected harmony ; style

of counterpoint.

Geburtslied (gh6-boorts'led). Ger. Birthday-
song.

Gedackt (gh6-dakt'), rrr l Stopped, in oppo-
Gedeckt (ghg-dfikf), ^^^- j sition to the

open pipes in an organ.
Gedacktflote (gh^-dakt-flo't6), Ger. Stopped

fluie, in an organ.

Gedact. See Gedackt.

Gedeckte Stimmen (gh?-d6k't6 stim'mgn),
Ger. j)l. Stops with covered pipes, as the
stopped diapason.

Gedehnt (ghg-danf), Ger.

Gedicht (gh6-dikht), Ger.

ble.
Gefahrte (ghe-far'te), Ger.

fugue.
Gefallig (gh6-fal'lig), Ger.

ably.

Gefiedel (gh6-fe'd'l), Ger.
on the fiddle.

Lengthened.
A poem, tale, fa-

The answer in a

Pleasingly, agree-

Fiddling, playing

a, arm, ^ add, a ole, $ end,, C a'e, i ill, i isle, 6 old, 6 odd, oo vwon, tl btU, ii Fr. sound, kh Ger. ch, nb na^qi.

(U8)

GEF

DICTIONARY OF MUSIC.

GEN

Sentiment, expres-
Against, contrasted

defuhl (ghg-fiil'). Ger.

si 'U.
Gegen (gha'g'n), Ger.

Willi, opposed to.

Gegenbewegung (ge'g'u-b6-w6'goong), Ger.
(Juiiirary uiotion.

Qegengesang (g6'g'n-g6-sang'), Ger. Antiph-
uuy.

Qegenhali (g6'g'n-hair), p^,^ ) Resonance,
Gegenschall ^g^'g'u-sliall'), ^'^'^' I echo.

Qegenpunkt (g6'g'n-pooukt'), Ger. Counter-

puliH.

Qegenstimme (g6'g'n-stim'm6), Ger. Counter
lenoi, or alto, part.

Gegenstimtnig (g6'g'n-stini'mlg), Ger. Disso-
iiaiu, discurdaat.

Gegensubject (gC'g'n-soob-y6kt'), Ger. Coun-
lersubject, in a fugue.

Gehend (ga'6nd), Ger. A word referring to
movemuut, and having the same meaning
as andante.

Gehorlehre (gh^-hor'la-re), Ger. Acoustics.

Gehorspielen (ghe-hor'spel'n), Ger. To play
by ear.

Geige (gi'ghfi), Ger. The violin.

Geigen (gi'ghfin), Ger. To play on the violin.

Geigenblatt (gi'ghgn-blatt), Ger. The finger-
board of a violin.

Geigenbogen (gi'ghfin-bo'g'n), Ger. Violin-
Dow.

Geigenclavicytnbel (gi'gh6n-cla-vi-tsim'b61),
Gtr. An instrument similar to a harpsi-
chord or pianoforte.

Geigenformig (gi'ghgn-for'mig), Ger. Having
the form of a violin.

Geigenf utter (gi'gh6n-foot't6r), Ger. Case for
a violin.

Geigenhals (gi'gh6n-hals), Ger. The neck of
a \iolin.

Geigenharz (gi'ghSn-harts), Ger. Spanish res-
in, hard resin.

Geigenholz (gi'ghen-holts), Ger. The wood
used in making violins.

Geigenmacher (gi'ghgn-ma'khgr), Ger. A vio-
lin-maker.

Geigenprincipal (gi'gh6u-priu-tsi pS,!'), Ger.
A German organ diapason stop, with a tone
like that of the gamba, but fuller.

Geigensaite (gi'ghgn-sal'te), Ger. Violin
siring.

Geigensattel (gi'ghgn-sat't'l), ^ \ The
Gelgensteg (gi'ghen-stagh), "'''^- / bridge
oi a violin.

Geigenschule (gi'ghgn-shoo'lg), Ger. A yiolin-
srhool, or method of instruction.

Geigenstrich (gl'gh6n-strikh), Ger. A stroke
of the violin-bow.

Geigenstuck (gi'ghen-stiik), Ger. A tune for
the violin.

Geigen werk (gl'ghgn-wark), Ger. The celes-
tina, an organ-stop of 4-feet scale.

Geigenwirbel (gi'ghgn-wir'b'l), Ger. A violin-
peg.

Geigenzug (gi'ghSn-tsoog), Ger. A violin-
stop.

Geiger (gi'ghfir), Gtr. Violin-player.

Geistlich (gist'likh), Ger. Ecclesiastical, cler-
ical.

Geistliche Gesange (gist'li-khggg-san'gg), )
Geistliche Lieder (glst-li-kh6 le'dgr), Ger. ^

Psalms, hymns, spiritual songs.
Geistreich (yist'rikh), ^ \ Spirited, full of
Geistvoll (gist'fol), ^'^i • ^ life and ani-

mation.

Geklingel (gh6-kling"l), Ger. Tinkling, ring-
ing of a bell.

Gelassen (gh6-las's'n), Ger. Calmly, quietly.

Gelassenheit (ghe-las's'n-hit), Ger. Calmness,
iranquilluy.

Gelaufe (gli6-loy'f6), ^, | Running pas-
Gelaufen (ghO-loy'fgn), ^^'- / sages, scale
passages, rapid movements.

Gelaufig (ghg-loy'figh), Ger. Easy, fluent,
rapid.

GeIaufigkeit(gh6-loy'figh-kIt), Ger. Fluency,
ease.

Gelaut (gh6-loyt), Gtr. A peal of bells, ring-
ing of bells.

Gelinde (gh6-lin'd6), Ger. Softly, gently.

Gelindigkeit (gh6-lln'digh-kit). Ger. Softness,
gentleness, sweetness.

Gellen (ggl'l'n), Ger. To sound loudly.
Gellenflote (gfiFrn-fio'te), Ger. Clarionet.
Geltung (ggrtoong), Ger. The value or pro-
portion of a note.

Gemachlich (ghg-makh'likh), p | Quietly;
Gemachsam (gh^-makh'sam), ^ " J iu a
caim, slow manner.

Gemahlig (gh6-ma'lig),Ger. Gradually, by de-
grees.

Gemassigt(gh6-mas'sigt),(Te/'. Moderate, mo-
derato.

Gemisch (gh6-mish'), Ger. Mixed; mixture,
or compound, stops iu an organ.

Gemsenhorn. An instrument formed of a
small pipe made of the horn of a chamois,
or wild goat.

Gemshorn (ghems'horn), Ger. An organ-stop
with conical pipes. The tone is light, but
very clear.

Gemshornquint (ghems'horn-kwinD.Ge)-. An
organ-stop with conical pipes, sounding a
filth above the foundation stops.

Gemtith (ghS-miit'), Ger. Mind, soul.

Gemuthlich (ghg-mut'llkh), Ger. Agreeable,

expressive.

Genera (ge-na'ra), y. ) A term used by the

Genus (gii'noos), ""• J ancients to indicate

the modes according to which they divided

aarm,ftadd,aote, 6 end, e ere, itW,i i«i€, 6 oid,0 odd, oo moon, a 6u<,u Fr.soimd, kh Ger ch, nhnascU.

(119)

iEN

DICTIONARY OF MUSIC.

GET

their tetrachords. The different methods
of dividing the octave: When both tones
and semitones are employed, according to
the natural arrangement of the diatonic
scale, it is called the diatonic or natural
genus; when it is divided by semitones
only, it is called the chromatic genus, and
the enharmonic genus when quarter tones
also are used.

Generalbass (gh6n'er-al-bas), Ger. Thorough
bass.

General pause, A general cessation or silence
of all the parts.

Qeneralprobe (gh6n'6r-al-pr6'b6), Ger. A gen-
eral rehearsal.

Qenerateur (zha nfi-ra-tilr'), Fr. The funda
mental note of the common chord.

Generator. The principal sound or sounds
by which others are produced; the funda-
mental note of the common chord.

Genere (ja'ne-rC), It. See Genera.

Generoso (ja-n6-ro'z6), It. Noble, in a digni-
fied manner.

Geniaiia (ga-ni-a'li-a), Lat. The name given
by the ancient Romans to cymbals, because
they were used in the celebration of wed-
dings.

r^"-^ iSnSf ^ Vf ""• 1 Genius, talent, spirit.
Gems (jams), It. ) ' ' ^

Genre (zhauhr), Fr. Stjde, manner.

Genre chromatique (zhanhr kro-ma-tek'), Fr.

The chromatic genus.
Genre diatonique (zhanhr di-a-t6nh-ek), Fr.

The diatonic, or natural, genus.
Genre enharmonique (zhanhr anh-har-m6nh-

ek'), Fr. The enharmonic genus.

Genre expressif (zhanhr 6s-pr6s-sef'), Fr. The
t^xpressive style.

Gentil (zhiin-tel'), Fr\ Pleasing, graceful, ele-
Gentile (jeu-te'16). It. j gant.

Gentilezza (j6n-tel l<5t'za). It. Grace, elegance,

refinement of style.
Gentilmente (i6n-tel-m6u't6). It. Gracefully,

elegantly.
Genus (ga'noos), Lat. See Genera.

Genus chromaticum (ga'noos kro-ma'ti-
koom), Lat The chromatic genus or mode.

Genus diatonicum (ga'noos di a-to'nl-koom),
Lat. The diatonic genus or mode.

Genus enharmonicum (ga'noos Cn-hiir-mo'ni-
koom), Lat. The enharmonic genus or
mode.

Genus inflatiie (ga'noos in-fia'ti-lC), Lat.
Wind instruments.

Genus percussibile (ga'noos p6r-koos-se'bi-16),
Instruments of percussion.

Genus tensile (ga'noos t6n'sl-16), Lat. Stringed

instruments.
Gerade Bewegung (gh6-ra'd6 b6-va'goong), Ger.

Similar motion.

Gerade Taktart (gh6-ra'd6 takt'art), Ger. Com-
mon time.

Geriesel (gh6-re'z'l), Ger.
sound.

A soft, murmuring

German fingering. A method of fingering
piano music which designates the thumb as
the first finger, in distinction from the Eng-
lish or American mode, which indicates the
use of the thumb by a sign.

German flute. See Flauto traverso.

German scale. A scale of the natural notes,
consisting of A, H, C, D, E, F, G, instead of
A, B, C, etc., the B being always reserved to
express Bj?.

German sixth. A name given
to a chord composed of a ma-
jor third, perfect fifth, and
extreme sixth, as,

German soprano clef. The C clef placed on
the first line of the staff for soprano, in.stead
of the G clef on the second line of that part.

Ges (ghes), Ger. The note Gb.

Gesang (gh6-sang'), Ger. Singing; the art of
singing; a song, melody, air.

Gesangbuch (ghe-sang'bookh), Ger. Song-
book, hymn-book.

Gesang der Vogel (gh6-sang' d$r fo'g'l), Ger.

Singing of birds.
Gesange (gh6-sang'6), Ger.pl. Songs, hymns.

Gesangsgruppe (gh6-sangs'groop-pe) , Ger.
Song group ; the second subject of a sonata
movement, so called in contradistinction
from the leading subject, which is thematic,

Gesangsweise (gh6-sangs'wi-z6), Ger. In the
style of a song.

Gesangverein (ghS-sang'ffir-in), (rer. A choral
society.

Gesangweise (gh6-sang'wi-z6), Ger. Melody,
tune.

Gesause (gh6-sou'z6), Ger. Humming, whis-
tling.

Geschick (gh6-sMk'), Ger. Skill, dexterity.

Geschlecht (ghe-shiekhf), Ger. Genus.

Geschleift (ghg-shliff), Ger. Slurred, legato.

Geschmack (ghg-schmiik'), Ger. Taste.

Geschwanzte Noten (ghe-shwants't6 n6't6n),
Ger. A quaver, or flag notes.

Geschwind (ghg-shwind'), Ger. Quick, rapid.

Geschwindigkeit (ghg-shwlndlg - kit), Ger.
Swiftness, rapidity, speed.

Geschwindmarsch (gh6-shwind'marsh), Ger.
A quickstep.

Ges^dur (ghCs-door), Ger. The key of G[?
major.

Geses (gh^s-cs), Ger. G-double-flat.

Gesinge (ghS-slng'^), Ger. Constant singing,
bad singing.

Gestossen (gh§-st6s's'n), Ger. ■ Separated, de-
tached.
Gestrichene (gh6-stri'khe-n6), Ger. A quaver.
Getern. )

Getron. |

Old names for the cittern.

a arm, & add, a ale, 6 end, e eve, 1 ill, i isle, 6 old, 6 odd, oo moon, a. but, \i Fr. sound, kh Ger. eh, nh nasal.
' (120)

GET

DICTIONARY OF MUSIC.

GLA^

Getheilt (ghg-tilf), Ger. Divided. Qetheilte
Vlolinen, the same as violini divisi.

Geton (ghC-touM, Ger. Repeated sounds,

oliiiiior.
Qetragen (ghg-trti'gh'u), Ger. Well sustained,

can it'll.
Getrost (gh^-trost'), Ger. Confidently, reso-

lulely.
Geiibtere (gh6-iib't6-r6), Ger. Expert perform-

L'fS.

Gewirbel (gh6-wir'b'l), Ger. The roll of

drums.
Gewiss (gh6-wis'), Ger. Firm, resolute.

Gewissheit (ghe-wis'hit), Ger. Firmness, res-

oluti u.
Geziert (gh6-tsert), Ger. With affectation.

G=flat. The flat seventh of Ab ; the fifth flat
introduced iu modulating by fourths from
ihe natural diatonic mode.

G ^amut. The G on the first line of the bass

bUlfl".

Ghijgfhe. An old name for the fiddle. See

(/( i(ie
Ghiribizzi (ghe-ri-bet'zi), It. Unexpected in-
tervals ; eccentric, fantastical passages.

Ghiribizzoso (ghe-rl-be-ts6'zo), It. Fantas-
tical, whimsical.

Ghironda (ghe-ron'da), It. A hurdygurdy.
Ghittern. An old name for the cittern.
Gicheroso (je-k6-ro'zo). It. Merry, playful.

Qiga (je'tja), /^. i A jig. A very lively old
Gigue (zhes), Fr. > dance in duple, or
Gigtie(ge'g6), Ger. ) quadruple, ternary
time— as 12-8 (or 4-4 vrith quaver triplets), 6 8,
6 4, and also iu 12 IG and 24-16. Examples
in simi)le ternary time (3-8) are compara-
tively rare, and a jig in ^ with triplets is
something exceptional. Nothing certain
can be said about the origin of this dance.
The name is supposed to be derived from
the German word Geig, or Geige, meaning
a fiddle, as the music is particularly adapt-
ed to instruments of that class.

Gigelira (je-ja-li'ra), It. A xylophone, or

Strohfiedel (q. v.).

Gighardo (je-gar'do), It. A sort of jig.

G in alt. The first note in alt; the octave
above the G, or treble clef note.

G in altissimo. The first note in altissimo;

tiiu fifteenth above the G or treble clef

uo e.
Ginglarus. A small Egyptian flute.
Glociievole (jo-ka'v6-16i, It. Merry, sportive,

Ki»y-

Oiochevolmente (j6-ka-v61-ra6n't6\ j, \
Giocolarmente (jo k6-lar-m6n't6), .^-^
M.rnly, sportively.

Giocondamente (j6-k6n-da-m6n't6), //. Mer-
rily, joyiuUy, gayly.

Giocondo (j6-k6u'd6), It. Cheerful, merrv,
gay.

), jf \ Merry, joy-
'o'le), ^^- ) ful. See Gio-

Giocosamente (j6-ko-za-mSn't6), « 1 Humor-
Giocoso (jo-ko'zo), ' J ously,

sportively.
Gioja (jo'ya). It. Joy, gladness.

Giojante (jo-yan'tg). j, \ Ri.-.j.p invful eav
Giojoso ijo-yo'zo), ^'- 1 ^^^^^^> Joy^^i. gaj.

Giojosamente (j6-y6-za-m6n't6), It. Joyfully,

menily.

Gioviale (jo-vi-ii'le). It. Jovial.

Giovialita (jo-vi-a-li-ta'), It. Joviality, gai-
ety.

Giraffe (ji-raff'). A species of ancient spinet.

Gis (ghis), Ger. The note Git.

Gis^moll (ghis-moll), Ger. The key of G±t mi-
nor.
Gittana (je-ta'na), It. A Spanish dance.
Gittern (jit'tSrn). A species of cittern.

Qitteth (jit'teth) Heh. An instrument which
David brought from Gath, of the harp kind.

Giubbiloso (joob-bi-16'zo), It. Jubilant, ex-
ulting.

Giubilazione (joo-bi-lat-si-o'n6), "| Jubila-
Qiubiiuo (joo-bi-le'o), It. >tion, re-

Giubilo (joo'bi-16), J joicing.

Giucante (joo-kan't6),
Giuchevole (joo-ka-vo''

jante.

Giulivamente (joo-li-va-m6n't6), It. Joyfully,

lively.

Giuiivissimo (joo-li-ves'si-mo). It. Very joy-
ful.

Giulivo (joo-le'vo), It. Cheerful, joyful.
Giullari (jool-la're), It. Bands of dancers, ac-
tors, or singers.

Giuocante (joo-6-kan't6), It. With sport and

gaiety.

Giuoco (joo-o'ko). It. An organ-stop.
Giuocoso (joo-o-k6'z6), It. See Giocoso.

Giustamente (joos-ta-m6n't6), It. Justly, with

precision.

Giustezza (joos-t6t'za), It. Precision.

Giusto (joos'to), It. A term signifying that
the movement indicated is to be performed
in an equal, steady, and just time.

Given bass. A bass giveu, to which the har-
mony is to be added.

Giving out. The prelude by which the or-
ganist announces to the congregation the
tune they are to sing.

Glais (gla), Fr. The passing bell.
Glais funebre (glii fii-nabr), Fr. A funeral-
knell.

Glapissant (gla-pls-sanh), Fr. Shrill, squeak-
ing.

Glasses, musical. An instrument formed of
a number of glass goblets shaped like finger-
glasses, tuned by filling them with more or
less water, and played upon with the fingers
moistened.

a arm, & add, a ale, eend, e eve, i ill, I isle, 6 old, 6 odd, oo moon, ii'but, vi Fr. sound, kh Ger. ch. nh JiasaL

(121)

GLA

DICTIONARY OF MUSIC.

GRa

Qlatt (glat), Ger. Smooth, even.

QIatte (glat't6),6r€r. Smoothness, evenness.

Qlee. A vocal composition in three or four
parts, generally consisting of more than one
movement, the subject of which may be
grave, tender, or gay and bacchanalian. The
glee in its present form first appeared in
the middle of the eighteenth century, and
is a composition peculiar to England.

Qleemen. An ancient name for minstrels.

vileich (glikh), Ger. Equal, alike, consonant.

Qleichklang (glikh'klang), Ger. Consonance
of sound, unisjn.

Qleichschwebende Temperatur (gllkh-shwa-
b^u-de t6m-p6-ra-toor'), Ger. Equal temper-
ament. The division of the octave into
twelve equal parts in such a way as to afford
the nearest possible approximation to cor-
rect intervals with the imperfections equal-
ly distributed in all keys.

Gleichstimmig fglikh'stim-mig), Ger. Har-
monious, accordant.

Qleiten (gli't'n), Ger. To slide the fingers.

Qli (gle), Jif.pZ. The.

Glide. Portamento.

Gliding. In flute-playing, a sliding move-
ment of the fingers for the purpose of blend-
ing the tones.

Glied (gled), Ger. Link; the term is used to
express a chord, as, Einglied, one chord ;
Zuieiglied, two chords.

Glissade '(glis-sad'), Fr. Gliding; the act of
passing the fingers in a smooth, unbroken
manner over the keys or strings.
Glissando (gles-san'd6),-7if. \ Slurred,
Qlissato(gles-sa't6), //. V smooth,

Glissement (gles m6nh), Fr. ) in a glid-

ing manner, by sliding the fingers along the
keys.
Glisser (gles-sa'), Fr. An embellishment
which is executed by turning the nail and
drawing the thumb or finger rapidly over
the keyboard.

Glissez le'pouce (gles-sa' Itlh poos), Fr. Slide

the thumb.
GHssicando (gles-si-kan'do), jf "(Slurred,
Qlissicato (gles-si-ka'to), j smooth, in

a gliding manner. See, also, Glisser.

Gli stromenti (gle str6-m6n'te), It. The in-
struments.

Glitschen (glit'sh6n), Ger. lo glide the fin-
ger. See Glissei .

Glockchen (glok'kh'n), Ger. A little bell.

Glocke (glok'C), Ger. A bell.

Glockeln (glo'kgln), Ger. To ring little bells.

Glockengelaute (gl6'k'n-g6-loy't6), Ger. The
riugiug or chiming of bells.

Glockenist (gl6k'6n-ist), p \ Player
Glockner (glok'n^r), ^^'^' j the chimes,

bell-ringer.
Glockenklang (gl6k'(5n-klang),Grcr. The sound

of bells.

on
or

Glockenspiel (gl6k'6n-spel),(Ter. Chimes; also
a stop in imitation of bells in German or-
gans.

Glockleinton (glok'lin-ton), Ger. An organ-
stop of very small scale and wide measure.

Gloria (gl6'ri-a), L' '. " Glory be to God on
high." A principal movement in the Mass.

Glottis (glot'tis), Gr. The narrow opening at
the upper part of the trachea, or windpipe,
which by its dilation and contraction con-
tributes to the modulation of the voice. The
name is also applied to a kind of reed used
by the ancient flute-players, which they
held between their lips and blew through
in performance.

Gluhend (glii'Cud), Ger. Ardent, glowing.
G=moll (ga-mol), Ger. The key of G minor.

Gnacchera (nak-ka'ra), It. A tambourine, a

tabur.

Gnugab (noo-gab'), Ger. The name given by
the ancient Hebrews to the organ.

Gola (go'lii), It. The throat; also a guttural

voice.
GoH trompo. A trumpet used by the ancient

Irish, Danes, Normans, and English.

Goipe de musica (gol-pg da moo'zi-ka), Sj). A
baud of music.

Gondellied (gon'd'lled), Ger. A gondolier-
song.

Gondoliera (gon-do-le-a'ra). It. A gondola-
soDg ; a song with an easy-rocking motion,
a la the movement of a gondola.

Gondolier^songs. Songs composed and sung
by the Venetian gondoliers, of a very grace-
ful and pleasing style ; barcarolles.

Gong. A Chinese instrument of the pulsatile
kind, consisting of a large circular plate of
metal, which, when struck, produces au ex-
ceedingly loud noise.

Gorgheggiamento (gor-gad-ji-a-m6n't6), It.
Trilling, quavering.

Gorgheggiare (gor-gad-jl-ii're), It. To trill, to

shake.
Gorglieggio (gor-gad'jl-o), It. A trill, a shake

of the voice in singing.
Gout (goo), Fr. Taste, style, judgment.
Governing key. The principal key ; that key

in which a piece is written.

Grabgesang fgrab'gg-sang), p.^ "1 Dirge;

Grablied (griib'led), ^*^'^- J funeral-

song.

Grace note. Any note added to a composi-
tion as an embellishment.

Graces. Ornamental notes and embellish-
mei'ts, either written by the composer or
introduced by the performer. The princi-
pal embellishments are the appoggiatura, the
turn, and the shake or trill.

Gracieux (grii-sI-Qh), Fr. Graceful.

Gracile (gra'tshi-16). It. Thin, weak, small;
referring to the tone.

Gracioso (grii-thi-o'zo), Sp. Graceful.

a arm. & add, a ale, 6 end, e eve, 1 ill, i isle, 6 old, 6 odd, oo moon, H but, u Fr. sound, kh Qer. ch, nh nasal,

(122)

(iRA

DICTIONARY OF MUSIC.

GRA

Qrad (grad), Ger. Steps, degree. See Grado.

Oradare (gra-dii're), It. To descend step by

slep.
Gradatamente (gra-da-ta-mgu'tg), It.') By de-
Gradation (gra-da-se-6nii), Fr. agrees, a
Qradazione (gra-da-tsi-6'ii^), It. J gradu-
al increase or dimiuutiou of speed or inten-
si'y of tone.

Grade vole (gra-da'v6-16), j, )

Gradevolmente (gra-da-v61-m6n't6), " j

Gracefully, pleasingly.
Gradire (gra-de'r?), It. To asceud step by

siep.
Graditamente (gra-di-ta-m6n'l6), It. In a

pleasing manner.
Graditissimo (gra-di- tes'si-mo), It. Very

sweetly, most gracefully.
Gradleiter (grad'li-t6r), Ger. A scale.

Grado (gra'do). It. A degree, or single step,
on the staff; di grado means that the mel-
ody moves by degrees, ascending or descend-
ing, in opposition to di salto, by skips of
greater intervals.

Qrado ascendente (gra'do a-sh6n-d6n't6), It.
A descending degree. -"

Grado descendente (gra'do da-sh6u-den't6). It.
A descending degree.

Grados (gra-dos), Sp. Musical intervals.

Gradual. That part of the Roman Catholic
service that is sung between the Epistle and
the Gospel, and which was anciently sung
on the steps of the altar.

Gradualmente (gra-doo-al-m6n't6) t, )
Graduatainente (gra-doo-a-ta-men't6), * j
Gradually, by degrees or steps.

Gradus ad Parnassum (gra'doos ad par-nas'-
soom), Lat. The road to Parnassus. This
name was applied by the contrapuntist Fux
to his elaborate textbook in counterpoint.
Also by Clementi to his collection of 100
pieces for the higher art of piano-playing.
The latter work is very important.

Gradual modulation. Modulation in which
some chord is taken before the modulating
chord, which may be considered as belong-
ing to the original key or the new key.

Graduare (gra-doo-a'r6).. It. To divide into de-
grees.
Graduazione (gra-doo-a-tsi-6'n6), It. See Gra-

dnzLOnc.

Graduelletnent (gra-dwal'manh), Fr. \ Gradu-
Gradwelse (grad'wiz?), Ger. j ally,

by degrees.

Grail (gral). The Gradual.

Graillement (gra-manh), Fr. A hoarse sound.

Grammar, musical. The rules by which mu-
sical compositions are governed.

Oirammatical accent. The common-measure
accent, marked by the length of the words,
and a regular succession of strong and weak
parts.

A fine

Gran rgriin), j. 1 Great era nd

Grande (gran'dg), ^^' ] ^^®*'^' grana.

Gran cantore (gran kan-t6'r6), It.

singer.

Gran cassa (gran kas'sa), It. The great drum.

Qrand=barre (granh-bar-ra'), Fr. In guitar-
playing this means laying the first finger of
the left hand upon all the six strings of the
guitar utpnce.

Grand bourdon. Great or double bourdon,
an organ-stop of 32-feet tone in the pedal.

Grand chantre (gramh shantr), Fr. A pre-
centor.

Grand choeur (gran kiir), Fr. Full organ;
all the stops.

Grand choir. In organ-playing, the union of
all the reed-stops.

Grand cornet. This name is sometimes given
to a reed-stop of IG-feet scale on the manuals
of an organ.

Grande messe (griinhd mass), Fr. High Mass.

Grande mesure a deux temps (grauhd mii-
zhiJr a dii tiinh), Fr. Common time ot two
beats in a bar, marked 2-2, or sometimes 4-4,
or g. See, also, Alia cappella.

Grandezza (gran-dgt'sa). It. Grandeur, dig-
nity.
Grandioso (gran-di-6'z6), It. Grand, noble.

Grandisonante (griin-di-zo-nan'tfi), It. Very
sonorous, full-sounding.

Grand jeu (gran zhiih), Fr. Full organ. Ap-
plied to harmoniums. Also the name of a
stop which brings on all the reeds at once.

Grand opera. Italian opera ; a full opera with
an intricate plot and full cast of performers.

Grand orgue (grauh dorg), Fr. Great organ.

Grand pianoforte. A pianoforte in which
nearly all the octaves have three strings to
each tone, tuned in unison, and struck at
once by the same hammer.

Grand sonata. An extended sonata, consist-
ing generally of four movements.

Gran gusto (gran goos ' 6), li. In a lofty, ele-
vated manner, a full, rich, high-wrought
composition. The manner of a fine and
great singer is said to be in the gran gusto.

Gran prova (gran pro'va), It. The last rehear-
sal.

Gran tamburo (gran tam-boo'ro), It. The

great drum.

Grappa (griip'pa), It. The brace, or character,
used to connect two or more staves.

Gratias agimus (gra'tsl-iis a'gl-moos), Lat. Part
of the Gloria in a mass. " We give thanks
to Thee."

Grave (gra'vS) , It. A slow and solemn move-
ment ; also a deep, low pitch in the scale of

sounds.

Gravement (grav-manh), Fr
Gravemente(gra-v6-m?n't6), It.
nified and solemn manner.

\ With grav-
J ity, in a dig-

a arm, 2- add, a ale, 6 end, e eve, i ill, i isle,6 old, 6 odd. oo moon, ti but, ii Fr. sound, kh Ger. ch. nh na,sal,

(128)

GRA

DICTIONARY OF MUSIC.

GRO

Qravezza (gra-v6t'tsa),7i. Gravity, solemnity.

Gravicembalo (gra-ve-tshern'M-lo), j, | An
Gravicembolo (gra-ve-tsh6m'b6-16), ' J old
name lur tue harpsichord.

Gravis (gra'vis), Lot. Heavy, ponderous. The
namo or one of ihe acceutus ecclesiastiei.

Gravisonante (gra-vi-z6-nan't6). It. Loud-
souudnig.

Gravita (gra-vi-ta'), It. )

Qravitat (grii-fi-tat'), Ger. ^Gravity, majesty.

Gravite (gra-vl-ta'), Fr. )

Gravity. That modification of any sound by
which it becomes deep or low in respect to
some other sound. The gravity of sounds
depends in general on the mass, extent, and
tension of the sonorous bodies. The larger
and more lax the bodies, the slower will be
the vibrations and the graver the sounds.

Grazia (grii^tsi-a). It jcrace, elegance.
Grazie (gra'tsi-e), Ger. j ' °

Graziosamente (gra-tsi-o za-m6n't6),/<. Grace-
fully, smoothly.
Grazioso (gra-tsi-6'z6), It. In a graceful style.
Greater scale. Major scale.

Greater sixth. A name sometimes given to
the major sixth.

Greater third. A name -sometimes given to
the major third.

Great octave. The name given in Germany
to the notes between C and pgj^ pz:

B inclusive. These notes "^ J

arc expressed by capital let- '^i

ters. "•'

Great organ. In an organ with three rows of
keys, usually the middle row, so called be-
cause containing tlie greatest number of
stops, and having its pipes of large scale and
voiced louder than those in the swell, or
choir, organ.

Great sixth. Tho appellation given to the
chord of the fifth and sixtri when the fifth
is perfect and the sixth major.

Greek modes. The ancient Greek modes or
scales were twelve ill number; of these, six
were a.utheniic and six plagal. The sounds
are supposed to have been somewhat simi-
lar to those in the scale «'f C, and the dif-
ferences in mode due to the selection of a
point of repose.

Gregorian chant. A style of choral music,
according to the eight celebrated church
modes introduced by Pope Gregory in the
sixth century.

Gregorianisch (grC-go-ri-au'ish), Gn: Grego-
rian.

Gregorianischer Gesang (gr6-go-rl-au'ish-6r).
Go-. The Gregorian chant.

Gregorian modes.

Q-egorian tones. , ,

Gregory for use in intoning the religious
offices. Part of them are still in the j)lain
song {q. v.).

I The eight tunes, or
I tones, authorized by St.

Gregoriano (gra-go-ri-a'no), It- X ar(^enr\ttrx
Gregorien (gra-go-rl-iinh), Fr. | Gregorian.

Grell (greil), Ger. Shrill, acute.

Grellheit (grgl'hit), Ger. Sharpness, shrill-
ness.

Grelot (gra-lo), Fr. A small bell.

Griffbret (griff 'br6t),G'er, The fingerboard of

a violin, violoncello, etc.
Griffloch (grif'lokh), Ger. The holes of a flute

and like instruments.

Grillig (gril'llg), Ger. Capricious, fanciful.

Gringotter (granh-go-ta'), Fr. To quaver, to

warble.

Grisoller (gre-zo-la'), Fr. To sing like a lark.

Qrob (grob), Ger. Deep, low voice, bass.

Grobgedackt (grob'ghg-dakhf), Ger. Laige
stopped diapason of full tone.

Groppetto (gr6p-p6t'to). It. See Gruppetto.

Groppo (grop'po). It. A group of notes, a rapid

vocal passage.

Gros=fa. A name formerly given to old
church music in square notes, semibreves,
and minims.

Grossartig (grosar-tig), Ger. Grand.

Grosse (gros'sg), Ger. Major, speaking of in-
tervals ; also grand in respect to style.

Grosse caisse (gros kass), Fr. The great drum.

Grosse Nazard (gro.s'sfi na-tsard'),G<:r. An or-
gan-stop, sounding a fifth above '.-he diapa-
sons.

Grosse Quinte (gros'sfi qinn't^), )

Grosses Quintenbass (gros'sesquln't'n- >• Ger.
bass), )

An organ-stop in the pedals sounding a
fifth or twelfth to the great bass of 32 feet or
16 feet.

Grosse Senate (gros'sfi so-na't^), Ger. pi. Grand
sonatas.

Grosses Principal (gros'sgs prin-tsi-pal'j, Ger.
An organ-Slop of 32-feet scaje of the opeu
diapason species.

Grosse Terz (?r6s's6 tirtz), Ger. Great third.

The major third.

Grosse Tierce (gros's^ ter's?), Ger. Great third
souuding-stop in an orgaji, producing the
third or tenth, above the fuuudation stops.

Grosse Trommel (gros'sg trom'm'l^, Ger. The
great drum.

Qrossgedackt (gros'ghe-dakf), Ger. Double-
stopped diapason of 16 feet tone in an organ.

Grosso (gros'so). It. Full, great, grand.

Gross vatertanz (gros'fa-t<^r-tants'),Ger. Grand-
father's dance ; an old-fashioned dance.

Gros tambour (gro tanh-boor), Fr. The great
drum.

Grottesco (grot-tCs'ko), It. Grotesque.

Ground bass. A bass consisting of a few sim-
ple notes, intended as a theme, on which,
at tach repetition, a new melody is con-

aarm, a add, a ale, 6 end, e t <;^, i ill, i isle, 6 old, 6 odd, oo moon, d but, ii Fr. sound, k^ l&r. ch, nh nasa*'

(124)

GRO

DICTIONARY OF MUSIC.

rUi

structed, so that the entire composition
rests upon this single foundation. Example:
Bach's Passacaglia in C minor, for organ.

Group. Several short notes tied together.

Qrundakkord (groond'ak-kord),Ger. Anunin-

vertcd cliord.

Qrundstimtne (grooud'stlm-mO.Crer. The bass
part.

Grundton (groond-ton), Ger. The bass note ;
luudameutal, or principal, tone.

Gruppetto (groop-pCt'to), II. A turn ; also a
siaail group of grace, or ornamental, notes.

Gruppe (groop'pS), Ger. \ A group of notes ;
Gruppo (groop'po), It. /formerly it meant a
trill, shake, or turn.

G^Schliissel (ga'shlijs-s'l), Ger. The G, or
treble, clef.

Guaracha (gwa-riik'a), Sp. A Spanish dance.

Guaranita (gwa ra-ne'ta), Sp. A variety of the
Spanish guitar.

Guarnerius (ewar-na'ri-Qs). A make of violin
highly prized, so called from the name of
the manuiacturer.

Guddok (goo-dok), Rus^. A rustic violfu with
three strings, used among the Russian peas-
antry.

Guerriero (goo-6r-ri-a'r6). It. Martial, warlike.

Guet (ga), Fr. A military trumpet piece.

Guia (ghe-a), Sp. Fugue, conductor, leader.

Guida (gwe'da). It. Guide; also the mark
called "a direct w .

Guide. That note in a fneue which leads off
and announces the subject.

Guide^main (g^ed mftuh), Fr. The hand-
guide, an instrument invented by Kalk-
breimer for assisting young i)layers to ac-
quire a good position <-f the hands on the
pianoforte.

Guidon (ghe-d6nh), Fr, The mark called a

diiect.

Guidonian hand. The figure of a left hnnd
used by Guido, and upon which was marked
the names of the sounds forming his three
hexachords.

Guidonian syllables. The syllables ut, re,
mi, fa, sol, la, used by Guido d'Arezzo, and
called the Aretiuian scale.

Guide's gamut. The table, or scale, intro-
duced by Guido Aretiuus about 1050, and to
the notes of which he applied the syllables
ut, re, mi, fa, sol, la. It consisted of twenty
notes, viz., two octaves and a major sixth,
the first octave being distinguished by cap-

ital letters, the second by small letters, and
the sixth by double small letters.

Guigrue (goo-e'ghC), //. See Giga.

Guiltern. See Gittern.

Guimbarde (ghem-biird'), Fr. A jew's-harp,

Guion (ghc-(3n), Sp. A sign indicating that
the piece or pa.ssage is to be repeated.

Guitar. A long-necked instrument which in
modern times has been strung general] v
with six strings, and whose fingerboard is
provided with frets. The strings, which are
plncked with the fingers of the right hand,
are tuned in E A d g b e', but as guitar mu-
sic is written an octave higher than it
sounds, their notation is as follows :

=t

rhi-tiir'), Fr. ")
ghe-tar'rg), Sp. >
ghi-ta,i'rC),G'fr. J

Guitare (ghi-tiir'), Fr.
Guitarre (gh(
Guitarre (^gl

A guitar.

Guitare d'amour (ghe-tar d'a-moor), Fr. An
instrument (invented by Georg Staufer, of
Vienna, in 1823j with six strings, tuned like
those of the guitar, but played with a bow.
In some of i ts features i t resein bles the guitar
in others the violoncello. It has, not inapt-
ly, been described as a viola bastarda. The
Germans call it, also, Bogenguitarre (bow-
guitar), Knieguitarre (knee-guitar), and Vi-
oloucellguitarre (violoncello-guitar).

Guitare d'amour (ghe-tar d'ti-moor'), Fr. A
modification of the German guitar.

Guitarre lyre (ghe-tilr lerh), Fr. A French
insirumenl having six strings and formed
somewhat like an ancient lyre.

Guiterne (ghe-tarn'), Fr, An ancient species
of lute or guitar.

Gunst (goonst),Ge>\ Grace, tenderness, favor.

Guracho (goo-rii-ko), Sp, See Guarache.

Gusto (goos'to). It. Taste, expression.

Gustosamente (goos-to-za-men't(5). It. Taste-
fully, expressively.

Gustoso (goos-to'zo). If. Expressive, tasteful.

G ut. A natne applied by Guido to the tone

large G, because this tone was the lowest of

the whole system of tones.

Gutdiinken (goot'diin-k'n), Ger. At pleasure,
according to the taste of the performer.

Guttural. Formed in the throat, pertaining
to the throat.

Gutturalmente (goot-too-ral-m6n'te), //. Gut-
turally.

aarm, a add, a ale, 6 end, e eve^ I HI, i isle, 6 old, 6 odd, oo moon, il but, u Fr. .sound, kh Ger. ch, nh nasal.

(125)

H

, DICTIONARY OF MUSIC.

HAR

H

H. This letter is used by the Germans for B-
natural, which note is called by the French
aiitl Ualiaus si. Abbreviation for Hand.

Habanera (hii-ba'ng-ra), Sp. A slow Spanish
dauce in 3-4 time; a dance.

hSaberrohr (btl'bgr-ror), Ger. Shepherd's flute.

liackbrett (hiik'brgt), Ger. The dulcimer.

Halb (hiilb), Ger. Half.

Haibcadence {halb-ka-d6n'ts6), Ger. Half-ca-
deuce.

Halbg-edackt (halb'g6-dakt), Ger. Half-cov-
ered. Applied to the rohrflote and clarinet-
flute stops in organs.

Halbnote (hiilb-no'te), Ger. A minim, or half-
note.

Halbprincipal (halb'prln-tsi-pal'), Ger. An
organ-stop of four-feet pitch, and conse-
quently an octave higher than the pitch of
the open diapason.

Halbton (hiilb'ton), Ger. Half-tone, semi-
tone.

Half=cadence. An imperfect cadence, a close
on the dominant.

Half=note. A minim.

Half=note rest. A pause equal in duration
to a half-note.

Half=shift. The first shift on a violin ; that
on the fifth line.

Half=step. The smallest interval used in
music.

Hall (hiill), Ger. Sound, clangor, clang.

Halle (hal'16), Ger. Hall.

Hallelujah (hal-lMoo'yah), Ileb. "Praise ye
the Lord "; a song of thanksgiving.

Hallelujah meter. A stanza in six lines of
iambic measure, the syllables of each being
in number and order as follows : 6, 6, 6, 6, 8, 8.

Hallen (hiilTn), Ger. To sound, to clang.

Halltrompete (hall'tr6m-p6't6), Ger. A power-
ful trumpet.

Halmpfeife (halra-pfl'f?), Ger. Shepherd's
pipe.

Hals (hals), Ger. Neck of a violin, viola, etc.

Halt (halt), Ger. A pause; a hold.

Hammer. That part of the action or mech-
anism of a pianoforte which strikes the
striugs and thus produces the sound.

Hammer, tuning. An instrument by which
pianos and harps are tuned, by tightening
or loosening the strings.

Hammerklavier (ham'm6r-kla-fer'), Ger. The
modern piano.

Hanakische (ha-na'ki-sh6), Ger. A hanacca.
A Moravian dance in 3-4 measure, some-
what resembling a polonaise, but quicker.

Hande (han'CC), Ger. Hands.

Handlage (haud-la'g6), Ger. The position of
the baud.

Handleiter (hiind-li'tCr), Ger. Handguide.
See Guide.

Hand organ. A portable instrument consist-
ing of a cylinder, on which by means of
wires, pins, and staples are set the tunts, the
revolution of the cylinder causing the pins,
etc., to act on the keys and also to give ad-
mission to the wind.

Handstiicke (hand'stti-k6), Ger. Hand pieces,
exercises for training the fingers iu piano-
playing.

Hardiment (har-di-mauh), Fr. Boldly, firmly.

Harfe (hiir'fC), Ger. A harp.

Harfen (hJir'f'n), Ger. To play on the harp.

Harfenbass (har'f^n-biiss), Ger. A bass like a
harp ; broken chords.

Harfensaite(har'fdn-sai'te), Ger. Harp-string.

Harfenspieler (har-f'n-spe'16r), Ger. Harp-
player.

Harmonia (har-mo'ni-a), Lat. A datighter of
Mars and Venus. Her name was first used
to indicate music in general.

Harmonic. Concordant, musical.

Harmonica. A mus{(>al instrument invented
by Benjamin Fran l> lin, consistiue<^)f glasses,
sometimes globul.r and sometimes flat.
The tone is produced by rubbing the edge
of the globular glasses with a moistened lin-
ger, or striking the flat ones with small
hammers. The name is also applied to an
organ-stop of delicate tone.

Harmonica=atherisch(har-m6'ni-ka-a't(?r-ish),
Ger. A mixture stop of very delicate scale
in German organs.

Harmonical trumpet. An instrument very
mucli like a trumpet, except that it is long-
er and consists of more branches ; the sack-
but.

Harmonic figuration. The progression from
one lone to another of the same chord by
means of passing tones, thence passing in
the same nuiuner through successive differ-
ent chords.

Harmonic flute. An open metal organ-stop,
of 8- or 4 feet i)itch ; the pipes are of double
length, th'it is, 36 or 8 feet, and the bodies
have a hole bored iu them midway between
the foot and the top ; the tone is exceeding-
ly full, fluty, and powerful.

a arm, & add, a ale, 6 end, e eve, l iU, I isle, 6 old, 6 odd, oo moon , H but, ii Fr. sound, kh Ger. ch, nh nasal
' (126)

HAR

DICTIONARY OF MUSIC.

HAR

Harmonichord. Au iustrumeut having the
form of au upright piano, but a tone some-
thing like that of a violin, produced by the
friction of a cj'liuder covered Willi leather
upon the strings. It was iuveuted in 1785
by Fr. Kaufman.

Harmonici (hiir-mo'ni-tshe), II. pi. Harmon-
ics ill violin music.

Harmonic mark. A sign used in violin, harp
music, etc., to indicate that certain passages
are to be played upon such parts of the
open strings as will produce the harmonic
sounds. O,

Harmonicon. A small instrument held in
the hand, the sounds being jjroduced from
small metal springs set in motiuu by blow-
ing from tlie luouili.

Harmonics. (1) The sounds produced by the
vibrations of diwiions (aliquot parts) of a
string, column of air, etc. Simple sounds
are very rare. Wliat we regard as onesound
is in reality a compouudof a multiplicity of
sounds produced by a multiplicity of vari-
ous simultaneous vibrational forms. If, lor
instance, an impact is given to a string, it
vibrates not only in its full length but at the
same time also in divisions. The vibrations
of the full length of the string give tlie fun-
damental tone, the doubly-quick vibrations
of the halves of the stri'i^g give tue octave
above the fundamental tone, the trebly-
quick vibrations of the string the fifth above
tne octave, and so on. The several tones
which make up the compound sound are
called partial tones, or partials ; the lowest
of them is called fundamental tone, prime,
or principal tone; those above the funda-
mental tone are called the upper partial
toues, upper partials, overtones, or harmon-
ics. Tlie fu.idamental tone is generally
the loudest of the partial tones, and with it
the upper partials blend so as to be indis-
tingui.shable, or only in part distinguish-
able under certain conditions. The num-
ber and relative strength of the partial tones
vary in the diftertnt cla«ses of instruments
and V.J.COS and in the dift'erent individuals
of the same class; it is ou the number and
the r lative strength of the partials that the
timbre (quality, characterof tone) of instru-
ments and voices chiefly depends. In the
following illustration, which shows thefist
sixteen partial tones of the s )und C, the 11^-
ures indicate the sequence of the partials in
the serie-i. and also the relative number of
their vibrations iu a given time. As the ac-
tual sounds of the 7th, lltli, loth, 1 'th, and
15th partials can only be approximately rep-
resented, they have been distinguished by
asterisks. _^_ ^

^

m

10 11 12 13 14 15 1(>

(2) Harmonics is also the name given to
certain tones produced on the violin, harp,
and other stringed instruments, toues which
owe another name— flageolet tones— to their
peculiar character. By touching a vibrating
string very lightly in the middle, or at a
point a tbird, fourth, fifth, etc., of its length
distant from one of its ends (i. e., from the
nut or the bridge) it is made to vibrate in
two, th.reo, four, live, etc., divisions, and the
result are notes respectively an (,ctave,
twelfth, fifteenth, seventeenth, nineteenth,
etc., higher than the tone obtained from the
open string—/, e., by its full-length vibra-
tion.

Harmonic stops. Organ-stops whose pipes,
owing to greater pressure of wind, do not
produce their fundamental tones, but the
first harmonic—/, e., tlie tone au octave
above the fundamental tone. Such stops
are the Flute octavianie and Flute harmo-
iiique.

Harmonic triad. The common chord, con-
sisting of a fundamental note, its third and

filth.

Harmonie (har-mo-ne'), Fr. \ tt„-„-,^,„.
Harmonie(har-mo-ne'j, (^f-. j ^^rmouj .

Harmoniemusik (har-m6-ne'moo-zek'),G'?". A
military biind consisting of brass instru-
ments. ' Tlie brass in the orchestra. Music
for wind instruments only.

Harmonieusement (hiir-mo-ni-tis-mauh), Fr.
Harmoniously.

Harmonieux (har-mo-ni-ilh'), Fr. Harmo-
nious.

Harmonious. A term applicable to any two
or more sounds which form a consonant or
agreeable union.

Harmoniphon. A small instrument with a
keyboard like a pianoforte, invented in lsil~,
and intended to supply the place of haut-
boys iu an orchestra. The souuds are pro-
duced from small metal tongues acted up n
by a current of air through a flexible tube.

Harmonique (har-mo-nek), Fr. Harmonic;
the relation of sounds to each other; also
applied to organ-pipes of double length.

Harmoniquement (har-mo-nek-manh), Fr.
Harmonically.

Harmoniren (hilr-mo-ne'r'n), Ger. To harmo-
nize, to be in unison.

Harmonisch (hiir-mo'nish),(Ter. Harmonious,
harmonical.

Harmonische Theilung: (hiir-mo'iii-she tl-
looiig), Gcr. Harmonical division.

Harmonist. One acquainted with the science

of haruiony.

Harmonium. A keyboard wind instrument
of the reed-organ kind, the tones of which
are produced by the vibration of free reeds.
( V. Feeds.) The bellows are worked, except
iu very large harmoniums, by the performer
by means of two pedals (treadles). Small
harmoniums have only one set of reeds, i.e.,

a arm, & add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, iibut,n Fr. sound, kh Ger. ch, nh nasal.

(127) ■

4AR

DICTIONARY OF MUSIC.

I1A1\

one reed to each note; larger harmoniiims
have several sets. These different sets of
reeds, varied iu tone, are brought into play-
by drawing out corresponding stops. The
"expression-stop" closes a valve which
shuts off tlie wind-reservoir, and thus the
whole management of the wind is given
into the hands (literally, to the feet) of the
performer, who, by the greater or lesser
quantity of wind furnished by him, can play
more or less loud, increase and decrease the
tone at pleasure. The harmonium differs
from the reed organ in having a pressure-
bellows, forcing the air out through the
reeds.

Harmonize. To combine two or more parts
according to the laws of harmony.

Harmonized. A melody is said to be har-
monized when additional parts are sub-
joined iu order to give it more fullness.

Harmonometre (h:ir-m6-no-matr'), Fr. An iu-
str anient to measure tiie proportion of
souuds; a species of mouochord.

Harmony. The agreement or consonance of
two or more united sounds. The art of
combining sounds into chords and treating
those cbuids according to certain rules.

Harmony, figured. Harmony in which, for
the purpose ot melody, one or more of the
parts of a composition move, during the
continuance of a chord, through certain
notes that do not form any of the constitu-
ent parts of that chord.

Harmony, natural. The harmonic triad of
common ctiord.

Harmony, suspended. One or more notes
of u cuord reiaiued in the following chord.

Harp. One of the most ancient stringed in-
struments, the tones of which are produced
by plucking the strings (mainly of cat-
gutj with the fingers of the ngnt ana leit
hands. Tlu haip has a diatonic scale. On
account of the absence of th*e chromatic
tones the performer was, of course, unable
to modulate. To remedy this defect vari-
ous contrivances have been resorted to.
The most perfect instrument hitherto con-
structed is Erard's "double-action pedal
harp," a development of the single-action
pedal harp. It has seven pedals by which
the strings may be raised either a semitone
or a whole tone, and thus all the keys be-
come practicable. This double-action harp
has a compass of more than six and a half
octaves— from C^l? to f""b, and, as each string
can be raised two semitones, even to f"":{?.
The seven pedals act respectively through-
otit all the octaves, each on one of the seven
degrees of the Ct> major scale, this being the
key in which the harp is tuned. The single-
action harp was in the key of Eb. and its
compass extended from F^ to d"". The
harp of the ancient Egyptians was without
a "pillar"' for supporting the pull of the
strings. It was simply a bow, patterned
after the hunting-bow, and in the earliest
times had only five strings.

Harp, /Eolian. An instrumeiit consisting ( I
wire or catuut drawn in parallel linescvir
a box of thin wood and placed so that a
current of air may cause the strings to vi-
brate.

Harp, couched. Name originally given to
the spinet.

Harp, double=action. A harp with pedal---
that can be used in two positions, the first
raising the instrument a half-step, and ti^e
secoiid a whole step.

Harpe (harp), Fr. A harp.

Harpechorde (harp-k6rd), Fr. An old French
name for the harpsichord.

Harpe Eolienne (harp a-6-ll-6nn), Fr. .^Eolian
harp.

Harpeggiate (har-p6d-ji-a't^). It. In the style
of a harp, arpeggiately.

Harpeggiato (hiir-ped-ji-a'to), It. Causing the
sounds of a chord to be played not together
but distinctly one after another. See ^z-
pcggiaio.

Harpeggiren (har-p6-ghe'r'u), Gcr. Arpeggi-
ate.

Harofst ^ performer upon the harp.

Harpicordo (har'pi-kor-do). It. A harpsi-
chord.

Harp, Jew's. A small instrument made of
brass, or steel, with a flexible metal tongue,
played upon by placing it between the teeth
and vibrating the tongue by stiikinKit with
the finger; the action of the breath deter-
mines the power of the tone. Known iu
the music trade as the "Irish harp."

Harp lute. An instrument having twelve
strings, and resembling the guitar.

Harp pedal. The pedal of a pianoforte, some'
times called the soft pedal.

Harpsecol. See Harpsichord.

Harpsichord. A keyboard instrument, one
of the predecessors of the pianoforte. The
strings, instead of being struck by tangenis,
as la the clavichord, or by hammers, jis in
the pianoforte, were plucked by quills or
pieces of hard leather. {V. Jack.) The
spinet and virginal are varieties of llie
harpsichord, ditlering from it in size aid
form The form of the harpsichord is in
dicated by the German name of the i:istr u-
ment—Fliigcl, wing, the same as the uiod-
ern grand piano. Tie harpsichord hm
often more than one keyboard, and also
was provided with stops by which llie *
tone could be modified.

Harpsichord, double. A harpsichord with

two unison strings and an octave.
Harpsichord, harmonica. A harmonica, the

sounds of which are produced by means of

keys similar to the pianoforte, invente*'. ai

Berlin.

Harpsicon. An old name for the harpsichord.

Harp, single=action. A harp whose I'dals
can be used iu one position only, raising
the sounds of the instrument a half-step. )

a arm, a add, a ale, 6 end, 5 eve, i ill, i isle, 6 old, 6 odd, oo moon, Q btd, ii Fr. sound, kh Ger. ch. nh nasal.

(128)

HAR

DICTIONARY OF MUSIC.

HEP

Harp style. In the arpeggio style.

Harp, triangular. An ancient instrument of

llirygian invention.
Harsur (hur-soor), or, Hasur (ha-zoor). Heh.

Am instrument of ten strings, used by the.

Hebrews.
IIarte(h:lr'tC),(rer. Major, in respect to inter-

v..l:< and scales.
Hartklingend (hart'kling'gnd), Ger. Hard-

sirinding; harsh.

Hate (hawt), Fr. Haste, speed.
Haubois (ho-bwa), Fr. An oboe.
Ilaupt (howpt), Ger. Head, principal.
Hauptgesange (howpt'gh^-sang 6), p \
liiiuptmelodie (howpt'melo-de), J

Tne principal melody.
Hauptkirche (ho\vpt'k!r-kh(?),(7fr. Cathedral.

Hauptmanual (howpt'ma-noo-al), Ger. The
jifear, or principal, manual ; the great or-
^an.

Hauptnote (howpt'uo'tC), Ger. The principal
luito in a shake or turn; that note over
which the ^^^^ or the tr. is placed.

Hauptperiode (^owpt'p(5-ri-6'd6), Ger. Princi-
pal period ; the principal period in "a mu-
si al phrase.

Hauptprobe(howi>t'pro-b6),Ger. The final, or
ge.ifial, rehearsal.

Hauptsatz (hr.wpt'satz), Ger. The principal
theiiic, or subject; the motive, or leading
idea.

Hauptschluss (howpt'shloos),Ger. A final ca-
de lu'e.

Hauptstimme (howpt'stim'me), Ger. Princi-
eip 1 voice ; principal part.

Hauptthema (howpi'ta-mii), Ger. Theprinci-
pj.1 ilieuie.

Hauptton (howpt'ton),Gcr. Fundamental, or
l)rinc. pal tone; the tonic.

Haupttonart (howpt'ton-ilrt), Ger. Tbe prin-
cipal key of a composition.

Hauptwerk (hnwpt'wark), Grr. Chief work,
or uuuuial; the great organ.

Hausse (hos.s), Fr. The nut of a bow.

Hausser (hos-sil'), Fr. To raise, or sharpen,
the pitch.

Haut (ho), Fr. Acute, high, shrill.

Hautb. An abbreviation of Hautboy.

Hauibois (bo-bwii), Fr. The oboe, or hautboy.

Hautbois d'amour (ho-bwii d'a-moor'), Fr. A
spi-ciesof hautboy, with a pleasing tone, but
ditticult to play in tune, and now nearly ob-
solete ; aUo an organ-stop.

Hautboy (ho'boy'i. Oboe. A portable wind
insuuinent of the reed kind, with a double
reed, consisting of a tube gradually widen-
ing from the top toward the huvtr end. and
furni-.hed wiili keys and circular holes for
modulating its soimds; the tone is pene-
trating and slightly nasal, and peculiarly
adapted to express soft and plaintive p«s-

sages. The name is also given to an 8-feet
organ reed-stop, the tone of which resem-
bles that of the hautboy.

Hautboys-clarion. See Octave hautboy.

Haute=contre (hot-koutr), Fr. High or coun-
ter tenor.

Haute-dessus (hot-d6s-su), Fr. High treble,
hist treble.

Hautement (hot-manh), ' Fr. Haughtily, in
a dignified manner.

Haute^taille (hot-ta-yiih), Fr. High tenor.

H=bes (ha-b6s), Ger. B-double-flat.

H=dur (hii-door), Ger. B major.

Head. That part of a note which determines
its position on the staff, and to which the
stem is joined.

Head tones. Tones produced by the upper
register of the voice.

Head voice. The upper or highest register
of the voice ; the falsetto in men's voices.

Heerhorn (har'horn), Ger. A military trum-
pet.

Heerpauke (har'pow-k€), Ger. Kettledrum,
tymbal.

Heerpauker (har'pow-k$r), Ger. Kettledrum-
mer, military drummer.

Heftig (hgf'tig), Ger. Vehement, boisterous.

Heftigkeit (h6f'iig-kit), Ger. Vehemence, im-
petuosity.

Heimlich (him'likh), Ger. Secret, furtive,
stealthy.

Heiss (hiss), Ger. Hot, ardent.

Heiter (hi'tCr), Ger. Serene, bright.

Heldenlied (hei'd'n-led), Ger. Heroic song.

Heldenmiithig (hei'd'n-mii'tig), Ger. Heroic.

Hell (h61), Ger. Clear, bright.

Helle Stimme (h61'16 stim'mg), Ger. A clear
voice.

Hemi (ha/mi), Gr. Half.

A s i X t y -

Heniidemisemiquaver.

fourth note.

Hemidemisemiquaver rest.

fourth rest.

==g^

A sixty- p

Gr. Di-

Hemidiapente (h6m'i-de-a-p6n't6),
minished, or imperfect, fifth.

Hemiditonos (h(5m-i-de-t6'nos), Gr. Lesser or
minor tliird.

Hemiope (ha-me'o pC), Gr. An ancient flute,
consisting of a tube with three holes.

Hemiphrase. A member of a phrase consist-
ing of only one bar.

Hemitonium (ha-rai-to'ni-fim), Gr. A semi-
lone or half-tone.

Heptachord. A scale or system of seven
sounds. In ancient poetry verses sung or
played on seven chords or differetU notes;
a lyre or cithera having seven strings.

Heptachordon (h6p'ta-k6r'd6n), Gr. The ma-
jor seventh.

aarm, aadd, aai€, fiend, etve, ii'l,iiste,6ol<l,6o(ld, oo moon, Hbut, il Fr. sound, kh Ger.ch, \\h.nasal.
9 (129)

HEP

. DICTIONARY OF MUSIC.

HOC

Heptameris (h6p-ta-ma'ris), Or. In ancient
music the seventh part of a meris, or forty-
third part of an octave.
Herabstrich(har-ab'strikh), p \ Adown-
Herstrich(hat'strikh), ^^^- jbow.

Heraufgehen t^har-ouf'ga'n), Ger. To ascend.

Hcroisch (ha-ro'ish), Ger. Heroically.

Herunterstrich (h^r-oon'fr-strikh), Ger. A
dowubow upon the violin.

Hervorgehoben (hflr-f6r'?h6-h6'b'n), ^

Hervorhebend (har-f6r'ha'b6nd), Ger. r

Hervortretend (har-for'tra-teiid), 1

Play the notes very prominently and dis-
tinctly.

Herzlich (harts'likh), Ger. Tenderly, deli-
cately.

Hes (h6s), Ger. B!?. Used when the tone is
supposed to come from B-natural, or H, as
the Germans call it.

Hexachord (hex';Vk5rd), Gr. A scale, or sys-
tem, of six sounds; an interval of a sixth ;
a lyre having six strings.

Hexachorde (h(5x-a,-k6rd'), Fr. A hexachord.
See that word.

Hexameron (h^x-am'^-rOn), Gr. Set of six mu-
sical pieces, or songs.

Hexameter. In ancient poetry a verse of six
feet, the first four of which may be either
dactyls or spondees, the fifth always a dac-
tyl, and the sixth a spondee.

Hexaphonic. Composed of six voices.

Hiatus (hi a'toos), IM. A gap, imperfect har-
mony.

Hibernian melodies. Irish melodies.

Hidden canon. A close canon.

Hidden fifths and Hidden octaves. In the ar-
ticle "Consecutives " it has been stated that
progressions of perfect fifths and octaves are
prohibited. Hidden fifths and octaves—
which occur when the second of two inter-
vals formed by two parts progressing in sim-
ilar motion is a perfect fifth or octave— are
likewise prohibited, but not so strictly.
Many of these progressions are indeed quite
harmless. They are, barring some excep-
tions, least objectionable \\ hen the upper of
the two parts proceeds a degree upward or
downward, and the lower takes a leap of a
third, fourth, or fifth. The more or less of
their i tin ocuousness depends upon the close-
ness of the harmonic connection and the
progression of the other parts. Much, more-
over, is permissible in the middle parts
which would incur censure in the extreme
parts. These progressions are prohibited
and called hidden because the ear fills up,
as it were, the gap or gaps between the ac-
tual sounds, and hears fifths or octaves
which otherwise are not obvious. For in-
stance, if the acttial sounds are as at (a), the
ear hears as at {b).
(a)

Hiefhorn (hefhorn), Ger. Bugle-horn, hunt-
ing-horn.

Hief(hef), ^ ") Round given by

Hiefstoss (hef'stoss), '' ' j' the bugle or hunt-
ing-horn.

Hierophon (he'ro-fon), Gr. A singer of sacred
music.

Higgaion seiah (hig-ga'6n sa-lah), H(h. A
term employed in ancient Hebrew music to
indicate the use of stringed instruments
with the trumpet.

High. Acute in pitch, speaking of sounds.

High bass. A voice between bass and tenor,
a baritone.

Higher rhythm. A rhythmical form com-
posed of several smaller ones.

High Mass. The Mass celebrated in the
Roman Catholic churches by the singing
of the choristers, distinguishing it from the
low Mass in which the canticles are read
without singing.

High soprano. The first soprano.

High tenor. Counter tenor voice ; the high-
est male voice.

High treble clef. In old French music the
(j clef placed on the first line.

Himno (him-no), Sp. A hymn.

Hinaufstrich (hin-owf'strikh), ^ |An up-
Hinstrich (hin'strlkh), ^*^'^- J bow.

Hirtenflote (hir't'n-flo'te), Ger. Shepherd's
tiute.

Hirtengedicht (hlr't'n-g6-dikht'), Ger. Pas-
toral poem, idyl.

Hirtenlied (hir't'n-led), Ger. A pastoral song.
Hirtlich (hirt'likh), Ger. Pastoral, rural.

Hirtenpfeife (hir't'n-pfi'f*5), Ger. Rmral pipe.

pastoral pipe.
His (his), Ger. The note B+t.
Hisis (his'is), Ger. B-double-sharp.
H=molI (ha'mol), Ger. The key of B minor.

Hoboe (h6'bo-6), r, \ ^. hantbov

Hoboy (ho boy), ^"- j ^^^^' ^^utDoj.

Hoboen (h6'bo-6n), Ger. pi. Oboe, hautboys.

Hoboist (ho-bo-ist), Ger. Hautboy-player.

Hoch (hokh), Ger. High.

Hochamt (hokh'ilmt), Ger. High Mass.

Hochfeierlich (hokh-ri'6r-likh), Ger. Exceed-
ingly solemn.

Hochgesang 'hokh'g6-sang), Ger. Ode, hymn.

Hochhorn (hokh'horn), Ger. Hautboy.

Hochlied (hokh'led), Ger. Ode, hymn.

Hochmuth (hokh'moot), Ger. Haughtiness,
elevation, pride.

Hochsten (h6kh-st6n), Ger. Highest.

a arm, a add, a ale, & end, e eve, 1 ill, I isle, 6 old, 6 odd, oo moon, H but, ii Fr. sound, kh Ger. ch, nh nasal.
' (130)

HOO

DICTIONARY OF MUSIC.

HOR

Hochzeitsgedicht (hokh'tsits-gfi-dikht'),/^^- )
Hochzeitslied (hokh'tsits-led), ^*^'^* j

Epithalamium ; nuptial poems ; wedding-
song.
Hochzeitsmarsch (hokh' - tslts - marsh), Ger.
Wedding-march.

Hocket. A name for-merly given to a rest ;
or, cutting short a note without acceler-
ating the time. It corresponds to the term
staccato. It is no longer u.sed.

Hofcapeile (hof-ka-pgl'lS), Ger. Court chapel-

Hofconcert (h6f-k6u-ts(5rt'), Ger. Court con-
cert.

tlofdichter (hof-dikh't6r), Ger. Poet laureate.

Hotkirche (h6f-kIrkh'6),Ger. Court church.

Hoflich (hoflikh), ^ )Inapleasing

Hofrichkeit (hof'likh-klt), ^^^- J and grace-
ful style.

Hofmusikant (hof'moo-zi-kanf), Ger. Court
musician.

Hoforganist (hof-or-ga-nisf), Ger. Court or-
ganist.

Hohe (ho'hfi), Ger. Height, elevation, acute-

ness.
Hoheit (ho'hit), Ger. Dignity, loftiness."

Hohelied Ch6'h6-led), Ger. The Song of Solo-
mon.

Hohen (ho'gn), Ger. High, upper.

Hohle und heisere Stimme (ho'le oond hl'zS-
r(5 siirn'mfi/, Ger, Holiuw and hoarse voice.

Hohlflote (hol'flo-t(5),Ger Hollow-toned flute ;
an organ-stop producing a thick and pow-
erful hollow tone Each pipe has two holes
in it, near the top and opposite each other.

Hohlquint^ (hol'kwm-tS), Ger. A quint stop

of the hohl-flute species.
Hold (hold), Ger. Pleasing, agreeable.
Hold. A character (^) indicating that the

t. e of a note or rest is to be prolonged.

Holding:. The burden or chorus of a song.

(Found in Shakespeare.)
holding:=note. A note that is sustained or

continued while the others are in motion.
Holzblaser (h61ts'bla-z6r), Ger. Players upon

wood wind instruments.

Holzflote (h61ts'fl6-t6), Ger. Wood flute ; an
organ-stop.

Homophone. A letter or character expressing
a like sound with another.

Homophonie (ho-rao-fo-ne), Fr. Homophony.
Homophonoi suoni (ho-mo-fo'no-e soo-6'ne).
It. Unisons.

Homophonous. Of the same pitch, in unison.
Homophony. Unison; two or more voices

singing in unison.
Hopswalzer (hops' wal' ts6r), Ger. Quick

waltzes.
Horse (ho'ra), j . \

Horae regulares(h6'rar6g-oo-la'r6s), j

Hours ; chants sung at prescribed hours in

convents and monasteries.

Horizontal lines. ) Used in connection
Horizontal strokes, /with the figured bass,
they usually show the continuation of the
same harmony, the bass note being un-
changed, but they are somecimcs used to
abbreviate the expression of figures, in
which case, if the bass part moves, the har-
mony must necessarily be changed.

Horn. A wind instrument chiefly used in
hunting.

Horn, alpine. A narrow wooden tube, or
trumpet, about eight feet long, widening
to a bell at the larger end. Played by means
of a cup-shaped mouthpiece. The tone is
very penetrating, but it is very difficult to
blow. It gives the natural harmonics of its
own fundamental.

Horn, basset. An instrument resembling
the clarinet, but of greater compass, em-
bracing nearly four octaves.

Horn, bassetto. A species of clarinet a fifth
lower than the C clarinet.

Hoi ner (hor'nCr), Ger. pi. The horns.

Hornerschall (hor'ner-shall), Ger. Sound of
horns.

Horn, French. A brass wind instrument con-
sisting of a long, twisted tube terminating
in a wide, outspreading bell. There are two
kinds of horns : the natural horn, and the
valve horn. The following natural har-
monic series can be obtained by the modi-
fication of the position of the lips and the
force of air blown into the tube:

E:

--^-=x=--=--

-^m

=?^

—ts f=2;

It:

gE

V^ ^m. i^:

The first of these notes is, however, not
practicable, and the notes marked as
crotchets are not in tune. By inserting the
hand more or less far into the bell the
natural (or open) notes may be more or less
flattened, and thus all the other notes ob-
tained, at least from F^, below the first 6,
upward. But these stopped (or closed)
notes are not so clear as the natural ones,
especially those more than a semitone be-
low the latter. The length of the tube, and,
consequently, the key of the instrument,
can be altered by crooks (9. v.). The nota-
tion for the horn is always in the key of C.
Only the horn in C alto, however, sounds
the notes as they are written, whereas the
one in Bt> basso sounds them a major ninth
lower, the one in C an octave lower, the
one in D a minor seventh lower, the one in
Eb a major sixth lower, the one in E a mi-
nor sixth lower, the one in F a perfect fifth
lower, the one in G a perfect fourth lower, ~
the one iu A a minor third lower, the one
in Bb alto a major second lower, etc. On
the valve horn can be produced all the
semitones, from the F# below the second
C upward, as open notes. The horn with

a ami, a add, a ale, eend, e eve, i ill, i isle, 6 old, 6 odd, 00 moon, H but, ii. Fr. sound, kh Ger. ch. nh nasal.

(131)

HOK

DICTIONARY OF MUSIC.

HYP

three valves comprises in fact seven natural
horns. (V. Valves.) Music for the horn is
noted in the G clef, with the exception,
however, of the lowest notes, which are
written in the F clef, and an octave lower
than the rest.

Hornpipe. An old dance, in triple time, pe-
culiar to the Eng}ish nation, it is supposed
to have received ils name from the instru-
ment played on during ils performance.
Modern hornpipes are usually in common
time, and of a more lively character than
the ancient hornpipe.

Hosanna (ho zan'na), Lat. Part of the Sanc-
tus in a Mass.

Houl (howl), Per. A common drum of the
Persian soldiery.

Hreol (wra'61). Dan. A Danish peasant dance,
similar to the reel.

H. S. Abbreviation foi Hauptsatz.

Huchet (hii-sha), Fr. A huntsman's or post-
man's horn.
Huer (hwJi), Fr. To shout.
Hiifthorn (hiift'horn), Gcr. Bugle-horn.

Huggab (hoog-gab), Hcb. An organ of the
Hebrews; Pan's pipes.

Huitain (hwe-tSuh), Fr. A str nza of eight

lines.
Huitpied (hwet-pi-a), Fr. Eight feet, of

organ -stops.
Hiilfslinien (hiilfs'le-ni-6n), Ger. Ledger lines.

Hiilfsnote (hulfs'n6-t6) ^ ) Auxiliary note,
Hiilfston (huifs'ton), " j accessory note,

a note standing one degree above, or below,

the principal note.

Hulfsstimme (hulfs'stim'mg), Ger. Obligato
voice.

Hummel (hoom'mei), ^ ) A sort

Hummelchen (hoom'm61-kh6n), ^^ • ( of
bagpipe ; in organs the thorough bass
drone.

Hummen (hoom'm'n), Ger. Humming, sing-
ing in a low voice.

Humor (hoo-mor'), Ger. Caprice, humor,
whim.

Humoreske (hoo'mo-rgs'kg), Ger. A fancy
piece, a humorous or whimsical piece.

Humorous songs. Songs full of mirth and

humor.
Hunting=horn. A bugle, a horn used to cheer

the hounds.

Hunting=song. A song written in praise of
the chase.

Hurdygurdy. An old instrument consisting
of four strings, which are acted upon by a
wheel rubbed in resin powder, which serves
as a bow. Two of the strings are aflfected by
certain keys which stop them at different
lengths and ])roduce the tune, while the
others act as a drone bass.

Hurtig (hoor'tig), Ger. Quick, swiftly ; same
meaning as allegro.

Hurtigkeit(hoor'tlg-kit),Ger. Swiftness, agil-
ity, quickness.

Hydraulicon (hi-draw'li-k6n),(Tr. An ancient
instiUment whose tones were produced by
the action of water.

Hydraulic organ. An organ whose motive
power was water, and the invention of
which is of much greater antiquity than the
pneumatic, or wind, organ. It is supposed
to have been invented byCtesibius, a math-
ematician of Alexandria. It is not certainly
known precisely what use water served in
this instrument, but it is believed to have
aided in preserving the wind, somewhat
after the manner of water upon a plate upon
which a vessel is inverted and the air ex-
hausted. The water aids in preserving the
vacuum.

Hymeneal (hl'me'ne-ai). ) A marriage-song,

Hymenean (hi-me'n6-an). j or appertaining
thereto.

Hymn. A song of praise or adoration to the
Deity ; a short, religious lyric poem intend-
ed to be sung in church. Anciently, a song
in honor of the gods or heroes.

Hymnal. ) A compilation, or collection,
Hymn=book. j of hymns.

Hymne (emn), Fr. } A hymn, sacred song,
Hymne (him'n^), Ger. j an anthem.

Hymnologie (emn-n61-o-je), Fr. Hymnology.

Hymnologist. A writer, or composer, of

hymns.
Hymnology. Information concerning hymns.

Hymns, theurgic. Songs of incantation ; the
first hymns of Greece.

Hymnus (him'noos), Lat. A hymn.

Hymnus Ambrosianus (him'noos am-bro-zi-
a'noos), Lat. The Ambrosian chant.

Hymn, Vesper. A hymn sung in the Vesper
service of the Catholic Church.

Hypate, Gr.
the lyre;
chords.

Hypathoides. The lower sounds in the an-
cient Greek scale.

Hyper (hl'pfir), Gr. Over, above. Api)lied to
the names of intervals this word signifies
"super," or "upper"; applied to the names
of the Greek transposition scales and ec-
clesiastical octave species it signifies "a
fourth higher"; applied to the Greek octave
species it signifies "a fifth higher," or, what
(with regard to the names of the notes and
the succession of the intervals) comes to
the same thing, " a fourth lower."

Hypera^olian (hi'p6r-e-6'li-an), Gr. (1) The
authentic -^olian mode. (2) In the ancient
Greek system the name of one of the trans-
position scales. (3) In the mediaeval ec-
clesjastical system the octave species

DcdeYga^, the eleventh (sixth authen-
tic) mode. (T'. Church modes.)

The first or most grave string in
the lowest of the Greek tetra-

a arvi, & add, a ale, 6 end, e eve, i ill, I isle, 6 old, 6 odd, oo moon, iX but, \i Fr. sound, kh Ger. ch, nh nasal.

(132)

HYP

DICTIONARY OF MUSIC.

HYP

Hyperdiapason (hi'p6r-di-apa'sou), Gr. The
upper octave.

Hyperditonos (hrp6r-di-t6'n6s), Gr. The third
abuve.

Hyperdorian (hi'per-do'ri-an\ Gr. The au-
thentic Doriau mode. In the ancient Greek
system the name of the octave species

bli d el g a h, also called Mixolydian, and
of one of the transposition scales.

Hyperionian (hi'p6r-e-6'ni-an), Gr. The au-
thentic Ionian mode.

Hyperlydian (h!'per-ll-di-au), Gr. The au-
thentic Lydiau mode. The name of the

octave species gabcdefg, and of one of
the transposition scales.

Hypermixolydian (hi'p6r-mlx'6-lid'i-au), Gr.
The authentic Mixolydian mode.

Hyperphrygian (hi'p6r-fr!j'i-an), Gr. (1) The
aAithentic Phrygian mode. (2) In the an-
cient Greek system the name of the octave

species abed efga, also called Locrian,
and of one of the transposition scales. (3)
In the mediaeval ecclesiastical system _tiie

name of the octave species f gabcdef,

the twelfth (sixth plagal) mode. ( V. Church
modes.)

Hypo. Below, under. Applied to intervals
this word signifies " sub," or "lower *'; ap-
plied to the names of the Greek transposi-
tion scales and ecclesiastical octave species
it signifies "a fourth below"; applied to
the names of the Greek octave species it
signifies " a fifth below," or, what (with re-
gard to the names of the notes and the suc-
cession of the intervals) comes to the same
thing, " a fourth at)ove."

Hypo^olian (hi'po e 6'li-an), Gr. (1) The pla-
gal ^olian mode. (2) In the ancient Greek
system the name of one of the transposi-
tion scales. (3) In the mediaeval ecclesias-
tical system the name of the octave species

ef gabcde, the tenth (fifth plagal) mode.

Hypocrltic (hip-6-krlt'ic), Gr. An epithet ap-
plied by the ancients to the art of gesticu-
lation, which was prominent in their pub-
lic vocal performances.

Hypocritic music. Among the ancient Greeks
all music intended for the stage or theater;

in modern times all music adapted to pan-
tomimic representation.

Hypodiapason (hi'p6-de-a-pa-s6n), Gr. The
lower octave.

Hypodiapente (hi'p6-dl-a-p$n't6),(7r. The fifth
below.

Hypoditonos (hl'po-de-to'nOs), Gr. The third
below.

Hypodorian (hi'po-do'ri-an), Gr. (1) The pla-
gal Dorian mode. (2) In the ancient Greek
system the name of the octave species

abcdefga, also called u^olian, and of
one of the transposition scales. (3) In the
mediaeval ecclesixstieai system the octave

species abcdefga, the second (first pla-
gal) mode.
Hypoionian(hI'p6-e-6'm-an), Gr. (1) The pla-
gal Ionian mode. (2) la the ancient Greek
system the name of one of the transposi-
tion scales. (3) In the mediaeval ecclesias-
tical sj'stem the name of the octave species

gabcdef g, the fourteenth (seventh pla-
gal) mode. {V. Church modes.)

Hypolydian (hi'po-lidl-an), Gr. (1) The pla-
gal Lydian mode. (2) In the ancient Greek
system the name of the octave species

fgabTjdef, also called Sytitonolydian,
and of one of the transposition scales. (3)
In the mediaeval ecclesiastical system the

name of the octave species cdefgabe,
the sixth (third plagal) mode. "" "^

Hypomixolydian (hi'po mix'6-lid'i-an), Gr.
(1) The plagal Mixolydian mode. (2) In the
mediaeval ecclesiastical system tbe name

of the octave species defgabcd, the
eighth (fourth plagal) mode.
Hypophrygian (hi'p6-frij'i-an), Gr. (1) The
plagal Phrygian mode. (2) In the ancient
Greek system the name of the octave species
g a b c d e f g, also called Ionian, and of one

of the transposition scales. (3) In the medi-
aeval ecclesiastical system _the name of the

octave species bcdefgab, the fourth
(second plagal) mode.
Hy poproslambanomenos, G'r. The note below
the Proslambanomenos— namely, G.

Haiin, a add, a ale, 6 end, e evclUl, I isle, 6 old, 0 odd, oo moon, H but, ii Fr. sound, kh Ger. ch, nh nasal.

(138)

lAivi

DICTIONARY OF MUSIC.

IMP

lambe (e-auh-buh), Fr. Iambus.

Iambic. ) A poetical and inusical foot, con-

lambus. ) sisting of oue shurt, uuacoenterl,

and one long, accented, note or syllable.

Iambics. Certain songs, or satires, which are
supposed to have been the precursors of the
ancient comedy ; they were of two kinds,
one for singing and one for recitation, ac-
companied by instruments.

lastian (e-Ss'ti-an), Gr. One of the ancient
Greek modes. The Ionian.

Ictus (ik'ttis), Gi'. A stroke of the foot, mark-
ing the point of emphasis in music.

Idillio (e-del'li-o). It. An idyl.

Idyl. A short poem in pastoral style; an
eclogue.

Idylle (e-dilV), Fr. ) . , ,

Idylle (i-dii'16), Ger. J ^^ ^^y^-

II (el). It. The.

Ilarita (e-la-ri-ta'), It. Hilarity, cheerfulness,
mirth.

II piu (el pe'oo). It. The most.
II piu forte possibile (el pe'oo f6r't6 p6s-se'-
bM6), //. As loud as possible.

II piu piano possibile (el pe'oo pe-a'no pos-
se'bi-16), It. As soft as possible.

Im (im), Ger. In the.

Imboccatura (em-bok-kii-too'ra). It. Moutb-

X)iece, embouchure.
Imbroglio (em-brol'yo), It. Confusion, want

of distinct ideas.

Imitando (im-i-tiin'do). It. Imitating.
Imitando la voce (im-i-tan'do la, vo'tshg), //.
Imitating the inflections of the voice.

Imitatio (im-i-ta'tsi-6), Lat. Imitation, in
counterpoint.

Imitation. The more or less exact repetition
of a musical figure in another voice. (See
also Canon.) Imitation is strict when the
melodic intervals and resulting harmonies
are exactly imitated; free when not even
the melody and rhythm are exactly repeat-
ed. (See also (subordinate titles below.) A
sequence is an imitation, but in the same
voice.

Imitation, augmented. A style of imitation
in which the answer is given in notes of
greater value than those of the subject.

Imitation, diminished. A style of imitation
in whifih the answer is given in notes of
less value than those of the subject.

imitation, freely inverted. Where the order
of successive notes is not strictly retained.

Imitation, in contrary motion. That in
which the answers invert the subject so
that the lisiiig intervals descend, and the
falling intervals ascend.

Imitation, in different divisions. That in
which 1 he subject is answered in a different
division of the bar; for instance, the sub-
ject bpjjinning on the accented division is
answered on the unaccented.

Imitation, in similar motion. Where the
aiiswi r retains the s-ame order of notes as
the subject.

Imitation, retrograde. A form of imitation
in which the subject is commeuced back-
M'ards in the answer.

Imitation, reversed retrograde. A form of
imitation in which the subject is com-
menced backwards in the answer, and in
contrary motion.

Imitation, simple. A simple imitation.

Imitation, strictly inverted. That form of
imitation in which half and whole tones
must be precisely answered in contrary
motion.

Imitative music. Music written to imitate
some of the operations of nature, art, or
human passion, as the firing of cannon,
the rolling of thunder ; love, joy, grief, etc,

Imitato (im-i-tii'to), It. Imitation.

Imitazione (im-i-ta-tsi-6'n6), It. Imitation,
referring to counterpoint.

Immer (!m'm6r), Ger. Alwaj^s, ever.

Imparfait (tlnh-parfa'i, Fr. Imperfect.

Impaziente (im-pa-tsi-6n't6), It. Impatient,
hurried.

Impazientemente (im-pa-tsi-6a-tS-m6u't6), It.
Impatiently, hurriedly.

Imperfect. Not perfect ; less than perfect, in
speaking of intervals and chords.

Imperfect cadence. A cadence which ends
on a triad of the dominant; the preceding
chord may be either that of the tonic or
subdominant or in minor keys the sixth of
the scale ; the triad of the dominant always
being major.

Imperfect close. Imperfect cadence.

Imperfect concords. Thirds and sixths are
called imperfect concords because they are
liable to change from major to minor, or the
contrary, still remaining consonant.

Imperfect consonances. The major and mi-
nor third and the major and minor sixth.

Imperfect intervals. A defective name for
diminished intervals.

id, arm, & add, 'A ale, &end,^eve,iill,lisle,6old, 6 odd, oo moon, \1 but, ii Fr. sound, kh Ger. ch, uh iiasal.

(134)

IMP

DICTIONARY OF MUSIC.

INF

Imperfect measure. Au old term for two-
fold measure.

Imperfect time. A term by which the an-
cients designated common time, indicated
by the letter C or a semicircle.

Imperfect triad. The chord of the third,
fifth, and eighth, taken on the seventh of
the key, consisting of two minor thirds.

Imperfetto (tm-p6r-f6t'to). It. Imperfect.

Imperiosamente (im-pa-ri-6-za-m6n't6), It.
Imperiously, pompously.

Imperioso (im-pa-ri-6'zo), It. Imperious,
pompous.

Imperturbabile (im-per-toor-ba'bi-l6),'7<. Qui-
etly, easily.

Impeto (Im'pO-tvi, /;'. Impetuosity, vehe-
mence.

Impeto doloroso (im'p6-to do-lo-ro'zo). It,
Pathetic force and energy.

Impetuosamente (im-pa-too-6-za-m6n't6). It.
Impetuously.

Impetuosita (im-pa-too-6-zMa'), It. Impetu-
osity, vehemence.

Impetuoso (im-pa too-o'zo), It. Impetuous,
vehement.

Imponente (Im-po-nfin'te), It. Imposingly ;
haughtily.

Impresario (im-pre-sii'rio). If. A term applied
r)y the Italians to the manager or conductor
of operas or concerts.

Impromptu (a,nh-pr6mp'too), Fr. An extem-
poraneous production.

Improvisare (im-pro-vi-za'r6), It. To com-
pose, or sing, extemporaneously.
Improvisateur (anh-pro-vi-za-tiir). Fr. \
Improvisator (im-pro-fi-zil'tor), Ger. ]
Improvvisatore.

Improvisation. The act of singing, playing,
or composing music without previous prep-
aration ; extemporaneous performance.

Improvisatrice (anh-pro-vi-zii-tress), Fr. A
female who plays or sings extemporane-
ously.

Improvise. To sing or play without premedi-
tation.

Improvise (anh-pro-vi-za), Fr. Extempora-
neous. I

Improviser (anh-pro-vi-za'), Fr. To impro-
vise.

Improvvisamente- (im-pro-vi-za-m6n't6). It.
Extemporaneously.

Improvvisare (im-pr6-vi-za'r6), It. To impro-
vise.

Improvvisata (im-pro-vi-za'ta). It. An ex-
tempore composition.'

Improvvisatore (im-pro-vls-sa-to-re). It. One
who sings or declaims in verse extempora-
neously.

Improvviso (im pr6v-vi-z6). It. Extempora-
neous.

In (en), It. and Lat. In, into, in the.

See

Inbrunst (In-broonst), Ger. Fervor, ardor,
warmth of passion.

Inbriinstig (In'bruns-tig), Ger. Ardent, fer-
vent, passionate.

Incalzando (in-kiil-tzan'do), It. Spurring on,

hastening.

Incantation. Enchantment ; a form of words
pronounced or sung in connection with cer-
tain ceremonies, for the purpose of enchant-
ment.

Incantazione (in-kan-ta-tsi-6'n6), //. Songs of
incantation.

Incarnatus (in-kar-na'toos), ia<. "Was born
of the Virgin Mary." Part of the Credo in
the Mass.

Inconsolato (in-kon-so-la'to), It. In a mourn-
ful style.

Incordare (In-kor-da'r6), It. To string an in-
strument.

Incrociamento (in-kro-tsha-mgn'to), It. Cross-
lug-

Indeciso (in-d6-tshe'z6). It. Undecided, wav-
ering, hesitating; slight changes of time
and a somewhat capricious value of the
notes.

Indegnatamente (in-dan-ya-ta-m6n't6), ». ")
Indegnato (in-dan-ya'to), ■'^* J

Angrily, furiously, passionately.

Index. A direct /W ; also the forefinger.

Indications sceniques (anh-de-ka'si-6uh sa-

uek'), Fr. Stage directions.
Indifferente (In-def-fe-r(?n't6), ")

Indifferentemente (in-def-f6-r6n-t6-m§n't6), j

It. Coldly, with indifference.

Indifferenza (in-def-fg-rgn'tsa), It. Indiffer-
ence.

In disparte (In des-par't6). It. A term used in
operatic music, signifying- that the part is
to be addressed to someone aside or not
taking part in the performance.

In distanza (in des-tan'tsa), It. A distance.

Infantile un-fan-te'16), It. Childlike, infan-
tine; the thin quality of tone In the upper
notes of some female voices.

Infernale (in-f6r-na'16), It. Infernal, diabolic.

Infer vorato (in-fer-vo-ra'to), It. Fervent, im-
passioned.

Infiammatamente (in-fe-am-ma-ta-m6n't6), It.

Ardently, impetuously.
Infinite canon. An epithet given to those

canons which are so constructed that the

end leads to the beginning, and the per-.

formance may be indefinitely repeated;

also called circular, or endless, canon.
Infinite (in-fl-ne'to), It. Perpetual.

Inflatlle. Au epithet applied to wind instru-
ments, as a hautboy or flute.

Inflection. Any change or modification in
the pitch or tone of the voice.

Infra (in'fra), Lat. Beneath.

In fretta (in fr6t-ta), It. In haste, hastily.

a arm, a add, &ale,Q end, e eve, 1 ill, i isle, 6 old, 6 odd, oo moon, H hut, ii Fr. sound, kh Qer. ch, nh yiasal.

(135)

INF

DICTIONARY OF MUSIC.

INT

Infuriante (iu-foo-rl-an'te), j, \ Furious, rag-

Infuriato (iu-foo-ri a'to), j ing.

Inganni (in-gan'ne), It.pl. See Inganno.

Inganno (iu-gan'no). It. A deception ; applied
to a deceptive, or interrupted, cadence ; also
to any unusual resolution of a discord, or
an unexpected modulation.

Inhalt (In'halt), Ger. Contents.

Inharmoniously. Discordantly.

In lontananza (in lon-ta-nant'za), It. In the
distance.

Inner parts. The alto and tenor, as distin-
guished from outer parts, the bass and so
prano.

Inner pedal. A sustained or holding note in
au inner part.

Inni {in-ne), It. pi. Hymns.

Innig (in-nig), Ger. Sincere, cordial.

Inno (in-no), It, A hymn, canticle, ode.

Innocente (in-no- tshgn't^), jf i

Innocentemente (In-n6-tsh6n-t6-men't6), J

Innocently, in an artless and simple style.

Innocenza (in-no- tsh6u-tsa), It. Innocence.

In partito (in par-te'to), It. In score.

Inquieto (in-qui-a'to), It. Restless, uneasy,
agitated.

Insensibile (in-s6n-se'bi-16), j. )

Insensibilmente (in-s6n-sl-bil-m6n'te), "I
Insensiblv, by small degrees, by little and
little.

Instandig(in-stau'dig), Ger. Urgent, pressing.

Instante (in-stan'ta), It. Urgent, pressing.

Instantemente (in-stan-tS-m6n't6), It. Vehe-
mently, urgently.

Instrument. A musical instrument is any
sonorous body artificially constructed for
the production of musical sounds.

Instrument k cordes (anh-strii-manh a k6rd),
Ft. a stringed instrument.

Instrumental. A term applied to music com-
posed for or performed on instruments.

Instrument a I'archet (anh-strii-manh a lar-
ka), Fr. Instrument played with a bow.

Instrumentale (in-stroo-m6n-ta'16). It. In-
strumental.

Instrumentalist. One who plays on an in-
strument.

Instrumental 'score. A score in which the
instrumental parts are given in full.

Instrument h percussion (anh-strii-manh a
par-koos-se-6n). Fr. Instruments of percus-
sion.

Instrumentare (in-stroo-m6n- ta'rfi), It. To
compose instrumental music.

Instrumentation. The act of writing for an
orchestra, with a practical knowledge of
each instrument, and of the distribution of
harmony among the different instruments.

Instrument a vent (anh-strii-manh a vanh),
Fr. A wind instrument.

Instrumentazione (in-stroo-m6n-ta-tsi-o'n6),
It. Instrumentation.

Instrumentenmacher (in - stroo - mgnt' 6n-
makh'er), Ger. An instrument-maker.

Instrumentiren (in-stroo-m6n-te'r'n), |

Instrumentirung (in-stroo-m6n-te'roong), j
Ger. Instrumentation.

Instrumento (in-stroo-m6n'to). It. An instru-
ment.

Instrumento da arco (in-stroo-m6n't6 da ar'-
ko), It. A stringed instrument.

Instruments, bow. All instruments whose
tones are produced by means of a bow.

Instruments, brass. Wind instruments form-
ed of brass and used chiefly for military pur-
poses.

Instruments, inflatile. Wind instruments.

Instruments, keyed. All instruments the
sounds of which are produced by the pres-
sure of the fingers upon the keys.

Instruments, mechanical. Instruments which
produce tunes by the means of some me-
chanical contrivance, as crank, springs,
weights, etc.

Instruments, percussive. ) Instruments

Instruments, pulsatile, j whose sounds
are produced by being struck.

Instruments, pneumatic. Instruments, the
tones of which are produced by the action
of the wind.

Instruments, reed. Instruments whose tones
are produced by the action of air upon reeds
of metal or wood.

Instruments, stringed. Instruments whose

tones are produced by striking or drawing

strings or the friction of a bow.
Instruments, tensile. A general name for all

instruments dependent upon the tension of

strings for their tone.
Instrument vent (anh-strii-manh vanh), Fr.

A wind instrument.
Intavolare (in-ta-v6-la'r6). It. To write notes,

to copy music.
Intavolatura (in-ta-vo-la-too'ra), It. Miisical

notation.
In tempo (in tCm'po), It. In time.

In tempore Justo (in t6m'p6-r6 yoos-to), Lat. A
direction to sing or play in equal, just, and
exact time.

Intendant (anh-tanh-danh), Fr. ) Director,

Intendente (in-ten-den'te). It. j conductor.
See Impresario.

Interlude. A short musical representation,
introduced between the acts of any drama,
or between the play and afterpiece ; an in-
termediate strain or movement played be-
tween the verses of a hymn.

Interludium (in-t6r-loo'di-oom), Lat.

Intermede (anh-t6r-mad'), Fr.

Intermedio (in-t6r-ma'dI-6), It.

Intermezzo (in-t6r-m6t's6), It.
An interlude; intermediate, placed be-
tween two others; detached pieces intro-
duced between the acts of an opera.

a arm, a add, a. ale, 6 end, e eve, i iU, i isle, 6 old, 6 odd, oo moon, H biU, ii Fr. sound, kh Ger. ch. nhnasal.

(136)

INT

DICTIONARY OF MUSIC.

INV

Intermediate. A term applied to those flats
Hud sharps which do not form any part of
the original key of a compositiou, and
which are also called accidentals.

Intermedietto (in-tCr-ma-dl-gt'to), It. A short
interlude, or intermezzo.

Intermezzi (in-t6r-m6t'tse), It. pi. Interludes,
detached pieces or dances.

Interrotto (in - ter - rot' to), It. Interrupted,
broken, speaking of cadence, accent, or
rhythm.

Interrupted cadence. A cadence in which
the triad of the dominant is followed by
some chord which changes the progression
of the harmony.

Interruzione (in-t^r-root-si-o'ne), It. Inter-
ruption.

Interval. The distance, or difference, of pitch
between tones. Intervals are reckoned by
the degrees of the scale included, counting
the tone of beginning and that of ending.
Intervals are represented upon the statf ac-
cording to their essential nature, an aug-
mented fourth, for instance, arising and re-
solving differently from a dimigished fifth,
which would be commensurate with it. In-
tervals are always reckoned upwards from a
given tone, unless the contrary is expressly
stated.

Interval, augmented. An interval which is
a chromatic semitone, or half-step, greater
than a major or perfect interval.

Interval, diminished. An interval less than
a perfect interval by a chromatic half-step
or semitone.

Intervall (in-t6r-vall'), Ger. \

Intervalle (anh-t6r-vall), Fr. ( An in-

Intervallo (In-ter-val'lo), It. t terval.

Intervallum (in-tfir-val'loom), Lai. )

Intervalle (in-t^r-val'16), Ger. pi. Intervals.

Intervalli vietati (in-t6r-val-le ve-a-ta'ti), It.pl.
Forbidden intervals.

Intervals, consecutive. Intervals passing in
the same direction in two parallel parts.

Intervening subject. An intermediate sub-
ject of a fugue.

Intimissimo (lu-ti-mes'si-mo), If. Very ex-
pressive, with great feeling.

Intimo (in'ti-mo). It. Inward feeling, expres-
sive.

Intonare (in-t6-na'r6),

Intuonare (in-too-6-na'r6),
the keynote, to begin.

Intonation. (I) The act and art of producing
sound from the voice or an instrument, both
as regards quality and pitch. (2) A voice's
or instruments capacity of yielding sound.
(3) The initial phrase sung alone by'the
officiating priest or leading chorister of the
antiphon and other portions of the divine
service in Roman Catholic churches. (4)
The opening notes, those before the recit-
ing note, of the Gregorian chant.

jf \ To pitch the
), ■ /voice, to sound

Intonation, false. A variation in pitch from
what is understood to be the true tone.

Intonato (in -to- nil'- to), It. Tuned, set to
music.

Intonatura (in-tO-na-too'rti), j-, ) Intona-
Intonazione (in-to-nii-tsi-o'ng), /tiou.

Intoniren (in-to-ni'r'n), Ger.
sound.

To intone, to

lutrepid-

Intrada (in-tra'da), //. \ A short prelude or
Intrade (in-tra'd6), Ger. j introductory move-
ment.

Intrepidamente (In - tr6-pi - dii - m6n' te). It.
Boldly, with intrepidity.

Intrepidezza (In-trg-pi-det'sa), //.
ity, boldness.

Intrepido (in-tra'pi-do). It. Intrepid, bold.

In tripio (in trep'lo), It. An old term, signi-
fying a composition in three parts.

Introduction. That movement in a compo-
sition, the design of which is to prepare the
ear for the movements which are to follow.

Introduzione (in-tro-doo-tsi-6'n6). It. An in-
troduction.

Introduzione marziaJe (in - tro - doo - tsi - 6'-

n6 mar-tsi-a-16),/^ An introduction in mar-
tial style.

Introit (in-tro'it), iJnfif. ^ Entrance; a

Introit (anh-trwa), Fr. f hymn, or an-

Introito (in-tro-e'to), 7i(. >them, sung

Introito (in-tro-e'to), Sp. I w h i 1 e the

Introitus (in-tro'i-toos), Za/. J priest enters

within the rails at the communion-table ;

also the commencement of the Mass.

Inventio (in-v6n'tsi-o), Laf. A name some-
times given to a tricinium.

Invention (anh- vanh-si-6nh), Fr. An old
name for a species of prelude or short fan-
tasia.

Invenzione (in-v6n-tsi-o'n6), It. Invention,

contrivance.
Inversio (in-var'si-6), Lat. Inversion ; see

that word.

Inversio cancrizans (in-var'si-6 kan kri-zans'),
Lat. Retrograde, or crab- like inversion, or
imitation ; because it goes backwards.

Inversio in octavam acutam (in-var'sio in
oc-tJi-viim a-koo'tiim), Lut. Inversion, in the
^octave above, the transposition of the lower
part an octave above.

Inversio in octavam gravem (iu-var'si-o in
6k-ta-vam gra'vSm), Laf. liivorsinn in the
octave below; the transposition of the up-
per part an octave below to form the bass,
while the other part remains stationary.

Inversion. (1) An interval is inverted by
transposing the lower of two notes an oc-
tave higher or the upper an octave lower.
(2) A chord is inverted by placing the third,
fifth,''seventh, or ninth in the bass instead
of the fundamental note. (3) A subject is
inverted when its motion is contrary to
that of the original, when the notes that
before ascended descend, and the notes

i arm, & add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, \1 but, \x Fr, sound, kh Ger. ch, uh nasal,

^37)

INV

DICTIONARY OF MUSIC.

ITR

that before descended ascend. (4) In dou-
ble counterpoint inversion is the placing
of ai) upper part under a lower part, or a
loAver pait above a higher one. by trans-
posing them an octave, tenth, or other in-
terval higher or lower.

Inversion, retrograde. An inversion made
by commencing on the last note of the sub-
ject and writing it backwards to the first
note.

Invert. To change the position either in a
subject or chord.

Inverted. Changed in position,
r Inverted chord. A chord whose fundamental
lone is not its lowest.

Inverted turn. A turn which commences
witn the lowest note instead of the highest.

Invitaterio (In-vi ta-to'ri-o), Sp. Psalm or an-
them sung at the beginning of the matins.

Invitatorium (in-vi-ta-to'ri-oom), Laf. A verse
sung in the Roman Catholic Church at the
beginning of matins, alternately with two
verses of the 91th Psalm. The concluding
words are generally " Veuite adorcmus."

Invitatory, A part of the service sung in the
Roman Catholic Church ; a psalm or an-
them sung in the morning.

Ionian (to'nl-Sn), ^ ) (1) In the ancient

Ionic (i-6n'ik), J Greek system, the

name of the octave species (in later times

called Hypophrygian) g a be d e f g, and of
one of the transposition scales. ( V. lastlnn.)
(2) In the mediseval ecclesiastical system,

the name of the octave species cdcfgabc,

the thirteenth (seventh authentic) mode.
( V. Churcli 'modes. )

ionic music. A light, airy style of music.

Ira (e'rii), II. Anger, wrath.

Irata (e-ra'tfi), ) Angrily,

Irato (e-ra'to), It. > passion-

Iratamente (e-ra-ta-mgn-t?), ) ately.

Irish harp. An instrument having more
strings than the lyre, yet for a long time
only used for playing a simple melody or a
single part. Also the music-trade name for
the toy instrument known as " jew's-harp."

Irish tunes. Tunes peculiar to the Hiber-
nians, generally of a sweet, mellow charac-
ter.

Iriandais (er-lanh-da'), Fr. | An air or dance
Irlandisch (er'lan-dish), Ger. J tune in the
Irish style.

Ironicamente (e-r6-ni-ka-m6n't6), It. Iron-
ically.

Ironico (e-ro'ni-ko). It. Ironical.

Irregular cadence. An imperfect cadence.

Irregolare (er-ra-go-la'r6). It. Irregular.

Irresblutb (er-ra-zo-loo'to). If. Irresolute, wa-
vering.

Isdegno, con (es-dan'yo kon), It. With indig-
nation.

Ismania, con (es-ma'ni-a kon), It. With wild-
ness, with madness.

Isochronal, Gr. 1 Uniform in time; per-
Isochronous. J formed in equal time.

Isotonic system. A system of music consist-
ing of intervals in which each concord is
tempered alike, and in which there are
twelve equal semitones.

Istesso (es-t6s's6), It. The same.

Istesso tempo (es-tfis'so t6m' po) , It. The same

time.
Istrepito, con (es-tra-pe'to kon), It. With

noise and bluster.

Histrionic; the

Istrionica (es-tri-6'ni-ka). It.

theatrical art.
Istrumentale (es-troo-m6n-ta'lS), It. Instru'

mental.

Istrumentazione (es-troo-m6n-ta-tsi-6'n6). It,
Instrumentation.

Istrumento (es-troo-m6n't6), It. An instru'

ment.

Italian mordent. A short shake, or trill, con--
siscing of the alternation of a tone with the
next tone above it.

Italiano (e-ta-li-a'no), It. ^

Italienisch (e-ta lT-a'nish),6'er. ^Italian.

Italienne (e-tii-ll 6nn), Fr. )

Italian sixth. A name .sometimes
given to a chord composed of a
major third and an augmented
sixth.

Ite inissa est (e'ta 'mis-sa 6st), Lat. The ter-
mination of the Mass: sung by the priest to
Gregorian music.

I trovatori (e tro-va-to're). It. The trouba-
dours.

$^

a,arm,Si,add, a ale, 6 end, e eve, i ill, i isle,6 old, 6odd, oo moon,-Q.but, ii Fr. sound, kh Ger. ch. nh nascd-

(138)

JAC

DICTIONARY OF MUSIC.

JUS

i'^-

Jack. (1) In the harpsichord the upright slip
of wood on the back end of the key-lever to
which is attached a crow-quill or piece of
hanl leather, projecting at riKht angles. The
quill or piece of leather serves as u plectrum
witb which the corresponding string is
plucked. (2) A inirt of the action of the pi-
anoforte, the escapement-lever, which is
also called " hopper."

Jaegerchor (ja'gher-kori.GVr. Hunting chorus.

Jagdhorn (yilgd'horn), ^ ) Hunting-horn,

Jagdzink (yilgd'tsiak), ' " j" bugle-horn.

Jagdruf (yiigd'roof), Ger. Sound of the bugle
or liuniing-horn.

Jagdsinfonie (yagd'sin-fo-ne'), Ger. Hunting
ssymphouy.

Jagdstuck(yagd'stuk),Gfr. A hunting-piece.

Jagerchor (ya'ghCr-kor), Ger. Sc^i Jaegerchor

Jagerhorn (ya'ghCfr-horu), Ger. Ilunting-horn,
bugle-horn.

Jailtage (yal-tiij). The only musical instru-
ment of Tartary, consisting of a box of fir
about four feet long and three laches Avide,
the upp- r part of which is open, over which
six wire strings are strett'.hed. It is played
on with both hands, but chiefly with the
left, and produces both treble and bass.

Jaleo (hii-la'e), Sp. A national Spanish dance.

Jattibico

Jatnbo (e

Jangle. To sound discordantly or inharmo-
niuusly.

Janitscharenmusik (yii-nlt-shii'r'n-moo-zik'),
Ger. 'J"he music introduced into ICuropeby
■the .Janizaries; military music, consisting
of wind instruments and instruments of
percussion, such as drums, cymbals, trian-
gles, etc.

Jargon. The union of several discordant
notes.

Jauchzend (yowkh'ts6nd).(T6r. Shouting, joy-
ful.

Jeu (zhuh), Fr. Play ; the style of playing on
an instrument ; also a register in an organ
or harmonium.

Jeu celeste (zhuh sfi-l&t), Fr. The name of a
soft stop ill a harmonium ; also an organ-
stop of French invention, formed of two
dulciMua pipes, the pitch of one being
slightly raise<l, giving to the tone a waving,
undulating character.

Jeu d'anche (zhtih d'iinsh), Fr. A reed-stop
in an organ.

Jeu d'anges (zhtih d'iinzh), Fr. Soft stops.

Jeu d'echos (zhilh d'a-ko), Fr. Echo stop.

Jeu de flutes (zhtlh dah floot), Fr. Flute stop.

^'ISC!"'''«-} An iambic.

Jeu d'orgues (shdh d'org), Fr. Register, or

row of pipes, in an organ.
Jeux (zhfih), Fr. pi. Stops, or registers, in an

organ or harmonium.

Jeux forts (zhOh for), Fr. Loud stops; forte
stops.

Jew's=harp. -A. small instrument of brass or
steel, and shaped somewhat like a lyre;
when played it is placed between the teeth
and struck with the lorefinger. Known in
the music trade as " Irish harp."

Jewstrump. A term applied by old writers
to the jevv's-harp.

Jig. A light, brisk movement ; an old species
of dance in G-8 or 12-8 time ; the name is sup-
posed to have been derived from Gelg, a fid-
dle.

Jingles. Loose pieces of metal placed around
a tambourine to increase the sound.

Jodein (yo'd'ln), Ger. A style of singing pe-
culiar to the Tyrolese peasants, the natural
voice and the falsetto being used alter-
nately.

Joie (zhwii), Fr. Joy, gladness.

Jongleurs (zhonh-gloor), p , \ Thus were

Jongleurs (zh6nh-glur). ' j called in the

time of the troubadours and trouveres the
professional minstrels and players on in-
struments who either were in the service
of the former or traveled about the coun-
try independently. Their performances
were not confined to singing, playing, and
recitation, but comprised — especially in
later times— legerdemain, tumbling, rope-
dancing, etc.

Jota (ho'tii), Sp. A Spanish national danee.

Jouer (zhoo-a), Fr. To play upon an instru-
ment.

Jovialisch (yo-fi-ii'lish), Ger. Jovial, joyous,
merry.

Jubelflote (yoo'b'l-flo't6), Ger. An organ-stop
of the flute species.

Jubelgesang (yoo'b'l-ghe-zang),^„„ ) Song of

Jubellied (yoo'b'l-led), ^^'-j jubilee.

Jubelnd (yoo'belnd), Ger. Rejoicing.
Jubilant. Joyful, triumphant.

Jubilee. A season of great public joy and
festivity. Among the Jews every fiftieth
year was a jubilee.

Jubiloso (yoo'bl-lo'zo), It. Jubilant, exulting.

Just. A term applied to all consonant in-
tervals, and to those voices, strings, and
pipes that give them with exactness.

Juste (zhiist), Fr. Accurate in time, tone,
harmony, and execution.

Justesse (zhiis-tass'), Fr. Exactness, correct-
ness-, or purity, of intonation.

a arm, & add, a ale, 6 end, e eve, i ill, l isle,6 old,6 odd, oo moon, H but, ii Fr.sound, k h Ger. ch, nh nasal.

(139)

IB

DICTIONARY OF MUSIC.

Kii

J^

Kabaro (ka-ba'ro). A small drum used iu

Egypt and Abyssiuia.
Kalamaika(kal-a-ma'ka). A lively Hungarian

dance iu 2-4 lime, lull of animation and

passion.

Kamtner (kiirn'mOr), Ger. Chamber.

Katnmercantate (kiim ' m6r - ksin - tJi' W), G'tT.
Lhamber cautata.

Kammercompbnist (kam'mer- k6m-po-ui.st),
Ger. " Chamber composer." A composer
who ha.s lo furnish compositions required
for the private concerts of a prince.

Kainmerconcert (kiim 'mer- kou - tsert), Ger.
Caamber concert.

Kammerduet (kam'm6r-doo-(5t'), Ger. Cham-
ber duct. A duet for chamber performance.

Katnmertnusic (kiim' m6r- moo - zik'), Ger.
Chamber music; music for private per-
formance.

Katnmermusikus (kam'm6r-moo'zi-koos),G€r.
Chamber musician; member of a prince's
private band.

Kammersangerin (kam'm6r-saug-6r-in), Ger.
Private siuger to a prince or king.

Kammerspiel (kam'm6r-spel), Ger. See Kmn-
iaer)nasik.

Kammerstyl (kiirn'mgr-stel), Ger. Style of
chamber music, as opposed to the ecclesias-
tical and theatrical styles.

Kammerton (kara'm(?r-ton), Ger. The pitch,
or lower tuning of the in.struments in
chamber music, opposed to the higher tun-
ing of the organ iu church music.

Kammervirtuose (kam'mCr-fir-too-o'z^), Ger.
A chamber virtuoso. A virtuoso in the
service of a prince.

Kampoul (l^iim-pool). A gong of small di-
mensions used by the Malays.

Kandele(kan-da'lS). Ancient minstrel's harp,
of the Finns.

Kanon (ka'nou), Ger. A rule. (1) Au instru-
ment formerly employed for measuring in-
tervals; it was a monochord with a mov-
able bridge. Sometimes it had also a sec-
ond string in unison with the first, there-
by ]iermittiug the effect of the intervals to
be observed by sounding both tones at once.
The mathematical character of the inter-
vals was ascertained by observing the
string-lengths producing the several tones.
(2) A canon. A musical form in which
several voices repeat the same melody suc-
cessively, in the style of a round.

Kanoon (kan-6u\ Gr. Musical instrument of
the dulcimer variety, used in Arabia.

Kantate (kan-ta't^), Ger. Cantata.

Kanzellied (kan'ts61-led), Ger. Hymn before
the sermon.

Kapelie (kii-pel'lC'), Ger. A chapel. A musical
establishment — consisting of a choir of
singers, (»f a band of instrumeutalisls or of
both— connectid with a church or a court,
or in the pay of a nobleman. Now the ex-
prcssior is generally applied to a baud of
iuslrumenlalists.

Kapellknaben (ka-p6rkna'b6n), Ger. Choir
bo\ ^.

Kapellmeister (ka-p61'mis-t6r), Ger. Chapel-
master, musical director.

Kapellstyl(ka-p6rstel), Crfr. Acappella; un-
accompanied vocal composition iu strict
style.

Karfreitag (kar-fri'tag), Ger. Good Friday

K^^ck (kC'k), Ger. Fresh.

I^Cvkvheit (kek'hit), Ger. Boldness, vigor.

Keeping time. Au inelegant form of expres-
sion. Keeping time means that the pulsa-
tion is evenly ob.served, the accentuation
upon the proper points of the measure, and
all the tones brought in with their proper
time-relation.

Kehie (ka'l^), Ger. The voice, the throat.

KehMaut (kal'lout), Ger. A guttural sound.

Kemangeh (k$-man-gah'),7'«r. A stringed in-
strument of the Turks, played with a bow.

Kenet (kC-n'C't). Au Abyssinian trumpet.

Kenner (kto'ner),(T'e?-. A connoisseur ; a pro-
fes'^or.

Kent bugle. A bugle having six keys, four of
which are commanded by the right hand
and two by the left.

Kerana(kC ra'na), Per. A Persian horn, which
is sounded at sunset and at midnight.

Keraulophon (kC-rou'lo-fou), Ger. An 8-foet
organ-slop, of a stringy and pleasing quality
of tone, its peculiar character being pro-
duced by a small round hole bored iu the
pipe near the top, promoting the formation
of overtones.

Keren (k6r-6n), Heb. A horn ; au instrument
first used by the Hebrews, formed of a ram's-
horn, and subsequently made of me.al.

Kern (karn), Ger. The languid, or langward,
in organ-pipes.

Kern.stimmen (karu'stim-m'n), Ger. The fun-
damental, or 8 feet, stops of an organ.

Keron=jebeI (kCr'6u-ya-b'l),//c?). Jubilee horn.

Kerrena (kOr-ra'ni), //. Au Indian trumpet.

Kessclpauke (kgs's'l-pow'ke), Gei-. Kettle-
drinn.

Ketch. Name applied by old Avriters to a
catch.

Harm, & add, a ale, 6 end, e eve, iill, l isle, 6 old, 6 odd, oo 7noo7i, H but, u Fr. sound, kh Ger. ch, nh noioi.

(140)

KET

DICTIONARY OF MUSIC.

KLA

Kettentriller (k^t't'n-trll'lgr), Ger. Chain of

shakes.

Kettledrum. This instrument consists of a
brass .or copper kettle, more or less hemis-
pherical, over the top of which is stretched
a skin. In the orchestra two kettledrums
are generally employed, sometimes more.
Each has a compass of a fifth ; the lower
may be tuned to any note from F to c, and
the higher to any note from B-flat to f. Ket-
tledrums are made to sound by means of
two sticks, which have a soft knob at one
end.

Key. (1) A family of chords (and the tones
composing them) bearing a fixed relation to
a central tone, called a keytone, or tonic.

(2) Once applied to what is now called clef.

(3) A mechanical lever for controlling the
tone on many musical instruments, such as
the organ, piano, flute, horn, accordion,
clarinet, etc. Keys are of many forms, ac-
cording to the service required of them. (4)
The instrument by means of which the tun-
ing-pins of the pianoforte are moved. This
instrument is now commonly called a tun-
ing-key, or a tuning-hammer.

Keyboard. The rows of keys of a pianoforte,
organ, or similar instrument.

Keyboard, chromatic. An attachment ap-
plied to the keys of a piano for the purpose
of enabling players of moderate skill to exe-
cute chromatic scales and passages with fa-
cility and correctness.

Key bugle. A Kent bugle.

Keyed. Furnished with keys.

Keyed harmonica. An instrument with keys,
the hammers striking upon plates of glass.

Keyed instruments. All instruments whose
tones are produced by the pressure of the
fingers upon keys.

Keyed=stbp violin. An arrangement which
may be attached to a violin, consisting of a
fingerboard made of ebony, with thirty-
thr.e stops, called keystops, which stand
nbovo the strings and act upon them per-
l>endicularly.

Keyed violin. An instrument having forty
strings, arranged like those of a piano, and
acted upon by horsehair bows, under the
pressure of keys like those of an organ.

Ivcy harp. An instrument of recent inven-
tion, resembling a piano externally, with a
similar arrangement of keys and pedals. It
( on^ists of an adjustment of tuning forks of
various pitches, over cavities of sonorous
uielal.

ECeynote. The tonic, or repose, note of a

scale.

JCeytone. The keynote.

IChasan (kha'zftn), Heh. The principal singer

in a synagogue.

Kin chi (kin ke). A Chinese musical instru-
ment possessing a body of thin wood, with
live strings of silk, of different sizes. The
.scholar's lute. A kind of dulcimer.

King chi (king kee). A Chiuese instrument
consisting of a frame of wood with pendent
stone, graduated through sixteen notes and
struck with a hammer.

Kinnor (kin-nor'), Ileh. A small harp, or lyre,
held in the hand and played upon while
dancing. David played the kinnor.

Kirche (kir'khC), Ger. Church.

Kirchencantate (kir'kh'n-kan-ta'ta), Gcr. A
cantata for use in church services. Bach
produced a large number of works of this
kind. Generally they consist of a biblical
text set for chorus and solos, with accom-
paniment of orchestra and organ.

Kirchencomponist (kir'kh'n -kom - p6 - nist'),
6'er. Composer of church music.

Kirchendienst (klr'kh'n-denst), Ger. Church
service ; form of prayer.

Kirchenfest (kir'kh'n fest), Ger. Church fes-
tival.

Kirchengesang (kir'kh'n-gh^-siing'), ^^^ \

Kirchenlied (kir'kh'n-led), "'^^^ ]

Spiritual song, canticle, psalm, or hymn.

Kirchenmusik (klr' kh'n - moo - zlk'), Ger.
Church music.

Kirchenschluss(kir'kh'n-shloos),Ger. An ec-
clesiastical, or plagal, cadence ; the chord
of the subdominant followed by the tonic.

Kirchenstyl (kir'kh'n-stel),Gn'. Church style,
ecclesiastical style.

Kirchentone (kii'kh'n-ton-C*),G''er. The church,
or ecclesiastical, modes.

Kit. The name of a small pocket violin used
by danciug-masiers. Its length is about six-
teen inches, and that of the bow about sev-
enteen.

Kitar (ki-tar). A musical instrument of the
Arabs. Our word " guitar " is derived from
this.

Kithara (kith'3,-ra), Gr. A cithara, or lyre, of
the Greeks.

Klage (kla'ghfi), Ger. Lamentation.

Klagend (klii'g'ud), Ger. Plaintive.

Klagegedicht (kla'ghe-gg-dikht'), r.. \
Klagelied (klii'ghg-led), ^^^- ]

Elegy, mournful song, lamentation

Klageton (kla'gh^-ton), Ger. Plaintive tune,
or melody.

Klang (kliing), Ger. Sound; tune; ringing.
Klangboden (klang-b6-d'n),Ger. Soundboard.
Klange (klang'6), Gcr. pi. Sounds, melodies.
Klangfarbe (klang'far-bC), Ger. Sound-color;
the quality, or timbre, of sounds.

Klanggeschlecht (klang'gh6-shl6kht'), Ger. A
genus, or mode.

Klangiehre (klang'la-rC), Ger. Acoustics.

Klanglos (klang'los), Ger. Soundless.

Klappe (klap'p^), Ger. Kev of any wind in-
strument; a valve.

Klappenflugelhorn (klap'p n-flu'g'l-h6ru),<Ter.
The keyed bugle.

a arm, &.add, a, ale, e end, e eve, i ill, lisle, 6 old, 6 odd, oo vioon, \lbut,u Fr.soundylih Ger.ch. nh nasal.

(141)

KLA

DICTIONARY OF MtJSIC.

KRI

Vio-

Klappenhorn (kliip'p'u-horu), Ger. A keyed

honi.
Klapptrompete (klap-tr6m-pa't6), Ger. A

keyed trumpet.
Klar (kliir), Ger. Clear, bright.
Klarheitlklar'liit), Ger. Clearness, plaiuness.
Klarinette (kla'ri-u6tt6), Ger. A clarinet.
Klarlich (klar'likh), Ger. (Clearly, di.stiuctly_

Klassisch (kliis'sish), Ger. Classical, of high
rauk. Approved.

Klausel (klou'zol), Ger. A close ; a regular
section of a movement.

Klavier (klil-fer'). Ger. Pianoforte; harpsi-
chord. See Clavier.

Klavierauszug (kla-fer'ows-tzoog), Ger. Edi-
tion for pianoforte. An arrangement of a
score for pianoforte.

Klaviersonaten (kla-fer's6-ua-tCn),(ier. Piano-
fi>i't(! sonata.

Ktavierspieier (klil-fer-spe'ler), Ger. Piano-
forte-player.

Klein (klin), Ger. Minor, speaking of inter-
vals.

Kleinbass (klln'biiss), p \

Kleinbassgejg-e (klin'bass-gT-gS), ' ' j
loneellu.

Kleinlaut (kliu'lout), Ger. Small or low in
tone or voice.

Klingbar (kliug'bar), Ger. Resonant, souo-
r<3U.s.

Klingel (kling'el), Ger. A bell.

Kiingeln (kling-^ln), Ger. To ring or sound a

small bell; to jingle.
Klingen (kling'iJn), ^ ) Sonorous, reso-
Klingend (kling'Sud), ^ " j naut, ringing.
Klinggedicht (kling'gg-dikht), Ger. Sonnet.
K15ngklang(kling'klang), Ger. Tinkling, bad

mu^ie.
Klingspiel (kliug'.spel), Ger. The sound or

noise of instruments.

Kluttcr (kloot'ter), Ger. A bird-call.

Knabenstimnie (kna'b6n-stim'mg), Ger. A
boy's voice, counter tenor.

Knee=stop.

Knell. The tolling of a bell at a death or

funeral.
Kniegeige (kne'gl-gh6), Ger. Viol da gamba,

violoncello.
Knierohre (kne'ro-rf), Ger. A pipe, or tube,

bent like a knee.
KoIIectivauszug (kol'16k-tef'ows-tzoog\ Ger.

A collected selection of an author's works.

Kolio (kol-lo), Jap. A Japanese instrument,
somewhat resembling a harp.

Konibinationspedale (kom'- bi - nil • tsl - 6ns'-
p(5-da'i6). G'e/-. Combination pedal. A pedal
controlling a combination of organ-stops.

Kombinationstone (k6m'bi-na-tsi-ons't6-n6),
Ger. Combination tones. Resultant tones
formed by the differences of two sounding
tones.

Komiker (ko'mi-kfr), Ger. A writer of bur-
lettas ; also a comic performer.

Komisch (ko'mish), Ger. Comical.

Komma (kom'mii), Ger. Comma; a musical
section or division. An interval equal to
about an eighth of a diatonic step.

Komodie (ko-mo'di-e), Ger. Comedy, play.

Komponiren (kom-po-ne'r'n), Ger. To com-
pose. , .♦

Komponist (kom'po-nist), Ger. A composer.

Komposition (kom'po-zit-si-6n), Ger. .\ com-
petition.

Kompositionslehre (kom'po-zit-si-ons'la-r?),
Ger. The ait of composition. A textbook
in musical composition.

Konservatorium (kon-silr-va-to'ri-oora). Gn\
A conservatory ; a school of the art of music.

Koous. A Persian drum made of brass, two

feet in circumference.
Kdpfstimme (kopf'stim-mC-), Ger. Falsetto,

head voice.
Konpe' 'kop'p'l),(?er. Coupler; coupling-stop

VA J' organ.
Kor (^kor), Ger. \ Choir, chorus. See

Korfc v»^*^'i'*^'), Ger. 2)1. ( Chor.
Koryphaeus (ko-ri-fe'iis),(??-. Chief, or leader,

of the dancers.
Kos (koz), Hun. A Hungarian dance.
Kbsake (ko-sa'k6). A national dance of the

Cossacks.
Kraft (kriift), Ger. Power, strength, e::cri;y.
Kraftig (kraf'tigh), p I Power

Kraftiglich (kraf'tlgh-likh), ^'-'- jiul.vig.r-

ous, lull of energy.

Kraftig und kurz (kraf'tigli oond koor;s).(Vrr.

Loud ahd detached.
Krakoviak (kr"i-k6-vi-ak). ( The cr;)-

Krakovienne (kr;i-k6-vi-$n), /'r j covienne. a
Polish daiue in 2-J lime, with strongly
marked rhythm ami much syncopated.

Krebsgangig (krebs'gan-gigh), Ger. Crab-go-
ing; inverse imitation ; backwards.

Kreischend (krl'shCnd), Ger. Shrieking,

screaming.
Kreisfuge (kris'foo-ghe), Ger. Circulating

fugue; a canon.

Kreisleriana (kris'la-ri-a-iia),(7e;'. Like Kreis-
ler. A series of eight plan-* jiieces of Schu-
mann, named after an eccentric cliaracler
called Kreisler,in one of Hofl'mann's novels.

Kreistanz (kris'liints), Ger. Dance in a circle.

Kreuz (kroits\ Ger. A sharp.

Kreu7=doppeltes (kroits-dop'p^l-t^s'i, Ger A
double sharp, X or #i^.

Kriegerisch (kre'gh6r-ish),Ge7\ Warlike, mar-
tial.

Kriegsgesang (kregs'gh^-sang'), n^,. \

Kriegslied (kregs'led), ^'^'- j

A war-song, a soldier's song.

Kriegsspieler (kregs'spe'l»5r),(7o-. A musician
of a legiment.

iarm, a, add, a,ale, H end, e eve, i iU, i isle, 6 old, 6 odd, oo noon, a but, ii Fr. sound, kh Ger. ch. nh nasal,

(U2)

KRO

DICTIONARY OF MUSIC.

LAM

Krome. See Croma.

Krutntn (kroom),Ger. Crooked, curved, bent.

Krummbogen (kronm'bo-g'n), Ger. A crook
for cLiangiug the pitch of horus. Inserted, it
lengthens the tube, thereby lowering the
pitch.

Krummhorn ( kroom'horn), Ger. Crooked horn.
The name ot a portable wind instrument,
formerly much in use, resembling a small
cornet. Organ-builders corrupt this word
into Cremona, and apply it to one of their
organ-slops.

ICrustische Instrumente< kroos'ti-shC in-stroo-
niCii't^i, (rtr. Instruments of percussion, as
tlie drum, cymbals, etc.

Kuhhorn (koo'horni, Ger. Cow-horn, Swiss

h^rn, Alpine horn.
Kiihn (kvin), Ger. Short.

Kuhreigen (koo'ri-gh'n), Ger. Ranz des

vaches. A Swiss melody.
Kunst (koonst), Ger. Art, skill.

Kunstfuge (koonst'foo-gh6), Ger. Art fugue.
A musically composed and artistigally de-
veloped fugue (distinguished from'au exer-
cisvi fugue).

Kiinstler (kunstl'r), Ger. Artist.

Kunstpfeifer (koonst'pfi-f6r), Ger. Street mu-
sician.

Kunstwerk der Zukunft ikoonsl'virk d^r
tsoo'koonft), Grr. Art work of the future.
A term given by Richard Wagner to his pe-
culiar theory of the music of the future;
musical composition.

Kuppel (koop'p'l), Ger. See Koppel.

Kurz (kcorts),Ger. Short, detached, staccato.

Kiirzen ikur'tscn), Ger. To abridge.

Kurzer Mordent (koorts'Cr mor-dont'), Ger.
Short mordent.

Kurzer Singesatz (koort's6r siu'gg-siits). Ger.
Cavatina.

Kurz und rein (koorts'oond rin), Ger. Dis-
tinct and clear.

Kiirzung (kur'tsoong), Ger. Shortening, ab-
breviation.

Kiirzungszeichen (kur'tsoongs-tsi'kh'n), Ger.
Sign oi abbreviation.

Kussir (kiJs-ser), Fr. A Turkish mu.sical in-

slrumcni.

Kyrie eleison (ke'ri-a a-ll'zdn), Gr. "Lord,
have mercy upon us." The first movement
in u Mass.

Kyrielle (ke-re-61), Fr. Litany.

L. Left hand. Notes to be played with ihe
left hand or foot are sometimes written
with an L over them.

La. (T) The name of the sixth sol-fa tone of
tbe scale (2) Applied to A uniformly in
French and Italian sol-faing.

\.aL[\&),Fr.i>^^^-

La bemol (lii ba-mol), Fr. The note A7.
La bemol majeur (la ba-mol ma-zhQr),/'r. The
key of Ay major.

La bemol mineur (la ba-mol me-nfir), Fr. The
key of A 7 minor.

Labial. Organ-pipes with lips ; called, also,
flue pipes.

Labialstimmen (la-bi-al'stim'm"n),Gf?. Stops J
belonging to the fiuework, not reed-stops.

Labium (la'bl-oom), Lat. The lip of an organ-
pipe.

La chasse (lit shass), Fr. In the hunting style.

Lacrimando (la-crl-man'do), j. \ Sadly ; in

Lacrimoso (la-cri-mo'zo), J a mournful,

pathetic style.

Lacrimosa (lak'rl-mo'zii), Lat. "Weeping

stands." Part of the Stabat Mater.
Lade (la'dC), Ger. Windchest in an organ.

La diese (la di-as'), Fr. The note Ajf.

Lage (lii'ghe), Ger. Lav. Position. (I) Of a

chord. {•!) Of the hand in the shifts of the

violin.

Lagnoso (lan-yo'zo). It. Plaintive, doleful.
Lagrimando (lii-gri-miiu'do), j. \ Weeping,
Lagrimoso (la-gri-mo'z6), -'^- j tearful, iu a
sad and mournful style.

Lai (la), F/-. Lay, ditty ; short, plaintive song.
La maggiore (la mjid-zho'ra), It. La major;

the key of A major.

La majeur (lil mii-zhtir), Fr. The key of A
major.

L'ame (I'am), Fr. Soundpost of a violin, vi-
ola, etc.

Lament. An old name for harp music of the
pathetic kind ; applied, also, to the pathetic
tunes of the Scotch.

Lamentabile ('a-men-ta'bi-16). It. Lamenta-
ble, mournful.

Lamentabilmente (lJi-m6n-ta-bil-m6n'tg), It.
Lamentably, mournfully.

Lamentando (la-meu-tan'do), 7<. Lamenting,

mourning.

Lamentevole (la-men-ta'v6-ie). It. Lamenta-
ble, mournful, plaintive.

a arm, & add, a afe, 6 end, e eve, 1 ill, i isle, 6 old, 6 odd, 00 moon, a but, u Fr. sound, kh Qer. ch, nh nasal.

(14i)

LAM

DICTIONARY OF MUSIC.

LEA

Lamentoso (la-m6n-lo'zo), It. Lamentable,
mournful.

La mineur (lii mi-nur), Fr. The key of A mi-
nor.

La minore (la me-n6'r6), It. La minor; the
key of A minor.

Lampons (liiuh-p6uh), Fr. Drinking-songs.

Landerer dan'dg-rer"), ., ) A country daiice

Landler (land'lgr), ) or air in a rus-

tic and popular style, in 3-8 or 3-4 time.

Landerisch (lan'd?r-ish\ Ger. In the man-
ner t-r measure of a country dance.

Landlich (land'likh), Ger. Rural.

Landlied (land'led), Ger. Rural song, rustic

tOlig.

Landu (liln-doo^ For. A Portuguese dance in
2-4 (v 2-2 time.

Landums (Ian-dooms), For. A class of Portu-
guese music, of a sentimental, melancholy
nature.

Lang (liing), Ger. Long.

Langsam (lang'siim), Ger. Slowly; equiva-
lent to largo.

Langsaiper (]iing'.sam-(5r), Ger. Slower.

Language. ) In an organ-flute pipe this is the

Languid, f flat i iece of metal or wood
placed horizontally just inside the mouth.

Languemente (liln - gw(5 - m6u ' t6), It. Lan-
guishingly.

Languendo (lan-gvvCn'do), 7/.^ Languishing,
Languente (lan-gwCn'i6), It. V feeble; with
Languido (liin-gwe-do), It. j languor.

Languettes (lan-gatl'), Fr. The brass tongues
belonging to the reed pipes in an organ.

Largamente (lar-ga-mfn'tS), jf ) Largely,

Largamento (Iar-ga-m6n't5), " i fully;

in a full, free, broad slyle of performance.

Large. The longest note formerly in use in
ancient music. It is equal to eight semi-
breves or four breves.

Largement (lArzh-manh), Fr. Full, free in
style. See Largamente.

Larghetto (Iar-g6t't6), It. A word specifying
a time not quite so slow as that denoted by
largo, of which word it is the diminutive.

Larghezza (iJir-gCt'tsa), It. Breadth, large-
ness, freedom.

Larghissimo (lar-ghes' si-mo), //. Extremely
slow ; the superlative of largo.

Largo (lar'go), It.
of movement.

A slow and solem^n degree

Largo andante (lar'go an-dan't?), It. Slow,
distinct, exact.

Largo assai (lar'go as-sa'e) jy \ Very

Largo di molto (lar'go de mol' to), ' /slow.

Largo ma non troppo (lar'go ma non trop'po).

It. Slow, but not too much so.

Largo un poco (lar'go oon p5-ko), It. Rather

slow.
Lartgot (lar'i-got), Fr. Shepherd's flute or

pipe ; an organ-stop tuned an octave above

the twelfth ; the former named the flageo-
let.

Laringe (lii-reiVghg), It. Larynx.

Larmoyant (Itir-mwa-yanh), Fr. Weeping,

with a tearful expression.

Larynx. The upper part of the trachea. It
is composed of five annular cartilages,
placed above OJie another, and united by
elastic ligaments by which it is so dilated
and contracted as to be capable of varying
the tones of the voice.

Last shift. On a violin, the shift on the twen-
tieth line, or E.

Laud. To praise with words alone, or with
words and music.

Lauda (lii'oo dii), //. Laud ; praise ; hymn of
praise. One of the canonical hours, imme-
diately following matins.

Laudamus te Hou-dsi'moos ta'i, Lat. "We
praibC Thee." Part of the Gloria.

Laudes (lou-d6s), Lat. \ Canticles, or hymns
Laudi (la'oodi), It.pl. jof praise, that follow
the early Mass.

Laudi spiritual! (lou-de spe-ri-too-a'le). Lot.
Sacred songs and dialogues sung by the
priests in the oratory.

Lauf (louf\ Ger. That part of a violin, etc.,
into which the pegs are inserted; also a
rapid succession of notes; a trill.

Laufe (loi'f(5\ Ger. pi. \ Rapid divisions of

Laufer (loi'fgr), Ger. j notes; a flight, or run,
of rapid notes; a roulade, a trill, or shake.

Launenstiick (lou'ugn-stiik), Ger. A volun-
tary.

Launig (lou'nig), Ger. Humorous.

Laut (lout), Ger-. Loud; also sound.

Laute (lou'te), Ger. The lute.

Lauten (loi't'n), Ger. To ring, to toll, to
sound.

Lautenist (lou't'n-ist'),Ggr, Lute-player, luta-
nist.

Lautenmacher (lou-t'n-ma'kh6r), Ger. Lute-
maker.

Lautenschlager (lou-t'n-shla'gh6r), p ")
Lautenspieler (lou-t'n-spe'16r),' j

Lute-player, lutanist.

Lautlos (lout'los), Ger. Soundless, mute.

La voce (lil vo-tshg), //. The voice.

Lay. A song; a species of narrative poetry

among the ancient minstrels.

Lay clerk. A vocal officiate in a cathedral,
who takes part in the services and anthems,
but is not of the priesthood.

Le(klh), Fr. Irmp
Leila), It.pl. r'^^-

Leader. The first, or principal, violin in an
orchestra ; a director of a cnoir.

Leading note. The major seventh of any
scale ; the semitone below the keynote ; the
major third of the dominant.

Leaning note. See Appoggiatura.

a arm, a add, a ale, & end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, H but, u Fr. sound, kh Ger. ch, nh na^al,

(144)

LEA

DICTIONARY OF MUSIC.

LEI

Leaps. A distance composed of several inter-
mediate intervals.

Leben (la'b'n), Ger. Life, vivacity.

Lebendig (la'bC'n-digh), Gcr. Lively.

Lebhaft (lab'hiift), Gcr. Lively, vivacious,

quick.

Lebhaftigkeit (lab'htif-tigh-kit), Ger. Liveli-
ness, vivacity.

Le^on (la-s6nh), Fr. A lesson, an exercise.

Ledger lines. I The short extra, or addition-

Leger lines, j al, lines drawn above or below

the staff", lor the reception of such notes as

are too high or too low to be placed on or

within the staff".

Left beat. A movement to the left in beating
time.

Legabile (16-ga'bM6), j. ^cppr^^^/^
Legando Ue-gau'do), ^^- pee /.egaio.

Legare (16-ga'r?), It. To slur, or bind.

Legate le note (16-ga'r6 1C5 n6't6\ It. To join
the notes closely ; to play legato.

Legatissimo (If-ga-tes'si-mo), It. Exceedingly
smooth and connected, .'

Legato (16-ga'to), //. In a close, smooth, grace-
ful manner ; the opposite to staccato. It is
often indicated by a sign called a slur,
thus, ^.

Legato assai (16-ga't6 as-sa'e), //. Very close
and connected.

Legato touch. A touch which prolongs the
tone until it exactly connects with the next
following. It is indicated by the word
legato, or by a curved line, -— .'

Legatura (16-ga-too'ra), It. A slur, a ligature.

Legatura di voce (l^-ga-too'rJi de vo'tsh^), It.
Connection of several tones sung in one
breath.

Legende (la-zhanhd), Fr. \ A legend ; an
Legende (Iagh6n-d6) Ger. j interesting story.
Leger (la-zha), Fr. Light, nimble.

Legerement (la-zhar-manh), Fr. Lightly,
nimbly, gaily.

Leger et anime (la-zhar St an-i-ma), Fr. Light
and animated.

Legerete (la-sha'r6-ta), Fr. Lightness, agil-
ity.

Leggenda (16d-j6n'da), It. A legend, a tale.

Leggeraniente(led-j6r-a-m6n't6), It. Lightly,

easily.

Leggeranza (16d-j6r-an'tsa;, j. \ Lightness
Leggerezza (16d-j6r-6t'tsa), j and agility.

Leggerissimamente (lM-j6r-es-si-ma-m6n't6),

It. Very light and sprightly.
Leggerissimo (IM - jgr- es' si - mo). It. Very

light and sprightly.

Leggermente (lM-jer-m6n'te), It. A light
and easy movement.

Leggiadra (16d ji-a'dra),7^ Graceful, elegant.

Leggiadramente (IM- ji -a-dra- m^n' te). It.
Gracefully, elegantly.

Leggiardo (16d-ji-ar'd6), It. Lightly, deli-
cately.

Leggieramente (16d-jl-a-ra-mGn't6), )
Leggiere il?d-ji-a're). It. r Easi-

Leggiermente (led-ji-6r-m6n'te), )

ly, lightly, delicately.

Leggierezza (l(5d-ji-<5-r?t'tsa), It. Lightness,
delicacy ; in a light, elastic style.

Leggiero (16d-jI-a'ro), //. Light, swift, deli-
cate.

Legno (lan'yo), It. Wood. See Col legno.

Lehrer (la'rCr), Ger. Teacher, master.

Lehrerin (la'r6r-in), Ger. Instructress, mis-
tress.

Leich (likh), Ger. A lay.
Leichenmusik (li'kh'n-moo-zik'),Ger. Funer-
al-music.

Leichenton ili'kh'n-ton'), Ger. A lugubrious

sound.

Leicht (likht), Ger. Light, easy, facile.

Leichtheit (likht'hdt), ^ | Lightness,

Leichtigkeit (likh'tig-kit), ^^ • j facility.

Leichtfertig (likht'f6r-tlg), Gcr. Lightly, care-
lessly.

Leidenschaft (li'd'n- shaft), Ger. Passion.

Leidenschaftlich (ll'd'n-shaft likh), Ger. Im-
passioned, passionate.

Leier (ll-er), Ger. A lyre, a hurdygurdy.

Leiermadchen (li'er-mad'kh'n), Ger. A girl
who plays on a hurdygurdy.

Leiermann (li'6r-man), Ger. A player on a
hurdygurdy.

Leierorgel (li'gror'g'l), Ger. Hand organ,
barrel organ.

Leierspieler {ll'6r-spe'i6r), Oer. One who plays
on a lyre,

Leine (li'ng), Ger. A line of the staff.

Leise (li'z?), Ger. Low, soft, gentle.

Lcitaccord (nt'ak-kord),(?rr. A chord, or har-
mony, leading instinctively to another, as
the chord of the dominant leading to the
tonic.

Leiter (li't6r), Gcr. Leader ; also the scale of
any key.

Leitereigen (Ii't6r-i'g6n), Ger. Such tones as
belong to the scale of 8ny kev, the notes
forming the scale. Peculiar to the scale.

Leiterfremd (li'ter-fr^md), Gcr. Accidental
sharps or flats which do not belong to
the key. Tones not belonging to the key.

Leitmotiv (lit'rao-tef), Ger. Leading motive,
A motive which is much used in the course
of a composition as a partial means of mu-
sical identification, as the "Swan" and
" Grail '* motives in "Lohengrin," the
" Faith" motive in "Parsifal," etc. Von
Weber was one of the first dramatic com-
posers to employ this device, the " Zamiel "
motive in " Der Freischiitz."

Leitton (lit'ton), Ger. The leading tone, the
leading note.

a arm, S. add, a ale, g end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, H but, u Fr. sound, kh Ger. ch. nh nasal,
10 (145)

LEN

DICTIONARY OF MUSIC.

LIE

Lene Au old term applied to a note sus-
tained in one of the harmonic parts of a
composition whilst the other parts are in
motion.

Leno (la'no), /'. Weak, feeble, faint.

Lent (Iiinli), Fr. Slow.

Lentamente (l(5n-t'i-raCn't6), II. Slowly.

Lentando d^u tan'do), It. With increased
blowness.

Lentement (lanht'-manh). 7'V. \ Slowly, leis-

Lentemente (Ieu't6-m6n't^). It. j urely.

Lentement tres (lanht-manh tra), i^r-. Very
sK/W.

Lenteur diinh-tiir), Fr. Slowness, delay.

Lenteur, avec (lanh-tur a-v6k), Fr. \

),It. f

With

to assai (ICn'to iis-'a'D, _ l

to di molto (I6u't6 de mol'to), /<, \ Very

to lento (ICn'to lOn'to), )

Lentezza, con (len-t6t'tsa kon),
hlowue.-s and delay.

Lentissimamente (16n-tes'sj-ma-m6n't6), j, )

Lentissimo (len-ies'si-mo), "j

Extremely slow.

Lento (len'to). It. Slow.

Lento assai (ICn'to iis-'a'D,

Lento

Lent*
slowly.

Leonine verses. So called from Leo, the in-
ventor. Tfiey are verses the end of which
rhyme with the middle.

Lesser. Formerly used in the same sense as
minor: smaller" than the major.

Lesser barbiton. A name formerly given to
tlie kit, or small violin, used by dancing-
masters.

Lesser comma. The difference between the
comma and the enharmonic dieses ; the
diachisma.

Lesser lay. One of the two classes among
the ancients, comprising sixteen or twenty

verses.

Lesson. Formerly applied to exercises or
pieces consisting of two or three movements
for the harpsichord or pianoforte.

Lestezza (16s-tet'tsa), It. Agility, quickness.

Lestissimamente (16s - tes - si - ma - m6n't6), It.
Very quickly.

Lestissimo ("6s-tes'si-m6), It. Very quick

Lesto (Igs'to), It. Lively, nimble, quick.

Letterale(16t-t6ra'l&, r, ) Lit-

Letteralmente (16t-t6r-al-m6n't6), " j erally,
exactly as written.

Leuto (la-oo'to), It. A lute.

Leve (16-va), Fr. The upstroke of the baton.

Levet. A blast of a trumpet ; probably that
by which soldiers are called in the morning.
(Obsolete.)

Levezza (16-v6t'tsa), It. Lightness.

Levier pneumatique (16v-i-a noo-ma-tek'), Fr.
The pneun^ atic lever ; a series of *mall bel-
lows, or levers, placed on the wiudchest of
an organ, containing air at a high pressure ;
wheu a key is pressed it admits wind to the

bellows of the pneumatic lever ; when this
inflates it opens the pallet, admitting wind
to the pipes. By means of this the touch
of a large organ may be made very light.
The pneumatic lever was invented by S.
Barker, about ]82'>. Modern organs liave
small pneumatic bellows for every valve;
they are operated by electricity. The touch
is very light and much more prompt.

Lexicon. A dictionary of terms, or informa-
tion.

Lezzioni (let-tsi-o'ne). It. pi. Lessons.

L, H. Initials indicating the use of the left
hand in pianoforte music.

Liaison (le-a-z6nh), Fr. Smoothness of con-
nection ; also, a bind or tie.

Liaison de chant (le-a-z6nh duh shanht), Fr.
The soisteuuto style of singing.

Liberamente (Ie-b6-ra.-m6n't6), It. ") Freely,
Librement (lebr-miinh), Fr. j easily,

plainly.

Libero (Ie'b6-r6), It. Free, unrestrained.

Libitum (lib'I-toom), Lat. Pleasure, will. Ad
libitum, at pleasure. Applied to rate of
movement or to a choice of version.

Libretto (le-brSi'to), It. The text of an opera
or other extended piece of music.

License. A deviation for the time being from
the received rules which form the estab-
lished system of harmony.

Licenza poetica (le-tsh(5n-tsa p6-a'ti-ka), //.
Poetic license ; alterations, or deviations,
from common rules.

Liceo (le-tsha'o). It. Lyceum; an academy;
a theater.

Lie (li-a'), Fr. Smoothly ; the same as legato.

Liebeslied (le'b6s-led), Ger. Love-song.

Liebhaber (leb'ha-b6r),6r6J*. Amateur; a lover

of music.
Lieblich (leb'likh), Ger. Lovely, charming.

Lieblichgedacht (leb'likh-ghg-dakht'), Ger. A
stopped-diapasou organ-register of sweet
tone.

Lie coulant (li-a koo-lanh), Fr. Slurred, flow-
ing.

Lied (led), Ger. A song, a ballad, a lay. Ap-
plicable to any kind of song, but primarily
to the German song, in which a close corre-
spondence is sought between the feeling of
the poetry and that of the music. Lieder
are of two varieties: St r op hie, ivi which the
same music serves for all the stanzas in
turn; and durehcomponirt (composed all
through), in which every stanza has its own
music.

Liedchen (led'kh'n), Ger. A short song or
melody.

Lieder (le'd^r), Ger. Songs.

Liederbuch (le'd6r-bookh),Ger. A song-book,
a hymn-book.

Liederbund (le'dgr-boond), Oer. A society of
song-singers.

a arm, a add, §> ale^ 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, a but, ti Fr. sound, kh Ger. ch, nh nasal.

(146)

LIE

DICTIONARY OF MlTSlC.

LIR

Liedercyclus (le'dCr-tse-kloos''), Gcr. A cycle
of songs, as the " Poet's Love ' of Schumann,
the " Winter Journey '' of Schubert.

Liederdichter (le'dCr-dikh't6i),(j''r. A lyrical
poet, a song-writer.

Liederform (le'dCr-form), Gcr. The form, or
subject, of a song.

Liederkranz (le'd6r-krants),G6'r. Glee club.
Liederkreis (le'dCr-kris), Ger. A cycle, or
wreath, of songs.

Lieder ohne Worte (le'dSr 6'n6 wor't^), Ger.
Songs without words.

Liedersanimlung (le'd6r-sam'loong),(Tfr. Col-
lection of songs.

Liedersanger (le'dSr-sang'Sr), Ger. A song-
siuger, a ballad-singer.

Liederspiel (le'd6r-spel), Ger. An operetta,
consisting of dialogue and music of a light,
lively character.

Liedersprache (le'd^r-spra'khg), Ger. Words
or language adapted to songs.

Liedertafel (le'dgr-ta'f'l), Ger. Song-table;

German glee club, generally consisting of

male voices aloue.

Liedertafler (le'dgr-ta'fiSr), Ger. Glee-singers.

Liedertanz (le'd6r-tants), Ger. A dance inter-
mingled with songs.

Lied ohne Worte (led o'ng wor't?), Ger. See

Lieder ohne Worte.
Lier (ler), Dut. A lyre.

Ligare (le-ga'r6), It. To bind, to tie, to join

together.
Ligato (le-ga'to), It. See Legato.

Ligatur (ll-ga-toor'), Ger. ^ (1) In the old
Ligatura (li-ga-too'ra), It. > mensurable mu-
Ligature. ) sic' a succession

oi two or more notes sung to one syllable.
As in those days the slur was not in use,
the notes were either brought into close
proximity or joined together In various
ways. (2) In modern music a succession of
notes sung to one syllable or in one breath ;
and also a succession of notes played with
one stroke of the bow or in one breath.
(3) A syncopation, a note on the unaccented
part of a bar tied to one of the same pitch
on the following accented part. A disso
nance with its preparation. A dissonance is
said to be prepared when the dissonant
note appeared in the preceding chord as a
consonance.

Light. A general term applied to any thin,
airy composition ; also to the keys of any
instrument when they make little resist-
ance to the pressure of the fingers. Such
an instrument is said to have a light touch.

Ligne (linh), Fr. A line of the staff.

Lignes additionnelles (lilnhs M-de-si-on-nal),
Fr. Leger lines.

Ligneum psalteriutn (llg' nC - oom sal - ta' ri-
oom), Lat. The wooden dulcimer, called in
Germa,ny the straw fiddle.

Lilt (lilt), Sco. To sing or play merrily.

f^

Limma (lim'mii), Gr. An interval used in
the ancient Greek music, less by a comma
than a major semitone.

Linea (le-nCii), It. A line of the staff.

Linea riga (le'ti(?-a re'ga), It. The lines of
the stati'.

Lines. That portion of the staff on and be-
tween which the notes are placed. At their
first invention the spaces between them
were not used.

Lines, added. Leger lines ; lines added above
and below the staff".

Lines, ledger. ) Lines above or below the

Lines, leger. | staff for the reception of

such notes as are too high or too low to be

placed upon or within it.

Lines, waving. A line which when placed

perpendicularly upon the staff' , ^ |-

indicates that the notes of the
chord are to be played succes-
sively one after another. A
waving horizontal line shows that the ef-
fect of the 8va sign is to be continued as
far as the line extends.

Lingua (lin'gwii). It. The tongue in organ-
stop reeds.

Lingual. Pertaining to the tongue; a letter
or sound pronounced chiefly by the tongue.

Linie (le'ni-5), Gcr. A line of the staff.

Linien (le'nl-6n), Ger. Lines of the staff.

Liniensystem (le'ni-6n-sis-tam'), Ger. A scale;
the lines of the staff".

Liniensystem (le'ni-Cn-sis-tam'), Ger. The
line-system ; the staff".

Lining. A term applied to a practice of read-
ing one or two lines of a hymn before sing-
ing them, alternating reading and singing.

Link (link), ^ )
Links (links), ^^^- ^

Linke Hand (lin'kC hand), Ger. The left

hand.
Linos (ie'nos), Gr, A rustic air ; also a dirge.

Liquid. An epithet applied to the sm< oth
succession of the sweet and mellow sounds
of any voice or Avind instrument, also to
the tones themselves, separately consid-
ered.

Lira (le'ra). It. A lyre.

Lira da braccio (le'ra da brat'tshi-o). It. An
obsolete bow instrument of the size and
shape of the tenor viol, with seven strings,
five above and two beside the fingerboard.

Lira da gamba (le'rii dii giim'bii), Tt. An in-
strument similar to the lira da braccio,
but held between the knees, and with
twelve or sixteen strings.

Lira da gamba. It., also called Lirone per-
fetto, and Arcivioia di lira, It. An obso-
ete instrument in shape like the lira da
braccio, but larger. It was played like the
violoncello, and had fourteen or sixteen
strings, two of which lay beside the finger-
board.

Left.

a arm, & add, a ale, e end, e eve, i ill, I isle, 6 old, 6 odd, oo moon, H but, ii Fr. sound, kh Ger. cli. nh nasal.

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LIR

DICTIONARY OF MUSIC.

LUN

A iivirdy-
gurdy.

Lira doppia (le'ra dop'pi-a). It. Double lyre.

Lira grande (le'ra gran'd6), It. The viol di
gamba, a viol witii six strings, formerly
much used in Germany.

Lira pagana (ie'ra pa-gha'na),
Lira rustica (le'rji roos-te'ka), It.
Lira tedesca (le'rii ta-dfis'kti),

Lire (ler), Fr. To read.

Lire la musique (ler la mii-zek), Fr. To read

music.
Liressa (le-r6s'sa), It. A bad lyre, or harp.

Lirica He'ri-ka), j^ l Lyric, lyric poetry ;
Lirico (le'ri-ko), " j poetry adapted for mu-
sic.
Lirone (Ie-r6'n6), It. A large lyre, or harp.

Liscio (le'shi-6), It. Simple, unadorned,

smooth.
Lispeind (lis'p61nd), Ger. Lisping, Avhisper-

ing.
L'istesso (Ies-t6s's6), It. The same.

L'istesso movimento (les-tCs'so mo-vl- )
m6u'-to), V It.

L'istesso tempo (les-t?s's6 tfim'po), )
In the same time as the previous move-
ment.

Litania (li-ta'nl-a), Lat. \

Litanie (ll-ta-ne), Fr. V A litany.

Litanei (li-ui ul'), Ger. )

Litany. A solemn form of supplication used
iu public worship.

Little sharp=sixth. A name given by French
theorists to the second inversion of the
dominant seventh formed on the second
degree of the scale, and consisiing of a bass
note with its minor third, perfect fourth,
and major sixth.

Liturgy. The ritual for public worship in
those churches which use written forms.

Lituus (le'too-oos), Lat. An instrument of
martial music; a kind of trumpet making
a shiill sound.

Liuto (le-oo'to). It. A lute.

Livre (levr), Fr. A book.

Livret (lev-ra'), Fr. A libretto.

Lo (16), It. The. (Masculine form.)

Lobgesang (16b'gh6-zang), p \ A hymn

Loblied (lob'led), ^^ * J or song of

praise.

Loco (lo'ko), It. Place; a word used in op-
position to 8va alta, signifying that the
notes over which it is placed are not to be
played an octave higher, but just as they
are written.

Locrense (16-kr6n'se), Gr. One of the ancient
tones or modes.

Locrian (lo'kri-an), p \ The Hyperdorian

Locrico (lo'krl-ko), j mode of the ancient

Greeks.

Logierian system. A system of musical in-
struction, introduced by John Bernard Lo-
gier, which, with instruction on the piano-

forte, combines simultaneous performance
in classes, and also the study of harmony,
modulation, etc. In connection with this
system Logier invented and employed the
chiroplast.

Lombarda (lom-bar'da), It. A species of dance
used ill Lombardy.

Long. A note formerly in use, equal to four
semibreves, or half the length of the large.
Longa (lon'gji), Lat. A long.

Long appoggiatura. An appoggiatur.i con-
sisting ox a single note forming a part of the
melody. It borrows half the length of the
next note, and is accented.

Long double. An old character equal in du-
ration to four breves.

Long drum. The large drum used in rali-
tary bands, carried horizonially I efore ine
performer, and struck at both ends.

Long meter. A stanza of four lines in lamlio
measure, each line containing eight sylla-
bles.

Long mordent.

dent formed
notes.

Long particular meter. A stanza f f six lines

in Iambic measure, each line containing
eight syllables.

Long roll. A drumbeat calling the soldiers
to arms.

Long spiel. An ancient Icelandic ins'ru
ment, long and narrow, and played upon
with a bow.

Longue pause (I6nh poz), Fr. Make a long
rest, or pause.

Lontano (lon-ta'no). It. Distant, remote, a
great way off.

Lontano, da (lon-tii'no dii), It. At a distance.

Lorgnette (16rn-yet'), Fr. An opera-glass.

Loure (loor), Fr. A dance of slow lime and
dignified character. It has sometimes thrte
and sometimes four crotchets in a bar.

Lourre (loo-ra'), Fr. Smoothly, connectedly.
The same meaning as legato.

Louvre (loovr), Fr. A name applied to a
Freiich air, called also "L'Amiabie Vain-
queur," for which Louis XIV. had a re-
markable predilection. This air has since
formed a well-known dance.

Love=song. A song the words and melody
of which are expressive of love.

Lugubre (loo-goo'brf), It. Lugubrious, sad,
mournful.

Luinig. A short, plaintive song much used
in the Hebrides and on the western coasts
of Scotland. It is generally sung by the
women at their work and diversions.

Lullaby. A song to quiet infants; a soft,
gentle song.

Lundu (loon'doo). For. A Portuguese dance
in 2-4 or 2-2 time.

a arvi, &add, a ale, e end, e eve, I ill, i isle,o old,6 odd, oo moon, H but, ii Fr. sound, kh Ger. ch, nh nasal.

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LUN

DICTIONARY OF MUSIC.

LYR

Lunga pausa (loou'ga pa'oo-za), //. A long

pause, or lest.
Luogo (loo-o'go), i<. See Loco.
Lusing. An abbreviation of lusiugato.
Lusingando (loo-zeii-giiu'do), ] Soothing,
Lusingante (loo-xeu-giln'tC), r. (_ coaxing;
Lusingato (l()o-zcn-t;a'to), * ( persua-

Lusinghevole (loo-zen-ga'vo-lt^), ) s i v e 1 y,

insinuatiugJj' ; in a playful, persuasive

style.
LusinghevoIinente(loo-zeu-ga-v6l-m5n't6),/(!.

yooiningly, persuasively.

Lusinghiere (loo-zen-ghi-a'r6), j, \ Flatter-

Lusinghiero (loo-ziu-ghi-a'roj, ' j Ing,

lawuiug, coaxing.

Lustig (loos'tig), Ger. Merrily, cheerfully,
gaily.

Lustlied (loost-led), Ger. A gay, merry song.

Lut (loot), Fr. A lute.

Lutanist. A performer upon the lute.

Lute. A very ancient stringed instrument,
formerly much used, and containing at
first only five rows of strings, but to which
six or more were afterward added. The
lute consists of four parts, viz., the table;
the body, which has nine or ten sides,
and is pear-shaped ; the neck, which has as
many frets, or divisions; and the head, or
cross, in which the pins for tuning it are
inserted. In playing this instrument the
performer strikes the strings with the fin-
gers of the right hand, and regulates the
sounds with those of the left, as in playing
the guitar. The mandolin is a small lute.

Lute, arch. A stringed instrument resem-
bling the theorbo, by some considered syn-
onymous with it.

Lutenist. | ^ performer on the lute.

Luth (loot), Fr. A lute.

Luthier (lii-ti-a), Fr. Formerly a maker of
lutes ; at present a maker of stringed instru-
ments of all kinds.

Lutina. A small lute, or mandolin.

Lutist. A player on the lute.

Luttuosamente(loot-too-6-za-m6n'te), //. Sad-
ly, sorrowfully.

Luttuoso (loot-too-o'zo),//. Sorrowful, mourn-
ful.
Lydian. See Greek modes.

Lydian chant. A chant of a sorrowful, mel-
ancholy style.
Lyra (le'ra), //. ) ,,,. ,
Lyra(lir'a), Ger. /Aneijre.

Lyra barbarina (le'rii bar-ba-re'nii), It. An
old instrument, resembling in shape the
Spanish guitar, having three double niches,
but played with a bow.

Lyra doppia (le'ra dop'pi-a), //. Double lyre,

not at present used, but supposed to have

been a kind of viol da gamba.
Lyra hexachordis (lir'a h6x'a-k5r'dis), Or. A

lyre with six strings.
Lyra mendicorum (lir'a m6n-di-k6'room),/.aL

A hurdygurdy.
Lyrasanger (lir'a-saug'^r), f, \ A performer
Lyraspieler (llr'ii-spe'ier), j on the lyre.

Lyra=vioL An oil instrument of the lyre or
harp species ; it had six strings and seven
frets.

Lyre. One of the most ancient of stringed in-
struments, said to have been invented by
Mercury about the year 2000 A. M., and
formed of a tortoise shell ; a species of harp.
The Greek kithara was an improved lyre.
The lyre had originally th ree or four strings;
later, seven. The most advanced form of
lyre, perhaps, was the magadis, which is re-
puted to have had twenty strings.

Lyric. ) These words— which, in the first

LyricaL j place, signify " pertaining to the
lyre," then, also, "fitted to be sung to the
lyre," and, lastly, "appropriate tosong"—
are especially applied to poetry and music
which express individual emotions. The
lyrical in poetry and music has been de-
scribed as the perfect and most euphonious
expression, as the ideal representation, or
objectivation, of subjective feelings. The
words lyric and lyrical are used in distinc-
tion from epic (narrative) and dramatic. A
lyric drama is a synonym for oi-era; the
lyric stage, for operatic stage. An opera is
called lyric when the lyric element predom-
inates over the heroic— sentiment over ac-
tion.

Lyric comedy. A comedy in which vocal
music forms a principal part ; comic opera.

Lyric drama. Opera ; acting accompanied
by singing.

Lyric tragedy. Tragic opera.
LrrlL'hiir;ih1:''0-} Lyric, lyrical.

iiarm,-ladd, a, ale, &end, e eve, i ill, lisle,6old, 6 odd, oo moon, Hbut, n Fr.sound, kh Ger. ch. nh nasal.

(149)

M

DICTIONARY OF MUSIC.

MAI

JML

M. This letter is used as an abbreviation of
Mezzo, also of various other words, as Met-
ronome, Mano, Main, and also in connec-
tion with other letters, as M. F. for Mezzo
Forte; M. P., Mezzo Piano; M. V., Mezzo
Voce ; etc.

M. M. Abbreviation for Maelzel's Metro-
nome.

Ma (mii), It. But : as: Allegro ma non iroppo,
quick, but not too much so.

Machalath (ma-ka-lath), Heb. A musical term
employed in the titles to Psalms liii, and
Ixxxviii, and supposed by some to mean
an instrument with holes (perhaps a flute),
but by others to indicate well-known tunes
to wnich these psalms were to be chanted.

Machicot (ma-she'ko), Fr. A chorister, a bad
singer.

Machol (mJi-kol), Heb. Instruments used by
the Hebrews. This name is supposed to
have been given to two instruments, one
of the string and the other of the pulsatile
species.

Madriale (raa-dri-a'16). It. A madrigal; the
name formerly given by the Italians to the
intermezzi, or pieces performed between
the acts of a play or an opera.

Madrialetto (ma-dri-a-16t't6), a short madri-
gal.

Madrigal (mM'ri-gftl). This word of uncer-
tain derivation {mandra, flock?) has two
significations: (1) A short lyrical poem of
no fixed form. A pastoral or amorous song.
(2) A vocal composition mostly in four or
five parts, often also in six or three parts,
more rarely in seven, and still less rarely
in two parts. It had its origin in Italy,
where it came into vogue in the sixteenth
century, flourishing in this and the follow-
ing century. Next to Italy the madrigal
was most successfully cultivated in Eng-
land. Thomas Morley, one of the most
famous madrigalists, tells us (in 1597) that
it was, next to the motet, the most "arti-
ficial" kind of music, but at the same time
one of the most aelightful to men of under-
standing. And he demanded from its com-
posers not only "points" and all sorts of
contrapuntal devices, but also " an amor-
ous humor" and an inexhaustible variety
of sentiment.

Madrigal, accompanied. A madrigal in
which the voices are sustained by a piano-
forte or organ.

Madrigale (ma-dri-ga'16), It. A madrigal.

Madrigalesco (ma-dri-ga-la'sko), It. Of, or be-
longing to, a madrigal.

M

Majesty, digni-
ty, grandeur.

Majestic, ma-

It.

MsBsa. A mass.

Maesta (mii-gs-ta').
Maestade (ma es-ta'd6),
Maestate (ma 0s-ta't6),

Maestevole (ma-Cs-ta'v6-lt?), It.

jestical.
Maestevolmente (rmi-0s-t6-v61-m6n't6), \
Maestosamente (ma-6s-t6 za-m6u't6), j

Majestically, nobly.

Maestoso (ma-&-t6'zo), It. Majestic, stately,
dignified.

Maestra (mJl-^s-tra), It. An artiste, female
performer.

Maestria (ma'6stre'a), //. Mastery, skill, art,
ability.

Maestro (raa'as'tro), It. Master, composer,
an experienced, skillful artist.

Maestro alcembele (mii-as'tro al tsh^m-ba'l^),
A skillful pianist, a master of the instru-
ment.

Maestro del coro (ma-as'tro d61 kor'ro), It.
Master of the choir or chorus.

Maestro di camera (mil-as'tro de ka'm6-ra), It.
Leader, or conductor, of chamber music.

Maestro di canto (mii-as'tro de kiin'to). It. A
singing-master.

Maestro di cappella (ma-as'tro de kap-p61'la),
//. Chapelmaster ; composer; director of
the musical performances in a church or
chapel.

Magadis (mil-ga'dis), Gr. The name of an an-
cient Greek instrument of the lyre kind. It
is said to have had twenty strings, and
many think it had a bridge, dividing the
strings into two equal parts, thus enabling
the player to use octaves at will. All this
is rather uncertain.

Magadizing. A term in the ancient Greek
music, signifying a vocal performance in
octaves, when men and women, or men and
boys, joined in the same air.

Magas (ma'g<1s\ Gr. The bridge of stringed
instruments.

Maggiolata (mild-ji-o-la'ia), It. A hymn or
song in praise of the mouth of May.

Maggiore (miid-ji-o're), //. Greater, in re-
spect to scales and intervals ; major ; the
major key.

Magnificat (mag-nif'i-ktit). Lat. A part of the
Vespers, or evening service, of the Roman
Catholic Church.

Main (manh), Fr. The hand.

Main drcite (maun drwiit), Fr. Right hand.

Main gauche (manh gosh), Fr. The left hand.

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(150)

MAI

DICTIONARY OF MUSIC.

MAR

Maitre fmetr), Fr. A master, a director.
Martre de chapelle (mCtr dQh sha-pgll), Fi\
Chupelmabter ; director of tlie choir.

iVlaitre de musique (m(?tr duh mii-zek), Fr
Miisicui director.

Alajesta(ma'y?z-tii), 7<. Kjaiestv dienitv
Majeste (ma-zbt5i,-ta), /^^. | ^ajestj , aigmty.

Majestueux (ma-zh(?s-tu-Cih), Fr. Majestic.
Majeur (ma-zhtir), Fr. Major; major key.
Major. Greater, in respect to intervals, scales,

etc.
Major diatonic scale. That scale in which

the semitones fall between the third and

fourth and seventh and eighth tones, both

in ascending and descending.

Major seventh. An interval consisting of five

tones and a semitone.
Major sixth. A sixth composed of fonr tones

and a Semitone.

Major third. An interval containing two
whole tones or steps.

Major tonic. A major scale.
Major triad. A union of any sound with its
major third and perfect fifth.

Malaguena (mil-la-gwoo-an'ya), Sp. A fan-
dango.

Malanconia (ma-lan-kOiUe'a), j. "(Melan-
Malenconico (ma-16n-ko'ni-k6), J choly,

sadness.
MalincoUco (ma-lfn-ko'li-ko), j, \ Melan-
Malinconia(ma-liu-k6-ue'a), J choly.

Malinconicamente (ma-lin-k6-ni-ka-m(5n't^),
It. In a melancholy style.

Malinconico (raa-lin-ko'ni-ko), ) In a

Malinconioso (mii-'

Malinconoso (ma-
style.

Mama (ma-ma). It. In drum music a term in-
dicating the right hand.

Manager. One who undertakes the labor of

getting up concerts and concer*^ tours.
Manca (miin'ka). It. The left.

Mancando (man-kan'do), It. Decreasing, dy-
ing away.

Manche (mjlnh-sh), Fr. The neck of a violin

or other instrument.

Mandola (raan-do'lii). It. A mandoline, or
citberu, of the size of a large lute.

Mandoline. An Italian fretted guitar, so
called from its almond, or pear, shape.
There are several varieties. The Neapoli-
tan, considered the most perfect, has four
strinss tuned like the violin, G, D, A, E.
The Milanese, next in favor, has five double
strings, tuned G, C, A, D, E. A plectrum is
used by the right hand, and the left is em-
ployed in stopping the strings.

Mandolino (man-do-le'no), It. A mandolin.

Mandora. | A small kind of lute, or guitar,
Mandore. j with frets and seven gut strings,
three of which are duplicates.

a-lin-ko'ni-ko), \ In a

uii-lTn-ko-ni-o'zo), It. > melan-
»a-lIn-ko-uo'z6), ) choly

Manico (ma'ni-ko). It. The neck of the violin,
guitar, etc.

Manichord. I Originally an instrument
Manichordon. ) with but one string ; sub.se-

qnently a stringed instrument resembling a

ispinet, or harpsichord.

Manichordiendraht (ma-ni-kor'di-en-draht),
GVr. Wire for the manichord or clavichord.

Maniera (raa-nl-a'ra). It. \ ]vr„„,ip- ^...ip
Maniere (mtln i-ar'j, Fr. f ^^^anner, st> le.

Maniera affettata (ma-ni-a'ra af-fOt-tii'ta), It.
An affected style, or delivery.

Maniera languida (mii-ni d'ra liln'gwi-da). It.
A languid, slc-epy style.

Manieren (mii-ne'r'n),Gn'. pi. Graces, embel-
lishments, ornaments.

Mannerchor (man'n5r-k6r), Ger, A choir of
male voices.

Mannerism. Adherence to thesarae manner;
the constant use of an evcr-recurriiivj set of
phases ; adherence to the same style with-
out freedom or variety.

MannlicheStimme (man'likh-t! slim'mC),G'er.

A manly voice.
Mano (raii'no). It. The hand.
Mano destra (ma'uo das'triii, ) The

Mano diritta (mii'no di-rei'tii), /Z. V right
Mano dritta (mii'no dreL'tii), ) hand.

Mano sinistra (ma'iio si-nes'tra). It. The left
hand.

Manual. The keyboard for the hands.
Manual (mtl-nno-al'), Ger. ^
Manuale (ma-noo ii'lt?), Int. > Manual.
Manuale (miL-noo-ii'lG), It. )

Manualiter {ma-noo-a'Ii-tgr'), Ger. Manually;
that is, with the hands alone, without
pedals. Organ music.

Manualkoppel (ma-noo-al-kop'p'l), Ger. A
coupler, by means of which a key, or a set
of keys, is connected with another set.

Manualmente (ma-noo-al-m6n'te). It. Manu-
ally.

Manualuntersatzfma-noo-al'oon't^r satz),(Ter
An organ-stop of o2-feet tone, with stopped
pipes: the subbourdou.

Manubrio (manoo'brio), //. The handle, or
knob, by which a stop is drawn in an organ.

Marcando (miir-kiiu'doi, j^ ) ^larked, ac-
Marcato iraiir kii'tO/, ' jcented, well pro-

nounced.

Marcatissimo (mar-kii-tes'si-mdl. It. Very
strongly marked.

Marcato la melodia (miir-ka-lo 1:1 m^-lo'dl-ii),
It. The melody in a marked style.

March. A musical composition intended to
accompany marchinij, more especially of
soldiers. There are two kinds of marches—
the quick march, or qniclste;), and the
slovv, or processional, march. ISiow marches
may be divided into festal and f\ineral
marches. These two last-named species
are much more solemn and dignified iu

aarm, a add, a ale, e e^id, e eve, 1 ill, i isle, 6 ola, 6 odd, oo moon, ih. but, u Fr suimd, kh Ger. ch, nh nasal.

(151)

MAR

Dictionary of music.

MAZ

their movement than the quick marches,
but all of them are mostly in 4-4 time.
Quick marches consist oftenest of two
halves, each of two parts, and each part of
eight, twelve, or sixteen bars. The second
half is called the trio. For the most part,
processional marches have, likewise, this
symmetrical rhythmical arrangement of
the dance form, but they are not strictly
bound to it as quick marches are. Al-
though 4-4 time is the usual march meas-
ure, marches in 2-4, 6-8, and even 3-4, are to
be met with.

March, dead. A funeral-march.

Marche (marsh), Fr. A march ; in harmony,

a symmetrical sequence of chords.
Marche harmonique (miirsh har-m6-uek'),Fr.

Harmonic progression.
Marcia (miir'tshi ii). It. A march.
Marcia con moto (mar'tshi-a kon mo'to), It.

A spirited martial movement.
Marcia funebre (miir-tshi-a foo-na'br6), It.

Fuiieral-niarch.

MarcJale (mar-tshi-a'16), It. See Marziale.

Marciata (milr-tshi-il'ta), It. A march.

Marked. Accented.

Mark, harmonic. A sign (O) used in music
for the violiU; violoncello, and harp, to in-
dicate that the notes over which it is placed
are to be produced on such parts of the open
strings as will give the harmonic sounds.

Markiren (mar-ke'r'n), Ger.) To mark, to

Marquer (miir-ka), Fr. j emphasize.

Markirt (mar-kerf), Ger. Well marked.

Marquez un peu la melodie (mar-ka tlnh ptih
lii ma'lo-de), Fr. The melody to be slightly
marked, or accented.

Marsch (miirsh), Ger. A march.

Marschartig (marsh'ar-tig), Ger. In the style
of a march.

Marsche (mar'shg), Ger.pl. Marches.

Marseillaise (mar-sal-yaz), jP?-. The Mar-
seilles hymn ; a French national air.

Martele (mar-t^l-la'), Fr. \ Hammer-

Marteilando (mar I61-lan'd6), It. | ing, strong-
ly marking the notes, as if hammered.

Marteliare (mar-t61-la'r6). It. To hammer, to
strike the notes forcibly, like a hammer.

Martellato (mar-t61-la'to), It. Hammered,
sttoni^ly marked.

Martial music. Music adapted for war and
warlike occasions. An expre^sion applied
to ma ches, songs of triumph, and all com-
l)0^iti()iis intended to stimulate to battle or
ctleb'ate heroic deeds.

Marziale (mar-tsi-a'16), It. Martial, in the
>tyle of a march.

Mascharada (mii-ska-ra'da), J. l Music com-

Mascherata (mil-ske-ra'ta), ' | posed for
grolcbquc characters; masquerade music.

Maschera (maVk^-ra), It. A mask.

Mask. ^ A species of musical

Maske (mas'k^), Ger. V drama, or operetta, in-
Masque (mask), i^r. J eluding singing and

dancing, performed by characters in masks ;
also a utensil used by the ancient Roman
actors and singers for the purpose of aug-
menting the power of the voice.

Mass. A vocal composition, performed dur-
ing the celebration of high Mass, in the
Roman Catholic Church, and generally ac-
companied by instruments. It consists of
five principal movements, the Kyrie, Gloria,
Credo, Sanctus, and Agnus Dei.

Mass (mass), Ger. Measure, time.

Mass, high. The Mass celebrated in the Cath-
olic churches by the singing of the choris-
ters ; distinguished from the low Mass, in
which prayers are read without singing.

Massig (mas'slg),6rer. Moderate, moderately.

Massig geschwind (raas'sig ghg-shwind'),Ger.
moderately playful.

Massig langsam (mas'sig lang'siim), Ger.
Moderately slow.

Massig schnell (mas'sig shnfill), Ger. Mod-
erately fast and animated.

Massima (mas'si-mii), It. A semibreve.

Massimo (mas'si-mo), It. Augmented, as re-
gards intervals.

Mastersingers. A class of poets who flour-
ished in Germany during the fifteenth and
part of the sixteenth centuries and formed
a close guild, with many traditional rules
for poetic and musical composition.

Masure (ma-zoo'r6), ^ A lively Polish

Masureck (ma-zoo'r6k), p ( dance, in 3-8

Masurek (ma-zoo'r6k), ^^ • c or 3-4 time,

Masurka (ma-zoor'ka), J quicker than

the polonaise, and has an emphasis on one
of the unaccented parts of the bar; the
mazurka.

Matalan. A small Indian flute, used to ac-
eompanj' the Bayadere dances.

Matassins (ma- ta,s- sen'), Fr. A matachiu
dance ; the dancers.

Matelotte (ma't6-16t), Fr. A French sailor's
dance in 3-4 time.

Matinare (ma-ti-na'rg). It. To sing matins.

Matinata (mii-ti-na'ta). It. A song for the
morning ; a serenade.

Matinee (ma-ti-na), Fr. An entertainment
given in the early part of the day.

Matinee musicale (raa-ti-na mii-zi-kal'). A
musical performance given in the daytime.
Matins. The name of the first morning serv-
ice in the Roman Catholic Church.
Maultrommel (maul'trom-m^l), Ger. A jew's-

harp.
Maxima (miix'i-mii), Lat. The name of the
longest note used in the fourteenth and
fifteei th centuries. See Large.
Mazourk (inii-tsoork'), >. A lively Pol-

Mazourka (ma-tsoor'kii), I ish dance

Mazur (ma'tsoor'), p V of a sen-

Mazurca (mii-tsoor'ka), f timental

Mazurka (mii-tsoor'ka), | character,

Mazurke (mii-tsoor'ke), ^ in 3-8, or

3-4 time, of a peculiar rhythmic construc-

a arm, & add, a ale, 6 end, e eve, I ill, i isle, 6 old, 6 odd, oo vioon, d btit, ii Fr. sotaid, kh Ger. eh, nh nasal.

(152)

MEA

DICTIONARY OF MUSIC.

MEL

tion, quicker thau the polouaise or polacca.

See Mazurka.
M. D. The initials of Main Droite, the right

hand.
Mean. A term formerly ai)plie(l to tlie tenor,

or medium, part in coraposinons for several

paits, male and female.

Mean clef. Tenor clef.

Measure. That divi-sion of time ]jy which
the air and movement of music are regu-
lated; the space between two bar lines on
the staff. A rhythmic division, consisting
of a certain number of pulses. From this
feature measures are classified as two-pulse,
three -pulse, four -pulse, six -pulse, nine-
pulse, and twelve-pulse. The last three
classes are called compound, consisting of
two units in which each unit consists of a
triplet, or group of three. Hence compound
duple measure (six pulses), compound triple
(nine), and compound quadruple (twelve).
All measures consist of either twos or
threes. The main accent always fails \ipon
the first unit, and the bar is intended to
show the place of the strong pulse. Consid-
ered with reference to the rnaunerin which
they are written, measures are described as
2-2, 2-4, 2-8, etc., in which the unit is rep-
resented by a half-note, a quarter, or eighth,
3-2,3 4,3-8, etc., and so on, of all other forms.
The selection of a note-form to represent
the UTiit is purely a matter of taste with the
composer, and iii noway affects the musical
effect. The name measure is often applied
to the representation of it, commonly de-
scribed as " the space between two bars."
This is incorrect. A measure is a certain
rhythmical division, extending from a
strong pulse to the next, or from any pulse
to the corresponding place in the next
group. The term " bar " is often improp-
erly applied to measure. The bar is simply
the line indicating the place of the strong
pulse.

Measure, passy. An old, stately kind o^
dance ; a cinque pas.

Mecanisme (m^ch-an-lsm), Fr. The mechan-
ical part of playing ; the technic.

Mechanically. A word applied to spiritless
styles of performance.

Medesimo (m6-da'zi-mo), ., "iThpsflme
Medesmo (me-des'mo), ^'- j^ sesame.

Medesmo moto (mC-dfis'mo mo'to), j, )
Medesmo tempo (uit5-d6Vmo tem'po), ' j"
ill ttie same time, or movement, as before.

Mediant (ma'<ii-;lnt), Za?. [ Tlie third note
Mediante (ma-di-Jinht'), Fr. j of thescale; the
iiiidiiie note b;'t ween the tonic and the dom-
inant.
Meditatio (mi? dl-l;i'tsi-u), Laf. A word for-
merly used to signify the middle of a chant,
or the sound wh'ch terminates the first i)art
of the veise iu the Psalms.

Medley. A mixture; 8n assemblage of de-
tached parts or passages of well-known

songs or pieces so arranged that the end
of one connects with the beginning of an-
other.

Meertrompete (mar'trom-pa'ti?), ^.^ I c;«o

Meerhorn (mar'horn), ^'^^- j "^^

trumpet.

Mehr (mar), Gcr. Moie.

Mehrfach (mar'fjikh), G'rr. Manifold. Applied
to an interval, a canon, or a compound
organ-stop.

Mehrstimmig (mar-stlm'mig). O'er. For sev-
eral voices.

Meister (mis'tt5r), Gcr. Master, teacher.

Meisterfuge (mis't(5r-foo'ge). Ger. A master
fugue, illustrating the utmost art in this
variety of composition.

Meistergesang (mis'ter-gi^-zang'), Ger. Mas-
ter's song, minstrel's song.

Meistersangar (mTs'ter-silng'Or), Ger. Master-
singer, minstrel.

Meisterstiick (mis ' ter -stiik), Ger. Master-
l)iece.

Melancolie (ma'liln-ko-le), Fr. Melancholy,
in a mournful style.

Melange (mfi-lauzh), Fr. A medley ; a com-
position founded upon several popular airs.

Melisma (mg-lis'mil), Gr. A vocal grace or
embellishment; 'several notes sung to one
syllable.

Mellifluous (m?l-lif'loo-ous). Smoothly flow-
ing, very melodious.

Mellow. Soft, melodious.

Melode (ma-lo'd?), It- Melody, tune.

Melodeon. A reed instrument having a key-
beard like the pianoforte. It is supplied
with wind by a bellows worked tvith the
feet of the performer, and had originally
a pressure bellows, but later a suction bel-
lows.

Melodeon, double=reed. A melodeon with
two sets of reeds.

Melodic (m(5 lod'lk). Relating to melody.

Melodica. An instrument invented by Stein,
at Augsburg, similar to the pianoforie.

Melodic language. The language of melody
or song, ideas expressed by a melodious
combination of sounds.

Melodico (me-lo'dTk-o).7^ Melodious, tuneful.

Melodicon. An instrument invented by Rif-
fel, in (Copenhagen, the tones of which are
produced from bent metal bars.

Melodies (me-16d-Tks). That part of mnsica^^j
theory treating of melody. v

Melodic step. The movement of a voice, or
l)art, from one tone to the following one.

Melodie (ma-lo de'a), If. Melody, tune.

Melodie (ma-16-de), Fr. Melody, tune.

Melodie bien sentie (ma'16-debi-anh siinh-te),
Fr. The melody to be well expressed or ac-
cented.

a arm, a, add, a ale, 6 end, e eve, 1 ill, i isle, 6 old, 0 odd, oo moon, il hut, ti Fr. sound, kh Ger. ch, uh nasal.

(153)

MEL

t)ICTIONARY OF MUSIC.

MES

MeSodieuse (ma-lo- di- iiz), Fr. Melodious,

smooth.
Melodieusement (ma-lo-di-iis-inanh), Fr. "I
Melodiosamente (m6-16-di-6-za-meu't$), //. )

Melodiously, sweetly.

Melodieux (ma-16 di-iiz), Fr. ) Melodious,
Melodik (me-lo'dik), Ger. j' tuneful.

Melodiosissimo (mg-lo-di-o-ses'si-mo), It. Ex-
tremely melodious.

Melodioso fm(>-l6di-o'z6). //. | Melodious, mu-
Melodisch (mt?-16'dish), Ger. \ sical, tuneful.

Meiodious. Having melody, musical ; a term
applied to a succession of pleasing sounds.
The pleasing quality of melody seems to de-
pend upon rhythmic symmetries, fortunate
melodic symmetries, and a happy choice of
scale tones upon which emphasis falls.

Melodist. A composer, or singer, of melodies.

Melodista (ma-lo-des'tii), ^<- iMplnrli^t
Melodiste (mii-lo-dest'), Fr. J ^^^e^oaist.

Melodistic (m^-16-dis'txk), Ger, The rules or
science of melody.

Melodium (m^-lo'di-oom), Fr. A reed instru-
ment of the harmonium class.

Melodize. To make melodious ; to form a
succession of sounds which shall produce
an agreeable effect.
Melodram (mC-16-dram'), Ger. ^ Melodra-
Melodrame (mC-lo-dram'), i^r. Vma. (])The
Melodramma (rae-16-dra'ma),//. j o r i g i n a 1
meaning of the word was synonymous with
"opera." (2) The name has been further
applied to a spoken drama accompanied
with instrumental music. Ballads and
parts of operas and other vocal works have
also been sometimes treated melodramat-
ically. (3) A third meaning is that of a play
(mostly of a romantic and sensational na-
ture) with incidental and now and then ac-
companying vocal and instrumental music.
Melodrammatico (m6-lo-dra-ma'li-k6),7/. Mel-
odramatic.
Melody. A tune ; a succession of tones so or-
dered in rhythm and key as to express a
musical idea.

Melody, chromatic. A melody consisting of
a series of tones moving by chromatic inter-
vals.

Melody, diatonic. A melody whose tones
move by diatonic intervals.

Melody, leading. The principal part of a
composition containing several parts.

Melograph. A piano invented in 1827. con-
nected with which was machinery which
recorded in notes whatever was improvised
on the piano. The invention was not a
complete success.

Melologue. A combination of recitative and

music.
Meloman (ma'16-mfln), Gr. \ A passionate
Melomane (ma'lo-msln), Fr. J lover of music.

Melomanie (ma-16-ma-ne), Fr. \ Excessive
Melomany (m?-lom'Jl-ny), j love of mu-

sic ; music mania.

Melopea (ma-16pa'a), It. \ The art of form-
Melopee (ma-16-pa), Fr. J ing melody.

Melophare. A lantern, inside of which mu-
sic paper, previously soaked in oil, is
placed, so that the notes can be read when
a light is placed inside ; used for serenades
at night.

Melopiano (me-lo-pi a'no). A stringed instru-
ment invented in 1870, combining tones re-
sembling those of the pianoforte and organ.

Meloplaste (m(?r6-p]ast). An instrument for
teaching vocal music from a staff without
either clefs or notes.

Melopoea (mc-lo-pe'a), Gr. A term in ancient
mus.c signifying the art, or rules, of compo-
sition in melody; melody.

Melopomenos (mgl-6-p5m'e-n5s;, Gr. Vocal
melody.

Melos (ma'los), Gr. Tnne, song, melody. As
used by Wagner, melos includes not simply
the melody alone, as such, but also the en-
tire implied harmony, in short, the com-
plete musical idea. Melos was a melodious-
ness which did not necessarily complete it-
self into melodies. In other words. Arioso

Meme (mam), Fr. The same.

Meme mouvement (mam moov-manh),Fr. In
the same movement.

Men (man), It. Less; an abbreviation ol
Meno.

Men allegro (m^n iil-la'gro), It. Less quick.

Menestrels (mC-nas-trei), Fr. Minstrels.

Menetrier (m^-na-tri-a'), Fr. A minstrel, a
rustic musician.

Meno (ma'no), It. Less.

Meno allegro (ma'no al-la'gro),'//. Less quick.

Meno forte (ma'no for'te). It. Less loud.

.Meno mosaic (ma'no mos't-o), II. Less move-
ment, slower.

Meno piano (ma'no pe-a'no). It. Not so softly.
Meno presto (ma'no prCs'to), It. Less rapid.
Meno vivo (ma'no ve'vo), It. Not so fast.
Menschenstimme (men'sh'n -stira' mC), Ger.
Human voice.

Mensur (mCn-soor').(70'. Pleasure, applied to
time, tune, mea'^urement of intervals; also
the diameter, or scale, of organ pipes.

Menuet (ma-noo-C), Fr. \ A minuet, a

Menuetto (ma-noo-6t'to), /<. j slow dauce in

3 1 time.
Men vivo (mfn ve'v5). It. Le.«s spirit.

Mesaulion (miJ-saw'lT-On) , Gr. Symphonies or
ritornelli.

Mescal (mCs-kiil), Tvr. A Turkish instru-
ment, comnosed of twenty-three cwne pipes
of unequal length, each" of which gives
three difierent sounds, from the manner of
blowing it.

Mescolanza (m(5s-k6-lan'tsa'. It. A medley, a
mixture of discordant sounds, bad har-
mony.

aar/n, & add, a ale, 6 e7id, e eve, i ill, 1 isle, 6 old, 6 odd, oo moon, ti but, u Fr. sound, kh Ger. ch, uh nasal.

(154)

MES

DICTIONARY OF MUSIC.

ME.{

Mese (nia'st^), Gr. A term applied by the an-
('i( lit Grt'oks to the sound that completed
the r second tetrachord, and \vhi(!h was the
('Ciller of their whole system. It was also
•lie name given to theceutral string of the
lyre, from which all the others were tuned.

Messa (ra»5s'sa). It. A mass.

Messa di voce (m&'sa di vo'tshS), It. The
gradual swelling and diminishing of the
voice.

Messe (mass), Fr \ . ,„„_„

Messe (mCs'sC), Ger. | ^ '^^^^•

Messe brevi (mt5s'sS bra'vi), //. A short mass.

Mesto (mCs'to), IL Sad, mournful, melan-
choly.

Mestoso (mt^s-tcVzo), It. Sadly, mournfully.

Mesure (ma-zin'). Fr. The bar, or measure;
the species of time.

Mesure a deux temps (ma-ziir' a dilh liinh),
Fr Common time of two beats in a meas-
ure.

Mesure a trois temps (ma-ziir' ji trwa tiinh),
Fr. Triple time of three beats in a meas-
ure.

Mesure 4emi (ma-ziir' d6-me'), Fr. Half

measure. '

Met. An abbreviation of Metronome.

Metal (m^-till'), Sp. Strength, compass of the
voice.

Metallico (m^^-tal'ii ko), ry ) Metallic, clear in

Metallo (m^ tal'lo). ) tone, bdmetnllo

di voce means a voice clear, full, and bril-
liant.

Meter. See Metre.

Method, A course of instruction ; classifica-
tion ; system.

Methode (ma-tod). Fr \ A method, .system,
Metodo (ma' 6-d6). It. j style; a treatise, or
book of instruction.

Metre. Measure; verse ; arrangement of po-
etical feet, or of long and short syllables in
verse.

Metre, common. A stanza of four lines in
iambic measure, the syllables of each being
in number and order as follows. 8, (>, 8, 0

Metre, common hallelujah. A stanza of six
lines ill iambic measure, the syllables in
each being in number and order as follows;
8, 8, G, 8, 8, 6.

Metre, eights. A stanza of four lines in ann-
pestic measure, each line containing eight
syllables, and marked thus; 8s.

Metre, eights and sevens. Consists of four
lines in trochaic measure, designated thus:
8s and 7s ; the syllables as follows : 8, 7, 8, 7.

Metre, eights, sevens, and four. A meter
designated thus : 8s, 7s, and 4s, containing
six lines in trochaic measure, the syllables
being in number and order as follows : 8, 7,
8. 7, 4, 7.

Metre, elevens. Designated thus, lis, and-
consisting of a stanza of four lines in aua-

pestic measure, each line containing eleven
syllables.
Metre, hallelujah. A stanza of six lines In
iambic measure, the syllables of each be-
ing in number and order as follows:
G, G, G, G, 8, 8.

Metre, long. Four lines in iambic measure,
each line containing eight syllables.

Metre, lonpr particular. Six lines in iambic
measure tach line containing eight sylla-
bles.

Metre, sevens. Consists of four lines in tro-
chaic measure, each line containing seven
syllables.

Metre, short. Consists of four lines in iam
bi(! measure, the syllables in number and
order as follows : 6, G, 8, G.

Metre, short particular. Consists of six lines
in iambic measure, the syllables in number
and order as follows ; G, 6, 8, G, G, 8.

Metre, tens and elevens. A meter designated
thus, 10s and lis, consisting of a stanza of
four lines in anapestic measure, the sylla-
bles in number and order thus: 10,10,
11, 11 ; or of six lines in iambic measure,
as follows : 10, 10, 10, 10. 11, 11.

Metre, twelves. A metre designated thus,
12s, consisting of a stanza of four lines in
anapestic measure, each line containing
twelve syllables.

Metrical. Pertaining to measure, or due ar-
rangement and combination of long and
short syllables.

Metrically. In a metrical manner; accord-
ing to poetic measure.

Metrik (m6t'rik), Ger. Metrical art.

Metrisch (m6t'rish), Ger. Metrical.

Metro (ma'tro), It. \ ^ .

Metro (ma-tro), Sp. j ^^-^eier, verse.

Metrometer (me-tr6-m6'ter), Ger. \ A metro-
Metrometro (ma-tro'me-tro). It. j nome.
Metronom (m6-tr6-n6m'), Ger. \ A machine
Metronome (m6'tr6-n6'm6), Gr. j invented
by John Maelzel, for measuring the time, or
duration, of notes by means of a graduated
scale and pendulum, which may be short-
ened or lengthened at pleasure. When
indicated by composers, two characters are
given— a note-form and a numeral. The
latter shows the place where the pendu-
lum should be set; the former the kind
of note which should equal each beat of
the pendulum. Sometimes a sign of equal-
ity is placed between the note and the
numeral. Occasionally the initials M. M.
are aNo used. The latter mean " Maelzel's
Metronome." (^ = 60, f = GO, etc.
Metronome, bell. A metronome with the
addition of a small bell which strikes at
the commencement of each measure.
Metronome, pocket. A metronome of the
size and form of a watch, on one side of
which is marked the number of vibratiou.s,
and on the other the principal Italian mu-
sical terms.

a arm, a add, a^ale, C end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, ii but, ii Fr. sound, kh Ger. ch. nh nasal.

(155)

M

Xji.

DICTIONARY OF MUSIC.

MIN

MeUe (mft't^), Ger. Matins.

Mettere in musica (m^t'te-re iu moo-zi-kai.

It. To .<L't to music.
Mettre d'accord (matr dak-kor). Fr. To

tune
Mettre en musique (malr anh mii-zek). Fr.

To sot to music.
Mettre en repetition (matr anb ra-pfi-te'si-

Ouh , /■/'. To put iu rehearsal.
Metzilloth. rr^^ ) Cymbals; otherwise
Metzilltheim, ""^ * j rendered " bells ot the

horses," which is also correct.
Mez. An abbreviation of Mezzo.
Mez. F. Au abbreviation of Mezzo Forte
Mez. Pia. An abbreviation of Mezzo Piano.

Mezza (met'tsa\ T^. ) Medium, in the mid-
Mezzo (met'iso), j die, half,

Mezza bravura (met'tsa bra-voo'ra), It. A
moderately difficult song.

Mezza forza (m^t'tsa for'tsai. Moderately
loud.

Mezza manica (m6t ' tsa ma ' ni - ka), It. The
half-shift, in playing the violin, etc.

Mezzana (met-tsa'nai, It. The middle string
of a lute.

Mezza orchestra ^m^t'tsa 6r-kas-tra), It.
Half the orchestra.

Mezza voce (m^t'tsa v6'tsh6), It. Half the
pow er of the voice ; with moderate strength
of tone.

Mezzo forte (m6t'tso for'te). It. Moderately
loud.

Mezzo forte piano (met'tso for'te pe-a'no). It.
Rather loud than soft.

Mezzo piano (met'tso pe-a' no). It. Rather
soft.

Mezzo soprano m^t'tso so-pra'noi, It. A fe-
male voice of lower pitch than the soprano,
or treble, but higher than the contralto.
The general compass is from A iiuder the
lines to A above them.

Mezzo soprano clef. The C clef when placed
on the second line of the staff, occurring
in old church music or madrigals. The
treble, or soprano, clef now supplies its
place.

Mezzo staccato (m^t'tso stak-ka'to), //. A
little detached.

Mezzo tenore (m^t'tso t^-no'i^j. It. A half
tenor voice, nearly the same as a baritone.

Mezzo tuono {m§t'ts6 too-o'no), It. A semi-
tone, a half tone.

Mezzo voce (mSt'tso vo'tshe), P. In a sub-
dued voice.

M. F. The initials of Mezzo Forte.

M. G. The initials of Main Gauche.

Mi (me), It. A syllable used in solfaing to
designate E, or the third note of the major
scale.

Mi bemol (me ba'mol), Fr. The note E-flat.

Mi bemol majeur (me ba'mol ma-zhar\ Fr.

The key of E? major.
Mi bemol min««r ime ba'mol ml-nur), Fr

The key of E? minor.

Mi contra fa (tq^ kon'tra fa), Lat. An ex-
pression used by old theorists, meauing a
false relation, especially the skip from fow
of the scale to ntvca.

Microfono (me kro-fo'no), Sp. \ An instru

Microphone (mi'kro-fou). jmentforthe

autjmentation of small sounds ; a micro-

' coustic.

Middle C. That C which is between the bass
and treble staves.

Middle voices. Tenor and alto voices.

Mi diese (me di az'j, Fr. The note Ei?.

Mignon (men-y6uh), Fr. Favorite.

Militairement fmil i-tar-manh), Fr. ) Milita-
Militare (ine-li-ia'rei, i/. > ry ; in

Militarmente [me li-tar-mCn'tS), It. ) a war

like, martial style.
Military music. Music intended for military

Oaiius ; marcnes, quicksteps, etc.

Milote (me-lo'tei, Sp. Au Indian dance.

Mi majeur (me ma-zhur), Fr. The key of

E major.
Mimes (me'me*). A kind of vocal, mimic

actors, formerly very numerous iu Europe.
Mi mineur (me mi - nur'), Fr. The key of

E miiiur.
Minaccevoimente (me-nat-tshg-v61-m6n'te), It

1.1 a iLiieateuing, menacing manner.

Minacciando (me uat-t<:hi-an'd6), j, \

Minaccievole (me-nat-tsi-a'vo-le , " J
ThrLauiiiug, menacing.

Minacciosamente (me-nat-t.shi-o'za-meu te),
//. Tiireaieuiug, meuacing, iu a menacing
manner.

Minaccioso :me-nat-tsbi-6'z§). It. Threaten-
ing, mejiaciiig, iu a menacing manner.

Minagnghinim imi iiiingd'ghi-nim). Heb. A
pulsHiiie instrument u>ed )>y the Hebrews,
consisting <>f a square table of wood fur-
nished with a handle; over tliis table was
stretcned .in iron chain and a liempen
chord which passed through bsUsff wood
or bra.-'S. and striking against the table
when the instrument was in motion, pro-
duced a clear, ringing sound.

Minder ^min'd^r), Ger. Minor, less, not so
mu; h.

Mineur (mi-nur'). Fr.

Minim. -\ half-note
half of a semibreve.

Minima (rae'ni-ma). It. \

Minime unln-em'), Fr j

Minim rest. A mark of silence equal in du-
ration to a minim, made thus, -— -.

Minnedichter min'n^-dikh'ter), •% Min-

Minnesanger (niln'n^-sang-^r), Ger.y .strels

Minnesinger (nun'o^-sing-er), > of the

twelfth and thirteenth centuries, who wan-

Minor.

a note equal to one

A minim.

aarm, aadd, a ate, € end, e cr, iitt, i isl€,6oid,6odd, oo moon, ii but, ii Fr. sound, kh Ger. ch, nh natoL

(156)

MIN

DICTIONARY OF MUSIC.

MIT

dered from place to place, siugiiig a great
variety of songs aud melodies.
Minor. Less, smaller, iu speakiug of inter-
vals, etc.

Minor canons. Those clergymen of a cathe-
dral or chapel who occasionally assist at the
performance of the service and anthem.

Minor diatonic scale. There are two kinds:
onewh'ere the semitones fall between the
second aud third and seventh and eighth,
both in ascending and descending; iu the
other the semitone falls between the sec-
ond aud third aud seventh and eighth as-
cending, and descending, between the fifth
and sixth and second and third. The for-
mer is the harmonic, the latter the melodic
form.

Minore (me-uo'rC), It. Minor.

Minor key. \ One of the modern modes.
Minor mode, for scales, in which the third

uoie is a minor third from the tonic.
Minor second. The smallest interval in prac-
ticable use, a half-step.

Minor seventh. An interval consisting of
four tones and two semitones.

Minor sixth. An interval composed of-t'hree
tones and two semitones.

Minor tactus. Among the ancients, the act
of beating time ; consisting of a semitone in
a bar.

Minor third. A diatonic interval containing
three semitones.

Minor threefold chord. A minor triad.

Minor triad. A union of any tone with its

minor third and perfect fifth.
Minstrels. Wandering poets or musicians.

Minstrelsy. The art or profession of a min-
sirel.

Minue (me'noo-a), Sp. A minuet.

Minuet. A dance of French origin in ternary
time— usually iu ."-4, sometimes iu 3-8 time.
Its movement and character changed iu
the course of its career. A courtly stateli-
ness and well-regulated gaiety are its most
prominent features. By its "introduction,
first, into the suite and partita, aud after-
wards into the sonata, symphony, etc., it
has become an artistic foriu'of importance.
In the sonata and symphony it generally
consists of two minuets, each of two parts,
the first minuet being repeated after the
second, which is called the trio. The com-
posers in thus treating the minuet artistic-
ally have by no means always retained the
original nature of the dance; on the con-
trary, have produced under this name
pieces very different in movement aud
character.

Minuettina (me - noo - 6t - te ' ua), It. A little
minuet.

Minuetto (me-noo-6t'to), It. A minuet.

MiracIe>Piays. " The Miracle-Play is distin-
guished from the Mystery because it con-

nects itself less closely with the Scriptures
and the services of the Church, aud em-
bodies, for the luost part, various apoc-
ryphal legends auout the saints and the
Virgin."

Miserere (me-.s6-ra'r<5), /.a^ "Have mercy."
A psalm of supplication.

Misericordia (me'sg-ri-kor'di-a), Lat. A small
movable seat in the choir of a church ; a
miserere.

Miskin. A little bagpipe.

Missa (mes'sii), Lat. A mass.

Missa brevis (mes'sa bra'vis), Lat. A shorl

mass.
Missa canonica (mes'sa ka-n6'u!-ka,), Lat. \

canonical mass.

Missal. The massbook.

Missa pro defunctis (mes'sa pro d(5-foou'k'tis),
LaL A requiena ; a mass for departed souls.

Missa solennis (mes'sa so- l(5n'nis), Lat. A
solemn mass, for high festivals.

Missel (mes-s'l), Fr. Missal; the massbook.

Misshallig (miss'hal'lig), Ger. Dissonant, dis-
cordant.

Misshalligkeit (miss'hal-lig-klt), Ger. Disso-
nance, discordance.

Misshellig (miss'h61-lig), Ger. See Misshcillig.

Missklang (miss'klang), Ger. Discordant, out
of tuue. (Not the same as dissonant.)

Missklange (miss'klang'6), Ger. pi. Discord-
ant sounds.

Missklingen (mlss'kling-6n), Ger. To sound
discordant.

Misslaut (miss'Iout), Ger. Uuharmonious,

discordant sound.
Misslauten (miss'lou-t'n), Ger. To sound in-

harmouiously.

Misslautend (miss'lou-tend), Ger. Dissonant,
discordant.

Missstimmen (miss'stim-m'n), Ger. To put

out of tune.
Misteriosamente (mes-t^-ri-6-za-m6n'te), ) r.
MIsterioso (mes-t6-ri-6'z6), / •

Mysteriously, in a mysterious manner.

Mistero, con (mes-ta'ro), //. With an air of

mystery.
Misto (mes-to), Gr. Mixed ; a term given by

the ancients to some of their modes.

Misura (me-soo'rii), Jt. A bar, a measure;

time.
Misurato (me-soo-rii' to), //. Measured; iu

strict, measured time.

Mit (mil), Ger. With, by.

Mit abwechselnden Manualen (nut ab'vSkh-
s61n-deu ma-noo-a'l'u), Ger. Alteruatelv,
from the choir to the great organ.

Mit ganz schwachen Registern (mit giiuts
shva'kh'n re-ghis'tern;), Ger. With verv soft
stops.

Mit Gefuhl (mit ghg-fiil'), Ger. With feeling
and sentiment.

a arm, ft add, a ale, § end, e eve, i ill, i isle,6 old,6 odd, oo moon, ti but, vi Fr. sound, kh Ger. ch, uh nasal.

(157)

MIT

DICTIONARY OF MUSIC.

MOm

Mit Keckheit (mit kgk'hit), Ger. With vigor
and boldness ; in the bravura, or dashing,
style.

Mstklang (mifkliiug), Ger. Resonance.

Mitlaut (mit'lont\ p ) Concord, con-

Mitlauter (mit'luu-t6r), ^^'-J souauce.

Mitlauten (mit'lou-t'n), Ger. To sound at the
same time, or iu common with.

Mitleidsvo!! (mit'lids-fols Ger. Compassion-
ate.

Mit sanften Stimmen (mit siiuf't'n stim'm'n),
Ger. With soft stops.

Mit starken Stimmen (mit stiir'k'u stim'm'n),
<icr. With loud stops.

MJttel=C (mit'tel-tsa), Ger. Middle C. See

Dktgrum of thfs.

Mittelcadenz (mit't'l-kJl-deuts'), Ger. A half,

or imperfect, cadence.
Mittellaut (mit'tel-lout), Ger. Middle sound.

Mittelmassig (mit ' t'l -mas' sig), Ger. Mid-
dling.

Mittelstimme (mit't'l -stini'me), r7e>-. The
mean or middle voice, or part; the tenor.

Mit voller Orgel (mit fol'I(?r 6r'g'\),Ger. With
full organ.

Mixolydian. (1) In the ancient Greek sj-stem
the name of one of the octave species

b c d 0 f gab, also called Hyperdorian, and
of one of the transposition scales. (2) In
the old ecclesiastical system it is the name
of the seventh (the fourth authentic) mode,

or tone (g a b c d e f g).

Mixture. An organ-stop consisting of sev-
eral ranks of pipes— from two to live pipes
sounding different harmonic notes corre-
sponding to each key. Modern mixtures
contain only octaves and fifths, the latter
voiced softly and in flute quality. They im-
part brightness to the full organ tone, but
are not so indispensable as before organ-
voicing had become so advanced. Former-
ly it was very difRcult to secure the har-
monic overtones from the fundamental
pipes. The tone was therefore dull and
heavy. Mixtures Avere invented to remedy
this. ' The old mixtures, called also furni-
ture, cymbal, etc., contained thirds, which,
when played in chords, produced a hideous
snarling.

Mode. Species of scale. In the modern sys-
tem of music there are only two modes, the
major and minor; iu the ancient Greek
and the mediaeval ecclesiastical system
there was a much greater number.

Mode, major. That in which the third from
the keynote is major.

Mode, minor. That which iu the third de-
gree from the tonic forms the Interval of a
minor third.

Moderamento (mo-d^-ra-meu'to), j^ \

Moderate (mo- d6-ra' to), "j

Moderately ; in moderate time.

Moderatissimo (m6-d6-ra-tes'si-m6), It. luj
very moderate time.

Moderato assal con molto sentimento (mo-'^
de-rii'to as-sa'e kou mol'to s6n-ti-m6n't6), It.'
A very moderate degree of quickness with
much expression.

Moderazione (m6-d6-ra-tsi-6'n6), It. Modera-
tion.

Modere (mo-dar'), Fr, Moderate.
Modern. Not in the ancient style.
Moderna, alia (mo-dar'na al'la). It. In the
modern style.

Modestamente (m6-des-ta-m6n't6), jj \
Modesto (mo-d6s't6), ' )

Modestly, quietly, moderately.
Modificazioni (mo-de-fi-ka-tsi-o'ne). It. jd.
Modifications, light and shade of intona-
tion, slight alterations.

Modinha (mo-den'ii), Par. A short Portuguese

song.

Mod. An abbreviation of Moderato.

Modo (mo'do), It. \ . ^f^^ip „ ^pgip
Modo {mo'do), Sp. j ^ ^^^^^' ^ ^^^^®-

Modo maggiore (mo'do mad-jl-o'r$), //. The

major mode.
Mod'to. An abbreviation of Moderato.

Modolare (mo-do-lii'rg), ^^ )

To modulate ;
Modulare(mo-doo-la'r6), ""^' (to accommo-
date the voice or instrument to a certain in-
tonation.

Modulante (mo-doo-lan'te). It. Modulating.
Modulate. To move from one key to another
iu a manner agreeable to the ear.

Modulate, Modulation. The primary mean-
ing ot "to modulate" is " to form after a
certain mode, to measure off properly." In
music it originally meant "to measure
rhythmically," then, also, " to measure me-
lodically"— melodic measurement being
synonymous with " inflection." In modern
technical terminology "to modulate" sig-
nifies " to change the key ;" " modulation,"
"a change of key." Modern usage differs
much from that current with Bach and
his contemporaries. According to modern
ideas, any chord may follow any other
whenever it can be introduced smoothly or
with suitable musical effect. Such a chord
may be apparently foreign to the key of the
first chord, but it is not now regarded as
constituting a modulation unless the ear is
unsettled from the original tonic, which is
by no means universally the case. Hence
the idea of key has been materially en-
larged, so as to include all possible chords
which can be led into smoothly from any
chord in the key. A modulation is said lo
be abrupt when "the new key comes sudden-
ly, as when from the key of C we suddenly
go to the key of Ab and remain there. As
opposed to the usual modulation by a suc-
cession of fifths, as uracticed in the time of
Bach. Bach, however, uses almost all chords
which have been used since.

a arm, a add, a ale, 6 e7id, e eve, 1 ill, i isle, 6 old, 6 odd, oo moon, ti but, u Fr. sound, kh Ger, ch, nh nosoi.

(158)

MOD

DICTIONARY OF :\rUSIC.

]\IOR

Modulation, abrupt. Sudden modulation into
ke\ s which are not closely related to the
()ric;inal key.

Modulation, deceptive. Any modulation by
which the ear is deceived and led to an un-
expected harmony.

Modulation, enharmonic. A modulation ef-
fected by altering the notation of one or
more intervals belonging to some character-
istic chord, and thus changing thekeyand
the harmonyfrora that into which it would
naturally have resolved. The chords which
admit of these alterations are, first, the di-
minished seventh and its inversions; sec-
ondly, the dominant seventh not inverted,
and thechoid of the superfluous sixth and
perfect fifth.
Modulation, passing. ) A form of modula-
Modulation, transient. ) tion which leaves a
Key nearly as suou as entered upon.

Modulatore (m6-doo-l;l- to'rfi), It. Singer,
tauer.

Modulazione (mo-doo-lii-tsi-o'nt?). It. Modu-
laliuu.

Moduliren (mo-doo-le 'r'n), Ger. To modu-
late.

Alodus (mo'doos), Lat. A key, modCj^'cale.

Mohinda. A short Portuguese love-song.

Mohrentanz (mo'-ren-tiints), Ger. Morisco,

morris dance.
Moins (mwa), Fr. Less.
Moll (moll), Ger. Minor.
Molla (mol'la\ It. A key of the flute, etc., for

rai.^iag or lowering a note.

Molle (mol), Fr. Soft, mellow, delicate.

Mollemente (m61-l6-men't(5), It. Softly, gen-
tly, delicately.

Mollis (mol'lis), Lat. Soft.

Molltonart (moU'ton'art), Ger. Minor key, or

scale.

Aloltisonante (mol-te-zo-niiu'tg), It. Resound-
iu;^', very sonorous.

Molto (mol 'to), It. Much, very much, ex-
t ciueiy, a great deal.

Molto adagio (mol' to ti-dii'ji-o), It. Extreme-
ly sK.w.

Alolto allegro (raol ' to al-la'gro). It. Very

r.lolto carattere, con (mol Mo kii-riit- ti5-it5,
koa), IL. With character and emphasis.

Alolto mosso (mol'to mos'so), It. Much move-
K.eut, much motion.

wlolto slargando (mol'to sljir -giin 'do). It.
Much extended; much slower.

r.lolto sostenuto (mol'to sos- tC- noo' to). It.
\'ery sustained ; very legato.

.Molto staccato con grazia (mol'to stiik-kii'to
Uon grii'tsi-a). It. In staccato style, and
with grace.

'lolto vibrato (m6rt6 vl-bra'to), It. Very vio-
Kut or rapid.

Molto vivace (mcjl'to vi- vil' tshe), //. Very
lively.

Monacordo (mo-na-kor'do), It. \ (1) An in-
Monochord (m5n-0-k6rd). Istrument for-

merly u.ved for the measurement of inter-
vals. It had one string aad a moval-le
bridge. (2) Also a name of the tromba
marina, or trumscheit. (:]) A clavichord.

Monaulos (m5n'ou-l6s), Gr. An ancient flute,
played throtigh the mouthpiece at the end
like the flageolet.

Monferina (mon-fe-i«'na). It. A lively Italian

dance in G-8 time.
Monochord pedal. The one-stringed pedal.

Monocorde (m5n-o-kord'). iPr. )Ononestring
Monocordo (mo-no-kor do), It. j' only. See
also Moiiocliard.

Monodia (mo-no-de'ii), It. ) A composition
Monodie (mun-6-de), Fr. > for a single voicf..
Monody (mon-o-dy). ) The term origi-

nally applied to cliurch .«olos. ALso a coin-
position with a single idea.

Monodie. For one voice, a solo.

Monodist. One who writes a monody.

Monodram (mo-no-dnim'), Ger. \ A musical

Monodrama (mo-no-dnl'ma). It. j drama, in
which only one actor appears; a mono-
drama.

Monodrame (m5n-o-dram), Fr. A drama per-
formed by a single individual.

Monologue. A soliloquy ; a poem, song, or
scene written and composed for a single
performer.

Monophonic (mon-d-fo'nik), Gr. In one part
only.

Monotone. UTiiformity of sound ; one raid

the same sound.
Monotonia (mo-no-to'ni-a), Sp.'^ Monotony ;
Monotonie (mon-o-to-neK Fr. > sameness of
Monotonie (mo'uo-to-ne'), Ger.) sound.

Monotonous (mo-nOt'o-ntIs). An epithet aiv
plied to any instrument which produces but
one tone or note ; as the drum, tambourine,
etc.

Monotony. A wearisomeuniformity of sound;
a continued repetition of the same tone or

UOtCi.

Montant (m5nh-tanh), Fr. Ascending.

Monter (m6n-t(?h), Fr. (1) To put strings on
an instrument; to tune them. (2) To put
the parts of a wind instrument together. (.;)
To ascend.

Montre (monh-tnV), Fr. Mounted; in front;
a term applied to the organ-pipes which are
placed in front of the case; commonly a
diapason.

Montre d'orgue (mOnh-tra d'org'*, Fr. The
range of pipes in the front of an organ.

Moorish drum. A tambourine.

Moralites (Fr.), Moralities. Allegorical plavs
popular in the middle ages. The object of
these plays was to point amoral, and among

ii arm, a add, a ale, 6 end, e eve, i ill, I isle, 6 old, 6 odd. oo moon, a bid, ii Fr. soiind, kh Ger. ch, uh nasal..

:\roR

DICTIONARY OF MUSIC.

MOT

the characters that appeared therein were
personifications of the virtues, vices, etc.
The Moralities were an offshoot of the Mys-
teries [q. v.).

Morbidezza, con (m6r-bi-d6t'sa kon), It. With
excessive delicacy.

Morceau (m6r-s6'), Fr. A choice and select
musical piece, or composition ; a fine
phrase or passage.

Morceau d'ensemble (m5r-so' d'iinh-sanhbl),
Fr. A piece harmonized for several voices.

Mordante (m5r-dun't§), //. See Mordente.

Mordente (raor-d^n'tfi), It. Transient shake,
or beat ; an embellishment formed by two
or more notes, preceding the principal note.

Mordente, long. The short mordente re-
pealed.

Mordente, short. An embellishment consist-
ing of the note overwhich Written. Played,
the sign is placed and the
note below it, thus:

A similar sign without t'
the vertical stroke indi-
cates the PrflU-trill, which is a precisely
.'^imilar embellishment, employing the note
above. The accent falls upon the first tones.
Morendo (mo-r6n'do), j. \ Dyiugaway ; ex-
Morienle(mo-ri-6u't6), ' jpiring; gradually

djmiuishing the tone and the time.
Moresca (mo-r6s'ka), J, \ Moorish; morris
Moresque ( mo- rfisk'), ' J dance, in which
bells are jingled at the ankles and swords
clashed.

Morgengesang (mor'g'n-ghg-ziing'), ^^ )
Morgentied (mor'g'n-led), )

-Morning song or hymn.

Morgenstandchen (mor'g'n-stand'kh'n), Ger.
Morning streuade.

Morisco (mo-res'ko), It. In the Moorish style.

ISee Mortsca.

Morisk (mo-rihk). The morris dance.

Mormoramento (m6r-m6-ra-m6n't6), It. A
murmur, warbling, buzzing, purling.

Mormorando (mor-m5-ran'd6), | With a
Mormorevole (nior-m6-ra'vo-16),7/. >ge n t 1 e,
Morhioroso (mor-mo-ro'zo), ) murmur-

ing souud.

Morrice dance. ) A peculiar kind of dance
Morris dance. /-practiced in the middle
Morriske dance. \ ages. It is supposed to
have been introduced into England by Ed-
ward ITI. In the morris dance bells were
fastened to the feet of the performer.

Mort. A tune sounded at the death of game.

Mosso (mos'so), It. Moved, movement, mo-
tion.

Mosso, molto (mos'so mol'tS), It. Quick, with
much motion.

Mostra (mos'tra). It. A direct (av), which,
when placed on a line, indicates the first
note upon the next page.

Mot (mo), Fr. Literally, a Avord ; a note or
brief strain on a bugle.

Motet. ) A vocal composition in several
Motett. j parts, generally without instrumen-
tal accompaniment, set to a, sacred text,
usually words taken from the Bible. Obli-
gato instrumental accompaniments, which
came into vogue in the seventeenth century,
but are to be met with before and after that
time, have to be regarded as exceptional.
The motet is one of the oldest forms of men-
surable music, and has, of course, under-
gone many changes. Protestant Germany
cultivated it zealously, developing it accord-
ing to her own taste and mental bias. In
earlier times it was the sacred counterpart
of the secular madrigal {q.v.).

Motette (mo-tetOr Ger.')

Motet (mo-ta'), i^r. V A motet.

Motetto (mo-tet'to), It.)

Motetten (mo tet-t'n), Ger.Xf..^^ .„

Moletti (mo-l6l'te). It. J ^lO'^eis.

Motetto per voci sole (mo-t^t'to par vu'tsh?
sola'). It. A motet for voices without ac-
companiment; a motet each part of which

is for a single voice.

Motetus (mo-t6t'oos), Lat. A motet.

Motif (mo-tef), Fr. Motive, theme, subject.

Motion. (1) The melodic progressiou of a
part considered by itself. It may be eitJier
conjunct or disjunct— that is, the progres-
sion maybe by degrees or by skips. (2) The
melodic progression of two or more parts
considered in their relation to each other.
There are three kinds of motion : (o) Sim-
ilar motion, when two parts ascend and
descend together. (6) Contrary motion.
when the one ascends and the other
descends, (c) Oblique motion, when one
part remains stationary while the other as-
cends or descends. The simultaneous com-
bination of these three kinds of progression
is called " mixed motion." (3) Also used of
rhythmic motion, as pulse motion, meaning
that the prevailing tone length is that of
the measure pulse, half-pulse motion, where
the prevailing motion is of half-pulse, etc.
Also " eighth-note motion," meaning tliat
the prevailing entrances of tones in a .^itigle
voice, or of tones in different voices, fall at
the uniform period of an eighth-note.

Motive. The characteristic and predominant
passage of an air; the theme, or subject, of
a composition.

Motive (nio-te'vo). It. Motive; the theme, or
subject, of a musical composition.

Moto (mo'To), It. Motion, movement; con
muto, with motion, rather quick.

Motoacce!erato (mo'toiit-tsha-l^-ra'to , //. Ac-
celerated motion.

Moto contrario (mo'lo kon-trii'ri-o), //. C'oi:-
Irary motion.

Moto obliquo (mo'to 6b-le'kw6), It. Oblique
motion.

Moto precidente (mo'to pra-tshi-dCn'tC), //.
The same time as the preceding movement.

Moto primo (mo'to pre'mo), It. The s-amu
time as the first.

9. arm, &, add, a ale, 6 end, e eve, i ill, I isle, 6 old, 6 odd, 09 moo n, H but, ii Fr. sound, kh Ger. ch. nh nasai.

, (160)

MOT

DICTIONARY OF MUSIC.

MUS •

iVloto retto (m6'to rfit'to), It. Direct, or sim-
ilar, inotiou.

Motteggiando (in6t-t6d-jl-au'd6), It. Jeeriug-
Jy, mockingly, jocosely,

Mottetto (mot-tet'lo). It. A motet.

Motus (mo'toos), Lat. Motion, movement.

Motus contrarius (mo'toos k6n-tra'ri-oos),Za<.

Contraiy motion.
Motus obliquus (mo'toos 6b-le'kwoo-oos), Lat.

Oblique motion.
Motus rectus (mo'toos rek'toos), Lat. Direct,

or similar, motion.

Mouthpiece. That part of a trumpet, horn,
etc., which is applied to the lips.

Mouvement (moov-manh), Fr. ) Motion,
Movimento (rao-vi-m^n'to), It. j movement,

impulse ; the time of a piece.
Mouvement de I'archet (moov-miiuh dCih

riir-sha), Fr. Bowing, the movement of the

bow.

Movement. Manner of going; as, polka
movement, march movement, etc. The
neme given to any portion of a composition
comprehended under the same measure or
time; a composition consists of as many
movements as there are positive chaisges in
measure and tempo.

Movimento contrario (m6-vl-m6n't6 kon-trii'-
ri-6). It. Contrary movement.

M. P. The initials of Mezzo Piano.

M. S. The initials of Mano Sinestra.

Mu. A syllable Applied to the fourth note of
the Hebrew scale in soU'aing.

Muance (mii-anhs'), Fr. A change, or varia-
tion, of notes ; a division.

Muet (mii-a'), Fr. Mute.

Mund (moond), Ger. The mouth.

Mundharmonica (moond-hiir-mo'nl-ka), Ger.
The jew's-harp ; or, a mouth harmonica.

Mundsttick (moond'stiik),(Ter. Eeed, mouth-
piece.
Miinster (miin'stgr), Ger. Minster, cathedral.
Munter (moon't6r), Ger. Lively, sprightly.

Munterkeit (raoon't6r-kit), Ger. Liveliness,

briskness, vivacity.
Murmein (moor'mgln), Ger. To murmur.
Murmeind (moor'mClnd),G'gr. Murmuring.
Murmur. A low, indistinct sound.
Mus. Bac. An abbreviation of Bachelor of

Music. (Little used.)

Mus. Doc. An abbreviation of Doctor of Mu-

a.c.

Muse. Name originally given to the muzzle,
or tube, of the bagpipe. One of the nine fa-
bled goddesses presiding over art, litera-
ture, or music.
Musetta (moo-z6t-ta), It. \ (1) A small, im-
Musette (mii-s^f), i^r. j perfect instrument
of the oboe kind. (2) A French bagpipe.
(3) A pastoral air in imitation of the music

of the latter instrument, with a drone bass,
in 6-8, 3-4, and also in 2-4 and 4-4 time. Such
airs have also been used ad daace tunes.

Music. The science of harmonical sounds,
wnich treats of the prin( iples of harmony,
or the properties, dependencies, and rela-
tions of sounds to each other.

Musica (moo'zi-ka). It. Music.

Musica antiqua (moo'si-kii an-ti kwii), Lat.
Ancient music.

Musica da camera (moo'zi-ka dil ka'mS-ra), It.
Music for the chamber.

Musica da chiesa (moo'zI-kS, da ke-a'za). It.
Church music.

Musica da teatro (moo'zi-ka da ta-a'tr6). It.
Dramatic music.

Musicale (moo'zi-ka-16). It. Musical, belong-
ing to music.

Musical brachygraphy. The art of writing
musical notation in an abbreviated style by
means of signs, characters, etc.

Musical clocks. Clocks containing an ar-
rangement similar to a barrel organ, moved
by weights and springs and producing va-
rious tunes.

Musical convention. A gathering of choris-
ters and teachers for the study and practice
of music.

Musical design. The invention and conduct
of the subject ; the disposition of every part;
the general order of the whole ; counter-
point.

Musical director. A conductor ; one who has
charge of public musical performances.

Musical drama. Opera, lyric drama.

Musical ear. The ability of determining by
the sense of hearing the finest gradation of
sound.
Musicalement (mii-zi-kal-manh"), Fr. "1
Musicalmente (moo-zi-kal-mSn'tt^), It. j
Musically, harmoniously.

Musical glasses. Drinking-glasses so tuned
in regard to each other that a wet finger be-
ing passed round their brims they produce
the notes of the diatonic scale, and are ca-
pable of giving the successive sounds of reg-
ular tunes or melodies.

Musical grammar. The rules of musical com-
position.

Musically. In a musical, melodious manner.

Musical nomenclature. The vocabulary of
names and technical terms in music.

Musical pantomime. A dramatic perform-
ance, the ideas and sentiments of which are
expressed by music and gestures.

Musical science. The theory of music, in
contradistinction from the practice, which
is an art ; the general principlesand lasvsof
combining tones for art purposes. It in-
cludes harmony, countorpo-nt, canon and
fugue, form, orchestration, etc.

Musical soiree. An evening musical enter-
tainment, public or private.

i arm, '^ add, & ale, ^ end, Here, Mil,), isle, odd, 6odd,oovioon, (i but, ii Fr. sound, kh Ger. ch, nh nasal.
11 (161)

MUS

DICTIONARY OF MUSIC.

NaO

Musical terms. Words or phrases appended
to passages of music, indicating the manner
in wliich they should be performed.

Musica plana (moo'si-ka pla'na), Lat. Plain
chaut or song. The traditional tunes for
intoning the various offices of the church.

Music, enharmonic. Music that proceeds by
Intervals smaller than the diatonic and
chromatic, or musis which progresses from
one key to another by mean;- of enharmonic
changes, as when, e.'g., the chord of Cit is
followed i)y that of A\^, the former being
en harmonically changed into the chord of

Music, field. Martial music.

Music, Gregorian. Those chants and melo-
dies introduced into the Roman Catholic
service by ISl. Gregory la the sixth century.

Music, hunting. Music suited to the chase.

Musician. One who understands the science
of music, or who s'.ngs, or performs on some
instrument according to the rules of art.

Musicien (mu-ze-si-iinh), Fr. Musician.

Musico (mo /zi-ko). It. A musician ; a pro-
fessor or practitioner of music. The name
was also applied to those male vocalists who
formerly sang soprano parts.

Music of the future. A term applied to the
music of Richard Wagner and others of his
school.

Music=recorder. An instrument to be at-
tached to a pianoforte for the purpose of
recording upon paper the notes that are
played.

Music=t?mekeeper. An English instrument
designed to enable a performer to keep
time in any measure in which a piece of
muoic is written.

Music=trademark. A mark adopted by the
United Slates Board of Music Trade, being a
star enclosing fii<ures denoting the retail
price of the work upon which it is printed,
the figures representing the number of
dimes at which it is sold,

Musicus (moo'zi-koos), Ger. A musician.

Musiker (moo'zl-k6r), Ger. A musician.

Musikfest (moo-sik'f6st), Ger.' A musical fest-
ival.

Musiklehrer (moo-zlk-la'r6r), Ger. Teacher
of music.

Musikprobe (moo-zik-pr6'b6), Ger. A musical
rehearsal.

Musikverein (moo-zik'fS-rin'), Ger. A mu-
sical society.

Musikzeitung (moo-zik-tsi'tooug), Ger. A
musical paper,

Musique (mii-zek), Fr. Music.

Musique d'eglise (mii-zek da -glez), Fr.
Church music.

Muta (moo ' ta), It. Change ; in horn and
trumpet music it means to change the
crooks; in drum parts it means that the
tuning of the drum is to be altered.

Mutation. Change, transition ; the trans-
formation of the voice occurring at the
age of puberty.

Mutation (mii-tii-si-onh), Fr. \ Mntntirm

Mutazione (moo-tii-tsi-o'ne), It. j ^^a"'-^'-!""-

Mutation, or filling-np stops, are those which
do not give a sound corresponding to the
key pressed down— such as the quint, tierce,
twelfth, etc.

Mute. A small instrument of brass, ivory, or
wood, sometimes placed on the bridge of
a violin, viola, or violoncello, to diminish
the tone of the instrument by damping or
checking its vibrations. Also a round
piece of wood with apertures, placed in
the bell of wind instruments in order to
reduce the volume of tone.

Muthig (moo'tig), Ger. Courageous, spirited.

Muthwillig (moot'vTl-lig), Ger. Mischievous,
lively.

Mutiren (moo-te'r'n), Ger. To change the
voice from soprano to tenor, baritone, or
bass.

Mysteres (mis-tar), Fr. | A kind of re-

Mysterien (me-sta're'n), Ger. V ligious dra-

Mysterles. j ma ; rnde

theatrical representations of sacred history
in vogue during the middle ages, and de-
riving their name from the mysteries of the
Christian faith of which Ihey treat. The
scope of their subjects extends from the
Creation to the Last Judgmc-nt, compre-
hending "the whole scheme of man's fall
and redemption." The Passion-Plays still
performed at Ammergau and some other
places are survivals of the old Mysteries.

JV

Nabla (nii-bla), Ileb. The nebel, a ten-stringed

instrument of the ancient Hebrews; the

harp of the Jews, sometimes written Nebel

Nasar.

Nacaire (na-kar'), Fr. ") A brass drum

Nacara (ua'ka-ra). It. J» with a loud, metal-

Nacarre (na'ka-r6), It.pl. ) lie tone, formerly

much used in France and Italy.

Nacchera (nak'k6-ra), It. Kettledrums.

Nachahmung (nakh-ii'moong), Ger. Imita-
tion. The more or less exact repetition of a
motive, phrase, or passage at the same or a
different pitch, in a dilTerent voice.

Nach Belieben (niikh ba-le'b'n\Ger. At pleas-
ure. The same as Ad libitum.

a arm, a add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, H but,Ji Fr. sound, kh Ger. ch, nh nasai.

(162)

NAC

DICTIONARY OF MUSIC.

NEA

Emphasis, ac-

Nachdruck (uakh'drook), Ger.

cent.

Nachdriicklich (nakh'driik-likh), -^ 1
Nachdrucksvoll (nakh'drooks-fol), ^^^- I

Energetic, emphatic, forcible.
Nachhall (nakh'hiill), Oer. Reverberation,

echo.

Nachklang (nakh'kliing), Ger. Resonance,
echo.

Nachklingen (nakh'kling-6n), p \ To ring,
Nachschallen (nakh'shal-l'n), j to echo,

to resound.

Nachlassend (nakh-las'send),6rer. Slackening

in time.
Nachlassig (niikh-las'sigh), Ger. Slackening,

meaning somewhat carelessly ; letting up.
Nachschlag (niikh'shlag), Ger. Additional, or

afternote.
Naf:hspiel (nakh'spel),Ge}-. Afterplay; a post-

lude, or concluding piece.

Nachstverwandte Tone (nakhst'fer-wilnd'tC
to'ng), Ger. The nearest relative keys.

Nachthorn (nakht'h6rn),Ger. Nigh thorn ; an
organ-stop of 8-feet tone, nearly identical
with the quintation, but of larger scale and
more hornlike tone.

Nachtschlager (uiikht'shla'ggr), ^-„ )

Nachtig-all (nakht'ti-gall), ^^^- f

Nightingale.

Nachtstandchen (nakht'stand-kh'u), Ger. A
serenade.

Nachtstuck (nakht'stiick),Ger. A serenade, a
nocturne.

Nach und nach (nakh oond nakh), Ger. By
little and little, by degrees.

Nafie (na-fer). A Persian trumpet.

Nafiri (na-fe-re). An Indian trumpet.

Nagarah (na-ga'ra), Per. The kettledrum of
tue Persians.

Nagelgeige {Ger.), Nailfiddle. The tones of
this instrument are produced from a series
of nails by friction, generally by means of a
bow.

Naif (nii-ef), Fr. \

Naiv (na-ef), Ger. V Simple, artless, natural.

Naive (na-ev), Fr. \

Naivement (na-ev-manh), Fr. Simple, nat-
urally.

Naked. A term significantly applied by mod-
ern theorists to fourths, fifths, and other
chords when unaccompanied.

Nakokus (nii-ko'kils). The name of an instru-
ment much used by the Egyptians in their
Coptic churches, and in their religious pro-
cessions, consisting of two brass plates sus-
pended by strings and struck together by
way of beating time. Corresponding to the
sistrum and to the bell struck during the
sacrifice of the Mass to notify distant audi-
tors of an especially solemn moment.

Nanien (na-ni-Cn), Ger. A dirge, an elegy.

Narrante (nar-ran't6), It. In a narrative style.

Narrator. A name formerly given to the chief
performer in an oratorio.

Narrentanz (nar'r'n-tiints), Ger. A foolish
dance ; a fool's dance.

Nasal tone. That reedy, unpleasant tone pro-
duced by the voice when it issues in too
great a degree through the nostrils.

Nasat I -^'^ *^^^ name for an organ-stop,
Nassat C ^^"^^ ^ twelfth above the diapa-
Nazard. ) ^^"^•

Nasardo (na-zar'do), i^. One of the registers
of an organ.

Nason. A very quiet and sweet-toned flute-
stop, of 4-feet scale, sometimes found in old
organs.

Nationallied (na-tsi-6-nal'led), Ger. National
song.

National music. ) Music identified with the

National song, j history of a nation, or the
manners and customs of its people, either
by means of the sentiment it expresses or by
long use.

Natural. A character marked fl, used to con-
tradict a sharp or flat.

Naturale (na-too-rii'lg), It. Natural, easy, free.

Natural harmonic series. Harmonics; par-
tial tones.

Natural harmony. The harmony of the triad,
or common chord.

Natural! suoni (na too-ra'le soo-6'ni). It.
Sounds within the compass of the human
voice ; natural sounds.

Natural keys. Those which have no sharp or
flat at the signature, as C major and A mi-
nor.

Naturalmente (na.-too-ral-m6n't6). It. Nat-
urally.

Natural modulation. That which is confined
to the key of the piece and its relatives.

Naturhorn (nii-toor'horn), Ger. The natural
horn, the horn without valves.

Naturliche Intervalle (na-tiir'likh-C in-t6r-
val'16), Ger. Natural intervals, intervals
proper to the key, not such as are altered by
sharps or fla ts ; more especially are so named
those belonging to the C major scale, with-
out any sharps or flats at all.

Naturtone (na-toor't6-n6), Ger. Natural, or
open, notes: the natural harmonic series,
the notes which, for instance, on the horn,
can be produced without stopping, or any
mechanical means.

Naturtrompete (nii-toor'trom-pa-tg), Ger. A
natural trumpet, one without valves.

Naublum (naw-bloom), Ileh: See Nabla.

Nautical songs. Songs relating to the sea

Nay (na), Tier. A Turkish flute ; the nei.

Neapolitan sixth. A chord composed of a
minor third and minor sixth, and occur-
ring on the subdominant, or fourth degree

a arm, a add, a ale, 6 end, e eve, I ill, i isle, 6 old, 6 odd, oo moon, fi but, \X Fr. sound, kh Ger. ch, nh 7iasal,

(163)

NEB

DICTIONARY OF MUSIC.

NOE

il

S=

of the scale. In the key of C
(major or minor) this chord is
really the same as the first iu- 1"^
version of the triad of DJ?.

Nebel (na-b61), rr,^ ) The

Nebel nassor (na-b6l nas s6r), j name

given by the aucieut Jews to their ten-
stringed haro, supposed to have been tri-
angular iu form and used in religious wor-
ship.

Neben (na'b'n), Ger. Accessory. (Much used
iu compounds.)

Nebennote (na'b'n- no' t6), Ger. Auxiliary
note.

Nebenregister (na'b'n-r6-ghis't6r), ^ )

Nebenzuge (na'b'n-tsii'ge), tre?.|

Secondary or accessory stops in an organ,
such as couplers, tremulant, bells, etc.

Nebenstimmen (na'b' n - stim ' m6n) , Ger. Ac-
cessory voices. Applied to subordinate
voices in contrapuntal work, and to or-
gan-stops unavailable for solo or founda-
tion purposes, such as the twelfth, mix-
tures, etc.

Necessario (na-tshgs-sa'ri-6), It. A term indi-
cating that the passage referred to must not
be omitted.

Nechiloth (nek'i-loht), Heb. A wind instru-
ment of the Hebrews, formed of a double
set of pipes.

Neck. That part of a violin, guitar, or simi-
lar instrument, extending from the head
to the b.^dy, and on which the fingerboard
is fixed.

Neghinoth (n6'ghi-noth), rr ^ ) A word fixed

Neginoth (n6'gi-n6th), ^^^- j at the head
of certain of the psalms, and supposed to
announce the particular tune to which
they were to be sung, answering to the
modern giving out. Neginoth was also the
name given to ancient stringed instru-
ments.

Negligente (n61-y6-j6n't6), //. Negligent ; un-
constrained.

Negligentemente (n61 - yi- j6n - 16 - m6n' tS), It.
Negligently.

Negligenza (n61-yi-j6n'tsa), It. Negligence,
carelessness.

Negli(.V.f yi)' ^<- P^- lln the; at the.
Nei (na'i), j

Nei (na'e), Tur. A fashionable musical in-
strument of the Turks, being a flute made
of cane.

Nekeb (na'k6b), Ilch. A wind instrument of
the ancient Hebrews, formed of a single
tube.

Nei (n61), It. ~\

Nella (uei'ia), It. f

Nelle (nei'ie), It. pi. V In the ; at the.

Nello(nCl'16), J<. \

Nell' (n61), It. J

Nei battere (n6l bat-ta'r6). It. In the down-
beat of the measure.

Nei tempo (nOl tfim'po), It. In time, in the
previous time.

Nete (na'tg), Gr. The last, or most acute,
string of the lyre ; the name given by the
ancient Greeks to the fourth, or most acute',
chord of each of the three tetrachords which
followed the first two or deepest two.

Nete diezeugmenon (na-t6 de-zoog'me-n6n),
Gr. The final, or highest, sound of the
fourth tetrachord, and the first, or gravest,
of the fifth.

Nete hyperbolseon (na-t6 he'p6r-b6'le-6n), Gr-
The la>t sound of the hyperbolseon, or high-
est tetrachord, and of the great system, or
diagram, of the Greeks.

Nete synemmenon (na-t6 si-nemm6-n5n),(Tr.
The fourth, or most acute, sound of the
third tetrachord, when conjoint with the
second.

Neatly,
clearly,
plainly.

Net (na), Fr.
Nett(n6t), Ger.

Nettamente (n6t-ta-m6n't6). It.
Nette (nat), Fr.

Nettete (nat-ta), Fr. ] Neatness,

Nettheit (ngt'hit), Ger. [• clearness,

Nettigkeit (n6t-tig-kit), Ger. j plainness.

Netto (ngt'to). It. Neat, clear; quick, nimble.

Neu (noi), Ger. New.

Neumes (nums). (1) An early system of nota-
tion by means of points, commas, hooks,
etc. By and by one, two, and more lines
were introduced to remedy the vagueness
of the signs, and finally our present nota-
tion developed out of it. (2) Melodic phrases
at the close of a verse, most frequently found
on the last syllable of Alleluia.

Neun (noin), Ger. Nine.

Neunachtel Takt (noin-akh't'l takt), Ger.

Measure in nine-eighth time.
Neunte (noin'te), Ger. A ninth.
Neunzehnte (noin'ts6n-t6), Ger. Nineteenth.

Neuvieme (niih-vi-am'), Fr. The inter^-al of

a ninth.
Nicht (nikht), Ger. Not.

Nieder (ne'd'r), Ger. Down ; used in compo-
sition with other words.

NIederschlag (ne'dgr-shlag), Ger. The down-
beat, or accented part of the bar.

Niederstrlch (ne'd^r-strikh), Ger. The down
bow.

Niedrig (ne'drig^Ger. Low, or deep, in voice.

Nina (ne'nii). It. A lullaby.

Nine = eighth measure. A measure contain-
ing nine eighth-notes, or their equivalent,
marked 9-8.

Nineteenth. An interval comprising two oc-
taves and a fifth ; also an organ-stop, tuned
a nineteenth above the diapasons. See La-
rigot.

Ninth. An interval consisting of an octave
and a second.

Nobile (no'bi-ie), It. Noble, grand, impres-
sive.

a arm, a add, a ale, e end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, il but, u Fr. sound, kh Ger. cli, uh nasal.

(164)

NOB

DICTIONARY OF MUSIC.

NOT

Nobilita, con (no-be'li-ta kon), It. With no-
bility: dignified.

Nobilmente (no-bil-mCn'tg). It. ) Nobly,
Noblement (iio-bl-mauh), Fr. j grandly.

Nobilmente et animato (no bll-mfen't^ 6d a-
iii-ma'lo), It. With grandeur and spirit.

Noch (uokh), Ger. Still, yet.

Noch schneller (nokh shuCl'ler), Ger. Still

quicker.
.Nocturn. ) A composition of a light and ele-

Nocturne. j gant character suitable for even-
ing recreation ; also a piece resembling a
serenade to be played at night in the open
air.

Nocturne (nOk-tiirn), Fr. \ . „ortnrne
Nocturno (nok-toor'noj, It. f ^ nocmrne.

Nodal points. ) In music the fixed points of a
Nodes 1 sonorous chord, at which it

divides itself when it vibrates by aliquot
parts and produces the harmonic sounds;
as the strings of the sev^liau harp.
Noel (n6-€l), Fr. A Christmas carol or hymn
Noire (nwar), Fr. Black note ; a crotchet.

Noire pointee (nwar pw.anh-ta), Fr. A dotted
crotchet.

Nomenclature, musical. A vocabulary of

names and technical terms employed in
music.

Nomes (nc'raSs), Gr. Certain airs in the an-
cient music sung to Cybele, the mother of
the gods, to Bacchus, t ) Pan, aud other di-
vinities. The name nome was also given
to every air the composition of which was
regulated by certain determined aud in-
violable rules.

Non (non), It. Not, no.

Nona (no'na), It. The interval of a ninth.

Nona chord. The dominant chord with a
third added to it.

Nonetto (no-ngt'to). It. A composition for
nine voices or instruments.

Non tanto (non tau'to), It. Not so much, not
too much.

Non troppo (non trop'po), It. Not too much,

moderately.

Non troppo allegro (non trop'po al-la'gro), y. \
Non troppo presto (non trop'po prfis'to), j
Not too quick.

Nonuplet. A group of nine notes of equal

length.

Normal (nor-mal'), Ger. Normal, proper.

Normalton (nor-mal'ton), Ger. The normal
tone, the tone A, the sound to which in-
struments are tuned in an orchestra.

Normaltonleiter (n6r-mal-t6n'li-t6r),(?er. The
natural scale, the scale of C, the open key.

Nota (no'ta~). It. \ . .

Nota(n6'ta), Lat.\^^^^^'

Nota buona (nS'ta boo-6'na), It. A strong, or
accented, note.

Nota cambiata (nS'ta kiim-bl-a'ta). It. A
changed, or irregularly transient, note; a
passing note.

Nota caratteristica (no'ta ka-riit-tS-res'ti-ka),
It. A characteristic, or leading, note.

Nota cattiva (n6'ta kat-te'va). It. A weak, or
unaccented, note.

Nota contra notam (nO'ta kon'tra no'tam). It.
Note against note. See Counterpoint.

Nota ooronata (n6'ta ko-ro-nii'ta), It. A note
marked with a hold.

Nota d' abbellimento (no'ta d'ab-b61-li-m6n'-
to), Jt. A note of embellishment, an orna-
mental note.

Nota di passaggio (no'ta de pas-sad'ji-6\ It. A
passing note, a note of regular transition.

Nota dl piacere (no'ta de pe-ii-tsha'rij), It. An
optional grace note, an ad libitum embel-
lishment.

Nota ser.sibile (no'ta sen-se'bi-16), It. \
Nota sensibilis (no'ta s§n-se'bi-lis), Lat. j
The sensible, or leading, note of the scale.

Nota signata (no'ta sig-na'tii), Lat. A note
marked with a sign.

Nota sostenuta (no'ta s6s-t6-noo'ta), It. A sus-
tained note.

Notation. The art of representing bv notes,
characters, etc., all the difterent musical
sounds.

Notation, numerical. A system of notation
first introduced by Rousseau, in which the
first eight of the numerals are used for des-
ignating scale tones, aud points, ciphers,
etc., for such characters as represent pauses,
time, etc.

Notazione musicale (no-ta-tsi-o'uS moo-zi-ka'-
\^, It. Musical notation.

Note. A character indicating musical utter-
ance. By its formation it indicates the du-
ration of a tone, and by its situation upon
the staff its proper pitch.

Note, connecting. A note held in common
by two chords.

Note d'agrement (not d'a-gra-manh), Fr. Au
ornamental note.

Note de passage (not diih pas-sazh), Fr. A
passing note ; a note of regular transition.

Note diesee (not di-a-za), Fr. Note marked
with a sharp.

Note, double. The ancient breve.

^^

Note, double°dotted. A note whose length is
increased tbree fourths of its original value
by the dots pJaced after it.

Note, double=-stemmed. A note having i — 1~
two stems, one upward and the other Bz:
downward, showing that it belonys ^—
to two different voices. In pianoforte mu-
sic a double-stemmed note generally be-
longs to the melody in its longer sign'ifica-
tion, and to the accompaniment in its
shorter signification. In the bass, half-notes
with two stems often occur, in which case

a arm, & add, a ale, 6 end, e eve. i ill, I isle,6 old, 6 odd, oo moon, H but, u Fr.sound, kh Ger. ch. nh nasal.

(165)

IS^OT

DICTIOISARY OF MUSIC.

OBB

the upper stem belongs to a ciuarternote,
supposed to be concealed behind the half-
note, and belonging to the voice having the
chords above. Such a note is held its longer
value, but the chord or other notes belong-
ing to the quarter-note stem enter after one
beat.
Noten (no't'n), Ger. pi. Notes. Used in com-
position with other words.

Notenblatt (uo't"n-blat), Ger. A sheet of mu-
sic.

Notenbuch (no't'n-bookh), Ger. Music-book,
notebook.

Notenschrift (no't'n-shrift), Ger. Musical man-
uscript.
Notensystem (n6't'n-sis-tam'),Gcr. The staff.

Note of modulation. A note which intro-
duces anew key, usually applied to the lead-
ing note or sharp seventh.

Note, open. A note produced on the strings
of a violin, guitar, etc., when not pressed by
the finger.

Note, pedal. A note held by the pedal while
the i)armony forming the remaining parts
is allowed to proceed.

Note, quarter. A crotchet.

Noter (no-ca), Fr. To write out a tune or air.

Note, reciting. The note in a chord upon

which the voice dwells until it comes to a

cadence.

Note scolte (no'tg skol'tg), It. Staccato note.

Notes coulees (not koo-la), Fr. Slurred notes.

Notes de gout (not diih goo), Fr. Notes of
embellishment.

Note, sensible (not sanh-sebl), Fr. The lead-
ing note of the scale ; the seventh of the
scale.

Note, sixteenth. A semiquaver. S

Note, sixty =fourth. A hemidemisemi- S

quaver. S

Notes liees (not le-a), Fr. Tied notes.

Notes syncopees (not sen-ko-pa), Fr. Syn-
copated notes.

Note, thirty^second. A demisemiquaver, ^

Note, triple-dotted. A note whose value is
increased seven eighths bv three dots after

it.

Note, whole. A semibreve,

Notturni (not-toor'ui), It. Nocturnes.

Notturno (not-toor'no). It. A nocturne; a
light, elegant composition suitable for an
evening performance ; a serenade.

Nourrir le son (noo-rer Kih s6nh^, Fr. To
commence, or attack, a note in singing, forc-
ibly, and sustain it.

Nourrissons (noor - res - s6nh), Fr. Bards,
poets.

Nouvelle methode (noo-val' ma- tod), Fr. A
new method.

Nova (no'va), It. A species of small flute or
pipe.

Novemole. A group of nine notes, to be per-
formed in the same time as six of equal
value.

Novice (n6v-is). A beginner ; one unskilled.

Nuances (nii- iinh -s'), Fr. pi. Lights and
shades of expression, variety of intonation.
A system of notation.

Numerical notation. A system of notation
first introduced by Rousseau, in which nu-
merals were substituted as names of scale
tones, 1, 2, 3, etc. The numerals were writ-
ten upon a line for the standard octave,
above the line for the octave above, and be-
low the line for the octave below. A similar
notation had a local currency in Massachu-
setts about 1851 ; it was called Day & Beal's
" One-Line System." The measure was
represented iv nearly the usual manner. In
France a similar system is in use among the
Orpheonists. Iv was invented or improved
by M. Paris, the inventor of the " time-
names."

Nuovo (noo-6'vo), It. New ; di miovo, newly,
again.

Nuptial = songs. Wedding-songs, marriage-
songs.

Nut. The small bridge at tlie upper end of
the fingerboard of a guitar, over which the
strings pass to the pegs or screws.

O

O, It. Or. FzoKno 0 ^owto, violin or flute.

O (o) before a consonant, „ \r\^ „^ „,-fv,^„
Od (od) before a vowel, ^^- | ^^' ^^' ^^*^^'^-

Obbligato (6b-bli gii'to), It. ) Indispensa-
Obbligati (6b-bli-ga'te), It.pl. { ble, necessary;
Oblige (Ob-li-zha'), Fr. C a part or parts

Obligat (ob-ll-gaf), Ger. ) which can not

be omitted, being indispensably necessary

to the idea. Generally speaking, every in-
dependent part is obbligato. The exprev
sion "organ obbligato," for instance, indi
cates that the organ is not simply a rein-
forcement of the other parts, but has some-
thing of its own to say. The obbligato in-
strumental part frequently to be met with
in the arias of older operas, oratorios, etc.,
vied, concerted, with the vocal part. Titles

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OBE

DICTIONARY OF MUSIC.

OCT

such as these were very common : Aria con
viulino obbiigato, or flauto obbligato.
Ober (6'b6r), Ger. Upper, higher.

Obermanual (6'Mr-ma-uoo-al'), Ger. The up-
per manual.

Oberstimme (6'b6r-stim'm6),6rer. Treble, up-
per voice part.

Obertasten (o'bCr- tils' t'n), Ger. The black keys.

Obertheil (6'bCr-til'), Ger. The upper part.

Oberwerk (6'b^r-wark), Ger. Upper work,
highest row of keys.

Oblique motion. A relative motion of two
voices in which one moves while the other
remains stationary.

Obliquo (6b-le'kwo), Jt. Oblique.
Oboe (5'b6-6), Ger, \ A hautboy ; also the
Oboe {6-h6- 5/), It. jname of an organ-stop.
(1) A wood wind instrument with a mouth-
piece consisting of a double reed. Its ex-
ireme compass extends from bb or b# to f".
Music for the oboe is written in the G clef,
and written as it sounds. This is the oboe
of our orchestras. In military bands are
also sometimes to be met with oboes in B^
and a soprano oboe in Et>, which' are, of
course, transposing instruments. (2) There
are, likewise, organ-stops of the name of
oboe, of 8-feet and more rarely of 4-feet
pitch. (3) For other kinds of oboe, oboes
now obsolete, see the following articles :

Oboe basso (o-bo-a' biis'so), It. This obsolete
instrument stood a minor third lower than
the ordinary oboe.

Oboe da caccia (o-bo-a' da kat'tshi-a), //. A
larger species of oboe, with the music writ-
ten in the alto clef. Its natural key wns F
or Et?.

Oboe d'amore (6-b6-a' d'a-mo'rg), y-, ") A spe"
Oboe lungo (o-bo a' loon'go), jcies of

oboe, longer than the ordinary oboe", with a

thinner bore and lower pitch.

Oboi (o-bo-e'), It. Hautboys.

Oboist. A performer on the oboe or hautboy.

Oboista (6-b6-es'ta), It. An oboist.

Octachord. An instrument or system com-
prising eight sounds or seven degrees.

Octaphonic. Composed of eight voices.

Octava alta (ok-ta'vii til'tii), It. Play the pas-
sage an octave higher.

Octava grave (ok-ta'va gra'va), Sp. Octave
below.

Octave. The interval from any tone to the
eighth above or below in the same scale.
The octave above any tone is produced by
exactly twice as rapid a vibration frequency,
and the octave below by exactly half as
many vibrations. The most fundamental
principle in harmony is that octaves are
equivalent and may be interchanged in any
chord without changing its harmonic char-
acter.

Octave clarion. A two-feet reed-stop in an
organ.

Octave flute. A small flute an octave higher
than the German or ordinary flute ; a pic-
colo.

Octave hautboy. A 4-feet organ reed-stop;
the pipes are of the hautboy species.

Octave, large. The third octave, indicated
in the German tablature by capital letters.

Octave, large, once^marked. The second oc-
tave, indicated by capital letters having a
single line below.

Octave, large, tv^ice=marked. The first oc-
tave, indicated by capital letters having two
lines below them.

Octaves, consecutive. Two parts moving in
unison or octaves with each other.

Octaves, covered. Certain apparent consecu-
tive octaves which occur in harmony, in
passing by similar motion to a perfect con-
cord.

Octave, small. The fourth octave, so called
because indicated by small letters in the
German tablature.

Octave, small, five=times marked. The

ninth octave, represented by small letters
with five lines above them.

Octave, small, four^^times marked. The

eighth octave, represented by small letters
with four lines above them.

Octave, small, once-marked. The fifth oc-
tave, indicated by small letters with one
line above them.

Octave, small, six=times marked. The tenth
octave, indicated by small letters with six
lines above them.

Octave, small, thrice-marked. The .seventh
octave, indicated by small letters with three
lines above them.

Octave, small, twice=marked. The sixth oc-
tave, indicated by small letters with two
lines above them.

Octaves, short. Those lower octaves of an
organ the extreme keys of which, on ac-
count of the omission of some of the inter-
mediate notes, lie nearer to each other than
those of the full octave.

Octave staff. A system of notation intro-
duced by a Mr. Adams, of New Jersey,which
consists of three groups of lines combined,
comprising three octaves of ordinarv vocal
music, dispensing with flats and sharps, and
giving to each tone its own position.

Octave stop. An organ-stop of four-feet pitch,
hence an octave above the diapason ; the
position of fingers for stopping the intervall
of an octave upon the fingerboard; a me-
chanical stop in reed-organs, coupling the
keys an octave above, or borrowing within
the instrument in such a manner that oc-
taves result.

Octavflotchen (6k-taf'fl6t'kh'n), Ger. An oc-
tave flute ; a flageolet.

Octavflote (6k-taf'flo't6), Ger. Octave flute,
flageolet : also an organ-stop of four-feet
scale.

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OCT

DICTIONAKY OF MUSIC.

OPE

Octavflotlein (6k-taffl6t'lin), Ger. An octave
flute.

Octavfolgen (6k-taf -fol'ghgn), Ger. Octave-
succession ; parallel motiou by octaves.

Octavin (5k-ta-vanh), Fr. An organ-stop of
two-feet scale.

Octavine (6k-ta-ven'), Fr. The small spinet.

Octet. \ A composition for eight parts, or

Octett. I for eight voices.

Octette (ok-t6t'to), It. An octet.

Octo=bass. A monster double bass, invented
by M. Vuillaume, of Paris. It is of colossal
size, about twelve feet high. Stopping is
efl'ected by means of keys and pedals. The
tone is full and strong without roughness.

Octochord (ok'to-kord). Lat. An instrument
like a lute, with eight strings.

Octoplet. A group of eight notes of equal
value, played in the time of nine or some
other natural rhythmic group.

Octuor (5k-iw6r). Fr. A piece in eight parts,
or for eight voices or instruments.

Ode. A Greek word, signifying an air or
song ; a lyrical composition of greater length
and variety than a song, resembling the
cantata.

Odelet. A short ode.

Odeon (o'd5-on), Ger. )^ A building for odes.

Odeum (6-da-oom), Lat. ] A public build-
ing for musical purposes.

Oder (o'dgr), Ger. Or, or else ; fiir ein oder
zwel Claviere, for one or two manuals.

QSuvre (iivr), Fr. Work, composition, piece
—a term used in numbering a composer's
published works in the order of their publi-
cation.

CEuvre premier (iivr pr6-mi-a'), Fr. The first
work.

Off en (of'f'n), Ger. Open. Applied to organ-
pipes. Also used in composition.

Offenbar (of'f'n-bar), Ger. Open to view, un-
concealed.

Offenflote (6f'f'n-flo't6), Ger. An open-flute
organ-stop. See also Clarabella.

Offertoire (6f'f6r-twar), Fr. ) A hymn,

Offertorio(6f'f6r to'rio),/^. ( prayer,

Offertorium (6f'f6r-to'ri-oom), Lat. C anthem,

Offertory (6f'f6r-t6-ry). ) or in-

strumental piece sung or played during the
collection of the offertory.

Offertorio (of'f6r-t6'ri-6), Sp. Offertory.

Oficleida (6-fi-kla-i-da), r. \ The ophicleide;

Oficleide (o-fi-kla-i-dg), ■^'" J a French bass
horn.

Ohne (o'n6), Ger. Without.

Ohne Pedale (o'n6 p6-da'16), Oer. Without
the pedals.

Oktave (ok-ta'fe), Ger. Octave, eighth.

Ole (o'lC), Sp. (El ole.) Spanish dance with
castanets, in slow 3-4 measure.

Olio. A miscellaneous collection of musical
pieces.

Olivettes (6-li-v6t'), Fr. The dances of the
peasants in the Provence after the olives are
gathered.

Omnes (om'nes), j- . \ . ,, g y „v
Omnia (om'ni-a), ^°^' | ^^^- ^^^ ^"^^*-

Omnitonique (6m-ni-ton-ek'), Fr. Having all
the tones. Capable of the whole chromatic
scale.

Once=marked octave.

The name given in

Germany to the' notes

between

inclusive; these notes

=^=F

^

and

, are expressed

small letters with one short stroke.

bv

Ondeggiamento (on-dad - ji-a-m6n't6), It.
Waving ; an undulating or tremulous mo-
tion of the sound ; also a close shake on the
violin.

Ondeggiante (6n-dad-ji an'tg), It. Waving,
undulating, trembling.

Ondule (5nh-du-la'), Fr. Waving, trembling.

Onduliren (on-doo-le'r'n), Ger. A tremulous
tone in singing or in playing the violin, etc.

Ongarese {on-ga-ra'z6). ^, ) HnnMriftn
Onglierese (6n-gh6 ra'ze).^^- | Hungarian.

Onzieme (6nh-zhi-am), Fr. Eleventh.

Op. Abbreviation of Opus, work.

Open diapason. An organ -stop, generally
made of metal, and thus called because the
pipes are open at the top. It commands
the whole scale, and is the most important
stop of the instrument.

Open harmony. Chord-positions in which'
the upper three voices generally or uni-
formly exceed the compass of an octave.

Open note. A half-note, a whole note.

Open pipes. Organ-pipes with open ends,
instead of being closed with a stopper or
chimney. All the free voices in an organ
are produced by open pipes. All the voices
produced by stopped pipes are somewhat
veiled in character, or flute-like.

Open tone. A tone produced by an open
string, or by a wind instrument without
using the valve or keys. A tone open and
free in quality.

Oper (6'per), Ger. ) A drama set to music.

Opera (6-p6-ra), It. j According to the best
modern practice the opera consists of al-
most every variety of music, not alone
songs, duets, trios, and other concerted
pieces, choruses, elaborate finales, and
richly instrumented orchestral accompani-
ment, but also melodramatic music, which
accompanies the action, even in those mo-
ments when there is no singing in prog-
ress.

Preludes and interludes are elaborate or-
chestral pieces, often reaching symphonic
proportions.

Opera music has for its problem to inter-
pret the drama and to intensify its imi)res-
sion, and in order to accomplish this it is
at liberty to employ the complete resources

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OPE

DICTIONARY OF MUSIC.

ORC

of the art, almost to an unrestricted de-
gree. When there is a dramatic action pro-
gressing before the ej'es of the spectator,
many strange musical combinations be-
come intelligible which without such ex-
planation would seem far-fetched or im-
possible. Hence opera has had great in-
fluence upon the progress of music as an
art.

Opera is divided into schools according
to the emphasis placed upon the different
elements composing it. French opera, for
instance, places the text in the foremost
place, and the dramatic movement next;
hence it does not permit itself the arias
and long musical pieces of the Italians, or
of the Germans. German opera places the
drama first, and the music second, not
only as an accompaniment, but still more
as a musical interpreter of the inner spirit
of the progressing actions, and of the
drama as a whole. Italian opera places
the voice and the art of singing first, and
the drama second. Hence this school has
produced the great bulk of arias which are
available for concert performances, apart
from the dramatic action. Most of the
German arias existing are avai?able for
separate performance, having been com-
posed after Italian principles.

Opera was first invented about the year
1600, as a sort of revival of the classic Greek
drama. Its greatest works have been com-
posed within the present century, or im-
mediately before it (1790 to 1895).

Opera buffa (6'p6-ra boof'fa^. It. An opera
upon a comic or farcical subject, in which
music is treated lightly and for the pur-
pose of pleasing. The farce is the main
thing. Occasionally high-class opera is dis-
tinctly burlesqued, giving rise to buffa
arias ; the absurdity may be musical or
may turn upon the text.

Opera buffe (6'p6-ra boof-f6), It. Comic opera.

Opera, comic. An opera interspersed with
light songs, amusing incidents, dances, etc.

Opera di camera (o'p^-ra de ka'm6-ra), It. A
short opera to be performed in a room.

Opera, grand. An opera consisting of a deep
and intricate plot and a great variety of in-
cidental events.

Opera heroique (6-pa-ra ha-ro-ek'), Fr. An
heroic opera.

Opera»Iibretto. The text of an opera ; a small
book containing the words of an opera.

Opera lyrique (6-pa-ra leer-eek'). Fr. A lyric
opera; an opera iu which the songs are
lyrical rather than dramatic; i.e., do not
lend themselves to the progress of the ac-
tion, but are simply pleasing and, perhaps,
expressive pieces of music.

Opera seria (6'p6-ra sa'ri-a). It. \ A seri-

Opera serieux (o-pa-ra sa-ri-tlh), Fr. J ous, or
tragic, opera.

Operatic. In the style of an opera.

Operetta (6-pC-r6t'ta), It. A small opera, of
light and pleasing character. It may be
simply comedy, or it may even degenerate
into farce.

Operndichter (6'p;1rn-dikh'tCr),(?er. An oper-
atic poet ; writer of operatic librettos.

Ophicleide (6f'i-klld). A large bass wind in-
strument of brass, of modern invention,
sometimes used in large orchestras, but
chiefly in military music. It has a compass
of three octaves, and the tone is loud and of
deep pitch.

Ophicleide stop. The most powerful manual
reed-stop known in an organ, of 8- or 4-ieet
scale, and is usually placed upon a separate
soundboard, with a great pressure of wind.

Optiicleidist. A performer on the ophicleide.

Opus (6'poos), Lat.\ Work, composition; as,

Opus (6'poos), Gev.\0\i. 1, the first work, or
publication, of a composer.

Opusculum fo-poos'koo-loom), Lat. A short,
or little, work.

Opus posthumum (6'poos p6st-hoo'moom).
Lid. A posthumous work, published after
the death of a composer.

Orage (6-razh'), Fr. A storm ; a composition
imitating a storm.

Oratoire (6r-a-twar'), Fr. Oratorio.

Oratorio. A musical work upon a Biblical
subject, consisting of solos, choruses, or-
chestral accompaniment, and containing an
implied action or story. Oratorio is part of
the great " stilo rappresentativo " in music,
the art of representing something by means
of music, or accompanied by music. Orig-
inally the same as an opera with religious
intention, and adapted for use as part of
a festival church service, it has digressed
into something much more elaborate. The
great oratorios aim at the noble, the heroic,
and the sublime in dramatic and historical
conception no less than in musical execu-
tion. Hence it is in this department that
music has found itself unfettered by the ne-
cessity of pleasing or of adapting itself to
moderate conditions. The ideal has been
sought, regardless of lesser considerations,
hence such works as those of Handel, Bach,
and many by later writers.

Oratorio (6-ra-t6'ri-6), //. )

Oratorium (o'ra-to'ri-oom), Lat. \ Oratorio.

Oratorium (6'ra-t6'ri-oom), Ger. J

Orchestra (or'k^s-tra). A full companv of in-
struments and players. A modern sym-
phony orchestra consists of about 80 to' 100
players, in the following proportions: Vi-
olins, 40; violas, 'cellos, and basses, ,30;
oboes, flutes, clarinets, and bassoons, 11 ■
horns, trumpets, and trombones, 9; tvm-
pani and percussion, 4 ; total, 94. If further
enlargement is desired, the strings are
strengthened. In modern practice the or-
chestra is handled in groups, forming a
string orchestra, the wood wind and the
brass. These groups often contrastwitheach
other throughout a work, playing all to-

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ORG

DICTIONARY OF MUSIC.

ORG

gether in the most intense portions only.
(2) Also the i>lMce in which the players sit
to play, or the part of the auditorium near-
est the place of the players.

Orchester (or'k(^s-ter), Ger.^

Orchestra (or-kas'tiii), It. ^ The orchestra.

Orchestre (or-kgstr), Fr. j

Orchesterverein (or-kCs't^r-vfir-rinO.Ge?'. An
orcUesiral society; instrumental associa-
tion.

Orchestration. The art of writing or arrang-
ing music for an orchestra. The greatest
writers upon this subject are Berlioz and F.
A. Gevaerc. The greatest masters of the art
itself have been Berlioz, Beethoven, Mozart,
Weber, and VVtigner. There are now many
modern masters who excel in the art of or-
chestral coloring.

Orchestrer (or-kes-tra'), Fr. To score.

Orchestrina (5r-k6s-tre'naK ) An instrument

Orchestrion (6r-k6s'tri-6n). j composed of
pipes and other sounding apparatuses, play-
ed automatically (by means of a barrel) for
the imitation o^ orchestral effects. Many of
these instruments are (if great size, and pro-
duce extraordinarily fine effects.

Ordinario (6r-di-na'ri-6). It. Ordinary, usual,
common; a tempo ordinario, in tlie usual
time.

Orecchia (6-ra'ki-a), „ ) r^y^

Orecchio (6-ra'ki-o), ^^- j" ^^® ®^^-

Orecchia musjcale (o-ra'ki-a moo-zi-ka'16), It.
A musical ear.

Orecchiante (6-ra'ki-an-t?), It. Singing by ear.

Organ. A keyboard instrument in which
sound is produced by means ( f pipes which
are blown on the principle of whistles, by
means of compressed air which comes from
the windchests and bellows, along wind-
trunks, and is admitted to the pipes by
the opening of a pallet, or valve, actuated
bythe player's finger upon a key.

An organ may have from one to five key-
boards, and from one to twenty stops (or
sets of pipes) to each keyboard. The key-
boards played by the hands are called man-
uals; those which the feet play are called
pedales. The latter are used for the very
low bass tones only.

A stop is a set of pipes voiced all alike,
one pipe to each key of the keyboard to
which the stop appertains.

The usual number of pipes in a stop is
sixty one, but mixtures have from three to
five times as many, and a corresponding
multiplication of sounds.

The stops are classified as diapason, flute,
string, and reed. The former furnish the
fotmdation, the others are for specialties
of tone.

Pipes are of Avood or metal, the latter a
special alloy of lead and tin, the tin in
good examples reaching fifty percent, or
more.

In former times each key pulled down a
long pallet, or valve, and when several key-

boards were coupled, the touch was ex-
tremely heavy. In modern organs the ac-
tion is pneumatic or electric. In the latter
case the parts of the organ can be dis-
tributed in any convenient place without
impairing the organist's control over them ;
but when a pipe stands too far away so
much time is lost in the sound coming
that blurring is often produced.

When there are four manuals, the most
important is called the great, the next the
swell, the choir, and the solo. At present
nearly or quite all the manual stops are
made louder or softer by means of swells,
and there is no settled order of placing the
manuals, except that the choir organ is
generally lowest, the great next, the swell
next, and the solo uppermost.

The wind pressure often varies in differ-
ent parts of the same organ from what is
called " three-inch" to "five-inch'' or " six-
inch "—the dimensions having reference to
a column of water which the pressure will
balance. About three-and-a-half-inch wind
is normal for small halls; solo stops take
the higher pressures.

Owing to the modern improvements in
the organ it is now capable of much ex-'
pression, and in point of sustained power
and massiveness of tone it is as often
called the "king of instruments." Great
improvements have been made in the art
of voicing, whereby modern organs repro-
duce orchestral effects with considerable
oraisemblance.

Organ, barrel. A hand organ.

Organ, bellows. A machine for supplying
the pipes of an organ with wind.

Organ=blower. One who works the bellows
of an organ.

Organ, buffet. A very small organ.

Organe (5r-gan), Fr. An organ.

Organ, enharmonic. I An instrument of

Organ, euharmonic. j American origin, con-
taining three or four times the usual num-
ber of distinct sounds within the compass
of an octave, furnishing the precise inter-
vals for every key, the tones comprising the
scale of each key being produced by press-
ing a pedal corresponding to its keynote.

Organetto (or-ga-nfit'to). It. A smaU organ.

Organ, hand. A common wind instrument
carried about the street, consisting of a
cylinder, turned by hand, the revolution of
which, causing the machinery to act upon
the keys, produces a number of well-known
airs aiid tunes.

Organ, harmonium. A reed instrument, the
reeds of which are voiced to imitate organ-
stops.

Organique (6r-gan-ek), Fr. Relating to the
organ.

Orgelmusik (or ' gh'l - moo;- zik'), Ger. Organ
music.

Organist. A player on the organ.

Organista (or-ga-nes'ta), It. \ i oreanist

Organista (or-ga-nes'ta), Sp. j ^^ organist.

a arm, & add, a ale, eend, e ev^, i ill, I isle, 6 old, 6 odd, oo moon, iX but, ii Fr. sound, kh Oer. ch. nh naml,

(17Q)

OTIG

DICTIONARY OF MUSIC.

ORP

Organistrum (6r-ga-nis'troom), Lat. An an-
cient instrument of the hurdygurdy varie-
ty, in wliich strings were actuated by wheel,
and the tones controlled by keys acting up-
on the keyboard. In use about 1100 A. 1).

Organi vocali (or-gii'ne vo-kii'le), It. pi. The
vi^cal organs.

Organ=loft. That part of the gallery of a
church where the organ is placed.

Organo (or-ga'no), It. An organ.

Organo pieno (6r-ga'n6 pe-a'no). It. \ The

Organo pleno (or-ga'no pla'no), Lat. j full or-
gan with all the stops drawn.

Organo portatile (or-gii'uo por-la'ti-lS), It. A
portable organ.

Organo simplex (or-gii'no sim'piex), Lnt. A
leim occurring frequently in the Avriiings
of the musical monks, and seems to mean
the unisonous accompaniment of a single
voice in the versicles of the service.

Organ point. Along pedal note, or station-
ary bass, iipon which is formed a series of
cliords, or harmonic progressions.

Organ tone. A tone that commences, con-
linues, and closes with a unifor*n degree
of power.

Organum. A word used in various senses
by the ancient composers. Sometimes it
meant the organ itself; at other times it
meant that kind of choral accompaniment
which comprehended the whole harmony
then known, also a brazen vessel forming a
principal part of the hydraulic organ,

Orgel (6r'gh6l)> Ger. An organ.

Orgelbalge (or'ghei-bal'gh^), Ger. Organ - bel-
lows.

Orgelbank (or'ghgl -bank), Ger. Organist's
seat.

Orgeibauer (6r'gh61-bou'6r), Ger. Organ-
builder.

Orgelbuhne (or'ghei-bii'ng), ^ ) Orfrfln inft
Orgelchor (6r'gh61-kor), ^'^^- 1 ^rgan-loit.

Orgelgehause (or'gh61-gh6-hoy'z6), Ger. Or-
gan-case.

Orgellcasten (or'ghgl-kas't'n), Ger. A cabinet
organ ; organ-case.

Orgelklang (or 'gh61 -klang), Ger. Sound or

lone of an organ.
Orgelkunst (6r'gh61-koonst), Ger. The art of

organ-playing ; art of constructing an organ.
Orgein (or'ggln), Ger. To play on the organ.
Or^alpfeife (or'ghCl-pfi'fg), Ger. Organ-pipe.
Orjslplatz (or'ghei-pliits), Ger. Organ-loft.

Orgelpunkt (or' gh61- poonkt'), Ger. Organ
l-oint; pedal point.

Orgelregister (6r'gh61-r6-ghis't'r), Ger. Or-
gan-slop.

Orgelschule (or'ggl - shoo'lfi), Ger. School or
uieih d lor the organ.

Orgelspiel ((Jr'gh^l-spel), Ger. Playing on an
organ ; piece played on an organ.

Orgue de salon (org dfih sa-16nh), ^ ")
Orgue expressif (org 6gz-pra-sef), |

Orgelspieler (6r'gh61-spe'16r), Ger. An organ-
pLiyer.

Orgelstein (6r'gh61-stin), Ger. Pan's pipes,

Orgelstimmen (or'ghel-stim'mgn), Ger. Row
of pipes in an organ.

Orgelstiicke (or'ghfl- stii 'k?), Ger. Organ
pieces.

Orgeltreter (or 'ghCl -tra't6r\ Ger. Organ-
treader, bellows-tender, or bellows-blower.

Orgelvirtuose (or'gh^l-vir-too-o'ze), Ger. An
accomplished organ-player.

Orgelzug (or'ghei-tsoog'), Ger. Organ-stop, or
row of pipes.

Orgue (org), Fr. An organ.

The
i har-
monium.

Orgue hydrauiique (org hi-drd-lek), Fr. Hy-
draulic organ ; water organ.

Orgue plein (org planh), Fr. Full organ;

all the stops drawn.
Orgue portatif (org por-tii-tef), )

Orgue portatif de barbarie (org por til- V Fr.

tef duh biir-ba-reK \

A portable organ, a barrel organ, a street

organ.

Orgue positif (org po-zi-tef), Fr. The choir
organ in a large organ ; also a small fixed
organ, thus named in opposition to a porta-
tive organ.

Orgues de barbarie (org dilh bJir-ba-re), Fr.
Barbarian organs— an epithet applied by the
French to street organs.

Original key. The key in which a composi-
tion is written.

Ornamental notes. Appoggiaturas, grace
notes; all notes not forming an essential
part of the harmony, but introduced as em-
bellishments.

Ornamenti (or-na-men'te), It. pi. Ornaments,
graces, embellishments, as the appoggia-
tura, turn, shake, etc.

Ornatamente (6r-na-ta-m6n'tC), j. \ Orna-
Ornato (or-nji'to), ) mented,

adorned, embellished.

Ornate (ornaf). A style of music, or musical
execution, highly ornamental.

Ornements (5rn-manh), Fr. Graces, embel-
lishments.

Orotund. A mode of intonation directly
from the larynx, which has a fulltus>.
clearness, smoothness, and ringing quality
which form the highest perfection of the
human voice.

Orpheon (or-fa'5nh), p ) Species of mu-

Orpheoron \6r-fa'o-r5nh), i sical instru-
ments, of which nothing is now known.

Orpheus (or'f6-(ls\ A poet in Greek mythol-
ogy, said to have the power of moving in-
animate bodies by the music of his lyre.
The myth of Orpheus relates that bv'the

a arm, a add, a ale, 6 end, e eve, 1 ill, i isle, 6 old, 6 odd, oo moon, Ci but, ii Fr. sound, kh Ger. ch, nh namu,

(171)

OSS

I/ICTIONARY OF MUSIC.

PAN

power of his music he visited the lower
world and brought back to life his departed
Eurydice.
Osservanza (os-s6r-van'tsa), Jt. Observation,
attention, strictness in keeping time.

ol^a^tSSk), ^- } O^' otherwise, or else.

Ossia piu facile (os-se'a pe-oo fa,'tshi-16), It.
Or else in this raore oasy manner.

Ostinato (os-ti-na'to), If. Obstinate, contin-
uous, unceasing; adhering to some peculiar
melodial figure, or group of notes.

Ottava (ot-tii'va), It. An octave, an eighth.

Ottava alta (6t-ta'va ai'til), It. The octave
above; an octave higher; marked thus, 8va.

Ottava bassa (ot-tJi'vii biis'sa), //. The octave
below ; marked thus, 8va bassa.

Ottava supra (ot-tii'vii soo'prii), It. The oc-
tave above.

Ottavina (ot-ta-ve'nii), It. The higher octave.

Ottavino (ot-tii-ve'uo). It. The flauto piccolo,
or small octave llute.

Ottemole. A group of eight notes, marked
with the figure 8.

Ottetto (ot-tet'to). It. A composition 'n eight
parts, or for eight voices or instruments.

Ou (00), Fr. Or.

Ougab (oo-gab), Heh. An ancient instrumeni
formed of reeds of unequal lengths bound
together.

Ouie (oo-e), Fr. The hearing; Vouie dun in-
strument, the souudhole of an instrument.

Outer voices. The highest and lowest voices

Out of tune. Want of tune; discord.

Ouvert (oo-viir), Fr. Open.

Overture (oo-var-tur), Fr. ^ An introduc

Overture (o-ver-too'iii), Jt. I tory symphony

Ouvertiire (6 fCr-iti'iO), Ger. [to en oratorio,

Overture. j opera,elc., gen

orally consisting of three or fdur different

movements ; al-io an ind< pendent jtince for

a full l)ai)d or orchestra, in which case ii i.s

called a concert overture and resembles a

sonata-piece with introduction.

Overtura di ballo (o-ver-too'ra de biil'lo), //.
An overture composed upon or introduc-
ing dance melodies.

Overstrung pianoforte. Where the strings of
at least two of the lowest octaves are raised,
running diagonally in respect to the othei
strings above them.

P. Abbreviation for Piano ; also for Poco.
Thus, p. a p., poco a poco. Also abbrevia-
tion for Parte, as, colla p., colla parte.

Padiglione ( pa-del-yi-6'u6), It. The bell of
wind instruments.

Padovano, Padavane, or Paduane (pji-do-va'"
no). It. Paduan. An Italian dwuce in ter-
nary rhythm. Sometimes considered to be
the same as Pavan, which, however, is by
no means certain.

Paisana (pa-i-za'na), Sp. A Spanish country
dance.

Palco (piil'ko). It. The stage of a theater.

Pallet. A spring valve in the ■'-"indchest of an
organ covering a channel leading to a pipe
or pipes.

Palmadilla (pal-mii-del'ya), Sp. A Spanish
dance.

Pan. One of the deities in Grecian mythol-
ogy, so called because he exhilarated the
minds of all the gods with the music of his
pipe which he invented, and Avilh the cith-
ern, which he played skillfully as soon as he
was born.

!?anathenae (pil'na-tha'ne), Gr. An Athenian
festival at Avhich contests ii ringing and
^laying on the tiute and cithera were held.

Pandean pipes. ) One of the most ancient
Pan's pipes. J and simple of musical in-
struments; it was made of reeds (-r tubes
of different lengths, fastened together and
tuned to each other, stopped at the bottom
and blown into by the mouth at the top.
Pandoran (piXn-do'riln). Gr. "\ An ancient
Pandora (pan-do'ra), It, f stringed instru-
Pandore (pan-d6'i6), Ger. > ment rCscm-
Pandura (piin-doo'ra). It. \ bling a lute, a
Pandure (panh'diir), Fr. J small Polish

lute, a bandore. See Bandorn. '
Panflote (pan-flo'l(^), Ger. Pandean pipes.

Panharmonicon. An automatic instrument
invented by Maelzel, Avhich produced the
sounds of a variety of instruments A kind
of orchestrion.

Pantaleone (pan'tfl,-16 6'ne). An instrument
invented by Pantaleon Hebenstreit, and
much celebrated in the beginning of the
eighteenth century. It was more than nine
feet hng, nearly four feet wide, and had
one hundred and eighty-six strings of gut,
which were played on with two small sticks
like the dulcimer.

Pantalon (panh - ta-16nh), Fr. One of the
m'^svemcnts of the quadrille.

Pantomime. An entertainment in which not
a word is spoken or sung, but the sentiments

a rjTTw,, a add, a aJe, S end, eeve,iiU,lisle,6old,6udd, oo moon, Hbut, ii Fr. sound, kb Qer.ch, nhTUWoi,

(172)

PAN

DICTIONARY OF MUSIC.

PAS

are expressed by mimicry and gesticulation
accompanied by iustrumeutal music.

Pantomimist. One who acts in a pantomime.

Papagenoflote (pa-pa-glia'no-flo't5),Ger. Pan's
) ipc, mouth organ.

Parallelbewegung ( pa-ra-161 - b6 -wa ' goong),
tier. Parallel motion. On consecutives.

Parallel intervals. Intervals passing in two
parallel parts in the same direction ; con-
secutive intervals.

Parallel keys. The major and its relative
minor.

Parallel motion. The motion of two voices
in the same direction in equal intervals,
whereby the same distance is maintained
continually. All forms of parallel motion
are weak contrapuntally, except parallel
octaves when used for strengthening a mel-
ody. In this sense they are in constant use
in all large compositions. Parallel thirds
and sixths are weak because when this
motion is maintained for more than three
steps in succession, the second voice be-
comes the mere satellite of the first. Paral-
lel fifths are invariably wrong when audi-
ble. They imply a faulty progression of
fundamental harmonies.

Paralleltonarten ( pa-'si-li^l-ton-ar-t'n ), Ger.
Parallel keys. Related keys. Keys having
raauy tones in common.

Paraphrase. An explanation of some text
or passage in a more clear and ample man-
ner than is expressed in the words of the
author. A free transcription of an air or
passage for some instrument other than
that for which it was originally composed.

Parfait (par-fa'), Fr. Perfect, as to intervals,

etc.
Parlando (par-lan'do), j^. \ Accented ; in a
Parlante (par-lan'te) ' I declam.atory style;

in a recitative or speaking style.

Parnassus. A mountain in Greece, celebrat-
ed in mythology as sacred to Apollo and
the Muses, and famous, also, for the Castil-
iau Spring and the temple of Apollo.

Parody. Music or Avords slightly altered and
adapted to some new purpose.

Part. The music for each separate voice or
instrument.

Parte (nar't^), It. A part or portion of a com-
position ; a part or role in an opera.

Parte cantante (par'tg can-tan't^), It. The
singing or vocal part; the principal vocal
part having the melody.

Parterre (par-tarr'), Fr. The pit of a theater.

Partial turn. A turn consist-
ing of the chief note and

three small notes, the lead- t:

ing note of which may be

either a large or small second above the

principal.
Parti di ripteno (par'.te de re-pi -a'no), //.

Parts not obligato;' supplementary parts.
Partie (piir-te), Fr. See Parte.

Parties de remplissage (piir-te dQh riinh-ple-
siizh), Fr. Parts which fill up the middle
harmony between the bass and upper part.

Partimento (piir-ti-mgn'to), It. An exercise,
figured bass.

Partita (pjir-te'tii), It. An old term synony-
mous with v^iation.

Partition (par-te-si-6nh), Fr. ~j A score, a full
Partitur ;p;ir-ti-toor), Ger. [ score, or en-
Partitura (par ti-too'rJi), //. [ tire draft of
Partizione(par-te-tsi-6'n6),7/. j a composi-
ti(jn for voices or instruments, or both.

Partite (psir-te'to), It. Scored, divided into

parts.
Partiturspiel (par-ti-toor'spel, Ger. Playing

from the score.

Partsongs. Songs for voices in parts, intro-
duced iu Germany in the present century.

Pas (pii), Fr. A step, a dance.
Paspie (pils'pi-a), Sp. A kind of dance.
Paspy. See Passcpicd.

Pas redouble (pii re-doo-bla), Fr. A quick-
step ; an increased, redoubled step.
Passacaglio (pjls-sa-karyi o). It. \ A species
Passacaille (pas-.-a-kal), Fr. j of chacone,

a slow dance with divisions on' a ground
bass in 3-4 time and always in a minor key.

Passage. Any phrase or short portion of an
air, or other composition. Every member
of a strain or movement is a passage.

Passaggio (pas-siid'jt-o). It. A passage or series
of notes.

Passamezzo (pas-sa-m(5t's6), If. An old slow
dance, little differing from the action of
walking.

Passepied (pass -pi 'a), Fr. A sort of jig;
lively old French dance in 3-4, 3-8, or 6-8
time; a kind of quick minuet, with three
or more strains or reprises, the first consist-
ing of eight bars.

Pas seul ipa sul), Fr. A dance by one per-
former.

Passing modulation. A transient modulation.

Passing tones. Dissonances introduced upon
the weak part of the beat, leading across
from one consonant tone to another, by
conjunct movement, or stepwise, and not
by skips.

Passionata (pas-si-6-na'ta),

Passionatamente (pas-si-6-na-ta-m6n't6), ^ ,.

Passionate (pas-si-6-na't6).
Passionate (pa-si-o-na'to).

Passionate, impassioned, with fervor and

pathos.
P,assione, (pas-sl-o'n$), It. Passion, leenng.

Passion music. Music composed for descnb
ing the Passion of our Lord. Used in Holy
Week.

Passionsmusik, (piis-sl-ons - moo-zek'), Ger.
Passion music.

Pasticio (pas-tet'tshi-6), It. \ A medley, an
Pastiche (pas'tesb) Fri j o p e r a made up

(t arm, & add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, d but, il Fr. sound, kh Oer. ch, nh nasal.

(173)

PAS

r>ICTlONARY OF MUSIC.

PED

of songs, etc., by various composers; the
poetry being written to tbe music, instead
of tbe music to tbe poetry.

Pastoral. A musical drama, the personages
and scenery of whicb are chiefly rural. A
pastoral is also any lyrical production, tbe
subject of which is taken from rural life;
and the Italians give the same name to an
instrumental composition written in the
pastoral style.

Pastorale (pas-t6-ra'16), Jt. \ Pastoral, rural,

Pastorelle (pjis-to'rei). Fr. ) b e 1 o n g i ng to a
shepherd ; a soft movement in a pastoral
and rural style.

Pastoral flute. Shepherd's flute.

Pastourelle (pas- too- r?ll'), -F"/". One of the
movements of a quadrille.

Patetica (pii-ta'ti kii), It. Pathetic.

Patetlcamente ( pa-ta'tl-ka-m6n't6), It. Pa-
thetically.
Patetico (pa-ta'ti-ko), It. "|
Pathetique (pa-ta-tek), Fr. V Pathetic.
Pathetisch (pii-la'tisb), Ger. )

Pathetic. Applied to music when it excites
emotions of sorrow, pity, sympathy, etc.

Patimento (pa-ti-m6n'to). It. Affliction, grief,
suti'eriug.

Patriotic. Songs having for their theme love

of country.
Pauker (pou'kSr), Ger. Kettledrummer.

Paiisa (pa-oo'zii), It. \ . T^a„^,p
Pausa (pou'zii), Lat. J ^ Pause.

Pause (pou'z6), Ger. A rest.

Pause. A character (^) which lengthens
the duration of a note, or rest, over which
it is placed, beyond its natural value, or at
the pleasure of the performer. When placed
over a double bar it shows the termination
of the movement or piece.

Pause demi (p5z d6-me'), Fr. A minim rest.

A grave, stately
lauce, whicb took
name from pavo,
a peacock. It was danced by princes in
their mantles, and ladies in gowns with
long trains whose motions resembled those
of a peacock's tail. It was in 3-4 t'me and
generally in three strains, each of which
was repeated.

Paventato (pa-vSn-ta't6\ j. 1 Fearful, tim-
Paventoso (pa-v6n-to'zo), ' Jorous, with

anxiety and embarrassment.
Pavillion (pa-ve-y5nb), Fr. The bole of a horn

or other wind instrument.
>^villion chinois (pa-ve-y6nb she-nwa;.

An instrument consisting of an upright pole

with numerous little bells, which impart

brilliancy to lively pieces and pompous

military marches.
Peal. A set of bells tuned to each other • the

changes rung upon a set of bells.

Pean. A psean ; a song of praise.
Ped. An abbreviation of Pedal.

M UM.^%^ WW---- y^^.-. «^ --.^^ fj ^ ,

Pa van, Eng. 1 -^

Pavana (pa-vii'na), It. V dai
Pavane (pji-vanb'), Fr, 3 its

Pedal. A lever operated by the foot. Organ -
pedals are keys corresponding to those of
the key-manual, which command the low
basses. The general compass of an organ-
pedalier is two octaves and a half, from CCC
to P. The pedals are played by both feet,
using heel and toe as convenient. The use
of the toe is indicated by the mark v. over
the note for the right foot, or under it for
the left. The heel is indicated in the same
manner by the sign O.

The organ has also other pedals called
"composition pedals," which command
certain combinations of stops. There are,
moreover, what are called "swell-pedals,"
which operate the swell-blinds, and shut
in or liberate the sound. Swell-pedaLs are
simply plain levers, which may be fixed by
a racket at any position desired, or, more
commonly, " balanced," operated by the
heel and toe, and remaining at any "point
desired.

The pianoforte has two or three pedals.
That upon the right is called the damper-
pedal, and its office is to raise the dampers
from the keys, either for permitting tones
to continue after the fingers have left tbe
keys or for promoting sympathetic reso-
nance. The use of the damper pedal is in-
dicated by tbe character Ped., and its cessa-
tion by the mark :Jc or ■^. The damper-
pedal is used very many times where no
marks appear. It is permissible everywhere,
subject to tbe following restrictions: 1,
that no blurring of melody or harmony
(intermingling of dissimilar harmonic ele-
ments) is made by its use; 2. that the in-
dicated phrasing is not covered up by it.

The pedal at the extreme left is calh d
the "soft pedal." On grand pianos it shifts
the action so that the hammers «^trike upon
only tvvo of the three strings of the unison.
In the upright it brings the hammers nearer
tbe strings. Its use is indicated by ihe words
Una corda, or Verschiebxmg, and its discon-
tinuance by tbe words " tre corde." The
soft pedal is permissible whenever it is de-
sired to diminish the volume of sound.

When there is a third pedal (between the
two others) it is generally a tone-sustaining
pedal, whose office it is to sustain a tone
taken while it is in use, whereas the damper-
pedal operates all the dampeis together.
The tone -sustaining pedal is in fft'ect a
damper -pedal which operates tipon only
the single tone or chord which may be held
at the moment when the pedal is p^es.*rd.
These will be sustained as long as the pedal
is held, while all that may be taken during
its use will be unaffected. This device is
more and more important as the vibration
of the pianoforte b-coraes longer.

The harp is furnished with eight pedals,
of which the middle one merely opens or
closes the little panel in the sounding case,
and corresponds to the name soft and loud
pedal. The seven pedals along tae sides are
named for the notes which they severally
affect, A, B, etc. The harp is set in the key

a arm, & add, a ale, 6 end, e eve ' ill, i iste,6 old, 6 odd, oo moon, iX but, ii Fr. sound, kh Ger. ch. nh noiaU

(174)

PED

DICTIONARY OF MUSIC.

PER

of C[?. When a pedal is depressed to its first
notch, it revolves a disk which shortens the
strings of the same name throughont the
instrument, raising the pitch a half-step;
when depressed to the second notch it raises
the pitch a whole step. Hence, when the A
pedal is depressed one notch it makes all
the A-flats A-natural; and when to its sec-
ond notch ii makes them A-sharp. In this
way the instrument is adjusted to any de-
sired signature, and accidentals are intro-
duced in this way in the course of a piece.
The pedals here described are what are
called " double-acting," and were invented
by Sebastian Erard, about 1823.

The reed organ and the harmonium have
two pedals, which are employed in operat-
ing the bellows.

Pedalclaves (pedal'kla'fgs), ^ )

Pedalclaviatfir (p6-dal'kla'vi-a-toor'), j
The pedal keyboard in an organ.

Pedale, doppelte(pe-dH'l(^d6p'p61-t6), Ger. )
Pedale doppio (ce-dii'lC dop'pi-o). It. (

Doible pedals, in organ-playing; playing
the pedals with both feet at once.

Pedale d'organo (p6-da'16 d'or'ga-no), It. The
pedals of an oigan.

Pedales (pe'diil), Fr. pi. The pedals.

Pedales de combinaison, Fr. Combination
pedals.

Pedalfliigel ( pe-dal'flii'g'l), Ger. A grand piano
with a pedal keyboard.

Pedalharfe (pg-dal'har'fg), (rer.) \ A harp
Pedalharp. j with ped-

als, to produce the semitones.

Pedaliera (pC-da-li-a'ra), It. The pedal keys of
an organ.
- Pedal keys. That set of keys belonging to
an organ, or similar instrument, which is
played by the feet.

Pedal note. A note held by the pedal, or the
bass voice, while the harmony formed by
the other jiarts proceeds independently.

Pedal Point. A harmonic phrase, consisting
of a single tone prolonged, while the re-
maining voices proceed with chords many
of which are dissonant with the prolonged
tone. The opening and closing chords
must be those of the prolonged tone. Ped-
al point derives its name from the pedal
of the organ, which originally held the
prolonged tone. Pedal points are some-
times made with a soprano tone, but not
so often.

Pentachord. An instrument with Ave strings,
a scale or system of five diatonic sounds.

Pentatonic scale. A scale of five notes, some-
times called the Scotch scale, and similar to
the modern diatonic major scale, with the
fourth and seventh degrees omitted— do, re,
mi, sol, la, do; or, in minor, la, do, re, mi,
sol, la. In use the seventh degree is some-
times introduced as a passing tone just at
the close. This is probably a modern in-
novation.

Penultimate (p6-ntirti-mat). The last sylla-
ble but one.

Per (par), //. For, by, through, in.
Percussion. \ Striking,

Percussione (p{?r koo.s-si-o'n61, //. | as ap-
]>litd to instruments, notes, or chords; or
the touch on the pianoforte. A general
name for all instruments that are struck, as
a gong, drum, bell, tabor, etc.
Perdendo (per-d^n'do), ,, ) Gradually

Perdendosi ( v>fr-d^n-d<yzl), '' • j" decreasing,'
the tone and the time ; dying away, becom-
ing extinct.

Perfect. A term applied to certain intervals
and chords.

Perfect cadence. Dominant harmony fol-
fowed by that of the t()ni<; ; a close upon
the keynote preceded by the dominant.

Perfect close. A perfect" cadence.

Perfect concords. ) These are the uni-

Perfect consonances. ) son. the perfect

fourth, perfect fifth, and the octave.

Perfect fifth. An interval equal to three
whole tones and one semitone.

Perfect fourth. An interval equal to two
whole tones and one semitone.

Perfect octave. An interval equal to five
whole toues and two semitones.

Perfetto (per-fet'to, It. Perfect, complete.

Perigourdine (p6r-i-goor- den). A French
dance in ;>-8 lime.

Period ^ A complete musical

Periode (pa-ii-odl. Fr. V sentence. A pe-
Periode (pe-ri-cVdC), /^ j riod. The simple
period consists of eight measures, disposed
in two sections of similar extent and rhyth-
mic; CO! struciion ; each section is a .so com-
posed of two phra'-es, ai'd each phrase of
two motives. Hence the following scheme :

Mot ive.Motivt'.Motivo.Molive. Motive. Motive. Motive. Motive.
Phrase. Phrase. Phrase. Phrase.

Seolioii. Section.

Period.

The two sections of the period stand to-
wards each other in the relation of subject
and predicate, or, as formerly called. Pro-
tasis (awakening expectation), and Apoda-
sis (answering expectation). In simple
lyric periods the two phrases of the sec-
tion often bear a similar relation to each
other, the first phrase awakening expecta-
tion and the second partially answering
it; the third phrase repeats the first, and
the fourth completes the answer. Hence
the scheme of a lyric period, of which ex-
amples are numerous, as, for instance, in the
first eight or sixteen measures of almost
any Beethoven slow movement.

Subject. Partial Answer. Subject. Complete Answer.
Phrase A. Phrase B. Phrase C (A). Phrase D

(B modified).

a arm, a. add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, a but, ii Fr, sound, kh Oer. ch. nh nasal.

(175)

PER

DICTIONARY OF MUSIC.

PHY

Certain theorists apply the names Phrase
and Section in reversed order to this, call-
ing the smaller member a section, and
the half-period a phrase. This usage is not
so well sanctioned, and is not so consonant
with best German usage.

Periods are shortened by cutting short a
measure in the last phrase, or lengthened
by repeating the cadence, with or without
modification.

A complex period is one in which one or
more sections are repeated. See " Primer
of Musical Form." (W. S. B. M.)

A dependent period is one which depends
upon something else to complete the sense.
This may have been already advanced in a
previous period, in which case the depend-
ent period will begin upon some chord
other than its own tonic — generally its
dominant; it will finally end with a com-
plete cadence upon the tonic. More prop-
erly, however, the dependence is shown by
an imperfect cadence upon the dominant
instead of the tonic, in which case another
period has the task of fully completing it
by presenting its leading idea and fully an-
swering it upon its own tonic. Any period
which ends upon some other than its own
tonic chord is dependent.

Periode musicale (pa-ri-6d mii-ze-kal), Fr.
A musical period.

Periodenbau (pe-ri-6'd'n-bou'), Qer. Compo-
sition ; the construction of musical peri-
ods.

Perle(p6r-]al, Fr. Pearled, brilliant ; cadence
peiiee, brilliant cadence.

Perpetual fugue. A canon so constructed
that its termination leads to its beginning,
and hence may be perpetually repeated.

Perpetuo (p6r-pa'too-o), It. Perpetual.

Perpetuum mobile (p6r-pa'too-oom mo'bi-le),
Lat. Perpetual motion. A name applied to
certain compositions which go rapidly and
without opportunity of pause.

Per recte et retro (p6r r6k't6 Ct ra'tro), Lat.
Forward, then backward; the melody or
subject reversed, note for note.

Pesante (p6-zan't6), //,. Heavy, ponderous;
with importance and weight, impressively.

Pesantemente (p^-zan-t6-m6n't6), It. Heavily,

forcibly, impressively.
Petit (pC-te'), Fr. Little, small.
Petit choeur (p6-te'kiir), i^r. Little choir; a

sacred composition in three parts.

Petites flutes (p6-tet' flut), Fr. The small
flutes ; the octave or piccolo flutes.

Petto (pgi'to), It. The chest, the breast; voce
di petto, the chest voice.

Peu (ptih), Fr. Little, a little.

Peu a peu (ptih ii ptih), Fr. Little by little,
by degrees.

Pezze (pgi'se), It.pl. Fragments, scraps; se-
lect, detached pieces.

Pezzi concertanti (p6t'si k6n-tsh6r-ta.n'te), It.
pi. Concertaute pieces, in which each in-
strument has occasional solos.

Pezzi di bravura (p6t'sl de bra-voo'ra). It.
Compositions for the display of dexterity or
rapid execution.

Pezzo (pet'so). It. A fragment; a detached
piece of music.

Pf. Abbreviation of Poco forte; a little
louder.

Pfeife (pfi'ft5), Ger. Pipe, fife, flute.

Pfeifen (pfi'f'ni.Gfr. To play on a fife or flute.

Pfeifendeckel (pri'f'n-d6k'61), Ger. The stop-
per, or covering, of an organ-pipe.

Pfeifer (pfi'fer), Ger. A fifer, a piper.

Phantasie (filn-ta-ze), Ger. See Fantasia.

Phantasiebllder {fan-ta-se'bil'd'r),(Ter. Fancy

pictures.
Phantasiestiicke (fan-ta-se'stii'kel.Cer. Fancy

pieces. Name applied by Schumann to his

Opui 12.

Phantasiren (fan-ta-ze'r'n),Ger. Improvising.
Phantasirte (f;ln-ta-zir'te), Ger. Improvised.
Phantasy. The fancy, the imagination.

PliiiharmOnic (fil-har-mSnlkl. Gr. Music-
loving.

Phisharmonica (fis-har-m6n'i-ka). A kind of
octagonal atcordeon.

Phone (fo'nC), Gr. The voice; a sound, or

tone.
Phonetic. Vocal, representing sounds.

Phonetics. ) The doctrine, or science, of
Phonics. J sounds, especially those of the
human voice.

Phonometer. An instrument for measuring

the Vibrations of sounds.

Phorminx (for'minx),G'e?-. A stringed instru-
ment of remote antiquity, resembling the
lyre.

Photinx (fo'tinx),G'r. Name given by the an-
cients to their crooked flute.

Phrase. A short musical sentence ; a musical
thought, or idea.

Phrase, extended. ) Any variation of a mel-

Phrase, irregular, fody by which three meas-
ures are used instead of two.

Phrasing, The art of musical delivery in
such a way as to bring out the idea. Hence
to connect the tones within the phrase, and
to define the boundaries of the phrases.
Also to form the phrase properly, as to its
increasing or diminishing intensity. Hence
the art of singing or playing with expres-
sion.

Physharmonica (fis-har-ra6n'i-ka),Gr. An in-
strument, the tone of which resembles that
of the reed-pipes in an organ, and is pro-
duced by the vibration of thin metal
tongues, of a similar construction to those
of the harmonium ; the name is also ap-
plied to a stop in the organ with free reeds,
and with tubes of half the usual length.

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(176)

PIA

DICTIONARY OF MUSIC.

PIA

Piacere (pe-a-tsha'rC), //. Pleasure, inclina-
lion, faucy ; a piacere, at pleasure.

Piacevole (pe-a-tsha'v6-16), It. Pleasing, grace-
ful, agreeable.

Piacevolezza (pe-a-tsh6-v6-16t'za), It. Grace-
fulness, sweetness.

Piacevolmente (pe -ii- tsh6- v61-m6n'te), It.
Gracefully, delicately.

Piacimento (pe-a-tshi-m6n't6), It. See Piacere.

Piagendo (pe-a-g6n'd6), It. Plaintively, sor-
ruwfully.

Piagnevole (pe-au-ya'v6-16), It. Mournful,
doleful, lamentable.

I^ianamente (pe-a-na-ra6n't6). It. Softly, gen-
tly, quietly.

Pianettd (pe-a-n6t't6) , It. Very low, very soft.

Piangevole (pe-an-ga'vo-16), It. Lamentable,
doleful.

Piangevolmente (pe-an-ga-vol-m6n't6). It.
Lamentably, dolefully.

Pianino (pe-ii-ne'no), It. An upright piano-
forte.

Pianissimo (pe-ti-nes'si-mo). It. I^xtremely
soft.

Pianissimo quanto possibile (pe-a-nes'si-mo
kwiin-to pos-se-bi-16,i, It. As soft as po'ssible.

Pianist. An amateur or professional player
on the pianoforte.

Pianiste (pe-iin-esf), Fr. Pianist.

Piano (pe-a'no), It. Soft, gentle.

Piano a queue (pe-a'no a kiih), Fr. A grand

pianoforte.
Piano assai (pe-ii'no as-sa'I), It. As soft as

j.-ossible.

Piano carre (pe-a'no kar-ra), Fr. A square
pianoforte.

Piano droit (pe-a'no drwa), Fr. An upright
pianoforte.

Pianoforte. An instrument made in various
shapes, such as square (table-shaped), u it-
right (cabinet-shaped), and grand ("wing
shapea ; " hence German Flvrqel). Tlie pi-
anoforte consists essentially of a sounding-
board of thin fir wood, supported by a
frame and ribs. Across this board are cer-
tain bridges, over which the wi re strings « re
drawn and made fast to hitch pins at the
right and tuning-pins at the left, or in the
wrestplank. The frame which supports the
tension of the strings was formerly of wooil,
but in 1825 an American, Alphens Babcock,
of Boston, invented an iron plate, which
strengthened the wooden frame, and in
process of time has itself been strengthened
until it carries the entire tension of the
strings. The wrestplank, in which the tun-
ing-pins turn, rests upon a shoulder, or arch,
of the iron frame.

The pianoforte was the successor of the
clavier and harpsichord, and differed essen-
tially from them in the manner in which
the strings are made to sound. In the cla-
vier it was by a brass tangent which pushed

the wire ; in the harpsichord it was by
means of a quill plectrum, which plucked
the wire, and upon the pianoforte it is by
means of a hammer, which, being actuated
by the moiion of the key, drives against the
string and rebounds instantly, so that the
string is left as free as the string of a dulci-
mer struck by a hammer in the hand. The
escapement mechanism invented by Chris-
torfoii was the foundation of all that have
been made since. The main parts of the
present action were invented by Sebastian
Erard, of Paris, early in the first quarter ( i
the present century, but many improve-
ments have been made ^i nee. All the earlv
hammers were covered with leather, which
soon became hard, causing the tone to be-
come twangy. The discovery of a method
of felting hammer-coverings, and of putting
them upon the hammers by machinery, was
discovered about 1855, and was first prac-
ticed by the firm of Nunns & Clarke, of New
York. Overstringing was first successfully
accomplished by Steinway & Sons, of New
York, in 1855. Many important improve-
ments had previously been made by Jonas
Chickering between 1830 and 1850.

The tone of the pianoforte apparently de-
pends u pon three elements conjointly : The
sounding-board and its treatment, the scale
(the relative length of strings, their weight,
and the point where the hammer strikes
them), and the hammers. The durability
depends upon general solidity of construc-
tion, the use of approved material, and sci-
entific adjustment of the instrument in all
its parts to sustain the great tension, which
in large concert grands now amounts to
above eighteen tons. The greatest difficulty
is the sounding-board. In the nature of the
case this has to be of thin wood, yet the
strings must pull across the bridges with
great power, pressing down against the
board, in order that the vibration may be
more abundant and the whole of it come
into the sounding-board, where it is rein-
forced by the natural resonance of the wood
and so transferred to the atmosphere. The
board is put in " crowning," as it is called,
or convex, and the tendency of the strings,
combined with the progressive desicca-
tion of the wood, is to crush out this con-
vexity,which, being done, the tone becomes
flabby.

The American pianofortes are generally
recognized as larger, more sonorous, and in
several respects better than most foreign
ones ; and our leading houses are generally
regarded as leading all the world. Par-
ticularly is this true because of the large
number of important improvements in the
instrument made by the leading makers,
in which they have been generally followed
by all other good makers, American as well
as foreign. lu America there is a great de-
velopment of the industry of making piano-
fortes of moderate price, in which respect,
combining fair tonal qualities with showy
appearance and durability, American mak-
ers lea^^l the world. These lower-priced in-

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12 (177)

PIA

DICTIONARY OF MUSIC.

PIE

strumentsgenerally make a fair imitation of
the qualities of the best, and the makers
have shown great progressivenessin finding
ways of doing this within the limitation
of expense. The best pianoforte c'epends
for its success, after the maker has secured
a good scale, and the requisite solidity, up-
on the sounding-board and its ireatoient,
and upon the nammers. These two ele-
ments are matters of individual adjustment
by highly skilled labor, of artistic instinct,
and even then the final result is somewhat
uncertain, exactly as in making violins, or
any other apparatus in which results are
obtained by a skilled adjustment of parts
cooperating with individualities of ma-
terial. This being the case, it is not likely
that the gap between the pleasing piano-
fortes of commercial grade, and the excep-
tional tonal qualities of the very best, can
ever be very much narrowed.

The pianoforte owes its popularity to its
success in representing all properties of
music. Melodv, harmony, expression, and
some degree of singing quality and tone-
color are placed by it at the disposal of the
player, and upon it he is able to give an in-
telligible account of by far a larger variety
of music, both high and low, than upon
any other musical instrument.

Down to about 1872 the square piano-
forte was the form mainly current in Ame-
ica. The first American grand pianoforte
was made by Jonas Chickering in 1828.
About 1870 improvements in the upright
resulted in perfecting this form, whereby,
combined with solidity, the tonal capacity
very nearly approached that of the grand,
and this fdrm therefore came more and
more to the head, so that at the present
time there are no square pianos made,
except to special order. The advfiutage
which the grand piano possesses over the
upright is in having a larger sounding-
board, greater solidity, and consequently a
larger and more sympathetic tone. The
action also has one additional lever be-
tween the finger and the hammer, where-
by the touch is magnified and a smaller
effort of the player effects a perceptible
modification of the tone. The manufac-
ture and sale of grand pianofortes has
enormously increased in recent years.
Pian=piani5simo (pe-an'pe-a nes'si-mo). It.
Exceedingly soft and gentle

Pian=piano (pe-an-pe-a'no). It. Very softly,
with a low voice. See Piano-pinno.

Pianoforte action. The mechanism of a pi-
anoforte.

Pianoforte hammer. That part of the mech-
anism of a pianoforte which strikes the
wires.

Pianoforte score. The score, or music, of an
orchestral or choral work, arranged con-
densed upon two staves convenient for per-
formance upon the pianoforte. The piano-
forte arrangement of an orchestral work
contains as much of the music as the ar-

ranger believes practicable for the player.
The pianoforte score of a choral work in-
cludes the vocal parts upon their own
staves and the orchestral i)arts condensed
upon two staves, as in the arrangements
from orchestral works. Hence, for pur
poses of study, except where it is a question
of tone-color and the art of instrumenta-
tion, the pianoforte score offers all neces-
sary advantages.

Piano mezzo (pe-a'no m6t'zo). It. Moderatels

soft.
Piano=piano (pe-a'no-pe-a'no), It. Very soft.

Piano sempre staccato e marcato il basso (pe-
ii'uo s6m-prC stiik-ka'to mar-ka'to el bas'sc,,
//. Soft, with the bass always well marked
and detached.

Piano solo. For the pianoforte only.

Piano=vioIino (pe-ii'no ve 6-le'no), It. A curi-
ous instrument, invented in 1837. It was a
common piano, containing a violin arrange-
ment inside of it, which was set in motion
by a pedal. When this instrument was
played upon it gave the sound ol both vi-
olin and piano.

Piatti (pe-at'te), It.pl. Cymbals.

Pib (peb), Wei. A pipe, a fife.

Pibcorn, or, hornpipe. The name given by
the Welsh to a wind instrument consisting
of a wooden pipe with holes at the sides and
a horn at each end, the one to collect the
wind blown into it by the mouth, and the
other to carry off the sounds as modulated
by the perlormer.

Pibroch (pe'br6h). A wild, irregular species
of music, peculiar to the Highlands of Scot-
land, performed on the bagpipe.

Picchiettato (pe-ki-etta'to), 7^ Scattered, de-
tachtd; iu violin-playing a staccato made
by means of the bow bounding upon the
strings; hence not nearly so short as the
staccato made by ])lucking the strings (piz-
ziccato). The picchiettato implies a dura-
tion flboutcqual to three quarters of the ap-
parent d uration of the note. Picchiettato is
indicated by means of a straight mark over
the noteanda dot under the mark, or a slur
over several nofes and a dot over each one.
The corresponding effect upon the piano-
forte might be produced by playing several
tones with one finger.

Picciolo (pet-tsht-6'16), i

Piccolino (pe-ko-le'no), It. > Small, little.

Piccolo (pe'ko-lo), )

Piccolo. A 2-feet organ-stop, of wood pipe?,
producing a bright and clear tone, in unison
with the fifteenth.

Piccolo flute. A small flute.

Piccolo pianoforte. A small upright piano-
forte.

Piece (pl-iis'), Fr. A composition or 'oiece of
music ; an opera or drama.

Pieds (pi-a'), Fr.pl. The foot; avecles pieds,
with the feet, in organ-playing.

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(178)

PIK

DICTIONARY OF MUSIC.

PLK

Piena(pe-a'na), r, |f,,ii

Pienamente (pe-a-ua-in6n'te), It. Fully.
Pieno coro (pe-a'u6 ko'ro), It. A full chorus.
Pieno organo (pe-a'no or-gii'uo), It. With the
luiiorgau.

Pieta (po-a'liU, i

Pietosamente {pe-a-t6-za,-m6n'te),> It.
Pietoso (pe-a-t6'z6), )

Cuinpassioiiately, tenderly; implying, also,
a rather slow aiid sustained movement.

Pifara (pe-fa'ril), Ii. A fife.

Pifferare (pif-fC-rJi're), It. To play upon the
fife ; also a piper, such as, in Italy, play pas-
toral airs in trie streets at Christmas. One
of the-eairs forms the basis of Handel's Pas-
toral Symphony in the " Messiah."

Pifferina (pif-f^-re'na), //. A little fife.

Piffero (pifff-ro), Jt. A fife, or small flute;
also an organ-stop of 4 feet.

Pance ^pilnh-sa), Fr. Pinched; an ornament
callod a mordent. See Pizzicato.

Pincer (pUnh-sa), Fr. To play upon a mu-
sical instrument.

Pinces (pinh-s), Fr. A general name for
striiige<l instruments.

Pipe. Any tube formed of a reed, or of metal,
or of wood, which, being blown at one end,
produces a musical sound. The pipe,
whicli was originally no more than a simple
oaten straw, was one of the earliest instru-
ments by which musical sounds were at-
tempted.

Piper. A performer on the pipe. Pipers were
formerly one of the class of itinerant musi-
cians, and performed on a variety of wind
instruments, as the bagpipe, musette, etc.

Pique (pi-ka'), j^ } To play on the vi'^lin,
Piquer (pi-ka'), '' ' (etc., a series of notes a
little staccato, and with a light pressure of
the bow to each note.
Piquiren (pe-ke'r'n), Ger. Detached; equiv-
alent to picchiettato.

Piston. A kind of valve used in brass instru-
ments to alter the pitch.

Pitch. The acuteness, or gravity, of any par-
ticular sound, or the tuning of any iustru-
raent.

Pitch, concert. The pitch generally adopted
for some one given note, and by which every
other note is governed. American concert
pitch at the present time (1895) is based
upon an A haviug 431 vibrations.

Pitchpipe. An instrument formerly used to
sound the keynote of any vocal composi-
tion.

Piu (pe'oo). If. More.

Piu allegro (pe'oo al-la'gro), It. A little quick-
er, more lively.

Piu che lento (pe'oo kC 15n'to), It. Slower
than lento.

Piu forte (pe'oo for't?), It. Louder.

Piu lento (pe'oo ICu'to), It. More slowly.
Piu mosso (pe'oo mos'.so), r^ 1 More motion,
Piu moto (pe'oo mo'to), ) quicker.

Piu piano (pe'oo pe-ii'no), It. Softer.
Piu piu (pe'oo pe'oo), It. Somewhat more.
Piu posto (pe'oo pos'to), It. Rather, inclined
to; it also means quicker.

Piu posto allegro (pe'oo pos'to iil-la'gro). It.
Rather quicker.

Piu posto lento (pe'oo pos'to iSu'to), //.
Rather slowei\

Piu presto (pe'oo pres'to), It. Quicker, more

rapidly.
Piu vivo (pe'oo ve'vo), //. More lively, more

animated.
Piva (pe'va), It. A pipe, a bagpipe.

Pizzicando (pi-tsi kiiu'do), ^, ) Pinched;

Pizzicato (pi-tsi-ka'toi, " j meaning that

tne strings of the violin, violoncello, etc.,

are not to be played with the bow, but

pinched, or snappeil, with the fingers, pro-

■ duciug a staccato eliect.

Placidamente (plii-tshi-da-mgu'te), 1(. Calm-
ly, placidly, quietly.

Placido (plii-tshe'do), It. Placid, tranquil,

calm.
Plagal. Those ancient modes in which the

melody was confined within the limits of

the dominant and its octave.
Plagal cadence. A cndcnce in which the

final chord on the tonic is preceded by the

harmony of the subdomiuant.
Plagalisch (plii pii'lish), Gcr. Plagal.

Plain chant (pliln shauh), Fr. The plain

song.
Plain song. The name given to the old ec-
clesiastical chant when in its most simple
statii and without those harmonic append-
ages with Avhich it has since been enriched.
The choral service of the Protestant Epis-
copal Church is founded upon the Plain
Song. All the priest's cantilation at the
altar in the Roman Catholic Church is also
a part of the Plain Song.

Plainte (plSnht), Fr. A complaint, a lament.

Plaintif (pianh-tef), Fr. Plaintive, doleful.

Plaisant (pla-zanh), Fr. Pleasing.

Plaisanteries (pla-zau- t're), Fr. Amusing,
light compositions.

Planxty. Old harp music of a lively, tune-
ful kind.

Plaque (plti-ka'), Fr. Struck at once, without
auy arpeggio or embellishment.

Plectraphone. An ingenious invention
which, attached to the piano, produces a
very clever imitation of the mandolin.

Plectrum (plCk'troom), Lat. A quill, or piece
of ivory or hard wood, used to twitch the
strings of the mandolin, lyre, etc.

Plain jeu (pianh zhii), Fr. Full organ ; the
term is also applied to a mixture stop of
several ranks ot pipes.

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(179)

PT.E

DICTIONARY OF MUSIC.

POI

Plein jeu harmonique (plSuh zhii hiir-mOuh-
ek'), Fr. A mixture slop in an organ.

Pleno organo (pla'uo 6r-ga'n6), Lat. Full or-
gan.

Plettro (piettro), It. A bow, a fiddlestick;
also a plectrum.

Plus (plii), Fr. More.

Plus anime (plii sa-ni-ma), Fr. With more
animation.

Plus lentement(plu lanht-manh), Fr. Slower,
more slowly.

Pneumatic (nu-mSt'ik}. Relating to the air
or wind ; a term applied to all wind instru-
ments collectively.

Pneumatic action. ) Mechanism intended to

Pneumatic lever, (lighten the touch, etc., in
large organs. The pneumatic lever con-
sisted of a bellows about three inches by
fourteen, which became inflated whenever
the corresponding organ-key was depressed.
Inasmuch as only a small valve was needed
to inflate such a bellows, the touch was very
light. The bellows opened the pallet, ad-
mitting wind to the corresponding pipes.
The saving in elasticity and lightncs'' of
touch was very important in large organs,
where, without some such appliance, a
weight of several pounds is sometimes nec-
essary to operate a key. There was a certain
loss of time and of precise attack. Avh'ch was
reduced to a minimum by increasing the
pressure of the wind operating the pneu-
matic lever. It was invented by one Barker
in 18:^7, and greatly improved by Ira Bassetl
in 1888. The pneumatic lever is now dis-
placed by a pneumatic action, which ac-
complishes the same result much better by
means of a small pneumatic under every
pipe. These are now operated by electricity.

Pneumatic organ. An organ moved by wind,
so named by the ancients to distinguish it
from the hydraulic organ, moved by water.

Pochessimo (po-k6s 'si-mo). It. A very little,
as little as possible.

Pochette (^po-sh^t), Fr. A kit, a small violin
used by dancing-masters.

Pochettino (po-k6t-te'n6), ) A little; as,
Pochetto (p6-k6t'i6), It. yretard un po

Pochino (po-ke'no), ) chettros, a little

slower.
Poco (po'ko), It. Little.

Poco adagio (po'ko a-da'ji-6), It. A little
slower.

Poco allegro (po'ko ill-la'gro), It. A little

faster.
Poco animato (po'ko a-nl-ma'to), It. A little

more auiraated.
Poco a poco (po'ko a po'ko), It. By degrees,

little by Utile.
Poco a poco crescendo (po'ko a po'ko kr6-

shgu'do), //. Gradually louder and louder.

Poco a poco diminuendo (po'ko a po'ko de-me-
noo-6n'd6). It. Gradually diminishing.

Poco a poco, piu di fuoco (po'ko a po'ko pe-oo
de foo-o'Ko), It. With gradually Increasing
fire and animation.

Poco a poco piu lento (po'ko a po'ko pe'oo
Ifiu'lo), Jt. Gradually slower and slower.

Poco a poco, piu moto (po'ko a po'ko pe'oo
uio'lo), Jf. Gradually increasing the lime.

Poco a poco rallentando (po'ko ii lo'koral-lSu-
tiiu'doj, Jt. Gradually dimiuibixiug.

Poco forte (po'ko for't6), It. Moderately loud,
a little loud.

Moderately
slow.

//. A little less.

lit-
tle

Poco largo (po'ko lar'go), j-, \
Poco lento (po'ko 16u't6], ^'- j

Poco meno (po'ko ma'no

somewhat less.
Poco piano (po'ko pe-a'no), //. Somewhat soft.
Poco piu (po'ko pe'oo), It. A little more,

s jmewhat more.

Poco piu allegro (po'ko pe'oo al-la'gro). It. A
little quicker.

Poco piu che allegretto (po'ko pe'oo ke ill-lC-
gri^l'LOj, It. A little quicker than allegretto.

Poco piu che andante (po'ko pe'oo hH jin-dau'-
te), It. A little slower than andante.

Poco piu forte (po'ko pe-oo for'tg), It. A little

louder.
Poco piu largo (po'ko pe'oo lar'go), „ ) A
Poco piu lento (po'ko pe'oo 16n't6), ' j

slower.
Poco piu mosso (po'ko pe'oo mos'so). It. A

little faster.
Poco piu piano (po'ko pe'oo pe-ii'uo). It. A

little softer.

Poco presto (po'ko pr&'to). It. Bather quick.

Poco presto accelerando (po'ko prgs'to at-
tshel-e-riiu'do), It. Gradually accelerate the
time.

Poetic. A term sometimes applied to descrip-
tive music, iudicatiug an underlying poetic
conception.

Poetique (p6-6-tek), Fr. Poetic.

Poggiato (pod-ji-a'to), It. Dwelt upon, leaned
upon.

Poi (po'e). It. Then, after, afterwards; piano
poL forte, soft, then loud.

Poi a poi (po'e ii po'e). It. By degrees.

Point (pwanh), Fr. A dot.

Point d'arret (pwanh diir-ra), Fr. Point of
arrest ; a holdover a rest, which it prolongb
indefinitelj.

Point de repos (pwilnh dHh rC-po'), Fr. A
pause.

Point d'orgue (pwanh dorg), Fr. Organ point.

Pointee (pwiinh-ta). Fr. Dotted ; blanche
polntee, a dotted minim.

Point final (pwilnh fi niil'), Fr. A final, or
coucluding, cadence.

Point of repose. A pause, a cadence.

Point, organ. A long, or stationary, bass
note, upon which va'ious passages of mel-
ody and harmony are, introduced.

a arm, a add, a ale, 6 end, e eve, •. ill, i isle,o old,6 odd, oo moon, a but, ii Fr.sound, kh Oer. ch, nh nasal.

(180)

POI

DICTIONARY OF MUSIC.

POU

Pol segue (po'e sa'gwC), jf I Then

Poi seguente (po'c .sa-gweu'tC\ ) follows,

liere foUuws.
Poi segue il rondo (po'e sa'gw(5 el rou'doj, It.

After lliis the rondo.
Polacca (po-lfik'ka'), II. A polonaise, or in the

btylc of a polonaise.
Polka. A lively Bohemian or Polish dance,

in '2-4 time, the first three quavers \\\ each

bar being accented, and the fourth quaver

unaccented.
Polka mazurka (pol'kii mS-ztir-ka). A dance

in triple time, played slow, and having its

accent on the last part of the measure.

Polka redowa (pol'ka r6d'6 ii). A dance tune
in triple time, played faster than the polka
mazurka, and having its accent on the first
part of the measure.

Polonaise (p61-6-naz'). A chivalrous Polish
dance in 3 4 measure, having, however, a
movement of six eighths (in rhythm of
twos) with an extra accent upon the fifth.
The second eighth-note is generally divided
into two sixteenths. The rhythm of the
polonaise should be strictly obsiirved.

Polska (pols'ka), Sw. A Swedish dance in 3-4
measure.

Polymorphous (p61-i-m6r'foos), Gr. Of many
forms, a term generally used in reference
to canons,

Polyphonia (p61-i-f6'ni-a), Gr. A combina-
tion of many sounds; a composition for
many voices.

Polyphonic (p61 l-fon-Ik). \ Full-voiced, for

Polyphonous (po-lifo-nds), j many voices.

Polyphony (po-lif'o-ny).

Pommer (pom'm'r), Ger. An obsolete family
of instruments of the oboe kind. See Bom-
bardon.

Pompos (pom-pos'), Ger. Pompous, majestic.

Pomposamente (p6m-p6-za-mdn'l6), It. Pomp-
ously, stately.

Pomposo (p6m-p6'z6), It. Pompous, stately,
grand.

Ponderoso (n6n-d6-ro'z6), It. Ponderously,
massively, heavily.

Pontlcello (pon-ti-tsherio), It. The bridge of
the violin, guitar, etc.

Pont=neuf (p5nh-niif), Fr. A street ballad, a
vulgar song.

Portamento (por-ta-ra6n'tO), It. A term ap'
plied by the Italians t) the manner or habit
of sustaining and conducting the voice. A
singer who is easy and yet firm and steady
in the execution of passages and phrases is
said to have a good portamento. It is also
used to connect two notes separated by an
interval, by gliding the voice from one to
the other, and by this means anticipating
the latter in regard to intonation.

Portamento d I voce (por- tii - m6n'to de v6'-
tsh6), i^ Carrying the voice ; the blending
of one tone into another.

Portando la voce (por-tan'do la vo'tsh^). Car-
rying the voice, holding it firmly on the
notes.

Portative. A portable organ.

Portato (por-tii'to), It. Noulcgato.

Porte de voix (port duh vwa), Fr. Porta-
mento. Also an appoggiatura, or beat.

Portee (por-ta), i^r. The staff.

Porter la voix (p6r-ta 1;1 vwiii, Fr. To carry

the voice.
Posato (po-zii'to), It. Quietly, steadily.

Posaune (po-zou'n6), Ger. A trumpet ; also a
trombone, a sackbut ; also an organ-stop.

See Trombone.

Posaunenzug (p6-zou'n6n - tsoog'), Ger. A
sackbut.

Positif (po-zi-tef), Fr. ) The choir organ,
Positiv (po-si-tif), Ger. j" or lowest row of
keys with soft-toned stops in a large organ
also a small fixed organ, thus named in
opposition to a portative organ, especially
when the ])ipes of the choir organ are
brought forward and placed behind the
organist, when they are called the Riick-
positif.
Position. A shift on the violin, tenor, or
violoncello; the arrangement or order of
the several member.^ of a chord.

Position. (1) With reference to chords, which
are said to be in fundamental position
when they are not inverted, and in open
position when the upper three voices ex-
ceed the compass of an octave, but other-
wise in close p' si 'ion. (2) With reference
to the position of the hand upon the finger-
board of stringed instrument'^, the first po-
sition being that nearest the nut; then
progressively one note toward the bridge
the second, the third, and the other posi-
tions.

Possibile (pos-se'bi-lS), 7/. Possible; il piu
forte possibile, as loud as possible.

Posthorn (post' horn), Ger. A species of
bugle.

Posthume (pos-tum),-fr. Posthumous; pub-
lished after the death of the author.

Postlude (p6st'loo-d6), j- . \ After-

Postludium (post-loo'dl-oom), " j piece,
concluding voluntary.

Potenza (po-t6n'tsa), It. A name applied by
the ancients to the notes and signs of mu-
sic ; any sound produced by an instrument.

Potpourri (p6'poor-re). A medley ; a capric-
cio or fantasia in which faVorite airs and
fragments of musical pieces are strung to-
gether and contrasted.

Pouce (pooss), Fr. The thumb ; a term used
in guitar music, indicating that the thumb
of the right hand mu5:t be passed lightly
over all the strings.

Poule (pool), Fr. One of the movements of a

quadrille.
Pour (poor), Fr. For.

a arm, & add, a ale, S end, e eve, i ill, i isle, 6 old, 6 odd, oo vioon, H but, il Fr. sound, kh Ger. ch, nh nasal.

(181)

POU

DICTIONARY OF MUSIC.

PRI

Pour f aire passer dessous lepouce (poor far
pjis-sa d6s-soo luh pooss), Fr. To pass the
thumb uuder the Augers.

Pour finir (poor fi-ner'), Fr. To finish ; in-
dicating a chord or bar which is to termin-
ate the piece.

Pour la premiere fois (poor lii pra-mer' fwii),
Fr. For the flrs+ time, meaning that on the
repetition of the strain this passage is to be
omitied.

Pour reprendre au commencement (poor r6-
priindr o k6m-manhs-manh), Fr. To go
back to the beginning.

Pousse (poos-sa), /'V. Pushed; meaning the
up bow.

P. P. Abbreviation of Pianissimo.

Prachtig (prakh'tigh), Ger. In a splendid,

pompous, magnificent manner.
Pracis (pra-tses'), Ger. Precise, exact.

Practice. The studious repetition of a pas-
sage in order to master it. Inasmuch as
practice has the design of forming a second-
ary automatism in performing the passage,
it is necessary that the repetitions should
invariably be without error, and the mo-
tions should be taken most of the time
slowly, in order that they may be perfectly
performed. Only a very small proportion
of the practice should be as rapjM as the
passage is intended to go.

Praecentor (pra- tsgn'tor), Lat. Precentor,
leader of the choir.

Pralltrill (priirtril), Ger. A variety of mor-
dent made with the note written and the
next above in the same scale, except where
otherwise directed by au accidental over
the sign. Examples:

Praludien (pra-loo'di-en), Ger.i I. Preludes.

Praludiren (pra-loo-de'r'n), Ger. To prelude,

to play a prelude.
Praludium (pra-loo'di-oom), Ger. A prelude,

au intioduction.

Precentor. The arpel'ation given formerly
to the master of the choir.

Precipitamente (pni t>he-p!ta-m€u'te), ) j.

Precipitato (pra-tshe-pi-ta'to), | •

In ii precipitate manner, hurriedly.

Precipitando (pra-tslie-pi-tilu'do), It. Hurry-
ing.

Precipitazione (pra- tshe- pi- tii- tsl- o' n6), //.
Pr^'cipitation, haste, hurry.

Precipite (pra-se-pi-ta), Fr. Hurried, accel-
erated.

Precipitoso (pra-tshe-pi-t6'z6). It. Hurrying,
precipitous.

Precisione (pra-tshe-zl-o'nS), It. Precision,
exactness.

Precise, exact, ex-
PrayeF, suppli-

Preciso (pra-tshe'zo), It.
actly.

Preghiera (pra-ghi-a'ra). It.
cation.

Prelude. A short introductory composition,
or extempore performance, to prepare the
ear for the succeeding movements.

Preludio (pra-loo'di-6), 7/. "lA pre-

Preludium (pra-loo'di-oom), Lat. j lude, or
introduction.

Premier (pr6m-i-a), p.. 1 First
Premiere (pra-mer'), ^' /^iJ^st.

Premiere dessus (pra-mer' das-sii), Fr. First

treble, first soprano.
Premiere fois (pra-mer' fvva), Fr. First time.

Premiere partie (pra-mer' par-te), Fr. First
part.

Preparation. That disDosition of the har-
mony by which discords are lawfully in-
troduced. A discord is said to be prepared
when the discordant note is heard as a con-
sonance in the preceding chord and in the
same part.

Preparative notes. Appoggiaturas, or lean-
ing notes.

Preparazione (pra-pa-ra-tsi-6'nS), It. Prepa-
ration.

Prepared discord. That discord the discord-
ant notes of which have been heard in a
concord.

Prepared shake. A shake preceded by two

or more introductory \ \ \ \ h- „
notes. Prepared shake, cbLJ_jL*.^:^~i
or trill. ^z^^EiF^^-

Pres de la table (pra dtih la tabl)
the soundboard.

Fr. Near

Pressing on, hur-

Pressante (pr6s-sanht'), Fr.
rying.

Pressure tone. A sudden cre-
scendo; ex.:

Prestamente (pr6s-ta m6n't6), //. Hurriedly,

rapidly.
Prestant (pr6s-tanh). Fr. The open diapason
stop in an organ, of either 32-, 16-, 8-, or 4-
feet scale. See Prdstanten.

Prestezza (pr6s-t6t'sa). It. Quickness, rapid-
ity.

Prestissimamente (pr6s-tes-si-ma-
mgn'te),

Prestissimo (pr6s-tes'si-mo\
Very quickly, as fast as possible.

Presto (pr(5s't6). It. Quickly, rapidly.
Presto assai (prCs'to iis'sa'i). It. Very quick;

with the utmost rapidity.
Presto ma non troppo (prCs'to mil noh trop'-

p6), It. Quick, but not too much so.

Pri^re (pre-ar), Fr. A prayer, supplication.

Prima (pre'mii). It. First, chief, principal.

Prima buffa (pre'ma boof-fa\ It. The prin-
cipal female singer in a comic opera.

"l

a arm, a add, a ale, & end, e eve, 1 ill, i isle, 6 old, 6 odd, oo vioon, H but, ii Fr. sound, kh Ger. ch, nh nasoL

(182)

PRI

DICTIONARY OF MUSIC.

PRO

Prima donna (pre'ma don'ua), It. Principal

ferudlo singer ia a serious opera.

Prima donna assoluta (y\re'nna don'na iis-so-
luo'ui, , It. First female singer in an oper-
ati<! est.thlishment ; the only one who can
claim that title.

Prima parte (pre'ma pilr'tC), It. First part.

Prima parte repetita (pre'ma piir'tS ra-p6-te'-
tii), It. Kepeat the first pan.

Primary chord. The common chord; the

firsL chord.

Prima vista (pre'mu ves'ta), It. At first sight.

Prima volta (pre' rail vol'ta), It. The first
time.

Prime (pre'm^), Ger. First note, or tone of a

scale.

Prime donne (pre'me 6n'ne), //. The plural
of prima donna.

Primes. Two notes placed on the same de-
gree of the staff, and having the same pitch
of sound.

Prime (pre'mo), It. Principal, first.

Primo buffo (pre'mo boof'foj, It. First male
singer in a comic opera.

Primo musico (pre'mo moo'zi-ko), It. Prin-
cipal male singer.

Primo tempo (p'-e'rao t^m'po), It. The first,
or original, t.me.

Primo tenore (pre'mo t^-no're), j. \ The first
Primo uomo (pre'mo bo-o'mo), * j tenor

singer.

Primo violino Cpre'mo ve- 6-le'uo), i<. The
first violin.

Primtone (prim-to'nfij, Ger. pi. Fundamental
tones, or notes.

Principal, or octave. An important organ-
stop, tuned an octave above the diapasons,
and thi'reforeof four- feet pitch on the man-
ual, and eight-feet on the pedals. In Ger-
man organs the term Principal is also ap-
plied to all the open diapasons of 32, 16, 8,
and 4 feet.

Principal bass. An organ-stop of the open-
diapason species on the pedals.

Principal close. The usual cadence in the
l)rincipal key, so called because generally
occurring at the close of a i>iece.

Principale fpren'tshi-pa-16), It. Principal,
chief; violino principale, the principal vi-
olin.

Principalmente (pren - tshi - pill - m6n' tS), //.
Principally, chiefly.

Principal voices. The highest and lowest;
the soprano and bass.

Pringetge (prln'ghigh(5),Ger. The first violin.

Probe (pro'b?), Gr. Proof, trial, rehearsal.

Professeur de chant (pro fCs-sOr dCih shanh),
Fr. A professor of vocal music ; a singing-
master.

Professeur de musique (pr6-f6s-siir d(ih \

mii-zek'), Fr. \

Professore di musica (pr6-f6s-s6'r? de [

moo'zl-kii), It. )

Professor of music. In the universities the
professor of music enjoys academical rank,
confers musical degrees, lectures on har-
monic science, etc.

Programme (pro-griim'mC'),J^ A programme.

Programme. An order of exercises for mu-
sical or other entertainments.

Programme music. Music designed to repre-
sent a specified series of incidents. Among
the fir-t to apply this principle were the
Abbe Vogler, Weber, and Berlioz. The lat-
ter afforded brilliant examples.

Progression. A succession of triads, or per-
fect chords, which are confined to the tonic.

Progressione (pro-grSs-si-Cnc), it. Progres-
sion.

Progressive. Advancing by degrees.

Prolatio (pro lil'tsio), Laf. Adding a dot, to
increase, or lengthen, the value of a note.

Prolazlone (pro-lil tsi-o'ut?), //. Prolation.

Prolonged shake. A shake which can be
opened or closed at i)lcasure.

Prolongement (pro-'on-zha-milnh), Fr. The
prolongation ; part of the action of the pi-
ano, retaining the hammer away from its
rest.

Promenade concert. A vocal or instrumen-
tal concert during which the hearers are at
liberty to promenade the hall instead of be-
ing seated.

Promptement (prftnht-miinh), Fr. } Readily,
Prontamente (pr6n-tii-m6n'te), Jt. j" quickly,

promptly.

Pronto (pron'to), It. Ready, quick.

Pronunziare (pro-noon-tsi-il're), It. To pro-
nounce; to enunciate.

Pronunziato (pro- noon - tsf -ii' to), It. Pro-
nounced.

Proportio(pr6-por'tsi o),7,a<. Proportion: ap-
plied to intervals with reference to their rel-
ative dimensions and to notes with refer-
ence to their relative duration.

Proposta (pro-pos'tii), It. Subject, or theme,
of a fugue.

Proscenio (pros-sha'ni-o), //. \p

Proscenio (pros-tha'ni-o), Sp. J ^ rosceninm.

Proscenium (pros-sCn'i-am). The front part
of the stage, where the curtain separates the
stage from the audience.

Proslambanomenos (pros-blm-bil-nrtm'^-nOs).
Gr. The lowest note in the (Jreek svsteni.
equivalent to A on the first space in the bass
of the modern.

Prosodia (pr6-s6'di-;i\ Gr. A sacred song, or
hymn, sung by the ancients in honor of the
gods.

Prosody. That part of the laws of langunge
dealing with quantity (or the time of svlla-
blcs) }ind accent (the relative emphasis of
syllables).

ti arm, -1 add, a ale, S end, e eve, i ill, I isle,6 old,6 odd, oo moon, ii but, u Fr. sound, kh Ger. ch, uh nasal

(183)

PRO

LICTIONARY OF MUSIC.

QUA

Protasis (pro'ta-sls), Gr. That part of a sen-
tence which awakens expectation, to be an-
swered later by the podasis. The subject.

Prova vpro'vii), It. Proof, trial, rehearsal.

Prova generate (pro'va jgn-6-ra'16), It. The
last rehearsal previous to a public perform-
ance.

Psalm. A sacred song or hymn.

Psalmbuch (psalm'bookh), Ger. A psalter;
a book of psalms.

Psalmen (psal'mgn), Ger. To sing, to chant
psalms.

Psalmgesang (psalm'g6-siiug'), Ger. Psalm-
ody.

Psalmist. A composer, writer, or singer, of
psalms or sacred songs.

Psalmlied (psalm' led), Ger. Psalm, sacred
song or hymn.

Psalmodie (psJU'mo-de), Fr. Psalmody.

Psalmody. The practice or art of singing

psalms; a collection of music designed for

church service.
Psalter. The Book of Psalms.
Psalter (psiil'ter), Gej-. Psaltery.
Psalterion (Dsal-ta-ri-5nh), Fr. ) A stringed
Psalterium(psal-ta'ri-oom), La<. |- instrument
Psaltery. ) much used

by the Hebrews, supposed to be a species

ol lyre, harp, or dulcimer.

Psaume (psom), Fr. A psalm.

Pseautier (ps6-ti-a), Fr. A psalter, or book

of psalms.

Pulcha (pool'ka), Russ. A Russian dance,
the original of the polka.

Pulsatile (pQl'sa-tel'). Striking ; instruments
of percussion, as the drum, tambourine, etc.

Punctum contra punctum (poonk'toom kon'-
tra poonk'toom), Lat. Point against point.
See Counterpoint.

Punctus (poonk'toos), Lat. A dot, a point.

Punkt (poonkt), Ger. A dot.

Punkte (poouk'tS), Ger. Dots.

Punktirte Noten (poonk - tir' t^ no't'n), Ge-*:
Dotted notes.

Punta (poon'ta), j. |The point, the top ; al?o
Punto (poon'to), J a thrust, or push.

Punta d' arco (poon'ta dar'ko), \ j,
Punta del' arco (poon'ta d61 iir'ko), J
The point or tip of the bow.

Puntato (poon-ta'to), It. Pointed, detached,
marked.

Punto d' accressimento (poon'to dak-kr^s-si-
mgn'to). It. The point of augmentation.

Punto di divisione (poon'to de de-ve si-o'n6),
It. Point of division.

Punto d'organo (poon'to dor-ga'no), //. Or-
gan point.

Punto per punto (poon'to p5r poon'to), It.
Note for note.

Pupitre (pii-petr), Fr. A music-desk.

Pyramidon (pi-ra,m'i- d6n), Gr. An organ-
stop of 16- or 32-feet tone, on the pedals, in
vented by the Rev. F. A. G. Oueley. The
pipes are four times larger at the top than
at the mouth, and the tone of remarkatle
gravity, resembling that of a stopped pipe
in quality.

Pyrrhics (pir'hiks). A metrical foot, consist-
ing of two short syllables. ^^

Pythagorian lyre. An instrument said to
have been invented by Pythagoras.

Q

Quadrat (kwa-draf), Ger. A square. The
mark called a natural, t].

Quadratmusik (kwad rat'moo-zek'), Ger. A
iiiime sometimes applied to the old mensiar-
able music writteu in square rotes.

O'.^adricinium (kwil-dri-tse'ni-oom), Lat. \
Quadripartite ' kiUl-ri-par-tet'), Fr. j

.\. <iuartet, a composition in four parts.

Qusdriglio (kwii-drgl'yi-o). It. Quadrille.

Quadrille (kii-drel'), Fr. A French dance, or
set i>l: fiv(i consecutive dance movements,
called La Piintalon, La Poule, L'fet^, La
Trenise (or La Pastourelle) and La Finale.
The movements are in 6-8 or 2-4 measure.

Quadro (kwa'dro), It. The mark called a nat-
ural, tj.

Quadruple. Fourfold.

Quadruple counterpoint. Counterpoint in
four parts, all of which may be inverted,
and each of them taken as a bass, middle,
or high part.

Quadruple croche (kad-rupl krosh), Fr. \

Quadruple quaver. )

Four-hooked ; a half-demisem;quaver, or
semidemisemiquaver.

Quadrupio (kwii'droo-plo), //. In four parts.

Quantity, The relative duration of notes or
f^yllables.

Quarta (kwiir'ta), j. \ k fourth; also the

Quarto (kwiir'to), J fourth voice, or instru-
mental part.

Quart de soupir (kar dCih soo-per), Fr. A
semiquaver rest.

a arm, a add, a ale, eend, e eve, i ill, I isle, 6 old, 6 odd, oo moon, (i but, u Fr. sound, kh Ger. ch. nh nasal.

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QUA

DICTIONARY OF MUSIC.

QUI

Quarte (kart), Fr. \ . ff.„rth

Quarte (kwar'tS), Ger. |^ ^°^"^-

Quarter=note. A black note with a stem.
J is duration is equal to one quarter of a
whole note.
>tiarter»rest. A pause equal in duration to
a (luarter-note.

)uarter tone. A small interval, approxi-
mately equal to one quarter of a diatonic
second. Several intervals of this character
arise enharmonically, when it is attempted
to carry out musical pitches into remote
keys according to the mathematical exact-
ness of pure harmonic intervals. Approxi-
mately the interval between Cit a-id D> is a
quarter-step; in some cases, but not in all,
accordint< to the manner in which the sev-
eral pitches are arrived at.

Quartes (kart), Fr, Fourths.

Quartet ") A composition

Quartett {kwar-t6tt), Ger. >for four voices
Quartetto (kwar-tCt'to), /<. jor instruments.

Quartet, stringed. A quartet, or composi-
tion, ariauged for four stringed inslru
ments, consisting of first and second vio-
lins, viola, and violoncello.

Quartettino (kwur-t(5t-te'no), It. A short quar-
tet.

Quartet, wood. A quartet consisting of the
tlute, oboe, clarinet, and bassoon.

Quartfagott (kwfirt' fa-got'), Ger. |An old

Qaart=fagotto (kwiirt fii-got'to), It. J sort of
ba.ssoou, formerly used as a tenor to the
hautboy ; called, also, Dulcino and Dulzaln.

Quartflote (kwiirt'flo'tg), Ger. A flute sound-
ing a fourth above.

Quartgeige (kwart'ghi-ghg), Ger. A small vi-
olin, a fourth above the usual violin. Pic-
colo violin.

Quarto (kwar'to), 7^. The fourth; the quarter-
note.

Quartsextaccord (kwart's6xt-a,k-k6rd'), Ger.
Chord of the sixth and fourth ; second in-
version of the triad.

Quasi (kwa'ze). It. In the manner of, in the
style of.

Quasi allegretto (kwa'z6 al-16-gr6t'to) , It. Like
an allegretto.

Quasi andante (kwa'ze an-dan't6), It. In the
style of an andante.

Quasi presto (kwii-zl prSs'to), //. Like a
l)resto.

Quasi recitativo (kwii'zi ra-tshi-ta-te'v6), It.
llusombling a recitative.

Quasi una fantasia (kwii'zi oo'nii fiin-ta'zT-a),
/'. As if it were a fantasia.

Quatrain. A stanza of four lines rhyming
alternately.

Quatre (kjitr), Fr. \ Four ; a quatre mains,

Quattro (kwiit'trO). It. j or, a quattro mani,
for four hands ; a pianoforte duet.

Quattricoma (kwat'tri-ko'mii). It. A demi-
semiquaver.

Quatuor (kwa'too-or), Lat. A quartet.
Quaver. A note equal to half a crotchet.
Quaver=rest. A mark of silence equal in
value to an eighth-note.

Querflote (kwar'flo't?), Ger. German flute.
See Flauto traverso.

Querpfeife (kwar'pfi'fgj, Ger. A fife.

Querstand (kwar'stand),Ger. False relation ;
in harmony. A chromatic tone not pre-
pared in the same voice. See False relation.

Querstriche (kwar'stri'khe), Ger. Ledger lines.

Questa (kwas'tji), ., \^. . „„*!,„.
Questo (kwas'to), ^^- j ^^^^' ^^ ^'^^''•
Queue (kiih), Fr. The tail, or stem, of a note;
also the tailpiece of a violin, etc.

Quickstep. A lively march, generally in 2-4
time.

Quieto (kwe-a'to), It. Quiet, calm, serene.

Quills. The plectrums, or instruments for-
merly used instead of the fingers in playing
upon the harp, guitar, etc.

Quinque (kwiu'kw6), Lat. Five.

Quint (kwint), ia<. ) A fifth ; also the name
Quinta (kwen'tii), /<. ( of an organ -stop
Quinte (kanht), Fr. C sounding a fifth, or
Quinte (kwin't6),Ger. ) twelfth, above the

foundation stops. The E string of the

violin.
Quintadena. An organ-stop of wood, voiced

between a stopped diapason and a gamba.

Quintaton (kwin'tii-ton'), Ger. A manual or-
gan-stop of 8-feet tone ; a stopped diapason
of rather small scale producing the twelfth,
as well as the ground tone ; it also occurs
as a pedal-stop of ;2-and 16- feet tone.

Quintbass. An organ pedal-stop. See Quint.

Quintenzirkel (kwin't$n-tsir'k'l). Ger. Circle
of fifths, beginning with any tone and re-
turning through a succession of fifths and
octaves to the same tone, or one enharmo-
nic with it. The Qiiintenzirkel beginning
with C returns to B# after twelve fifths.

Quintet. A composition for five voices or in-
struments.

Quintette (kwen-t«'to), /^ 1 a nnintei
Quintette (kanh-t6t), Fr. j ^ Quintet.

Quint=fagott (kwenf fit-got'), It. The small
bassoou or fagottina, sounding a fifth high-
er than the common bassoon.

Quintgedackt (kwint'gh(5-diikt'), Ger. An or-
gan-stop of the stopped-diapason species,^
sounding the fifth above. \

Quintoire (kilnh- twiir), Fr. An old Fre'nch
term applied to a species of descant con-
sisting chiefly of fifths.

Quintole (kwln't6-16), Lat. A group of five
notes, having the same value as four of the
same species.

Quintuple. A species of time now seldom
used, containing five parts in a bar.

Quire. A choir, a body of singers; that part
of a church where the choristers sit. See
Choir.

a arm, & add, a ale, 6 end, e eve, I ill, I isle, 6 old, 6 odd, oo moon, H but, ii Fr. sound, kh Ger. ch, uh 7iasal.

(185)

QUI

DICTIONARY OF MUSIC.

REB

Qui tollis (kwi tol'lis), Lat. " Thou who tak-
est away the sins of the world." A part of
the Gloria.

Quodlibet (kwod' li -b6t), Lat. A medley of

airs, etc., out of different works, or by var-
ious composers; a musical potpourri."
Quoniam Tu solus (qu6'ni-am too so'loos), Z,a<.
" Thou ouly art holy." Part of the Gloria.

I«

R, or, R. H. Indicates the right hand in pi-
anoforte-playing.

Rabani (ra-ba'ne). } A species of tam-

Rabbana (ril-bii'na). jbourine used by the
negroes.

Rabbia (rub'bi-a), If. Rage, fury, madness.

Raccourcir (ril-coor-ser), Fr. To abridge.

Rackett, or, Rankett (riik'ket). Grr. (1) A
family of wood wind iustraments, long ago
obsolete. (2) Obsolete names for organ-
stops, generally reed-pipes of 8- or 16-feet
pitch. .

Rackettfagott (rak'ket-fji-got'), Ger. A kind
of bassoon, now obsolete. It belonged to
the bombarde family.

Racier (riik-la), Fr. To scrape. Said of a poor
player.

Racleur (rii-klur), Fr. A poor player.

Raddolcendo (rad-d61-tsh6n'do), j^ |Within-

Raddolcente (riid-dol-tsben'tg), " j creas-
ing softness ; becoming softer by degrees.

Raddoppiamento (riid-dop-pi il-men'to), If.
Augmentation; reduplication; the doub-
ling of an interval.

Raddoppiato (rad-dop-pi-ii'to), It. Doubled,
increased, augmented.

Radical bass. The fundamental bass; the
roois of the Viirious chords. •

Raggione (rild-ji-o'nc), /<. Ratio; proportion.

Ragoke. A small Russian horn.

Rallentamento (ral-16n-ta-m6n'to),
Rallentando (ral-ien-tiin'do). It.

Rallentato (riil-lgn-ta'to),

The time gradually slower, and the sound

gradually softer.

Rallentando assal (riil-lgn-tan'doas-sa'i). It. A
great slackening of the time.

Ram des vaches (rJinh dC viish), Fr., Pastoral
airs played by the Swiss herdsmen, to as-
semble "their cattle together for the return
home.

Rapidamente (ril-pe-da-men'tC), It. Rapidly.

Rapidamente e bril'-'nte (rii-pe-da-m^n'tC a
bril-lau'i6). It. Rapi lly and brilliantly.

Rapidita (rii-pedi-ta'), It. Rapidity.

Rapido (ril' pi-do). It. Rapid.

Rapsodie (rilp-so-de'), Fr. \ A capriccio, a

Rapsody (rtlp's6-dy), Fng. j fragmentary piece,
a wild, unconnected composition.

Rasch (riish), Ger. Swift, spirited.

Rasegesang (ra'z6-ghg-zang'), ^ 1 A wild
Raselied (,ra'z6-Ied'), J song, a

ditbyrambic.

Rathselcanon (rath/s'l-ka-non), Ger. Enig-
matic canon. A canon written upon a sin-
gle line, without marks to indicate where
the following voices should enter.

Rattenendo (rat-t(5-n(5n'd6), ,, | Holding

Rattenuto (rat-te-noo'to), " j back, re-
straining the time.

Rattezza (riit-tet'sa), It. Swiftness, rapidity.

Raucedine (ra-oo-tsh6-de'n6), It. Hoarseness.

Rauco (rii-oo-ko). It. Hoarse, harsh.

Rauh (rou), Ger. \ -d^„„v>
Rauque (rok), Fr. J ^^^Sr^.

Rauscher (row'sher),(Ter. A passage in which
every two tones are several times repeated.

Rauschflote (roush'fio't^), Ger. A mixtu'e

stop of two ranks of pipes, sounding the

twelfth and fifteenth.
Rauschpfeife (roush'pfi-fg), ^ ) Rustling
Rauschquint (roush'quint), " j fifth; a

mixture-stop in German organs, the twelfth

and hiteeuth on one slide.

Ravanastron. A very simple form of bow in-
strument, common in the East.

Ravvivando (niv- vi - van'do), /^ Reviving,
quickening, accelerating.

Ravvivando il tempo (rav-vl-viin'do il lem'-
po). It. Accelerating the t.me.

Re (ra). A syllable applied in solfaing to the
second degree of the major scale, or in
Trance and Italy to the note 1), irrespec-
tive of key place.

Reading music. The art of recognizing and
feeling musical effects from the w ritlen no-
tation.

Rebec. \ A Moorish word signifying an in-

Rebecca. j strument with two strings played
with a bow. The Moors brought the rebec
into Spain, whence it parsed into Iialy.aiwl
after the addition of a third string obtained
the nime of rebecca, whence the old Eng-
lish rebec, or fiddle with three strings.

Rebecchino (ra-bi^k-ke'no), //. Small rebec
guitar.

Re bemol (rC ba-mol), Fr. The note Djj.

Re bemol ma|eur (ra ba-mol mn-zhflr), Fr
The key of 1)\> major.

aarm, aacZd, a ale, H end, e eve, i ill, i isle,6 old, 6 odd, oo moon, ^ihut, ii Fr. sound, kh Ger. ch, nh nasal.

(186)

REB

DICTIONARY OF MUSIC.

REE

A rebec.

Rebab.

Rebeb.

Recension (ra-tsaiih-s!-5Dh), Fr. An analyt-
ical cTiiioism. Also used of careful or
H.ialylical editing.

Recheat. An oM term for a scries of notes
which huntsmen sound on a horu to recall
the (\og^ from a false.6ceut.

F^echerche (rC-sh6r-sha), Fr. Rare, affected,
lormal.

Recht (r(5kht), Ger. Right.

'iechte Hand (rgkh'tC hiiud), Ger. Right
hand.

>^ecit (ra-set), Fr. Recitative.

J^ocitado (ra-tsi-ta'doj, Sp. Recitative.

Recital. A recital of choice music by a solo
irtist. Uistiugiiished from concert by be-
ing exclusively musical, the idea of dis-
play not entering into the coucept.

Recitando (ra-tshi-tiin'do), ry ) Declamatory,

Recitante (ra-tshi-tau'tC), ) in the style

of a recitative.

Recitatif (r{^si-ta-tef'), Fr. )

Recitativ (i(?-tsi-ta tif ), Ger. V Recitative.

Recitativo (r6-tshi-ta-te'vo), It. j

Recitative ('r6-si-ta-tev'). A musical form in
which a text is recited to musical cadence.
Recitative ranges all the way in musical
quality, from the recitativo secco (dry reci-
tative), in which, aided simply by a chord
aow and then for insuring the intonation,
the musical cadence seeks merely to deliver
the text effectively, up to a recitativo ac-
compagnato stromeutalo (accoKipanied and
instrumented recitative), in which the mu-
sical phrases have perceptible melodic qual-
ity, while the instrumentation colors and
iutensifies the dramatic effect. The latter
variety approaches very nearly to arioso,
and shades into it by imperceptible de-
grees. To mention a familiar example,
the four recitatives in Handel's '' Messiah,"
narrating the appearance of the angels to
the shepherds, afford two exarupies of reci-
tativo secco, and two of recitativo accom-
pagnato. In operatic recitative the in-
strumental accompaniment often plays an
important part; even where the vocal
phrases themselves are not highly accom-
panied, the instrumental interlude often
takes on a highly dramatic coloring. All
the old operas of Mozart's time, and be-
fore, have a great deal of recitativo secco,
which is generally accompanied by the
'cello only. In the latter works of Wagner
there is little or no recitative of this char-
acter, but an accompanied recitative, or
more properly arioso, takes its place. In
the first operas (Peri's " Eurydice ") a simi-
lar usage prevailed, but with the difference
that iu Peri's mere verbal delivery is the
end sought in the musical cadence, where-
as in Wagner the accompaniment rises to
symphonic elaboration in the effort to in-
terpret the feeling of the text, and the
whole form is intensely musical as well as
dramatic in the best sense.

Recitative accompanied. A recitative is said
to be accumpaui'd when, besides the bass,
there are part.s for other instruments, as
violins, lluies, hautboys, etc.

Recitativo instromentato (rC-tshi-ta-te'vo iu-
siio-mOn-tu'ioMii. Accompanied recitative.

Recitativo parlante (r^-tshx-til-te'vo piir-i
liiu'te), S It.

Recitativo secco (r^-tshi-til-te'vo sCk'ko),)
Uuac(om]>anied recitative; also, when ac-
companied only by the violoncello and
double bass, or the "pianoforte or organ.

Recitativo strornentato (rg tshi-ta-tc'v(3 stro-
meu-ta-to. Recitative accompanied by the
orchestra. See Recitativo instromciUato.

Rezitativzug: (r6-tsi-ta-tef'tsoog), Ger. Re-
citative stop.

Recitazione (re- tshi- tii- tsi- 6' u6), It. Recita-

ticu.
Reciter (ra-si-tii'). F) . To recite.
Reciting note. The note in a chant upon

which the voice dwells until it comes ♦o a

cadence.

Recorder. An old wind instrument c»f the
flageolet kind, but of smaller bort; and
shriller tone. Mentioned in Shakesp.are.

Recreation. A composition of attractive style,
designed to reliev(> the tediousness of prac-
tice; an amusement.

Recreations musicales (r(?k-r^-a'si-5uh, mu-zi-
kal'), Fr. Musical recreations.

Recte (r(^Ltg), Lat. Right, straight, forward
Rectc; et retro (rek't? ^t ra'tro), Lai. Forward,
then backward; the sr^ject, or melody, re-
versed, note for note.

Reddita (rgdde'ta), jf ") i?e*^urn to the snb-
Redita (re-de'ta), * jject; repetition of a

melody.

Rediese (rarJ.I-as), /v. ") „ i ■n+*

Red.esis (ra de-a'ses), It. J ^^ snarp. v^.

Redondilla (rg-don-del'yii), Sp. A roundelay ;
a stanza of four lines of eight syllables tach.
Redowa (r?'d5-wa). ) A Bohem;an

Redowak (re'dd-wak) v dance, iu li-4 and

Redowazka (r6'd6-vvats-ko,). \ 3-4 time alter-
natoly. Modern redowas confine them-
selves to 3-i measure,

Redublicato (rc^-doob-li-ka'to). It. Redoubled.

Reduciren (rd'doo-tsir'gn), Ger. To reduce, or
arrange, a full instrumental score, for a
smaller band, or for the pianoforte or or-
gan.

Reed. The flat piece of cane placed on the
beak, or mouthpiece, of the f^larinet and
bassethorn; this is called a single reed. The
double reed is the mouthpiece of the haut-
boy, English horn and bassoon, formed of
two pieces of cane joined together. Organs
and reed orgatis have metal reeds of differ-
ent forms, called " free" and " impinging,"
or striking, reeds. The free reed consists of
a smaLL socket of brass and a vibrating
tongue, one end of which swings entirely
through the socket at each vibration. In

a arin, a, add, a ale, 6 end, e eve> i ill; i isle, 6 old, 6 odd, oo mooti, ilbut,il Fr. sound, kh Ger. ch, uh nasal.

C187)

REE

DICTIONARY OF MUSIC.

RET

reed-organs the reed obtains large reso-
nance from the "wooden reed-board, which
acts as sounding-board. The organ-reed ob-
tains its resonance from the pipe which it
causes to vibrate. And the voice is deter-
mined in part by the shape and size of this
pipe. The impinging.or striking, reed is used
only in the organ (lor trumpet, oboe, and
corno peon-stops). Its tongue strikes against
the opening into the pipe, which it com-
pletely covers, instead of playing through
it, as in the free reed. Its tone is, therefore,
very much more metallic and snarly. Or-
gan-reeds of both varieties are tuned by a
sliding wire, which shortens or lengthens
the vibrating portion of the tongue, in or-
der to adjust the intonat onof the reed to
■that of the other parts of the instrument.
Free reeds are much more apt to be out of
tune than impinging reeds, but their tone
when in tune is much better. The reeds in
• reed-organs are permanent, and do not get
out of tune except through weakening of
the metal tongue, which happens after
much use, or through the development of
flaws in the metal. In brass instruments,
of the horn and trumpet class the lips of the
player perform the function of a reed. The
human voice is also a reed instrument,

Reed instruments. Instruments whose
sounds are produced by the action of air
upou reeds formed of metal or wood.

Reed pipe. A pipe formed of reed, used sin-
gly or in numbers, as the pipes of Pan, in
ancient times, or in connection with other
kinds of pipes, as in the organ.

Reed=stops. Orcran-stops in which the sound
is made by reeds.

Reel. A lively Scotch dance. Originally the
term Ilbay, or Reel, M'as applied to a very
ancient English dance, called the Hay. The
reel is generally in 4-4 measure, but some-
times in 6-8. See llhai;.

Refrain. The burden of a song ; a ritornel';
a repeat.

Regal. A portable organ, used in former
times in religious processions.

Regel (ra'g'l), Ger. Rule.

Regens chori (rii'gCns ko'ri), Lat. The choir-'
master in German churches.

Regimental band. A company of musicians
attached to a regiment ; a military band.

Regina coeli (ra-ge'n;l tsii'lD, Lit. Queen of
Heaven; a hymn to the Virgin.

Register. The stops, or rows of pipes, in an
organ ; also applied to the high, low, or mid-
dle parts, or divisions, of the voice; also the
compass of a voice or instrument.

Registering. The management of the stops
in aa organ.

Registerstimme (re-ghis'tSr-stim' m6\ Ger.
Speaking-stops of an organ, as distinguished
from mechanical stops (couplers, eic).

Registre (r?g estr'), rr.\^ .. draw-ston
Registro (rc-jes'tro), /^. | J-^egisier, araw-stop.

Registrirung (ra-ghis-tre'roong), Ger. The art
of registration.

Rehearsal (rC-hgr'sal). A trial, or practice,
previous to a public performance.

Reihen (rl'gn), Ger. Song, dance.

Reihentanz (ri'en-tanls'),Ger. Circular dance.

Rein (rin), Ger. Pure, clear, perfect ; kurzund

rein, distinct and clear.
Reine Stimme (ri'ug stim'mg), Ger. Clear

voice.

Reiselied (rl'ziS-led'), Ger. A traveling song;
a pilgrim's hymn, or song.

Related. A term applied to those chords,
modes, or keys, which, by reason of their
affinity and close relation, admit of an easy
and natural transition from one to the

other.

Relation. That connection which any two
sounds have with one another in respect of
the interval which they form.

Relation of keys. Affinity of keys, arising
from the identity of one or more chords ap-
pertaining to both. The relationship be-
comes closer and closer according to the
number of such coincidences. According
to modern usage all keys are related, and
there is scarcely any chord which might
not, in some way, follow any other. It is
obvious, however, entire keys are related in
proportion to the number of chords they
have in common. For it is a very different
thing to introduce a single strange chord
(which may be taken as belonging to the
chromatic key) and to bodily go into the en-
tire foreign key to which such a chord os-
tensibly belongs. See Modalatlon.

Relatio non harmonica (r^-la'ts^o non hiir-
mo'ni-kii), Lu<. False relation.

Relative keys. Keys which only diflfer by
one sharp, or fiat, or which have the same

signatures.

Religiosamente (r6-le-ji-6-za-m6n't6), jf \
Religioso (r$-le-ji-o'z6), j

Religiously, solemnly, in a devout manner.

Re majeur (ra miizhfir), Fr. D major.

Re mineur (ra me-niir), Fr. D minor.

Remote keys. Those keys whose scales have
few tones in common, as the key of C and
the key of Dl?.

Remplissage (ranh-pli-sazh), Fr. Filling up ;
tiie middle parts; also a term applied to the
decorative flourishes introduced in con-
certos and bravura airs.

Rentree (r:inh-tra\ Fr. Return; reentry of

the subject or theme.

Renversement (ranh-v6rs-manh), Fr. An iH-
ver.'-ion.

Renverser (ranh-v^r-sa), Fr. To invert.

Renvoi (ranh-vwii), Fr, A repeat ; the mark

of repetition.
Repeat 8va. Repeat an octave higher.

a arm, a add, a ale, 6 end, e eve, I ill, i isle, 6 old, 6 odd, oo moon, ti but, u Fr. sound, kh Ger. ch. nh nasal.

(188)

REP

DICTIONARY OF MUSIC.

RET

Repeat. Two or more dots to the left or right
of a double bar, Indicating gign of Repetition.
that certain measures or pas-

I

sages on the same side of the
bar are to be sung or played
twice.

Repercussio (r6-p6r-koos'sI-6), Lat. The an-
swer, in a fugue.

Repercussion. A frequent repetition of the
same sound. A technical term in fugue, to
denote the reappearance of the subject.

Repertoire (ra-p?r-twar), Fa-. Repertory. The
entire list of works ready for performance,
or practicable after certain preparation.

Repertoire de ropera (ra-p5r-twar dtih 16-pa'-
rii), Fr. A collection of pieces from an
opera.

Repetent (r6-p6-t§nt'), Ger. A teacher who
conducts the rehearsals.

Repeflmento (r<5-p6-ti-m?n't6), T^. ) Repeti-
Repetizione (re-p6-ti-tsi-6'u6), j tion.

Repetition (ra-pa-te-si-6nh), Fr. Rehearsal;
repeiiiion.

Repetltore (r6-p6-ti-t6'r6), It. The director of
a rehearsal.

Replica ( ra' pli-ka), It. Reply, repetition,
teee also Repercussio.

Replicato (r6-pli-ka't6),. /<. Repeated.

Repiique (ra-plek), Fr. (1) Octave. (2) An-
swer (in fugue). (3) Ii.terval arising from
inversion. (4) Small notes Inserted in a
part to guide the performer.

Reply. The answer, in fugue.

Reponse (ra-p6nhs), Fr. The answer, in a

fugue. The subject very slightly modified

so as to lead back to the tonic.

Repos (ra-p6), Fr. A pause.

Reprise (ra'prez), Fr. The burden of a song ;
a repetition, or return, to some previous
part; in old music, when a strain was re-
peated, it was called a icprise.

Requiem (ra'kwi -5m), Lat. A mass, or mu-
sical service, for the dead.

Resin. Rosin.

Resolutio (rez-oloo'tsi-o), Lat. Resolution.

Resolution. The solution of a dissonance.
All dissonances are temporary substitutions
in place of consonant tones, and the resolu-
tion generally consists of the progression of
the dissonant tone one step to the consonant
tone which it displaced. See Dissonance.

Resoluzione (r6s-o-loo-tsi 6'n?), It. Resolu-
tion, decision, firmness; also the progres-
sion from a discord to a concord.

Resonance. The answering of one sound to
another. Every sounding body resonates or
answers to all tones which it contains itself.
A room resonates or echoes to such tones as
are part of its natural tone. Every piano-
string, when the dampers are raised, reso-
nates or answers every other string which
produces its owu tone or one of its partials.
The human head resonates according to the

clearness of the cavities and the direction
of the tone formed in the throat. An echo
is not a resonance. An echo is merely a re-
flection of sound-waves, and not an answer
with waves Lewly created.

Resonanzboden (r6-s6-nants'b6'd'n ),(T€r-. Res-
onance bodies. The sounding-board of a
pianoforte, etc.

Response. Response, or answer, of the choir.
The name of a kind of anthem sung iu the
Roman Catholic Church after the morning
lesson. In a fugue the response is the rr^ie-
tilion of the given subject by another part

Responsivo (rg spon-se'vo) , It. Responsively.

Responsorien (rC-spon-so'ri-to),
Responsorium (r6-spon-so'ri-oom), Lat.
Responsum (r6-spon'soom),

See Response.

Resserrement (r6s-sar'manh), Fr. See Stretto.

Rest. Rhythmic silence. Characters indi-
cating rhythmic silence. During rest the
rhythm goes right on, and this circumstance
distinguishes musical rest from mere cessa-
tion. Rests correspond in denomination
and value to all the different forms of note.

Whole Half Quartei 8th 16th 32d 64th

Rests may be augmented by dots and
double dots, exactly the same as notes.

Restrictio (r6-strik'ti-6), Lat. The stretto in a
fugue.

Resultant tones. Tones formed by the co-
incidences of vibrations when two tones
are sounding together. These tones were
first discovered by the violinist Tartini,
who used them as a guide to correct in-
tonation iu double stoppitig far up the
fingerboard. They may easily be observed
upon the reed organ by taking a single set
of reeds and prolonging EandG (4th and
5th spaces of the treble staff ) forte. A low
humming will presently be heard, which,
upon comparison, will be found to be mid-
dle C. Upon changing to D and F, one
degree lower, the humming will change
to B\,.

Resurrexit (ra-silr-r^x'it), Lat. " And rose
again." Part of the Credo of the Mass.

Retard. To gradually slacken the move-
ment. A retard denotes the dying away
of the impulse immediately producing the
strain, and is generally preparatory to a
new strain following, or else preparatory
to the final close. A retard is gradual and
cumulative in character, slackening the
movement very gradually, and completing
the .slackening upon the note preceding
the resumption of the new idea, if there be
one. The common mistake is to retard
too suddenly, and too soon. As a rule
every retard in music is prepared by an
accelerando a little time previously, in
approaching the climax after which the
retard generally comes.

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RET

DICTIONARY OF MUSIC.

RIF

Retardando (rg-tar-dan'do), It. A retarding
of the movemeut.

Retardation. Slackening, or retarding the
time; also a suspension, in harmony, pro-
longing some note of a previous chord in-
to the succeeding one.

Retraite (r6-trat), Fr. Retreat; tattoo, in
military music.

Retro (r^-tro'), Lai. Backward, the melody
reversed, note for note.

Retrograde (rfi'tro-grad'). Going backward.

Retrograde. An imitation repeating the sub-
ject note for note, backwards, beginning
with the last note.

Retrogrado (ra- tro-gra'do), It. Retrograde,
going backward.

Retto (rgt'to), It. Right, straight, direct.

Reveille (r6-va'y6), Fr. Awaking, a military
morning signal ; also horn music played
early in the morning to awake the hunter.

Reversed. An imitation repeating a melodic
motion in opposite direction, answering
upward progressions with downwards, and
the like. The union of retrograde and
reversed imitation gives an imitation in
which the subject is repeated note for
note backwards, and in opposite direction
of up and dowu. These are merely mechan-
ical devices for securing something appar-
ently new in the working out of a fugue or
thematic group.

Reversed motion. Imitation by contrary mo-
tion, in which the ascending intervals are
changed into descending and vice versa.

Re voice. To repair an organ-pipe so as to re-
store its proper quality of tone.

R. H. In pianoforte music used to indicate
the right hand.

RhaplodyV'^^''^'"^^'^' ^''' }^^^ -R«PSodie.

Rhapsodists. Greekminstrels, of the time of

Homer and later.
Rhythm. "I Measured move-

Rhythmus(r]t'moos), Ger. j mentintime. All
music begins by selecting a certain key, or
group of chords, within which, or in rela-
tion to which, all the melodicand harmonic
movements take place. In like manner it
also selects a certain rate of pulsation and a
certain measure.within which.orin relation
to which, all the rhythm of the piece takes
place. Hence, in general, the rhythm of a
piece of music is the time motion against
the background of pulsation and measure.
A rhythm is said to be completed when it
reaches a symmetrical grouping and closes
with an accent. This is also sometimes
called a rhythmus. In orchestral works,
and in elaborate pianoforte works, several
rhythms are going on at the same time.
This appears in simple pieces, where there
isarhythm of the melody as such, arhythra
of the accompaniment, and a rhythm of the
two together.

) Sought
( after; this
r term is ap-
) plied to
wherein rc-

Rhythme (rithm), Fr. Rhythm.

Rhythmical. Conformable to rhythm.

Rhythmically. In a rhythmical manner.

Rhythmique (rith-mek'), Fr. \ -Di,,rfi,>v,,-^„i
Rhythmisch (rii'mi.h), Ger. | Rhythmical.

Ribattere (re-bat' t6-r6), It. To reverberate.

Ribattuta (re-bat-too'ta), It. A beat, a passing
note.

Ricercare (re-tsh6r-ka'r^),

Ricercari.(re-tsh6r-ka're), pi. jf

Ricercata ^re-tshSr-ka'ta),

Ricercato (re-tsh6r-ka't6),
every kind of composition
searches of musical design are employed. It
is suitable to certain figures replete with
contrapuntal artifices, also to madrigals,
and the term was formerly applied to sol-
feggi, and also to instrumental exercises
when of considerable difficulty.

Ricordanza (re - kor - dan' tsa), It. Remem-
brance, recollection.

Riddone(red-do'n6), 7i. A roundelay; a vil-
lage dance.

Rideau d'entr'acte (re-do d'anh-tr'akt), Fr.
Drop scene.

Ridevolmente (re-d6-v61-m6n't6). It. Ludi-
crously, pleasantly.

Ridicolosamente (re-di-k6-16-za-m6n't6), It.
Ridiculously.

Ridotto (re-dot'to), It. Reduced ; arranged or
adapted from a full score ; also an entertain-
ment consisting of singing and dancing ; a
species of opera.

Riesenharfe (re'z'n-har'f6),Ger. ^olian harp.

Rifiormenti (re-fe-6r-ra6n'te). It. pi. Orna-
ments, embellishments.

Rigadoon. A lively old French or Provencal

dance In triple time.
Rigodon (re-go-donh), Fr. A rigadoon.
Rigoletto (re-go-iet'to'), //. A round dance.

RigoII. An old instrument consisting of sev-
eral sticks placed by the side of each other,
but separated by beads. It was plaj-ed by
being struck with a ball at the end of a
stick.

Rigore (re-g6'r6), It. Rigor, strictnef^s ; al
rigore di tempo, •with, strictness as to time.

Rigoroso (re-go-ro'zo), It. Rigorous, exact,

strict.
Rilasciando (re-la-shi-iin'do). It. Relaxing the

time, giving way a little.
Rinforzando (ren-for-tsan'do), ^ Strength-
Rinforzare (ren-f6r-tsa'r6), j, I ened, re-
Rinforzato (ren-for-tsa'to), ' [ inforced;

Rinforzo (ren-for'tso), J a repeat-

ed reinforcement of tone or expression ; in-
dicating that several notes are to be played
with energy and emphasis.
Ripetitura (re-pC-te-too'ra), j. ) Repeti-
Ripetizione (re-pe-te-tsi-6'n6), jtion; the

burden of a song ; a refrain.
Ripieni (re-p6-a'ne\ pi. j. \ The tutti. ot
Ripieno (re-pe-a'uo), J full, parts which

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(190)

RIP

DICTIONARY OF MUSIC.

RO:\I

fill up and augment the eflFect of the full
chorus of voices and instruments. In a
large orchestra all the violins, violas, and
bas'-es, except the principals, are sometimes
called ripieni.

Ripienist. A player of the ripieno, or tutti,
pdils in an orchestra.

Riposta (re-pos'tii), H. Repeat.

Ripresa (re-pra'za), j. \ Repetition, reiter-

Ripresc (re pra'ze), ' jation.

Risentitamente (re-s6n'ti-ta-m6n'te), ) j.
Risentito (.re-sen-te'to), j •

Marked, distinct, forcibly, firmly.

Rtsolutamente (re-zo-loo-ta-mgn'tC),//. Reso-
lutely, boldly.

Risolutissimo (re zo-loo-tes'si-mo), It. Very
icsolutely, as boldly as possible.

Risoluto (re-z6-loo't6\ It. Resolved, resolute,
bold.

Risoluzione (re- z6- loo- tsi- 6' n6). It. Resolu-
tion, determination ; also the resolution of
a discord.

Risonante. Resounding, ringing, sounding.

Risposta (res-pos' la), //. The answer in a
fugiie.

Rissonanza (re-so-nan'tsa). It. Resonance.

Ristretto (re-strSt'to), It. The stretto, the re-
striction, or contraction, of the subject, in a
fugue.

Risvegliato (res-val-yi-a'to), It. Awakened,
reanimated.

Ritard " Abbreviations of Ritardando.

Ritardando (re-tar-dan'do), It. Retarding.de-
laying ibe time gradually.

Ritardato (re -tar -da' to). It. Retarded, de-
layed.

Ritardo (re-tiir'do). It. Retardation, gradual
delay; in harmony prolonging some note
of a previous chord into the succeeding
one.

Ritardo un pochettino (re-tiir'do oon po-ki^t-

te'uo), 7/. Slacken the time a little.
Riten. An abbreviation of Ritenuto.
Ritenendo {re-i6-n6n'd6), j. ) Detaining,

Ritenente (re-t6 n6n't6), " j holding back

the lime.
Ritenento(re-t6-n6n't6), j. ) Detained, slower,
Ritenuto (re-t6-noo't6), "j kept back ; the
ett'ect differs from ritardando. by being
done at once, while the other is eflfected by
degrees.

Ritmo (ret'mo), It. Rhythm, cadence, meas-
ure.

Ritmo a tre battute (ret'mo a tra bilt-too'tt'').

It. Rhythm in three beats.

Ritornel (re-tor-ner , /<. ) The burden of

Ritornello (re-tor-nel'lo), It. >a song; also a

RitournelIe(re-toor-n61),F/-. \ shortsymphony

or introductioutoanair.aiid the sympnony

which follows an air; it is also applied to

tutti parts introductory to, and between, or

after, the solo passages in a concerto.

Ritual. The directions and text of formal
services, such as those of the church, secret
societies, etc.
Riverso (re-vCr's6), r^ 1 t. t>

Riverscio (re-v6r-shi'o), ^^- ] ^^® Rovescio.

Rivolgimento ( re-v61-yi-m6n't6). It. Inver-
sion of the parts, in double counterpoint.
Rivoltato (re-v61-ta'to),;y ) Inverted, iu coun-
Rivolto (re-vol'to), / terpoint.

Roccoco (ro-ko'ko). ) ^m i c i,- ^ ^ i
Rococo (ro-ko'ko). j Old-fashioned, odd.

Ro.ehrquint (ro/quint), ^ ) Reed - fifth ;
Rohrquint (ror'qnint), ^' ' j an organ-stop,

sounding the fifth above the diapasons,
Rolir (ror), Ger. Reed, pipe.
Rohre (ro'rt^), Ger.pl. Reeds.

Rohrflote (ror'flo'te), Ger. Reed flute, a stop-
ped diapason iu an organ.

Rohrwerk (ror'wark^ Ger. Reed-work; the
reed-stops in an organ.

Role (roll), Fr. A part or character performed
by an actor iu a play or opera.

Rolling. A term applied to that rapid pulsa-
tion of the drum by which the sounds so
closely succeed each other as to beat upon
the ear with a rumbling continuity of ellect.

Roll, long. A prolonged roll of drums signal-
izing an attack by the enemy, and for the
troops to place themselves in line of battle.

Rollo (rol'lo). It. The roll on the drum and
tambourine.

Romance (ro-mauhs). Fr. \ Formerly the

Romanza (ro-man'tsa). It. \ name given to

Romanze (ro-man'ts6), G'e?'.i the long lyric
tales sung by the minstrels; now a term'ap-
plied to an irregular, though delicate and
refined composition in lyric style.

Romanesca (ro-ma-nes'kii), //. \ A favorite

Romanesque (r6-mau-6sk), Fr. J Roman or
Italian dance of the sixteenth century, re-
sembling the galliard.

Romantic. Interesting, strange, exciting. In
poetry applied to the movement beginning
near the close of the eighteenth century,
Goethe and Schiller being the leading e.\-
ponents. In music to a similar tendency to
make thought free and truly responsive to
the inner life. Hence in music the works
of Chopin, Schumann, and others, which
were measurably free from classical restric-
tions and carried out their ideas In any di-
rection the fancy took them ; whereas Bach
and the composers before him were con-
stantly hampered by the ideal of treating a
selected musical idea in a certain manner,
which in the hands of common composers
became merely pedantic and learned. Ac-
cording to some philosophers the essence of
the romantic spirit differs from the classic
iu this : That, whereas the ideal of classical
art was to represent the eternal and ideal,
the idea of the romantic is that evervthing
which the individual experiences is" of in-
terest to the whole race. Hence a vastly
greater latitude of styles and forms.

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(191)

ROM

DICTIONARY OF MUSIC.

RUT

Romantique(r6-manh-tek), /'r. \ Roman-

Rotnanzesco (r6-manli-ts6s'k6), It. j tic, imag-
inative, fairy-like.

Ronde (rond), Fr. A semibreve.

Rondeau (r6nh'do), Fr. \ A composition, vo-

Rondo (ron'do). It. jcal or instrumental,

generally consisting of three strains, the
first of which teiminates in a cadence on
the tonic and is repeated several times dur-
ing the movement.

Rondeau mignon (r5nh-d6' me-y6nh), Fr. A
favorite rondo.

Rondiletta (ron-dl-16t'ta),

Rondinetto (ron-di-nfit'to), j.
Rondino (ron-de'no),

A short and
easy rondo.

Rondoletto (ron-d6-16t't6),

Rondo form. In the style of a rondo.

Root. The fundamental note of any chord.

Rosalie (ro-sa'li- 6), Ger. A derisive name
sometimes applied to cheaply constructed
musical passages, consisting of sequences
and common harmonies.

Rostral (ros-tral'), Ger. A music-pen.

Rota (ro'ta). It. A wheel ; applied to a canon,
or a round.

Rote. Name formerly applied to the hurdy-
gurdy.

Rote, singing by. The act of singing, not
from a knowledge of music, but from listen-
ing to the singing of others.

Rotondo (ro-ton'do). It. Round, full.

Rotte (rot't?), It. Broken, interrupted.

Roulade (roo-lad), i^r. A florid vocal passage ;
a division, or rapid series of notes, using
only one syllable.

Roulement (rool-manh), Fr. A roll, or shake,
upon the drum or tambourine; prolonged
reiterations of one note, upon the guitar,
etc.

Round. A species of canon in the unison or
octave; also a vocal composition in three
or more parts, all written in the same clef,
the performers singing each part in succes-
sion. They are called rounds because the
performers follow one another in a circula-
tory motion.

Roundel. ) From the French word rounde-

Roundelay. i let; a species of antique rus-

tic song, or ballad, common in the four-
teenth century, and so called 0:1 account of
form, by which it constantly returned to
the first verse, and thus went round.

Roverscio (r6_var'shi-6), j, Ig j?oescio
Rovesio (ro-va-si-o), "''• j °^^ ^ocscio.

Rovesciamento (r6-va-shi-a-m6n't6), ) ,^
Rovescio (i6-va'^hi-6), |

Reverse motion, the subject backward, i:i

double counterpoint.

Rubato (roo-ba'to), It. Robbed, stolen ; tak-
ing a portion of the duration from one
note, and giving it to another. See Tem^.o

rubato.

Riickgang (rek'gang), (7er. Going back. The
part of the sonata preceding the return of
the principal.

Riickung (rek'oong), Ger. Syncopation.
Rudiments. The fi^-st elements, or principles,
of music.

Ruhepunct (roo'h^-poonkf), /-»-„ ) Pause,
Ruhepunkt (roo'hC-poonkt), j point of

rest or repose ; a cadence.

Ruhestelle (roo'h(5-st6ri(5), ^ \ A pause,

Ruhezeichen (roo'hg-tsi'kh'n), j a rest.

Ruhig (roo'hig), Ger. Calm, quiet, tranquil.

Rule of the octave. The art of accompany-
ing the f-cale, either ascending or descend-
ing, Avhen taken in the bass, with the j.rop-
er chords or harmony.

Rullando (rool-Jiin'do), j, \ Rolling on the
Rullante (rool-lan'tg), J drum or tam-
bourine.

Run. A rapid flight of notes introduced as
an embellishment ; a roulade.

Rundgedicht (roond'gC-dlkht'), /j^,, "I Ron-
Rundgesang (roond'fi^-zung'), " j doau,

roundelay, a convivial sung.

Running passages. Divisions; spries of notes
appropriated to a siugle syllable.

Russe (riiss), Fr. Russian ; a la liusse, in the

Russian style.

Russian bassoon. A deep- toned instrument
of ilie seri)ent species, sometimes used in
military bauds.

Rustico (roos'ti-ko). It. Rural, rustic.

Rutscher (root'sh(5r), Ger. The dance (aikd
a galopade.

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(192)

DICTIONARY OF MUSIC.

SAK

«S

S. Abbreviation of Segno or Sinistra.

Saccade (sakkad'), Fr. A firm pressure of the
violm-bovv against the strings, enabling the
player to produce two, three, or four notes

!it uuc Stroke.

5ackbut. Ad old bass wind instrument, re-
>emhljng a trombone. The sackbut of the
Bible was a stringed instrument.

Sackpfeife (siik'pfi'f^), Ger. A bagpipe. See

Containusa.

Sacred music. Music composed for public
religious worshiper private devotion; ora-
torios, psalmody, etc.

Saengerfest (sang'^r-fCsf), Ger. A festival of

singers.

Saison (sa's6nh), Fr. The musical season.

Saite (sVtQ),Ger. A string of a musical'instru-
ment.

Saiteninstrutnent (sl't'n-in-stroo-m6nt0, Ger.
A stringed instrument.

Saitenklang (sl't'n-kliing'), Ger. The sound,
or vibration, of a siring.

Saitenspieler (si't'n-spe'lCr), Ger. Player on a
stringed instrument.

Saitenton (sl't'n-ton'), Ger. The tone of a
stringed instrument.

Saitig (si'tig), Ger. Stringed.
Salcional (sill-si-o-niil'), ') An eight- or

Salicet (sii-li-sa'), Fr.V sixteen - feet

Salicional (sti-le-sT 6-niil'), j organ-stop of
small scale and stringy tone.

Salle de concert (silU dfih konh-sart'), Fr. A
( oncert-ioum.

5alle de musique (siill dQh mii-zek'), Fr. A
music- room.

Salm (salm^, Ger. ) , ,
Salmo (bal-mo), It. j "^ Psa'm.

Salonmusik (sa'16u-moo-zek'),Crer. Salon mu-
sic; music for the drawing-room; hence
music of a pleasing and not profound char-
acter.

Salpinx. The ancient Greek trumpet.

Saitando (sill-tan'do), It. Leaping, proceed-
ing by skips or jumps.

Saltarello (sal-ta-rgl'lo), It. A Roman or Ital-
ian very quick dance, deriving its name
from the introduction of leaping skips, in
2-4, G-8, or G 4 measure.

Salteretto (siil-tg-ret'to). It. A mnsicjil figure
in G-8 time, the first and fourth quavers be-
ing dotted; very usual in move- r^Mm^
ments alia Siciliana. J , 5 J

Saltero fsiil-ta'ro). It. Psaltery, instrument
with ten strings.

Salto (sal'to). It. A leap, or skip, from one

note to a distant one; also a dance.
Salve regina (siil'vC ra-ge'nii), lat. " Hail,

Queen; " a hymn to the Virgin Mary.
Sambuca(sam-boo'ka),7/. Anancientstringed

instrument used by the Greeks, the peculiar

structure of which is uuknowr..

Sammlung (siim'loong), Ger. A collection of
airs, etc.

Sampogna (sam-pon'ya). It. A species of pipe.

See Zunipogna.

Sampunia. A pneumatic instrument used by
tiie ancient Hebrews, resembling the mod-
ern bagpipe.

Sanctus(sank'toos), La/. "Holy;" the fourth
movement of the Mass.

Sanft (siinft), Ger. Soft, mild, smooth ; mit
sail/tea Stimmcn, witn soft stops.

Sanftgedackt (sanft'gh6-dakl), Ger. A soft-
toned Slopped pipe.

Sanftheit (sanft'hit), Ger. Softness, smooth-
ness, gentleness.

Sanftig (sanf-tig), Ger. Soft, gentle.
Sanftmuth (sjinft'moot), \^

Sanftmiithigkeit (sanffmii-tig-kit), j ^^'^^
Softness, gentleness.

Sanftmuthig (stinff mii - tig), Ger. Softly,

gently.

Sang (siiug), Crcr. Song.

Sanger (sang'er), Ger. A singer.

Sangerbund (sang'^r-boond'), Ger. A league,
or l>rotherhood, of singers ; a convention of

singing societies.

Sangerverein (sang'er- f(?r-rin'), Ger. Singers'

union.

Sans (silnli), Fr. Without.

Sans frappe (sanh fnlp-pa'), Fr. Without

striking; play the notes without striking

them hard or forcibly.

Sans pedales (siinh pa-diil), Fr. Without the
pedals.

Santur (siin-toor), Tur. A Turkish stringed

instrument; the psaltery.
Saquebute (siik-biit), Fr. The sackbut.
Saraband (!^;lr-a-bi1nd , Eno. ") A dance said
Sarabanda (sar-a-biiu'da), It. f to be orig-
Sarabande (sar-a-band), Tr. ( inal'y de-
Sarabande(sar-a-b:"ui'de). Ger. ) rived" from
tlie Saracens, and danced with castanets; it
is in slow 8 4 or 8 2 time, and characterized
by the second note of the measure being
prolonged through the second and third
beats, w hich gives gravity and majesty to
the movement.

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13 (193)

SAR

♦ DICTIONARY OF MUSIC.

SCA

Sarrusophones (sar'roos-6-f6nes). A family of
reed brass instruments, with reed mouth-
pieces. They are made in eight sizes.

Sattel (sat't'l), Ger. The nut of the finger-
board of the violin, etc.

Satz (satz"), Ger. Musical passage, composi-
tion, theme. Applied to pieces of all dimen-
sions, from a single phrase to a complete
sonata or roudo movement. A single piece.

Saut (so), -Fr. See Salto.

Sautereau (so-t6-r6), Fr. The jack of the
spinet.

Sawtry. A term used in olden times for
psaltery.

Sax=horn. A brass instrument introduced by
M. Sax, with a wide mouthpiece and three,
four, or five cylinders, and much used in
military bauds; the tone is round, pure,
and full.

Saxophones. A family of brass wind instru-
ments invented by M. Sax. Tlie body oi
these instruments is a parabolic cone of
brass, provided with a set of keys; their
tones are soft and penetrating in the higher
part, and full and rich in the lower part of
their compass. The saxophones are six in
number, the high, the soprano, the alto, the
tenor, the baritone, and the bass; they are
played with a single reed and a clarinet
mouthpiece.

Saxotromba. A brass instrument introduced
by M. yax, with a wide mouthpiece and
three, four, or five cylinders ; the tone is of
a shrill character, partaking of the quality
both of the trumpet and the bugle.

Sax=tuba. A brass instrument introduced by
M. Sax, with a wide mouthpitce and three
cylinders ; the tone is very sonorous and
deep.

Sbalzo (sbal'tso), Jt. Skip, or leap, in melody.

Sbarra doppia (sbiir'ra dop'pi-a). It. A double
bar. -

Scagnello skau-yal'Io), //. The bridge of the
violin, etc.

Scala (skii'la), It. A scale, or gamut.

Scala cromatica (skii'lii kio-ma'tl-ka), It. The
chromatic scale.

Scaid. A Scandinavian poet-musician.

Scale. From the Latin word scala. The de-
nomination first given to the arrangement
made by Guido of the six syllables ut, re,
mi, fa, sol, la: also called the gamut. The
tones of a key arranged in regular order ac-
cording to pitch. The tone compass of any
instrument. The general dimensions or
proportions of an instrument or a set of in-
struments.

Scale, chromatic. A scale proceeding by half-

step"^, as when every key of the piano is
touched in succession.

Scale, diatonic major. A scale composed of
the tones of the major mode, having half-
steps between three and four and seven and
eight.

Scale, enharmonic. A scale proceeding by
intervals less than the diatonic and chro-
matic.

Scale, German. A scale of the natural notes
formed of A, H, C, D, E, F, G, the B being
reserved to express BJ?.

Scale, Guide's. The syllables ut, re, mi, fa,

sol, la, used by Guido d'Arezzo, called also
the Aretinian scale ; the syllable si was in-
troduced afterward.

Scale, minor diatonic. The scale of the minor
mode, having a minor third and sixth, the
other degrees being the same as in the major
of the same tonic.

Scale, natural. The scale of C, called natural
because it does not require the aid of flats
or sharps.

Scale of A major. A, B, Ctf, D, E, F:(t, Git, A.

Three siiarps.

Scale of At? major. A\,, Bb, C, Dt», Eb, F, G,

A[?. Four fiats.

Scale of A minor. A, B, C, D, E, F, G^, A.

Katural.

Scale of Ab minor. Ab, Eb, Gb, Db, Bb, Fb, Gfl,

Ab- Seven fiats.
Scale of B major. B, C#, D+f, E, Fit, G*t, A#, B.

Five sharps.
Scale of B minor. B, C^, D, E, F#, G. A^, B.

Two sharps.

Scale of C major. C, D,'E, F, G, A, B, C. Nat-
ural.

Scale of C minor. C, D, Eb, F, G, Ab, Bt], C.
Three fiats.

Scale of C major. C, D, E, F, G, A, B, C. Nat-
ural.

Scale of C# minor. C#, D#, E, F#, G#, A, BiJ,

€#. Four sharps.
Scale of D major. D, E. F:^, G, A, B, C^t, D.

Two sharps.

Scale of D minor. T), E, F, G, A, Bb, Of, D.

Two sharps.

Scale of Db major. Db. Eb, F, Gb, Ab, Bb. C,

Db. Signature five fiats.

Scale of Eb major. Eb, F, G, Ab, Bb, C, D, Eb.

Three fiats.
Scale of Eb minor. Eb, F, Gb, Ab, Bb, Cb, D3,

Eb. Six flats.
Scale of E major. E, F^, G#, A, B, Ctf, D^, E.

Four sharps.
Scale of E minor. E, Fif, G, A, B, C#, Dit, E.

One sharp.
Scale of F major. F, G, A, Bb, C, D. E, F. One

flat.

Scale of F minor. F, G, Ai^, Bb, C, Db, Eb, F.

For four flats.

Scale of Fft major. F#, G#, A|i, B, C#, E>^, E,

F#. Six sharps.
Scale of Fit minor. FJt, G#, A, B, e^, D, Eit.

F^. Three sharps.
Scale of G major. G, A. B, C, B, E, F^t, G.

One sharp.

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SCA

DICTIONARY OF MUSIC.

SCH

Scale of G minor. G, A, Bb, C, D, Eb, Ftf, G.

Two flats.

Scale of G^ minor. G#, A#, B, C#, D#, E,

FX, G.

Scemando (sh^-man'do), It. Diminishing, de-
creasing iu force.

Scena (sha'na), It. A scene, or portion, of an
opera or play.

Scenario (sh6-na' ri - o), It. Actor's gnide-
bouk ; a programme ; scenes, decorations.

Scene. Part of an act, portion of an opera;
an act generally comprises several scenes.

Scenic music. Music adapted to dramatic
periormances.

Schaferiied (sha'f6r-led), Ger. Pastoral song,
shepherd's song.

Schaferpfeife (sha'f6r-pfi'f6), Ger. Shepherd's
pipe.

Schafertanze (sha'f6r-tan'ts6), Ger. pi. Shep-
herd dances.

Schalkhaft (shalk'haft),(?er. Playful, roguish.

Schall (shall), Ger. Sound.

Schallbecken (shiill-bfik'ken), Ger. Cymbal.

Schallloch (shall' lokh), Ger. Sound-hole.

Schallrohr (shall'ror), Ger. Speaking-trum-
pet.

Schallstiick (shall' stiik), Ger. The bell of a
trumpet, bugle, horn, etc.

Schalltrichter (shall'tfikh-t6r), Ger. The bell
of wind instruments.

Schalmay (shall-mi'), f<„ \ A shawm ; also
Schalmei (shallmi'), ) an 8-feet reed or-

giu-stop; the tone resembles that of the

eremona, or clariuet.

Scharf (sharf), Ger. Sharp, acute; a shrill
mixture stop, of several ranks of pipes.

Schauspiel (shou'spel),Ger. Drama, dtamatic

piece.
Schauspieler (shou -spe' I6r ), Ger. Actor,

player.
Schelle (sh61'ie). Ger. A bell ; a jingle.

5chellenbaum (sh6ri6n-bowm),rTtr. "Jingle-
tree." The high stand of bells sometimes
used in orchestral and band music for ori-
ental coloring.

Scherz (sharts), Ger. ] Play, sporf, jest. A
Scherzo (sker'tso), It. ) name given to a
great variety of instrumental composi-
tions, and indicative of their character
rather than their form. Scherzi occur as
single pieces, as items of sets of pieces
(partite, etc.), and as movements of larger
compositions. The scherzo was intro-
duced into the sonata towaids the end of
the last century, and soon after also into
the symphony and other kindrpd forms,
where it frequently takes the place of the
minuet. Its form in the sonata, etc., was at
first that of the minuet (a first division of
two parts ; a second division, or trio, of two
parts, and a repetition of the first division) ;
afterwards this form was developed and

treated with greater freedom. This devel-
oped minuet-form is the most common
form of the scherzo; but there are scherzi
with two trios, scherzi in form resembling
that of the first movement of a sonata, and
scherzi irregularly and fantastiially con-
structed. Triple measure is oftenest to be
met with, more especially 3-4 measure, but
also 2-4 time occurs.
Scherzando (skgr-tsan'do). It. ^ Playful,

Scherzante (sker-f-an't?), It. I lively,
Scherzevole (skar-tsa'vo-lC), It. [ sportive,
Scherzhaft (shartshiift), Ger. ) merry.

Scherzoso (sk6r - tso' so, Jt. Merry, playful,
jocose.

Scherzozamente (sk6r-tso-sa-m6n't6). It. Mer-
rily, playfully, sportively.

Schiettamente (skeCt-ta-m6n't6), It. Simply,
unadorned.

Schietto (ske-2t't6), It. Simple, plain, neat.

Schisma (skisma), Gr. A very minute differ-
ence between the sound of intervals. In
ancient music, a small interval equal to
the half of a comma, or the eighteenth
part of a tone.

Schlachtgesang' (shlakht'gh6-sang), ) /^, .
Schlachtlied (shlakht'led), |^^'-

War song, battle-song.

Schlag (shlag),(Ter. Stroke, blow; a beat, as
regards time.

Schlagen (shlagh'n), Ger. To strike, to beat;
to warble or trill.

Schlagfeder (shlagh'fa-d'r), Ger. A plectrum.

Schlaginstrumente (shlagh'in-stroo-m6n't6),
Gcr.pl. Instruments of percussion. Form-
erly koy-board instruments also.

Schlecht (shiekht), Ger. Faulty.

Schlechtertacttheile (shlgkh-t6r-takt'thl-16),
Ger. The unaccented pans of the measure.

Schleifbogen (shlif'bo'gh'n), Ger. A slur.

Schleifen (shliTn), Ger. To slide, to glide.

Schleifer (shli'fgr), Ger. Slurred note, gliding
note.

Schieifezeichen (shli'fS-tu'ikh'n), Get. A slur,
a mark of the legato style.

Schleppend ( shl6p' p§nd ), Ger. Dragging,
drawling.

Schluss (shlooss), Ger. The end, conclusion.

Schliissel (shliis's'l), Ger. A clef.

Schlussfall (shlooss'.fall), Ger. A cadence.

Schlusssatz (shlooss'sats),Ger. A closing pas-
sage.

Schlusszeichen ( shlooss - tsi' kh'n ), Ger. A
pause.

Schmeicheind (shmi-kh61nd), Ger. Coaxing-

ly, caressingly.

Schmerz (shmarts), Ger. Grief, sorrow.

Schmerzhaft (shmarts'haft), Ger. Dolorous,
sorrowful.

Schnabel (shna'b'l), Ge?-. A beak ; a mouth-
piece, as of the clarinet.

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SCH

DICTIONARY OF MUSIC.

SCO

Schnabelflote (shna'b'l-flo't6), Ger. A beak-
flute, i.e., flageolet.

Schnarrpfeifen (shnarr'pfi-f'n), p ) Reed-
Schnarrwerk (shnarr'wark), "^'^'•J pipes,
retdwDik, or stops, in an organ.

Schnecke {shn6k'k6), Ger. A snail ; the scroll
at the tup of a violin.

Schneli (sbn^ll), Ger. Quickly, rapidly ; etwas
bcwegter sclmcll, a little quicker.

Schnelle (shuCl'lg), (7e>-. ^_ ) Quickness,

Schnelligkeit (shn61'lig-kit), '"^ ' J swiftness,

rapidity.
Schneller (shnel'16r), Ger, Quicker, faster.

Alho a quick and short trill.

Schnellwalzer (shn6irwal'ts6r), Ger. Quick

waltzes.
Schollrohr (sh6irr6r),Ger, Trumpets, bugles,

brass wind instruments.

Schottisch (shot'tish), Ger. A modern dance,
raiher slow, iu 2-4 lime.

Schrage Bewegung (schra'ghgba-wa'ghoong),

(jir. Oblique motion.
Schreibart (shrib'art), Ger. Style, manner of

composiug.
Schreiber (shri'b6r), Ger. A music-copyist.

Schreiend (shri'gnd), Ger. Acute, shrill,
scieamiug.

Schreiwerk (shri'wark), Ger. Shrill work;
acute or mixture stops,

Schrittmassig (shrit'mas'sig),Ggr. Slow time,
andante.

Schuiftromppet (shwIf'trom-p6t),Z)tt<. A sack-
but.

Schule (shoo'16), Ger. A school, or method,
for learning any instrument ; also a peculiar
style of composition, the manner, or method,
of an eminent composer, teacher, or per-
former.

Schulgerecht (shool'gh6-rekht'). Ger. Regu-
lar, in due form ; written correctly, in ac-
cordance with the rules and principles of
musical art. Used derogatorily, as denying
higher qualities.

Schultergeige (shoort'r-gbi'gh6),(Ter. Shoul-
der violin, as distinguished from "nee
viol," 'cello.

Schusterfleck (shoos't6r-fl6k'), Ger. See Eo-
salia.

Schwach (shwakh), Ger. Piano, soft, weak.

Schwacher (shwa'kh^r), Ger. Fainter, softer,

more piauo.
Schwache Stimme (shwakh'6 stim'm^), Ger.

A weak voice.
Schwarmer (^chwar'm'r), Ger. A passage in

whii h each pair of tones are several times

repeated.
Schwebung (shwe-boong), Ger. Waving; a

lighter species of tremulant, for the more

delicate stops, such as the vox humana, etc.

Schweige (shwi'gh^), Ger. A rest.

Schweizerflote (shwi'ts6r-fl6t6), \ q^.^

Schweizerpfeife (shwi-ts6r-pfi'f6), J
Swiss flute, or pipe.

Schwellen (shwgl'l'n), Ger. To swell, to in-
crease in loudness.

Schwer (shwar), Ger. Heavily, ponderously.

Schwermiithig (shwar- mCi'tig), Ger, In a pen-
sive, melancholy style.

Schw-ic-gel (shwe'g'l), Ger. An organ-stop of
the flute species, of metal, pointed at the
lop.

Schwindend (shwin'd'nd), Ger. Dying away.

Schwingung (shwing'oong), Ger. Vibration
of a su iijg, etc.

Scialumo (se-a-lii'mo), Fr. A word employed
in clarionet music, signifying that the noli s
are to be played an octave lower than writ-
ten.

Scioltatnente (she-ol-ta-m6n't6). It. With free-
dom, agility ; easily, the notes being rather
detached than legato.

Scioltezza (she-ol-tet'sa). It. Freedom, ease,
ligiitness.

Sciolto (she-ol'to), It. Free, light. See Sciolr

tamente.
Scolia (sko'li-a), Gr. Among the ancients

songs in general, but more especially those

of a festive kind.

Scordatura (skor-da-too'ra). It. Tuning a vi-
olin differently, for the more easily per-
forming certain peculiar passages.

Score. An arrangement of the vocal and in-
strumental parts of a composition in equal
lines, with bars drawn across the entire
number (whence thename "score ") in such
a way as to present the whole detail to the
eye at once, A piano score of a vocal Avork
contains all the voice parts, tach on its own
staff", and the pianoforte accompaniment.
The copy of an opera for piano solo is not a
score, but an arrangement, s^iuce ihe vocal
pans are not shown. The only kind of copy
to which the term score applies without
limitation is the full orchestra score, which
also contains all the vocal parts. This is the
score, or German Partitur. Composers gen-
erally write first a piano score, indicating
the leading instruments for each motive as
it occurs. From this the full score is after-
wards developed, and in carrving out the
instruments complete much detail is often
added, leading later to anew piano score, in
which the salient parts of this detail are in-
cluded. The term score does not properly
apply to the printed copy of a pianoforte
composition. But a " soore " of a trio, quar-
tette, or even a composition for two pianos,
whenever the copy contains all the parts, is
correct.

Scorrendo (sk6r-r6n'd6). It. Gliding from one
sound into another,

Scotch scale. The pentatonic scale, consist-
ing of the tones do, re, mi, sol, la, do. Many
Scotch melodies are mainly confined to this
selection of tones in key, whence the term
Scotch.

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(196)

SCO

DICTIONARY OF MUSIC.

SEG

Scotch snap. A peculiarity in Scotch tunes,
and thoi^e written in imitsitionof the Scotch
character. It is the leiif;;tlKMiingof the time
of a second note at the expense of the one
before it, placing a semiquaver before a
doited qnaver. It gives emphasis and spirit
to dance tnnes, and, when well applied, has
a lively eflect.

Scozzese (skot-sa'z?), It. In the Scotch style.

Scuola (skoo-o'lii), //. A school ; a course of

study.

Sdegnante (sdan-yan't6), It. Angry, passion-
ate.

Sdegno (sdan'yo). It. Anger, wrath, pas'sion.

Sdegnosamente (sdan-yo-zii mgn't^),/;;. Scorn-
fully, disdainfully.

Sdrucciolamento (sdroot-tshio la- i
m^i.'to). \ It.

Sdrucciolato (sdroot-tshid-la'to), ;
gliding t.ie fingers along the strings or the
keys of an instrument

Se (saj, It. If, in caso, provided, as, so, etc.

Se bisogna (sa be-son'yii), It. If necessary, if
required.

Sec(sek). Fr. IDry, unornaraented, cold-
Secco (s^k'ko), /< | ly ; the note, or chord, to

be struck plainly, without ornament or

arpeggio.

Seccarara (s6k-ka-ra'ra). It. A Neapolitan

dance.

Sechs{s?khs), Ger. Six.

Sechsachteltakt ( s6khs - iikh' t'l - tiikt ), Ger.
Measure in G-8 time.

Sechssaitig (sc5khs- si'tig), Ger. Instrument
with six strings.

Sechstel (sOkhs'tCI), Ger. A sixth.

Sechstheilig (sckhs-tl'Iig^ Ger. In six parte.

Sechzehnfiissig (sCkh'tsail-fus'sig, Gfr. Six-
teen jeet, ap^.lied to organ-pipes, or pitch,
a 16-'eet t -ne being an octave below the
normal piich.

Sechzehnte (sc5kh'tsan-t6), Ger. Sixteenth.

Sechzehntel (s^kh'tsan-tSl), Ger. Semiquaver.

Sechzehntelpause (st5kh-tsan'-tel pou'z6), Ger.
A semiquaver icst.

Second. The interval between any tone of
ihe scale and the next above, or below. It
derives its name from tlie fact that in reck-
oning Intervals both tones are counted as
well as all that lie between. Seconds are
always represented upon adjacent degrees
of the staff. But the representation is de-
termined by nature of the interval and not
the interval by the form of the representa-
tion.

A minor second is equal to one half-step;
a major second to two half-steps; an aug-
m'nit.-d second to three half-steps, being
equal to a minor third, from which, how-
ever, it easily distinguishes itself by the
manuer in which it is used.

Seconda (sa-kon'da), It. Second, a second.

Seconda donna (sa-kon'da don'na). It. Second

female singer.

Seconda volta (sa-kon'da vol'ta). It. The sec-
ond time.
Seconda volta molto crescendo (s6 - kon ' da

voi'ia mol'to kr6-sh6u'd6), 7<. Much louder
the second time.

Seconde (sa-k6nhd), Fr. Second.

Seconde fois (sa-k6nhd fwa), Fr. Second

time.
Secondo (sa-kon'do), It. Second, a second.
Second soprano. The low soprano.
Second subject. The counter subject of a

fui^ue when it remains unchanged in all

the parts.

Second tenor. Loav tenor.

Second treble. Low treble.

Sectio canonis (sek-tsi'6 ka-no'nis), iMf. The
section of the canon. The mathematical
division of a string for determining the ex-
act nature of intervals. This operation was
performed by the Alexandrian mathemati-
cians (Claudius Ptolemy, etc., about 2U0 A. D.)
upon a monochord. See "Hawkins' History
of Ma-ic."

Section. A musical form consisting of two
phrases, the section being half of a simple
period. The name section is applied by a
few theorists to what is more properly
called a phrase, and conversely the two-
phrase form is by them called a phrase.
See Period.

Secular music. Music which is composed
for the theater or chamber ; an expression
used in opposition to sacred music, which
is for the church, or worship.

Secunde (sC-koon'dC), Ger. Second.

Secundum artem ("^(^-koon'doom ar't^m), Lat.

According to art or professional rule ; with

skill and accuracy. '

Sedesima ("sa- da' si- ma), Tt. Sixteenth. Ap-

plietl lo intervals, and to an urganstop.
Seelenamt (sai'n-air t), p ) Requiem,
Seelenmesse (sa'l'n m^s'sC), j or mass for

departed souls.

Seer. The ancient name for a bard or rhap-

sodist.
Segno (san'yo). It. A sign, :S- ; al segno, return

to the sigti ; dat segno, repeat from the sign.
Segue (sa'gwg). ^. \ Follows, now fol-
Seguito (s<a-gwe't6), | lows, as follows; it

also means, go on; in a similar, or like.

manner, showii^g that a passage is to be

played like that which precedes it.
Segue coro (sa-gw6 1 o'ro). j^. "I The

Segue il coro (sa gwG el ko'ro), J chorus

follows, go on to the uhorus.

Segue il duetto (sa-gw6 el doo-6t'to). It. The

duet follows.

Segue il menuetto (sa-gw6 el me-noo-6t't6),
It. The minuet follows.

Segue la finale (sa-gw^ la fe-na'le), It. The
finale nov follows.

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(197)

SEG

DICTIONARY OF MUSIC.

SEN

Seguendo (sg-gwgn'do),^, 1 Following, next.
Seguente (s6-g\vCu't6), -"^- | " &'

Seguenza (sa-gvvCu'tsil), It. A sequence.

Segue senza interruzione (s?-gw6 sSn't«tl en'-
iGi-roo-tsi-6'ue), It. (jlo on without stopping.

Segue subjto senza cambiare il tempo (sa-
g\vt5 s o'bi-to i^(?u'tsa, kiini-bi-a'rg), It. Pro-
ceed directly, and without changing the
lime.

Seguidilla (sa-gwe- del'ya), Sp. A favorite
►Spanish dance in 3-4 time.

Seguito (se-gwe'to), It. Followed, imitated.

Sehnsucht (san'sookht), Ger. DesireJonging ;

ardor, fervor.
Sehnsiichtig (sau'sukh-tig), Ger. Longingly.
Sehr (sar), Ger. Very, much, extremely.

Sehr lebhaft (sar 16b'haft), Ger. Very lively;
extremely animated and vivacious.

Sei (sa'i), It. Six.

Seitenbewegung (si't'n-b6-we'goong),G'er. Ob-
lique motion.

Seitensatz (si't'n-satz), Ger. Sidepiece. An
episode, or second subject, in an overture,
sonata, or symphony.

Sekunde (sC-koon'd6), Ger. Second.

Selah (sa-la), Hch. A term anciently used to
indicate the interlude, in which the priests
should blow the trumpets, to carry up the
sentiments expressed for a memorial before
God.

Semi (s6m-i), Lat. Half.

Semsbescroma, It. A sixty-fourth note.

Semibreve (s^m'i-brev). Ev^.

Semibreve (sgm-i-bra'vg), It.

Semibrevis (s6m-i-bra'vis), Lat.
Half a breve; the longest note now O—
in general use. izrr^

Semibreve rest. A rest equal in dura- — — —
lion to a semibreve.

Semichorus. A chorus to be sung by half or

only a few of the voices.
Semicroma ;,sCm i-kro'ma), It. A semiquaver.

Semidemisemiquaver. A half demisemi- m
quaver; sixty-four of them being equal g
to a semibreve. ^

Semidemisemiquaver rest. A rest equal in i
duration to a semidemisemiquaver. |

Semi=fusa (sCm-i-foo'sa), Lat. A semiquaver.

Seminar (s6m'i-nar). Ger. A school for teach-
ers.

Semiographie (s6m'i-6-gra'fe), q \ The art

Semieograpliie (s6m'i-6-gra'fe), ' J of nota-
tion, or writing music in notes.

Semipausa (sfi'mi-pow-za), Lat. A half-rest.

Semiquaver. A note equal to half a J

quaver; a sixteenth note. b^

Semiquaver rest. A rest equal in dura- =

tiou to a semiquaver. ~

Semitone fs6m'i-t6n). ^«sr. ) A half-

Semitonium (sg'mi-to'ni-oom), Lat. J tone.
Improperly used for half step.

Semitonium modi (s6-ml- to'ni-oom rao'di^.
Lat. The leading note, or major seventh.

Serr.ituono (sC-mi-too-o'no), //. A semitone.

Semplice (sem'pli- tsh(5 ), //. Simple, pure,
plain.

Semplicemente ( s?m - pli- tshC- m6n' 16), //.
Simply, plainly, without ornament.

SempIicissimo(sem-pri-tshes'si-m6), It. With
the utmost simplicity.

Semplicita (s(5m-ple'tshi-ta), //. Simplicity,
plainness.

Sempre (s6m'pr6), It. Always, evermore, con-
tinually.

Sempre forte (s<5m'pr6 for' 16), It. Always
loud.

Sempre legato (s6m'pre 16-ga'lo), //. Always
smooth.

Sempre piano (s6m'pr6 pe-ii'no), II. Always

soil.

Sempre piu affrettando il tempo (sem'prfi
pe'oo iif-frft-tan'do el t^m'pO), //. Contin-
ually increasing the time.

Sempre piu forte (s6m' pr6 pe'oo for't?), It.
Continually increasing in power.

Sempre piu presto (s6m'prtS pe'oo pr^s'to), It.
(Joniinually quicker.

Sempre ritardando (sgm'prC re-tiir-dan'do), It.
Always slower ; slower and slower.

Sempre staccato (s6m'prgstak-ka't6). It. Al-
ways detached ; staccato throughout.

Sensibile (s6n-se'bi 16), It. Sensible, expres-
sive, with feeling.

Sensibilita (s6n-si-be'li-ta), //. Sensibility,
expression, feeling.

Sensibilmente (s&n-si-bil-m6n't6), It. Sensi-
bly, expressively, in a feeling manner.

Sensible (siin-sebl'), Fr. The leading note, or
major seventh, of the scale.

Sentences. Certain interlude strains some-
times introduced into the service of the
established Church, especially of particular
chapels; short anthems.

Sentimento (s6n-ti-m6n't6), It. Feeling, sen-
timent, delicate expression.

Senza (s6n tsa). It. Without.

Senza accompagnamento(s6n-tsaak-k6m-pan-

ya-mCu'to), It. Without accompaniment.
Senza battuta (sSn'tsa biit-too'tii). It. At the

pleasure of the performer, as regards the

beat or time.
Senza fiori (s6n-tsa f6-o'rI), \ ,,

Senza ornamenti (sfin-tsa 6r-na-m6n't6), j

Without ornaments, without embellish-
ments.
Senza Interruzione {s6n-tsaIn-ter-roo-tsI-6'n5),

It. Without interruption.
Senza oboe (sfin'tsa o'bo-a), It. Without the

hautboy.

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SEN

DICTIONARY OF MUSIC.

SEV

]•■

Senza organo (s6n'tsii 6r-ga'u6), It. Without
the organ.

Senza pedale (sfin'tsa p6-da'16), It. Without
the pedals.

Senza piano (sfin'tsa pe-a'no), It. Without the
piano.

Senza repetizione (s6n'tsa ra-p6-te-tsI-6'-

n6),
Senza replica (s6n'tsa ra'pli-ka),

Without repetition.
Senza rigore (sgn'tsa re-g6'r6), It. Without

regard to exact time.

Senza sordini (s^n'tsii sor-de'ni), It. pi. With-
out the dampers, in pianoforte-playing,
meaning that the dampers are to be raised
from the strings.

ftenza sordino (s6n'tsa sor-de'no). It. With-
out the mute, in violin-playing, etc.

Senza stromenti (sgn'tsa str6-m6n'tl), It. pi.
Without instruments.

Senza tempo (s6n'tsa t6m'po). It. Wit*iout re-
gard to the time ; in no definite time.

Se piace (sa pe-a'tshg). It. At will, at pleasure.

Septet (sgp-t^t/), Eng. ) A composition for
Septette (s6p-tet'l6), //. J seven voices or in-
struments.

Septieme (s6t i-am'), Fr. ) The interval of a
Septime (s6p-te'mS), Ger. J seventh.

Septimenaccord (s6p-ti-mgn-ak-kord),(Ter. The
chord of the seventh, comprising the root,
the third, filth, and seventh.

Septimole (s^p'ti-m6'16), j , ) A group of
Septiole (s6p'ti-6'l?), ^''"- / seven notes,

having the value and to be played in the

time of four of the same species.
Septole (sgp-to'ie), Int. A group of seven

notes in the time of six or eight.
Septuor (s^p-too-or), Fr. A composition for

seven voices or instruments.

Septuplet (scp-tot)-piet). A group of seven
equal notes in the time of six or eight of
the same name.

Sequence (sek\v6ns), ^nf7. \ A series, or pro-
Sequence (sa kanhss), Fr. ( gression, of simi-
Sequenz (sfi kwfints'), Ger. f lar chords, or in-
Sequenza (s6-kw^n'tsa), /<. ) tervals, in succes-
sion.

Seraph ine (s6r'a-fen). A species of harmo-
nium.

Serenade (sa-r6-nad'). Fr. \ Night music ; an
Serenata (sa-r(?-na'ta), It. /evening concert in
the open air and under the window of the
person to be entertained. Also a musical
composition on an amorous subject. Also
any light, pleasing instrumental composi-
tion comprising several movements.

Serene (sg-ra'no), It. Serene, calm, tranquil,
cheerful.

Seria (sa'ri-a),
Serioso (s6-rl-6'z6),

It.

\ Serious, grave : in a
J serious, sedate style.

Serieusement (sa-ri-tis-manh), Fr. Seriously,
gravely.

Serinette (s6r-i-n6t), Fr. A bird organ.
Seringhi (sC-ren'ghe), Ilin. A Hindoo in-
strument of the violin class.
Serio (sa'rl-o), //. Serious, grave.

Serio-comic. A song combining the grave

with the ludicrous or humorous.
Serpent (s6r-pdnt), ii^/ifir. i A bass wind

Serpent© (s$r-p6n't6), It. > instrument,

Serpentono (s6r-pCn-io'n6), //!.) of deep, coarse
tone, resembling a serpent in form. It is
chiefly used in military bnnds, though
nearly superseded by the ophicleide; the
name is sometimes given to a reed-stop in
an organ.
Service. A musical composition adapted to
the services of religious worship. Those for
Anglican use are generally known by the
name of the composer and the leading key,
as, " Burnley, in A," " Stainer, in F," etc.
Servic2-book. A missal ; a book containing
the musical service of the church.

Service, choral. The Anglican service in-
toned, instead of spoken.

Sesqui (s6s'kwi), Lnt. A Latin particle, signi-
fying a whole and a half, and which, when
joined with altera, terza, quarta, etc., expres-
ses a kind of ratio.

SesquiaItera(ses'kwi-al't6-ra),La<. The name
given by the ancients to that ratio which
includes one and a half to one. An organ-
stop, comprising two or more ranks of
pipes, of acute pitch.

Sesta (sfe'ta), j-, \ The interval of a sixth.
Sesto (s6s't6), -'^- J See, also, Sexte.
Sestet (s^s-tetO, Eng. \ A composition for
Sestetto (s6s-t6t't6). It. J six voices or instru-
ments.
Sestina (s6s-te'na), „ ) . „„^x^,„
Sestola (s6s-t6'la), ^^- J-^sextole.
Sette (sgt'tg). It. Seven.

Settima (set'ti-ma), ^, ) The interval of a
Settimo (s?t'ti-m6), -* • /seventh.

Settima maggiore (s6t'ti-ma mad-ji-6'r6), It.

Major seventh.

Settima minora (s6t'ti-ma me-n6'r6), It. Mi-
nor seventh.

Settimola (s6t-tl-m6'la), //. A septimole.

Set to music. An expression applied to any
language to which music is adapted. Such
a composition is said to be set to music.

Setzart (sgts'art), Ger. Style, or manner, of
composition.

Setzkunst (sSts'koonst), Ger. The art of mu-,
sical composition.

Sevens and eights metre. A metre consist-
ing of a stanza of eisht lines, in trochaic
measure, and designated thus, 7s and 8s.

Sevens and fives metre. Consists of a stanza
of four lines, in trochaic measure, and des-
ignated, 7s and 5s.

Sevens and sixes metre. A meter designated
thus, 7s and 6s, consisting of a stanza of
eight lines in trochaic and iambic measure.

ii arm, a add, §, ale, e end, e eve, i ill, I isle, 6 old, 6 odd, oo moon, H but, ij Fr. sound, kh Oer. ch. nh nasal.

(199)

SEV

DICTIONARY OF MUSIC.

SHO

Sevens, eights, and sevens meter. A meter

designated thu';. 7s, 8s, and 7s. cousisting
of a stauzaof eight lines in iambic measure,
with number of syllables corresponding to
the designation.

Sevens metre. A stanza of four lines in tro-
chaic measure, each line containing seven
syllables.

Sevens, sixes, and eights metre. A metre
designated thus, 7s, 6s, and 8s, consisting of
eight lines in trochaic and iambic measure.

Seventh. An interval between any tone of
the scale and the next but five above or be-
low. There are three kinds of seventh : The
major, equal to eleven half-steps, occurs be-
tween the tonic and the seventh degree of
the major scale, and nowhere else. The mi-
nor.equal to ten half-steps, occurs between re
and do, mi and re, sol and fa, la and sol, si
and la. The diminished, equal to nine half-
steps, occurs between si and fa and nowhere
else.

Severamente (s6-v6r-a-m6n't6), It. Severely,
strictly, rigorously.

Se verita (s6-v6-ri-ta') , It. Severity, strictness.

Sexta (s6x'ta), Lat. Sixth.

Sexte (s§x't6), Ger. A sixth; also the name
of an organ-stop with two ranks of pipes,
sounding the interval of a maj^r sixth, a
twelfth, and tierce on one slide.

Sextet. A composition for six voice parts, or
instruments. More commonly used in in-
strumental music to designate a chamber
composition (sonata form) for six instru-
ments.

Sextette. See Sestetto.

Sextuor (s6x'twor), Fr. A sextet.

Sextole (s6x'to 16), t_, ) A group of six

Sextuplet (s6x'too-pl6t). •^"''- J notes, having
the value, and to be played in the time, of
four.

Sextuple measure. The name formerly given
to measures of two pans, composed of six
equal notes, three for each part. This is
more generally called, now, compound
double measure.

Sf., or Sfz. Abbreviation of Sforzando.

Sfogato (sfo-ga'to). It. A very high soprano.

Sforza (sfor'za), It. Forced, with force and

energy.
Sforzando 'sfor-tsan'do), ^f \ Forced ; one
Sforzato (sfor-tsa'to), •''• j particular

chord, or note, is to be played with force

and emphasis.
Sforzare la voce (sfor-tsa'r^ la v6'tsh"6), It. To

ovc.sLra.u the vuice.

Sforzatamente (sfor- tsa- tii-mgn' t6), It. Im-
petuously, energetically.

Sfuggito (sfood-je'to). It. Avoided, shunned,
rambling. See Cadenza sfuggita.

Sgallinacciare ( Pgal-H-na- tshi-a'r6 ), K. To
crow ; a bad method of singing.

It I — I — u

-g3gi*i#r(»i^y~:

Shake. An ornament produced by the rapid
alternation of two successive notes, compre-
hending an inter- written. Played.
val not greater
than a whole step ^

nor less than a half ' ' ""^S^^— — ^

step.
Plain shake, or trill.

Shake, double. Two simultaneous shakes on
notes which are ^^
either sixths or pz^zi
thirds to each
other.
Double shake.

Shake, passing. A short trill made in flow,
ing passages of quavers or semiquavers,
without breaking the time, or interfering
with the natural course of the melody.

ig^^^p^p

w=^

Shake, prepared. A shake i ^ "ZTS
preceded by two or more F^^^^
introductory notes. "^i n I —

Sharp. A character ( ^ ) indicating an eleva-
tion of a half-sttp. Applied to a staff de-
gree. Sharps are either in signature or ac-
cidental. Accidental sharps affect the staff
degree through the measure in which they
occur ; signature sharps affect the degree
and all its octaves on the same staff
throughout the line.

Sharp, double. A double sharp is equivalent
to two sharps, implying an elevation of two
half-steps. Always applied as accidental,
and only to a degree which has already
been once sharped.

Shawm. A wind instrument of the ancient
Hebrews, supposed to be of the reed or
hautboy species.

Sheminith (sh6m-i- nith), Ileh. A stringed
instrument. It was also sometimes used to
denote a species of music, and also a partic-
ular part of a composition.

Shepherd's flute. A pastoral flute, shorter
than the transverse flute.and blown through
a lippiece at the extremity.

Shift. A change of position of the left hand,
in playing the violin, etc., whereby the sec-
ond finger is placed successively one degree
farther down the fingerboard until the very
high notes are reached.

Shiginoth (she'ghi-noth), Heb. According
to variable tunes.

Shofat (sho'far), Heb. A trumpet, or bent
born, so called because it gave a brilliant,
clear, ringing sound.

Short appoggiatura. A grace note. A small
note with a stroke through the stem, played
very quickly before its principal note. See
Melodic Emhellishments in introduction.

Short hallelujah metre. A stanza of six
lines in iambic measure.

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SHO

DICTIONARY OF MUSIC.

SIN

Short metre. A stanza of four lines in iam-
bic measure.

Short mordent. A mordent consisting o^
two notes, viz.: that having the sign over it,
and that below or above it, before the prin-
cipal note.

Short octaves. A term applied to the lower
notes in old organs, where some of the notes
were omitted.

Short particular metre. A stanza of six lines
in iambic measure.

Short shake. An embellishment formed by
two or more notes preceding the principal
note.

Shrill. An epithet applied to those acute
sounds which form the upper part of the
8cale of soprano voices and treble instru-
ments.

Si (se), Fr. Applied in solfaing to the note B.

Si bemol (se ba-mol^, Fr. \ rpr,_ „^.- r..
Si bemolle (se ba-mol'le), It. J ^^® ^^^^ ^^•

Si bemol majeur (se ba-mol ma-zhiir), i^V.
The key of Bb major.

Si bemol mineur (se ba-mol me-niir), Fr.
The key of Bl? minor.

Sibilus (se'bi-loos), Lat. A little flute, or flag-
eolet, used to teach birds to sing.

Siciliana (se-tshe-li-a'na), j^ | A dance of
Siciliano (se-tshe-li-a'no), ' j the Sicilian
peasants, a graceful movement of a slow,
soothing, pastoral character, in 6-8 or 12-8
time.
Side drum. The common military drum, so
called from its hanging at the side of the
drummer when played upon. Called also
snare drum, from two strings of catgut
called snares, stretched across the lower
head in order to check reverberation. This
instrument, whose military use is very old,
dates as orchestral Instrument only from
the time of Rossini, who first introduced it
in the overture to " La Gazza Laddra."

Si diese (se di-az), Fr. The note B#.
Sieben (se'b'n), Ger. Seven.

Siebenklang (se'b'n-klangO.G'er. Heptachord,

a scale of seven notes.
Siebente (se'b6n-t6), Ger. Seventh.

Siebenzehnte (se'b'n- ts6n-t6), Ger. Seven-
teenth.

Siegesgesang (se'gh6s-gh6-sang'), X q„^
Siegeslied (se'gh6s-led'), j "^'^•

A triumphal song.

Siegesmarsch (se'gh6s-marsh'), Ger. A tri-
umphal march.

Siffflote (sllFflo'tg). Ger. An organ-stop of 2-
or 1-foot scale, of the Hohlflute species.

Siffler (sif-fla), Fr. To make a hissing noise.

Sifflet (sif-fla), Fr. A catcall, a squeaking in-
strument used in playhouses to condemn a
performance.

Signalhorn (sig-nal'horn), Ger. A bugle.

Signatur (sig'na-toor'), Ger.} Namegivento

Signature. / the sharps or

flats placed at the beginning of a piece, and
at the commencement of each staff, to indi-
cate the key in which it is written. The sig-
nature adjusts the staff to the demands of
the key in which the piece is written, ex-
cept in the case of the minor mode, which
is always written with the signature of the
relative major, and a regular accidental, a
sign of the elevation (a sharp or natural),
upon the seventh degree. The shari)s or
flats of the signature affect not only the lines
and spkces upon which they are placed, but
all octaves above or below upon the same
staff.

Signature, time. Figures, in the form of a
iraction, placed at the beginning of a piece
to indicate the time. The upper of the two
figures tells the number of pulses in a meas-
ure, and the lower the kind of note which
represents one ptilse, and accordingly is
taken for the time unit of the piece, all
other notes being valued in relation to it.

Signe (sen), Fr. The sign 'iS-- Soe Segno.

Signes accidentels (sen ak-si-danh't'l), Fr.
Accidental sharps, flats, or naturals.

Signes de silences (sen d6 sx-lanhs'),-F'»*. Rests.

Signs of abbreviation. Strokes, waving lines,
dots, and figures, employed to denote a rep-
etition of notes, continuation of rests, etc.

Siguidilla (se-gwe-del'ya), Sp. See Seguidilla.

Silence (se-lanhs), Fr. \ . __.

Silenzio (se-len'tsi-o). It. j ^ '^*^'*'"

Si leva il sordino (se la'va el s6r-de'n6), It.
Take off the mute.

Si le vano i sordino (se 16-va'n6 e s6r-de'n6). It.
Raise the dampers.

Silver trumpet. The chatsoteroth of the an-
cient Hebrews, straight, a cubit long, with a
bell-shaped mouth.

Si maggiore (se mad-j6r'6), It. B major.

Si majeur (se ma-zhCir), Fr. The key of B ma-
jor.

Simile (se'mi-16), It. Similarly ; in like man-
ner.

Si mineur (se mi-ntir'), Fr. The key of B mi-
nor.
Si minore (se mi-n6'r6). It. B minor.

Simplified. Rendered free from difficult pas-
sages.

Sin*, Jf. As far as. See Sino.

Sin' al fine (sen al fe'n6). It. To the end, as

far as the end.
Sin' al segno (sin al san'yo). It. As far as the

sign.

Si naturrel (se nat-oo-r61), Fr. B.

Sincopa (sin'ko-pa), j^ \g Svnconato
Sincope (sin'k6p6), ^^- J *^® ^yncopaio.

Sinfonia (siu-fo'ni-a). It. \ An orchestral
Sinfonie(sanh-f6-ne'), J^r. j composition in
many parts ; a symphony.

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SIN

DICTIONARY OF MUSIC.

SIT

Sinfonia a pittorlca(sin-f6-ue'aa pet-to'ri-ka),
It. A symphony descriptive of scenes and
events.

Sinfonia concertante (sin-fo-ne'a kon-
t^^her-iiiu'te),

Sinfonia concertata (sin-fo-ne'a kon- v r/
tsher-tii'ta), ^

Sinfonia concertate (sln-fo-ne'a kon-
tfeher-ta'le>,

A concerto for many instruments; a con-
certo symphony.

Sinfonia da camera (sin-fo-ne'a da ka'm6-ra),
/(. Symi[)hoiiies composed for chamber use,
as quartets, trios, etc.

Sinfonia eroica (sin-fo-ne'a a-ro'i-ka), It. A
symphony in the heroic style.

Sinfonie (sin'f5-ne'), Ger. A symphony.

Sing. To perform melody v\^ith the voice.
The singing voice differs primarily from the
speaking voice in two particulars; First,
the intonation is at a determinate pitch,
and the voice is carried directly from one
intonation to another without any break in
the continuity of tone except where the idea
breaks. Second, the tone quality is of bet-
ter grade and finer resonance. The act of
singing implies an emotional excitation to
which speaking would not be adequate. In
all very emotional speech the tone assumes
certain qualities of singing.

Singakademie (sing'aka-dS-me'), Ge.. Vocal
academy.

Singanstalt (sing'an-stalt'),(jer. Singing club.

Singart (sing-iirt), Ger. Manner, or style, of
singing.

Singbar (sing'biir), Ger. That may be sung,
singable.

Singen (sing'en),(7er. To sing, to chant ; sing-
ing, chanting.

Singend (sing'6nd), Ger. See Cantabile.

Singgedicht (sing'ghC-dikhf), Ger. Hymn,
poeui intended to be sung.

Singhiozzando (sin-ghi-ot-siiu'do). It. Sob-
bingly.

Singkunst (sing'koonst), Ger. The art of
singing.

SingIe=action harp. A harp with pedals, bv
which each string can bo raised one semi-
tone.

Single chant. A simple harmonized melody,
extending only to one verse of a psalm, as
sung in cathedrals, etc.

Singmahrchen (slng'mar'kh'u),Ge?-. A ballad.

Singmanieren (sing'ma-ne-r'n), Ger. Singing
embeilishiuents.

Singschauspiel (sing'shou-speD.Ger. Singing-
drama; a drama with songs, etc., inter-
spersed.

Singschule (sing'shoo'le),6rO-. Singing-school ;
a school, or method, for the voice.

Singschiiler (sing'shu']6r),Ger. Singing-pupil.

Singspiel (sing'spel), Ger. An opera, melo-
drama, a piece interspersed with songs.

Singstimme (sing'stlm'mg), Ger. Singing-
voice : a vocal part.

Singstimmen (sing'stim'm6n), Ger. pi. The

voices ; the vocal parts.
SingstUck (sing'stiik), Ger. Air, melody.

Singstunde (sing-stoon'de), Ger. Singing-les-
son.

Singtanz (sing-tants), Ger. Dance, accom-
panied by singing.

Singverein ismg'f6r-rln'), Ger. A choral so-
ciety.

Singweise (sing'wl's6), Ger. Melody, tune.

Siniestra (se-ni-as'tra), Sp. ) rpi^ , .. y^ .
Sinistra (sin-is-tra), Lat. j ^^® ^®" ^*^^-

Sinistrae (sin-is-tra), Lat. Left-handed flutes.

See Dextrse.

Sinistra manb (si-nis'tra ma'no), It. The left
hand.

Sinkdpace. A five-step dance.
A galliard.

Cinquepace.

Sine (se'no), jf \ To, as far as, until; con
Sin' (sen), * )fuoco sin^ al fine, with spirit
to the end.

Sino al fine pianissimo (se'no al fe'n6 pe-a-
nis'si-moj. It. Pianissimo to the end.

Sind al segno (se'no al san'yo). It. As iar as
the sign.

Si piace (se pea-tsh6), It. At pleasure, as you

please.
Si raddoppia il tempo (se rad-dop'pi-a el t6m'-

p6), It. Redouble the time ; as fast again.

Siren. In ancient mythology a goddess Asho
enticed men into her power by the charms
of music and devoured them.

Sirene. An instrument used for ascertaining
the velocity of aerial vibration, correspond-
ing to the different pitches of musical
sounds.

Siren song. A song of a bewitching, fascinat-
ing style.

Slrenengesang (se-r6n'6n-gh6-sang'), Ger. Si-
ren-song ; a soft, luscious, seductive melody.

Si replica (se ra'pli-ka). It. A repeat ; to be

repeated.
Si replica una volta (se ra'pli-ka oo'na vol'tk),

II. Play the part over again.

Si scriva (se scre'va). It. As written, without
any alterations or embellishments.

Si segue (se sa'gwC), It. Go on.

Sistrum (sis'troom), Lat. An instrument of
percussion of very great antiquity, supposed
to have been invented by the Egyptians,
and was much used by the priests of Jrisand
Osiris in sacrifice. It consisted of a rod of
iron, bent into an oval or oblong shape, or
square at two corners and curved at the
others, and furnished with a number of
movable rings, so that, when shaken, or
struck with another rod of iron, it emitted
the sound desired. It answered the same
purpose as the bell in the Mass.

Si tace (se ta'tshg), J<. Be silent.

a arm, & add, a ale, 6 mid, e ev^,\ ill, I isle, 6 old, 6 odd, oo moon, ti but, u Fr, sotmd, kh Ger. ch, nh nasal.

(202)

SIX

DICTIONARY OF MUSIC.

SOL

Six-eis:hth measure. A measure having the
value of six eighth-notes, marked G-8.

Sixes and lives metre. A metre consisting
of a stanza of eight lines in iambic or tro-
chaic measure, designated thus, 6s & i>s.

Sixes and four. A metre designated thus, Gs
& 4, consisting of a sianza of four lines in
iambic measure.

Sixes and tens. A metre designated thus, 6s
& 10s, consisting of a stanza of six lines in
iambic measure.

Sixes metre. A metre designated thus, 6s,
consisting of a stanza of eight lines of six
syllables each, in iambic measure.

Sixes and sevens and eiglits metre. A metre
designated thus, 6s, 7s, & Ss, consisting ol a
stanza of eight lines, in iambic measure.

Sixi^me (sez-i-am'), Fr. A sixth.

Six pour quatre (sez poor katr), Fr. A double
triplet, or sextuplet; six notes to be played
in the time of four.

Sixte (sekst), Fr. A sixth.
Sixteenth note. A semiquaver. S

Sixteentli rest. A pause equal in d'uration to
a sixteenth note.

Sixtes (sekst), Fr. Sixths.

Sixth. The interval between any tone of the
scale and the next but four above or b'^low.
A sixth is represented upon ihe staff by a
line and a space with two lines between.
There are three sixths in use: The minor,
( qual to eight half-steps, as between mi and
do; the major, nine half-steps, as between
solandme; and theangmented. of 1en hnU-
steps, as between fa and re-sharp. The ma-
jor and minor sixths are classed as imper-
fect consonances.

Sixth°chord. The first inversion of the triad.
Sixty=fourth note. A hemidemisemiquaver.
Sixty=fourth rest. A pause equal in point
of duration to a sixty-fourth note.

Skalde (skal'd6\ Ger. A scald ; ancient Scan-
dinavian bard.

Skip. A term applied to any transition ex-
ceeding that of a whole step.

Skizzen (skits's6n), Gcr. pi. Sketches ; short
pieces.

Slargando (slar-giin'do), j. \ Extending,
Slargandosi (slar-gan-do'zl), • j enlarging,

widening ; the time lo become gradually

slower.

Sientando (sign - tan' do). It. Relaxing the
time, becoming gradually slower.

Slide. (1) The movable part of the trom-
bone and slide trumpet, by which the
length of the tube < an bo increased. A slide
consists of a tube in the shape of a U, with
prolonged shanks wide enough to admit of
the insertion of two shanks of the remain-
ing part of the instrument. What on the
noru and the ordinary trumpet is affected
by crooks and valves can be easily and

more perfectly accomplished on the trom-
bone and slide trumpet by the slide. In
the case of the Bi? trombone, for instance,
the T)layer can change the key of the instru-
ment by drawing the slide more and more
out into A, A?. G, Gj., F, and E. iJ) An
ornament consistii g of two or more quick
notes proceeding dialonically to the ))rin-
cipal note. (8) A sliding strip of lath, which
in the ortran cuts off a rank of pipes from
their wind.

Slide, tuning. An English instrument pro-
ducing thirteen semitones and used for
pitching the keynote.

Slogan. The war cry. or gathering-word, of a
Highland clan in Scotland.

Slur. A curved line over two or more notes,
to show tliat ihey must be jilayed smoothly.

Small octave. The name given in Germany
to tlie notes included between C on the
.second space of the bass staff and the B
above, thtse iiotes being expressed l)y small
letters, as a, b, c, d, etc.

Smaniante (sma-ni-iin'tei, ') Furious, vehe-
Smaniato (smii-ui-a'toi. It. I- ment, frantic;
Smanioso (smii-iu o'zo), j with rage.

Smlnuendb (sme-noo-^n'-do), "| Diminish-
Sminuito (sine-noo-e'to), /^ > ing, decrea.s-
Smorendo (smo rt^u'do), j ing ; gradu-

ally softer,
Smorfiozo (sm(3'--fi-o'z6), //, Affected, coquet-

liisli, full of grimaces.
Smorz. An abbreviation of Smorzando.

Smorzando (^mor-tsiin'do), T. I Extinguish-
Smorzato (smor-tsii'to), 'led, put out,

gradually dying away.

Snare drum. The side drum.

Soave (so il'vt;), It. A word implying that

a movement is to be played in*a gentle,

soft, and engaging style.

Soavemente (so-;i- vC- mgn' t^), It. Sweetly,
agreeably, delicately.

Soggetto uoil-jf't'to). It. Subject, theme, mo-
tive.

Soggetto di fuga (sod-jet'to de foo'ga). It. Sub-
ject of the fugue.

Soggetto invariato (sod-j6t't6 in-va-ri-ti'to), It.
The invariable subject— a term applied to
the subject of counterpoint when it does
not change the figure, or situation, of the
notes.

Soggetto variato (sod- ji^t' to vii- ri- ii' to\ It.
Variai)le subject— a term applied to the sub-
ject of a counterpoint when it changes the
figure, or situation, of the notes.

Soiree musicale (swii- ra' mu-zi-kiir), Fr. A
musical evening.

Sol (sol). A syllable applied by the Italians
to G, the fifth sound of the diatonic scale or
octa^^e of C.

Sola (so'lii), It. Alone. See Solo.

Sol bemol (sol ba'mol), Lat. The note G\f.

Sol bemol majeur (sol ba-mol mil-zhtir), F>.
The key of Gj? major.

ii arm, a add, a aie, 6 end, e eve, 1 ill, I isle, 6 old, 6 odd, oo moon, iXbut, u Fr. sound, kh Ger. ch, nh nnsul,

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SOL

DICTIONAHY OF MUSIC.

SON

Sol betnol mineur (sol ba-mol me-uilr), Fr.

The key of G^ minor. (Not in use.)
Sol diese (sol di-az), Fr. The note G#.
Sol diese mineur (sol di-az meutlr), Fr. The

key of G# minor.
Solenne (so-lfin'n?), It. Solemn.
Solennemente (s6-16n-n6-m6n't6), //. Sol-

euiuly.
Solfa. To pronounce the names of the notes

sung.
Solfaing. Singing the notes of the scale to

the monosyllables applied to them by

(Juido. See Solmizatiun.
Solfege (sol-fazh), Fr. ) Exercises for the
Solfeggi (sol-fed'ji), It. r voice according
Solfeggio (s61-f6d'ji-6), J<. ) to the rules of

solmizatiou.
Solfeggiare (sol- fSd- ji- a' r6), It. To practice

solfe^^gi.
Solfeggi ren (sol-f6g-gi'r'n\ Ger. ) rp„ „„if_
Solfier (s61-fi-a), i^r. / ^osoiia.

Soli (so'li), //. A particular passage played
by principals only, one performer to each
part.

Solist. The solo - player. Also sometimes
called soloist.

Sol majeur (sol ma-zhtlr), Fr. The key of G
major.

Sol mineur (sol me - ntir), Fr. The key of G
miuor.

Solmisare (sol-mi-za'r6). It. '\ The prflc-

Solmisiren {s61-mi-se'r6n), Ger. V tice of the

Solmizare (sol-mi- tsa'r$), It. ) .scales, ap-
ply ibg to ihe different tones their respec-
tive svllables, do, re, mi, fa, sol, la, si. To
this kind of vocal exercise the practice of
solfeggi is added.

Solmization (sol-mi-za'sh(in), £nfir. The art
of singing by solfa, i. e., by use of the scale
syllables. In Italy, France, and Germany,
the scale-names do, re, mi, fa, sol, hi, si. do
are applied to C, D, E, etc., according to the
scale of C, no matter what the key msy be.
In this usage the solfa amounts merely to
an arbitrary set of words for preparatory
stages of vocal training. But according to
the system practiced in America and by
the tonic solfaists in England the syllables
are applied to the degrees of the scale, do
to one, re to two, etc., through the keys. In
this usage the syllables become associated
with certain relations of tone in key, and
are a help to identifying key -relations,
'i'hey are therefore peculiarlv advantageous
iu the earlier stages of study. There comes
a time, however, when the introduction of
modulations and arbitrary dissonances ren-
ders the solfa rather complicated, and the
best musicians are not yet agreed whether,
on the whole, some oth^r system might be
invented which wouM afford the help
without the disadvantages mentioned.

Solo (so'lo). li- ^^ composition for a single
o . so lo), rr. > j^g ^jj. instrument.

Solo (so'io), Ger. )

Solomanie (s6-16-ma-ne), Tur. The Turkish

flute, entirely open and without any reed.
Solosanger (so'lo-san'g6r), Ger. Solo-singer,

principal singer.
Solo=soprano (so' 15 s6-pra'n6). It. For s -

jtranu only.
Solospieler (so'lo-spe'16r), Ger. Solo-player.
Somma (som'ma), It. Extreme, exceedingly

great.
Somma espressione (s6m-ma 6s-pr6s-si-6'ne),

//. Very great expression.

Son (s5nh), Fr la„„„^
Son (sou), Sp. j ^ou^a.

Son aigu (s6nh a-gu), Fr. A sharp, acute

sou Lid.
Sonante (s6-nan't6), Sp. Sounding, sonorous.

Sonare (so-na'r(?), It. To sound, to have a
sound, to ring, to play upon.

Sonare alia mente (s6-na'r6 al'la m6n't6), It.
Formed according to the mind ; to play ex-
tempore, to improvise.

Sonata (s6-na'ta), It. Something sounded.
Hence an instrumental composition. This
appears to have been the original meaning
of the word. Sonata Form designates what
is sometimes called the Principal Form in
music, or the ideal form toward which all
compositions tend which are neither purely
lyric, fugal, nor dance.

The sonata affords one of the most in-
structive illustrations of development to be
found iu music. Originally it was derived
from dance forms, each movement being
a serious enlargement of some popular
rhythm, but carried out theraatically and
contrapuutally, i. c, without lyric episodes.
Bach's sonatas for organ, and f-r violin
solos, consist of from three to five move-
ments of this kind, duly contrasted among
themselves. The trio organ scmatas are ex-
tended iu form and beautifully written. All
they lack for modern hearing is occasional
points of lyric episode. The inn(ivation
made by Haydn consisted of adding these
points of lyric repose, both as episodes in
the allegro* movements and as foundation
for the slow movements. Mozart added to
Haydn's work a still more distinct return to
the folksong a.s the type of the lyrical mo-
ments in a sonata. As practiced by these
great masters the sonata consisted of three
movements or four. First, an allegro, f 1-
lowiugacertain type of treatment (of which
presently) ; then a slow movement, gener-
ally an andante cantabile or an adu^i*;
then a rondo or finale. Beethoven made
several innovations upon this order, first by
inserting a third movement between the
slow movement and the finale. This is r.
menuet or a scherzo with trio. His further
innovations consisted iu Intensifying the
lyric movements and moments, and in
making them still more deep and heartfelt.
The sonata-piece (Sonatasatz) is the ]>riu-
cipal movement in a sonata. The entire
sonata-piece divides into three chapters;
First, from the beginning to the double bar.

» arm, a add, a ale, e end, e ev^, i ill, I i8le,6 old, 0 odd, oo moon, tl but, ii Fr. sound, kb Ger. ch, nh na»al,

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^^0N

DICTIONARY OF MUSIC.

SON

This contains all the original material of
the entire movement. There is, first, a prin-
cipal, or leading, subject, which generally
is thematic in character, closes in the domi-
nant, and leads oflf toward the second by
means of passage or modalatiug periods, de-
rived in part from the material of the prin-
cipal. Then comes the second, in the dom-
inant of the original key, or iu the relative
major, if that had been minor. The second
is also called by the Germans Gesanggnippe,
"song-group,'' in token of Its lyric charac-
ter. After some sixteen or thirty-two meas-
ures of this, passage work may or may not
intervene, lead ing to the partial close, which
brings around to a cadence upon the domi-
nant of the original key at the double bar,
where is always marked a repeat lor the en-
tire work up to this part. In some in-
stances, as in Beethoven's Sonata Appas-
sionata, the modulating material after the
principal is so much enlarged and so inter-
esting as to become almost an equal factor
with the principal, the second, and theclose
in affording material for the later develop-
ment. The second chapter of the sonata-
piece follows the double bar, and consists of
an elaboration (German Burchfuh'rangssatz,
"working-out piece") a free fantasia upon
motives already introduced. This, after suit-
able development, leads into a pedal point
upon the dominant of the principal key,
leading to the third chapter of the sonata-
piece, the repetition, or reprise, in which all
the matter ot the first chapter comes again,
with little modification, except that the
principal is sometimes slightly abridged,
and the second is now in the principal key
of the work, leading to the close in that key.

The sonata-piece is the type of most over-
tures (all which are not potpourris), and
is at the foundation of all works in sonata
form, such as sonatas, chamber duos, trios,
quartets, etc., concertos and symphonies.
Its great advantage for the composer is its
liberality of opportunity in thematic and
lyric directions combined, thus permitting
a composer to give his fancy loose rein, and
make new works, at once interesting and
beautiful, in whatever style may happen to
please him.

The slow movements of sonatas are often
largely upon the same lines, except that,
owing to the greater time occupied by a
slow movement, the forms have to be short-
er, and the elaborations are greatly abridg-
ed. This is in consequence of the limitation
to the persistence of musical impressions.
An elaooration becomes intelligible to a
hearer only when he remembers the mu-
sical material in its unelaborated form, and
this will be only a certain very short interval
after he has heard it. Moreover, there is
better effect in a slow movement iu devel-
oping a lyric theme, as we find in many
symphonies by Beethoven, Brahms, and the
other great writers.

The third movement in a sonata of four
movements is generally a song form with
trio. This is the lightest division of the

work. The last movement is either a rondo
or a finale. The latter is a sonata-piece,
if taken as leading movement. The rondo
comes from a different source, and is light-
er. See Rondo. In several instances Bee-
thoven introduced other kinds of movement
in his so-called sonatas. An air and varia-
tions are met with as first movement, or as
second, and in one instance, two instances,
at least, as last movement.

In the Sonata, Opus 110, the last move-
ment is a fugue. Hence the proper defini-
tion of a sonata will be a composition in
which one or more movements are in the
form of a sonata-piece.
Sonata da camera (s6-ua'ta da ka'm^-rii). It.
A sonata designed for the chamber or parlor.

Sonata di bravura (so-na'tii de bni-voo'ril). It.

A brave, bold style of sonata.
Sonata di chiesa (s6-na'ta de ke-a'zii). It. A

church sonata, an organ sonata.

Sonata, grand. A massive and extended so-
nata, consisting usually of four movements.

Sonate (s6-na't6), Ger. A sonata.

Sonatina (s6-na-te'na), It. \ A short, easy
Sonatine (s6-ua-ten), Fr. j sonata.

Son doux (s6nh doo), Fr. Soft sound.

Sonetto (s6-n6t't6). It. A sonnet.

Sonevole (s6-na'v6-l6). It. Sonorous, ringing,
sounding.

Song. That which is sung. A melody ; a.
poem set to music for a single voice, or for
several voices (partsong). Songs are distin-
guished as strophic, in which .he same mu-
sic answers to all the stanzas of the text,
and "through-composed," in which each
stanza has its own music. Also songs are
distinguished as folksongs, which are sim-
ple melodies of unpretending musical qual-
ity, and art songs, in which the music
seeks solely to interpret the text, hampered
only by the practicability for the voice and
the proper limits of an accompaniment. Of
the latter kind Schubert and Schumann
wrote some beautiful examples, which
stand as models.

Song, bacchanalian. A song which either iu
sentiment or style relates to scenes of rev-
elry.

Song, boat. A song sung by the rowers;
gondolier-song.

Song, erotic. A love-song.

Songform. In the form of a song. A musical
form consisting of one, two, three, or at
most five, periods making a unity. The
principal subjects of all the Beethoven An-
dante Cantabiles are practically songtorms.
So are menuets, scherzi, and the individual
ideas of most dances.

A second form is often added in a related
key. This is called a trio, and is merely an
independent and contrasting songform. Af-
ter this a return is made to the first song-
form. Of long examples of songform Schu-
mann ^eft the best in the first movements

ii arm, a add, a ale, 6 end, e eve, i ill, I isle,6 old,6 odd, oo moon, ti but, u Fr. sound, kh Ger. ch, nh nasal.

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SON

t)ICTiONAEY OF MtJSlC.

SOU

of his Novelettes, in E, Opus 21, No. 7, and
in B minor, Opus 99.

The periods in a songform are lyrical in
rhythm, if not in essential nature.

Songs without words. Pianoforte pieces of
a poetical character, consisting of a melody
Avilh an accompaniment.

Sonnet. A short poem of fourteen lines, two
.stanzas of four verses each, and two ef
thre ! each, the rhymes being adjusted by a
particular rule.

Sono (so'no), //. A sound.

Sonoramente (so-n6-ra-m6n't6). It. Sonorous-
ly, harmoniously.

Sonore (s5-n6r'), Fr. ) Sonnron!5, harmoui-

Sonoro (so-no'ro), Jl. J" ous, resonant.

Sonoridad (so-no-ri-diid), <?p. Sonorousness.

Sonorita ('•o-no-ri-ta'). //• ) Harmony, sound,
Sonorite (.so-uo-rMaO, Fr. \ sonoiuu^ness ;

having sonority.
Sonorous (so-uot'ous). An epithet applied to
whatever is capable of yielding sound ; full
or loud in sound; rich-toned; musical.

Sons harmoniques (s5nhs har-m6nh-ek'), Fr.
pi. Haimonic sounds.

Sons pleins (s6nhs planh), Fr. pi. In flute
music this means that the notes must be
blown Avith a very full, round tone.

Sanus (so'noos), Lat. Sound, tone.

Sopra, //. Above, upon, over, before.

Sopra dominante (so'pra do-ml-nan't(5). The

lil'ih, or upper dominant.
Sopran (so-pran'), (rfr. 1 The treble, the high-
Soprano (so pra'no), It. ) est kind of female

voice ; a treble, or soprano, singer.
Soprana chorda (so-prii'nii kor'da), It. The E

stringof a violin.
Soprani (s6-pra'ni), II. pi. Treble voices.
Sopranist. A male soprano.

Soprano acuto (s6-pra'n6 a-koo-to), It. High

soprano.
Soprano clef. The treble or G clef.

Soprano clef. The C clef on the first line of
the staflf for soprano, instead of using
the G clef on the second line for that
part.

Soprano clef, mezzo. The C clef when placed
on ihe sec .nd line of the stat^', formerly used
for the second treble voice, and for
which the soprano clef is now sub-
stituted.

Soprano concertato (so - prii' no kon - tshCr-
tii'to), It. The soprano solo part, the part
for a solo treble voice in a chorus.

Soprano concertina. A concertina having
the compass of a violin.

Soprano mezzo (s6-pra'n6 m6z'z6), It. A
species of female voice between soprano
and alto.

Soprano nature! (so-prii'-no na-too-ral), It. A
natural soprano. A falsetto.

Soprano, second. Low soprano.

Soprano secundo od alto (s6-pra'u6 sa-koon'-
do 6d iil'to), It. The second soprano or alto.

Sopranstimme (so-priin'stim'mS), Ger. A so-
prano voice.

Sopra quinta (so'pra quin'ta), It. Upper dom-
inant.

Sopra una corda (so'pra oo'na kor'da), It. Ou
one string.

Sorda (sor'dil), It. Muffled, veiled tone.

Sordamente (sor-da-m^n't^), It. Softly, gen-
tly; also damped, muliied.

Sordine. A small instrument, or damper, in
the mouth of a trumpet, or on the bridge of
a violin or violoncello, to make ihe sound
more faint and subdued. A mute.

Sordini (sor-de'ni), It. pi. Mutes in violin-
playing and the dampers in })ianofortc mu-
sic. S<-e Cun surdlui and Senza sordini.

Sordini levati (sor-de'ni 16-va't6), It. The
dampers removed.

Sordino (sor-de'no), //. A sordine. A mute.

Sorgfaltig (sorg'fal-tigh), Ger. Carefully.

Sorgfaltig gebunden (sorg'fal-tigh £;6-boon'-
d'u), Ger. Very smoothly.

Sortita (s6r-te'ta), It. The opening air in an
operatic part ; the entrance aria.

Sospensione (s6s-p6n-si-6'n6), It. A suspen-
sion.

Sospirando (sos-pi-ran'do), ] Sighing,

Sospirante (sos-pi-ran't6), j. (vcrysub-

Sospirevole (s6s-pi-ra'v6-16), ' f dned, dole-

Sospiroso (sos-pi ro'zo), ) ful.

Sospiro (sos-pe'ro), It. A crotchet rest.
Sostenendo (sos-t6-n6n'd6), j. ) Sustaining
Sostenuto (.'os-tC-noo'to), • j the tone,

keeping the notes down their full duration.
Sostenuto molto (sos-t6-noo'to mol'to), It. In

a highly sustained manner.

Sotto (sot'to), It. Under, below.
Sotto voce (sot- to vo'tsh^), It. Softly, in a
low voice, in an undertone.

Soubrette (soo-br^tf), Fr. A female singer
for a subordinate part in a comic opera.

Soufflerie (soof-fl^-re), Fr. The machinery be-
longing to the bellows in an organ.

Sound. The impression made upon sense-
perception by vibrations of the air, origin-
ating in the air itself, or communicated to
it by any sounding body. The pitch of the
s'^tind depends upon the frequency of the
vibrations, which are inaudible when they
fall bt low the rate of from 8 to 32 per sec-
ond, or when they rise above the rate of
about 40,000 per second. The intensity of
the sound depends upon the amplitude of
the vibration— the impression of intensity
being, perhaps, referred back to a theory
that greater force is behind the ample vi-
bration.

Sounds differ in respect to consistency
within themselves. Some, as, for instance,

a arvi, & add, a ale, C end, e coe, I ill, i isle, 6 old, 6 odd, oo moo7i, a l>ut, ii Fr. sound, kh Ger. ch, nh nasal.

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S0T7

DICTIONARY OF MUSIC.

SPI

a blow upon a block of wood, are dull and
confused; so, also, a blow upon au iron
kettle, or a wooden box. In these cases
several rates of vibration are in operation
at the same time. Again, when a stretched
string vibrates and makes a tone, iheie are
also several rates of vibration in operation
at the same time, the string vibraiiug uot
only in its full length but also in various
aliquot parts, whereby the sounds of several
different pitches aie produced. In the case
of the string all these rates are multiples of
the rate of the full string, and the resulting
partial tones mutually combine and coal-
esce, so that the individual elements com-
posing them can not be made out by ordi-
nary ears. Hence what is called a musical
tone, the essential element of which is con-
i<ldenc\t within ittielf, so that the vibrations
combine into a harmoraous and complete
whole. The opposite of tone is noise, which
is simply a sound so inconsistent and con-
tradictory in the conflicting rates of vibra-
tion composing it that it aflbrds the ear no
repose whatever, and therefore it has no
musical character. Noises are of limited
application in music, the kettledr«»iims, tri-
angles, cymbals, and bass drum being prac-
tically less offensive noises. They are em-
ployed for the sake of rendering the ensem-
ble more imposing, and their empty charac-
ter, from a musical standpoint, ^s glossed
over by an imposing amplitude of brilliant
tone from the brass and other telling quali-
ties.

The timbre, or color, of tone depends up-
on the selection and relative importance of
the partial tones present in the klang, or
tone. This subject is fully investigated in
Helmholtz's great work on "Sensations of
Tone,"t"Touempf]ndung.") The difference
between the color of tones derived from
the violin, flute, cornet, or other instru-
ments, depends wholly upon the nature
and relative importance of partial tones
composing them. These again are influ-
enced by the nature cf the sounding mate-
rial, brass lending itself to the production
of high upper partials, in which the flute
is comparatively poor. Of all forms of tone
that derived from strings reinforced by
wooden sounding-boards is the most satis-
factory, excepting the tones of the human
voice, which admit of assumin^^ ..-xHost any
kind of timbre.

All stringed instruments are susceptible
to considerable tonal variety, according to
the skill with which the vibration is in-
cited. In those of the violin family this is
done by skillfully handling the bow. The
tone of the harp is very much modified by
the manner in which the finger plucks the
string; and even in the pianoforte, where
mechanism would seem to have been most
exact, the tone is largely influenced by tlie
manner in which the keys are attacked.
The use of the pedal also influences the
qualitjr of the piano tone, the finer shades
being impossible without the help of the
pedal.

Soundboard. | The thin board over which
Sounding=board. ) the strings of the piano-
forte and similar instruments are distended.
The vibrating table of any wooden instru-
ment.

Soundholes. The /holes in the belly of in-
struments of the violin family; the round
hole in the belly of the guitar, etc. 'J hey
are designed to afford more perfect commii-
nication with the outer air.

Soundpost. A small p'^st, or prop, within a
violin, nearly under the bridge.

Sound=register. An apparatus invented in
Paris in IbaH, by means of which sounds are
made to record themselves, whether those
of musical instruments or of the voice in
singing or speaking.

Soupir (.soo-pcr), Fr. A crotchet rest.
Sourdeline (soor'di-len), Fr. An Italian bag
pipe, or musette.

Sourdement (soord'manh) , Fr. In a subdued
manner.

Sourdine (soor-den), Fr. The name of a har-
monium-stop. See, also. Sordino.

Sous (soo), Fr. Under, below.

Sous=chantre (soo shanhtr'), Fr. A sub-

chauter.

Sous^dominante (soo do-mi-nanht'), Fr. The
subdominant, or fourth of the scale.

Sous=med3ante (sooma-di-anht), Fr. The sub-
mediant, or sixth of the scale.

Sous=tonique (soo ton-ek'), Fr. The seventh
ot the scale, or subtouic.

Soutenir (soo-t6-ner'), Fr. To sustain a sound.

Souvenir (soo-v6-ner'), Fr. Recollection, rem-

iiiisceuce.

Spaces. The intervals between the lines of

the staff". '

Spagnoletta (span-y6-16t'ta), If. A Spanish
dauce, a species of minuet.

Spagnuola (spiin-yoo-o'la), It. The guitar.

Spalla (spai'lti), It. Shoulder. See Viola da

spalla,

Spanisch (span-ish), Ger. ) IntheSpan-

Spagnolesco (span-y6-l6s'ko), It. \' ish style.

Spassapensiere (spiis-sa-pgn-si-a're). It. The
jew's-harp.

Spasshaft (spass'haft), Ger. Sportively, play-
fully, merrily.

Spasshaftigkeit (spass'haf-tig-kit),G'e/-. Sport-
iveness, playfulness.

Spatium spa-shf-oom), Lat. i A space between
Spazio spa'tsi-o), i<. \ thelines where

music is written ; a distance, an interval.
Spianato (spe-ii-na'to), It. Smooth, even ; le-
gato.

Spiccato (spek-ka'to), It. Separated, pointed,
distinct, detached ; in violin music it means
that the notes are to be played Avith the
point of the bow.

Spiel (spel), Ger. Play, performance.

, arm, & add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon \1 btd, ii Fr. sound, kh Ger. ch, nh nasal.

(207)

SPI

DICTIONARY OF MUSIC.

STA

Spielart (spel'art), Ger. Manner of playing,
style of performance.

Spielen (spe'l'n), Ger. To play on an instru-
ment.

Spieler (spe'16i), Ger. Performer.

Spielmanieren (spel'ma-ne'r'n), Ger. Play-
manners. Instrumental ornaments, graces.
Spinet (spiu'gt), Eng. ) A stringed instru-
Spinett (spi-n6t'). Ger. vment,formerlymuch
Spinetta (,^pi-u6t'ta),/i5. j in use, somewhat
similar to the harpsichord, and, like that,
consisting of a case, sounding-board, keys,
jacks, and a bridge. It was evidently de-
rived from the harp, and was originally
called the couched harp, though since de-
nominated spinet, from its quills, which re-
semble thorns, called in Latin spinx. The
spinet was a small harpsichord, in square
form, whereas the larger instrument had
the shape of a grand piano.
Spirito (spe'rl-to), It. Spirit, life, energy.

Spiritosamente spe-ri-t6-za-m6n't€), \ j^
Spiritoso (spe-ri-to'zo), J

Lively, animated, brisk, spirited.
Spirituale (spe-ri-too-a16), It. ) Sacred, spir-
Spirituel (spir-e-too-al'), Fr. j itual.
Spirituoso (spe-ri-too-6'z6), It. See Spiritoso.

Spissi gravissiml (spis'si gra-vis'si-mi), Lat.
Hypatoides— the deep, or bass, sounds of
the ancient Greek system.

Spissus (spis-soos), Lat. Thick; full, refer-
ring to intervals.

Spitz (spitz), Ger. Point.

Spitzfl6te(spitz-flo't6), ^ ) Pointed flute ;

Spitzflute (spitz-floo't6), *^ j an organ-
stop of a soft, pleasing tone, the pipes of
which are conical and pointed at the top.

Spitzharfe (spltz'har-f6), Ger. Pointed harp.
A small harp with two sounding-boards and
two rows of strings.

Spitzquinte (spitz-kwin't6), Ger. An organ-
stop with pointed pipes, sounding a fifth
above the foundation stops.

Spondee (sp6n-da), Lat. A musical foot con-
sisting of two long notes or syllables,

Sprung (sproong), Ger. A skip.

Square B. Name formerly given to B-natural
on account of its shape.

Square piano. A piano made in square form,
the strings and sounding-board lying hori-
zontally, and the keyboard upon one of the
long sides of the instrument. Now nearly
obsolete, on account of lack of room for the
three stringed unisons which nearly all
modern pianos contain, and also because in
square pianos each action has to be fitted to
the instrument to which it belongs, whereas
in uprights the parts are interchangeable.

Sta (sta). It. This, as it stands ; to be played
as written.

Stabat mater (sta'bat ma'ter), Lat. The
Mother stood— a hymn on the crucifixion.

Stabile (sta'bi-16). It. Firm.

Stac. An abbreviation of Staccato.

Staccare (stak-ka'rg). It. To detach, to sepa-
rate each note.

Staccatissimo (stak-ka-tis'si-mo). It. Very
much detached ; hs staccato as possible.

Staccato (stak-ka'to , It. Detached, distinct,
separated from each other.

Staccato delicatamente istiik-ka'to d61-i-ka-ta-
m6u't6), It. lu staccato style, lightly and
delicately.

Staccato marks. Small dots or dashes placed

' ' '

over or under the

notes, thus :

No difference is now made in playing the
dotted staccato signs and the pointed ones.
Formerly it was taught that the dots repre-
sented a half staccato.

Staccato touch. A sudden lifting up of the
fingers from the keys, giving to the music a
light, detached, airy efiect. A staccato touch
is one which has an attack, but is not fol-
lowed by a clinging pressure for maintain-
ing the tone. In general staccato tones are
made very short, but occasionally the pedal
is used in such a way that the tone has a
resonance slightly longer than the repose of
the finger upon the key. Upon the violin
an ordinary staccato is played with the bow,
the resulting tones being, therefore, merely
somewhat separated from each other, but
of the same quality. The extreme staccato
is made pizzicato, as it is called, by pluck-
ing the strings with thefingeis, whereby the
tone is extremely .'^hort and of limited so-
nority.
Stadtmusikus (stiidt'moo'si-koos), "I ^
Stadtpfeifer (stadt'pfi'fer), j '^^^•

Town musician.

Staff. The five horizontal and parallel lines
on and between which the notes are written.
The lines and spaces are named as follows:

First added line above.

Space above.

Fourth space.

Third space.

Second space.

First space.

Space below.

First added line below.

Second added line below.

Fifth line -
Fourth line-
Third line -
Second line-
First line -

Staff, bass. The staff marked with the bass
cleff.

Staff, tenor. The staff marked with the tenor
clef.

Staff, treble. The staff marked with the
treble clef.

Stagione (sta-ji-6'n6). It. The season, the mu-
sical season.

a arm, & add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6odd, oo moon, a but, ix Fr, sound, kh Ger. ch, nh nasal.

(208)

STA

DICTIONARY OF MUSIC.

STO

Stammaccbrd (stam'ak-kord), Ger. A radical
or fundamental chord, from which others
are derived.

Statnpita (stiim-pe'ta), It. An air, a tune, a

song.
Standchen (staud'khen), Gcr. A serenade.

Standhaftigkeit (stiiud'haf- tig - kit'), Gcr.
Firmness, resolution.

Stand, music. A light frame desigri,ed for
holdiiig sheets or books, for the conven-
ience of performers.

Stanghet.ta (stau-gCt'tii), /^ A
bar-line. The fine line drawn
across, and perpendicular to,
the staff'.

Stanza (stan'tsa). It. A verse of a song or

hymn.
Stark (stark), Ger. Strong, loud, vigorous.
Starke Stimmen (star' k6 stim - mSn), Gcr.

Loud stops; mit starken Stimmen, with loud

stops.
Stave. Name formerly given to the staff.
Stag (stagb), Ger. The bridge of a violin, etc.

Stem. The thin stroke which is drawn from
the head of a note.

Stem, double. A stem drawn both upward
and downward from a note, indicating that
the no.e belongs to two parts, in one of

which it has its natural and appro- ,_

priate len^nh, as shown by its face, pi?— B
while in the other it may be sliorter, t^zrzB
corresponding to the notes that follow it.

Stentando (st5ii-tan'd6), It. Delaying, retard-
ing.

Stentato (st6a-ta'to), It. Hard, forced, loud.

Stentorian. Extremely loud.

Stentorophonic tube. A speaking trumpet,
so called from Stentor. The stentorophonic
horza of Alexander the Great is famous; it
was so powerful that he could give orders
at a distance of one hundred stadin, which
is about twenty English miles, so they say.

Step. The larger diatonic interval between
two consecutive tones of the major scale.
A step is equal to two half-steps.

Step, half. The smallest interval in the tem-
pered scale, eleven of them making an oc-
tave. The interval from any piano-key to
the next. Half-steps are sometimes, irra-
tionalljs called semitones.

Sterbend (star'bend), Gcr. Dying away, the
same as morendo.

Steso (sta'zo), It. Extended, diffused, large
Stesso (st6s's6),7^ The same ; Vistesso tempo,
in the same time.

Sticcado (stik-ka'do), j, \ An instrument
Sticcato (stik-ka'to), ■ j consisting of little
bars of wood rounded at the top and resting
on the edges of a kind of open box. They
gradually increase in length and thicli;ness,
arc tuned to the notes of the diatonic scale,
and are struck with a little ball at the end
of a stick.

Sticker. A portion of the connection, in an
organ, between the keys or pedals and the
valve; a short link attached to a key or
pedal, and acting on the backfall.

Stile (ste'le), //. Style.

Stile a cappella (ste'lC ii kap-pei'lii). It. In the

chapel style.

Stile grandioso (ste'lC gran-dlo'zo), //. In a
grand style of composition, or performance.

Stile rigoroso (ste'lC ri-go-ro'zo) , //. In a

rigid, strict style.
Still (still), Gcr. Calmly, quietly.

Stillgedakt (still-gg-diikt'), Ger. A stopped
diapason, of a quitt tone.

Stilo (ste'lo), It. Ftylo, manner of composi-
tion or perform.ance.

Stilo aila cappella (ste'lo al' ii 1 a-pgl'la). It. In
the churcii or chapel style.

Stilo di recitativo (ste'lo de ra-tsh»J-ta.-te'v6),
II. I.i siyle of recitative.

Stimme (stim'm^), Gcr. The voice, sound ;
also the soundpost in a violin, etc.; also a
part ill vocal or iuf-trumental music; also
an organ-stop or register.

Stimmen (stim'm'n), Gcr.pl. Parts or voices ;

also organ-stops.

Stimmfuhrung (stim'fuh-roong), Ger. Voice
movement.

Stimmgabel (stim'ga'b'l), Ger. Tuning-fork.

Stimmhammer (stim'ham'm<5r),(Ter. Tuning-
key, tuning-hammer.

Stimmhorn (stim'h6rn),(Ter. Tuning-cone for
metal organ-pipes.

Stimmstock (stim'stok), Ger. The soundpost
of a violin, etc.

Stimmumfang (stim'oom-fang),(Te?-. Compass
of a voice.

Stimmung (stim'moong), Ger. Tuning, tune,

tone.

Stimmweite (stim'wi-t6),(Te/-. Voice-breadth,

compass.

Stinguendo (stin-gu6n'd6). It. Dying away,
becoming extinct.

Stiracchiato (.ste-rak-ki-ii'to), ,. ) Stretched
Stirato (ste-ril'to), -'^- / forced, re-

tarded. See ALlarganclo.

Stonante (sto-niin't?). It. Discordant, out of
tune.

Stop. A register, or row of pipes, in an organ ;
on the violin, etc., it means the pressure of
the finger upon the string.

Stop, bassoon. A reed stop in an organ, re-
sembling the bassoon ia quality of tune.

Stop, claribel. A stop similar to the clarinet

stop.

Stop, clarion, or Octave trumpet. A stop
resembling the tone of a trumpet, but an
octave higher than the trumpet stop.

Stop, cornet. A stop consisting of five pipes
to each note.

a arm, a add, a ale, 6 end, e eve, I ill, i isle, 6 old, 6 odd, oo moon, iX but, ii Fr. sound, kh Ger. ch, nh n<;isai.
14= (209)

8T0

DICTIONARY OF MUSIC.

STO

stop, cretnona. A reed stop iu unison with
the diapasons.

Stop, double diapason. An open set of pipes
tuned an octave below the diapasons.

Stop, double trumpet. The most powerful
reed stop in the organ, the pipes being of
the same length as the double diapason, to
which it is tuned in unison.

Stop, dulciana A stop of peculiar sweetness
of tone, which it chiefly derives from the
bodies of its pipes being longer and smaller
than those of the pipes of other stops.

Stop, faggotto. The bassoon stop.

Stop, fifteenth. A stop which derives its
name from its pitch, or scale, being fifteen
notes above that of the diapason.

Stop, flute. An organ-stop, resembling iu
tone a flute or flageolet.

5top. hautboy. A reed stop having a tone in
imitation of the hautboy.

Stop, larigot, or Octave twelfth. A stop
the scale of which is an octave above the
twelfth. It is only used in the full organ.

Stop, mixture, or furniture. A stop com-
prising two or more ranks of pipes shriller
than those of the sesquialtera, and only cal-
culated to be used together with that and
other pipes.

Stop, nazard. Twelfth stop.

Stop, open diapason. A metallic stop which
commands the whole scale of the organ,
and which is called open, in contradistinc-
tion to the stop diapason, the pipes of Avhich
are closed at the top.

Stop, organ. A collection of pipes, similar
in tone and quality, running through the
whole, or a great part, of the compass of
the organ ; a register.

Stopped. Closed with a stopper. Applied to
certain organ-pipes.

Stop, principal. A metallic stop, originally
distinguished by that name, because hold-
ing, in point of pitch, the middle station
between the diapason and the fifteenth, it
forms the standard for tuning the other
stops. In German organs the principal is
the open diapason.

Stop, salicional. A string stop.

Stops, compound. An assemblage of several
pipes in an organ, three, four, five, or more
to each key, all answerinc at once to the
touch of the performer.

Stops, draw. Stops in an organ placed on
each side of the rows of keys in front of the
instrument, by moving which the player
opens or closes the stops within the organ.

Stop, sesquialtera. A stop resembling the
mixture, running through the scale of the
instrument, and consisting of three, four,
and sometimes five ranks of pipes, tuned in
thirds, fifths, and eighths.

Stops, foundation. The diapasons and prin-
cipal, to which the other stops, be they few
or many, are tuned, and which are abso-
lutely required in an organ.

Stops, mutation. In an organ the twelfth,
tierce, and their octaves.

Stop, solo. A stop intended for solo use.

Stops, Organ. A stop in an organ is properlv
a complete set of pipes of uniform tone-
quality. There are four varieties of tone,
called diapason, string, flute, and reed.
The diapasons are metal pipes of large
body and clear, solid sound, which in mo-
dern organs has rather more string-qual-
ity than formerly, because it is found that
this quality blends better and pleases the
ear. The diapason class includes the open
diapasons, principal or octave, the fifteenth,
and the mixtures. The pedal diapasons
are sometimes made of wood, in order to
save expense, but the tone is not so good.
The string family of stops have metal pipes,
preferably of tin or a large percentage of
tin, small diameter, and frequently with a
small hole at a certain distance, for promo-
ting the formation of the overtones, upon
which the cutting quality of the string tone
depends. The names usually given them
are Gamba, Keraulophon, Salicional.

The flute stops are of wood, like the stop-
ped diapason, claribel, etc., or of metal
voiced like wood, such as the flute harmo-
nique, flauto traverso, etc. The reed stops
are sounded by means of a striking or a free
reed (which see), and are commonly named
oboe, cornopeon, trumpet, vox angelica,
voxhumana, etc.

Mixture stops are compound stops, pro-
ducing octaves of the fundamental, and,
generally, one fifth, voiced like a flute. A
mixture having three elements is called a
three-rank mixture. This is the usual
number, but five ranks are not infrequent.
The mixture stops are used only in full
organ passages, and are intended to rein-
force the upper partial tones, which it is
not easy to secure from pipes in sufficient
volume.

The variety of names of organ-stops is ex-
cessive, but necessitated by the number of
stops in large modern organs, often reach-
ing to more than one hundred. Hence the
stops of any given family are shaded from
each other by degrees which are almost im-
perceptible, except to an expert. However
many the stops may be in number, there
are only these four varieties of tone.

The name "stop "is sometimes applied
to the draw-knobs, by which the stops are
brought into connection with the key-
board, or cut off".

Stops, reed. Stops consisting of pipes, upon
the end of which are fixed thin, narrow
plates of brass, which, being vibrated by
the wind from the bellows, produce a reedy
brilliancy of tone.

Stop, stopped diapason. A stop the pipes of
which are generally made of wood, and its
bass, up to middle C, always of wood. They
are only half as long as those of the open
diapason, and are stopped at the upper end
with wooden stoppers, or plugs, which ren-

&arm, a add, a ale, Qend, e eve, i ill, i isle, 6 old, 6 odd, oo moon, ti hut, \i Fr. sound, kh Qer. ch. nh nasal.

(210)

f^TO

DICTIONARY OF MtTSlC.

8TR

der the tone more soft and mellow than
that of the open diapason.

Stop, stopped unison. The stopped diapason
stop.

Stop, tierce. A stop tuned a major third
higher than the fifteenth, and only em-
ployed in the full organ.

Stop, treble forte. A stop applied to a melo-
deon, or reed organ, by means of which the
treble part of the instrument may be in-
creased in power, while the bass remains
subdued.

Stop, tremolo. A contrivance by means of
which a fiue, tremulous effect is given to
some of the registers of an organ.

Stop, trumpet. A stop so called because its
toue is imitative of a trumpet. lu large or-
gans it generally extends through the whole
compass.

Stop, twelfth. A metallic stop so denomi-
nated from its being tuned twelve notes
above the diapason. This stop, on account
of its pitch, or luuing, can never be used
alone; the open diapason, stopped diapa-
son, principal, and fifteenth, arft the best
qualitiod to accommodate it to the ear.

Stop, vox humana. A stop the tone of which
resembles the human voice.

Storta(stor'ta), 7<. A serpent. See that word.

Stortina (.stor-te'na), It. A small serpent.

Str. Abbreviation for Strings.

Straccinato (stra-tshl-na'to), It. See Strasci-
nato.

Stradivari. The name of a very superior
make of violin, so called from their makers,
Stradivarius (father and son), who made
them at Cremona, Italy, about A. D. 1650.

Strain. A portion of music divided off by a
double bar.

Strascicando (stra-shl-kan'do), It. Dragging
the time, trailing, playing slowly.

Strascinando (stra-shT-nan'do), It. Dragging
the time, playing slowly.

Strascinando Tarco (st'^a-shi-nan'do liir-ko).
Keeping the bow of tlie violin close to the
strings, as in executing the tremolando, so
as to slur or bind the notes closely.

Strascinato (stra-shi-na'to), It. Dragged along,
played slowly.

Strascino(stra-she'no), 7/. A drag. This grace,
ur embellishment, is chiefly confined to vo-
cal music, and only used in slow passages.
It consists of an unequal and descending
metion, and generally includes from eight
to twelve notes, and requires to be intro-
duced and executed with great taste and
judgment.

Strathspey. A lively Scotch dance, in com-
mon time.

Stravagante (stra-va-gan't6). It. Extravagant,
odd, fantastic.

Stravaganza (stra-va-gan'tsa). It. Extrava-
gance, eccentricity.

Street organ. Hand organ.

Streich (strikh), Ger. String. Used in com-
position, as, Streichinstrumente, stringed in-
struments; Streichquarttt, stringed quartet,
etc.

Strang (string), Ger. Strict, severe, rigid.

Strenge gebunden (str6n'gh6 ghe-boon'd'n),
Ger. Strictly legato, exceedingly smooth,

Streng im Tempo (string im t6m'p6), Ger.
Strictly in time.

Strepito (stra'pi-to), It. Noise.
Strepitosamente (stra - pi - to - sa - mfin' t6), It.
With a great noise.

Strepitoso (stra-pI-to'z6), It. Noisy, boister-
ous.

Stretta ^strgt'tii), If. A concluding passage,
coda, or finale, in an opera, taken in quicker
time to enhance the effect.

Stretto (str6t't6). It. Pressed, close, contract-
ed ; formerly used to denote that the move-
ment indicated was to be performed in a
quick, concise style. In fugue-writing that
part where the subject and answer succeed
one another very rapidly.

Strich (strikh), Ger. Stroke, the manner of

bowing.
Stricharten (strikh ar-t'n),Ger. Different ways

of bowing.

Strict canon. A canon in which the imita-
tion is complete, each voice exactly repeat-
ing the other.

Strict composition. A composition in whfch
voices alone are employed ; that which rig-
idly adheres to the rules of art.

Strict fugue. Where the fugal form and its
lavvs are rigidly observed.

Strict inversion. The same as simple inver-
sion, but requiring that whole tones should
be answered by whole tones, and semitones
by semitones.

Strictly inverted imitation. A form of imi-
tation in which half and whole tones must
be precisely answered in contrary motion.

Strict style. A style in which a rigid adher-
ence to the rules of art is observed.

Sharp, shrill,
acute.

Strident (stre-danh), Fr.
Stridente (stre-d6n't6). It.
Stride vole (stre-d6v6'16), It.

Striking reed. That kind of reed pipe in an
organ in which the tongue strikes against
the tube in producing the tone.

String band. A band of stringed instruments
only.

Stringed instruments. Instruments whose
sounds are produced by striking or drawit g
strings, or by the friction of a bow drawn
across them.

Stringendo (stren-g^n'do), It. Pressing, ac-
celerating the time.

String pendulum. A Weber chronometer.

String quartet. A composition for four in-
struments of the violiu species, as two vio-
lins, a viola, and violoncello.

a arm, & add, a ale, & end, e eve, i ill, I isle, 6 old, 6 odd, oomoon, H but, ii Fr. sound, kh Ger. ch, nh nasal.

(211)

STR

DICTIONARY OF MUSIC.

STY

strings. Wires, or chords, used in musical
iu>truments, which, upon being struck or
drawn upon, produce tones; the stringed
iiiStrumeuls iu a band or orchestra.

Strings, latten. Wires made of a composition
cui.sistiijg ut (.opper and zinc.

Strings, open. The strings of an instrument
wiieu nut presii'd.

Strisciando (stre-shi-an'do), It. Gliding, slur-
ring, sliding smoothly from one note to an-
other.

Strofa (stro'fa), j, \ k ofroDhp stan/a
Strofe (blro'le;, ^*- j ^ stropne, stanza.

StrohfJedeI(stro'fe-d'l),(?er. Straw fiddles. A
xylophone composed of rods of wood, which,
\\ lieu struck by a little mallet, give out mu-
sical sounds.

Stroke, diagonal. A transverse heavy stroke,
having a dot each side of it, denoting that
the previous measure or the previ- r~ — n
ous group of notes in the same meas- [— a— r4^
uie is to be repeated. ^ I'

Stroke, double. Two strokes or dashes
drawn overor under a semibreve or through
the stem of a minim or crotchet, implying
that such note must be divided into as many
.semiquavers as are equivalent to it in dura-
lion.

Stroke, single. A stroke or dash drawn over
cr und r a semibreve, or through the stem
of a minim or crotchet, implying that such
a note must be divided into as many qua-
vers as are equivalent to it in duration.

Stroke, transverse. A heavy stroke placed
hbove a fundamental note to indicate the
intervals of changing notes, and also used
lor anticipation iu an upper part.

Stroke, triple. Three strokes or dashes
placed over or under a semibreve, or
through the stem of a minim or crotchet,
implying that such note must be divided
into as many demisemiquavers as are equiv-
alent to it in duration.

Strombazzata (strom-bat-tsa'ta), j, ) The

Strombettata (strom-bet-ta'la), ' j" sound
of a trumpet.

Strombettare (strom-bet-ta'r^), It. To sound
or play on the trumpet.

Strombettiere (str6m-b6t-ti-a'r6). It. A trum-
peter.

Stromentato (str6-m6n-ta't6), It. Instrument-
ed, scored lor an orchestra.

StromentI (stro-mSn'te), It. pi. Musical in-
SLiuuients.

Stromenti da fiato (stro-m6n'te da \
fe-a'to), ( jf ,

Stromenti di vento (str6-m6n'te de C ^'- ^'•
v^n'to), )

Wind instruments.

Stromenti d'arco (str6-m6n'tS d'ar'ko). It. pi.
Instruments played with the bow.

Stromenti di rinforzo(stro-m6n'te derln-for'-
tso),//.j>i. Instruments employed to sup-
port or strengthen a performance.

Stromento (stro-mgn'to), It. An instrument.

Strophe. In the ancient theater, that part of
a fcoiig or dance around ttie altar vvhicli
was performed by turning from the right
to the left. It was succeeded by the ami-
strophe, iu a contrary directiiln. Hence,
in aiicu'Ut lyric poetry, the former of two
stanzas was called the strophe, and the lat-
ter the aiitistrophe. The epode, or afier-
song, followed after.

Stiick (stiik), Ger. Piece, air, tune, musical
entertainment.

Stuckchen (stiik' kh^n), Ger. Little airs oi
tunes.

Studien (sloo'di-6n), Ger. pi. Studies.

Studio (stoo'di-6 1, /^ ) A study, an ex-

Studium (stoo'dT-oom), Ger. j ercise intend-
ed for the practice of some particular diffi-
culty.

Stufe (stoo'fC), Ger. Step, degree.

Stufe der Tonleiter (stoo'f6 d6r t6n'li-t?r),(Ter.
A degree of the scale.

Stufen ((stoo'i'n), Ger. Steps or degrees.

Stufenweise (stoo'f'n-wl's^), Ger. By degrees.

Sturmisch ( stiir'mlsh ), Ger. Impetuouslyi
boisterously, furiously.

Stiirze (stiir'tse), Ger. The bell of wind in-
struments.

Style. That manner of composition or per-
formance on which the effect chiefly, if not
wholly, depends. The distinction " strict"
and "free" style is often made. By strict
style is meant a manner of composition in
which a certain number of voice-parts are
carried through iu accordance with the
principles of this form of composition,
which substantially are that only triads
and their first inversions are to be used,
and that no dissonances are employed, ex-
cept those proper to strict counterpoint.
In free composition, or style, the number of
voices may vary from strain to strain, and
dissonances are freely introduced. Accom-
paniments must be obligato, etc.

Stylo (ste'lo),J«. Style.

Stylo dramatic© (ste'16 dra-ma'ti-ko). It. Iu
dramatic style.

Stylo ecclesiastico (ste'lo ek-kla-zi-as'ti-ko), It.
In church style.

Stylo fantastico (ste'lo fan- tiis' ti- ko), It. A n
easy, humorous style free from all restraint.

Stylo rappresei.tativo (ste'lo rap-prazen-tii-
te'vo), ]/. The name originally applied to
music written for opera, meaning that the
chief oflfice of the music was to represent
the poetry. At first this meant simply the
spirit of the declamation ; later the " repre-
sentation " was enlarged to the point where
music itself became elaborated in order to
give fuller representation to the spirit of
the poem and the dramatic situation, no
less than of the words merely.

Stylo recitative (ste'lo ra-tsl-ta-te'v6). It. In
the st^ le of a recitative.

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(212)

su

DICTIONARY OF MUSIC.

SUO

Su (soo), It. Above, upon.

Suabeflute. An org^an-sfop of pure liquid
louc". not '•o loud as tue Waldflute; it was
invcnuMl by William Hill, of Londou.

Suave (soc.ii'vg, /^ i Swopt mi'd a-^
Suave {soo-a'v§), Sp. > ^^^vvcet, mi. a. a.

able, pleasant.

rrco-

Suave (swiiv

Suavemente (soo-a-v6-mCn't.e), Sp. \ Suavity,

Suavemente (soo-a-v6-men't6), It. > sweet-

Suavita (soo-H-vl-ta'), i<. ' uess,
delicacy.

Sub (-ub), Lat. Under, below, beneath.

Subbass (soob'bass), Ger. Underbass; an or-
gan register in the pedals, usually a double-
slopped bass of 32- or 16-leet tone, though
sometimes open wood-pipes of 16 feet, as at
Haarlem; the groundbass.

Subbourdon. An organ-stop of 32-fcet tone,
with stoi)pcd pipes.

Subdominant. The fourth note of any scale
or key.

Subitamente (.soo-bi-ta,-m6n't6), jf ) Sudden-
Subito (soo'bi to), j ]y, im-

mediately, at once. ,

Subject. A melody or theme ; a leading text
or motivo.

Subject, counter. The counterpoint of the
subject, vvhicti every voice in a fugue per-
forms after giving out the subject.

Submediant. The sixth tone of the scale.

Suboctave. An organ-coupler producing the
octave below.

Subprincipal. Underpnncipal ; that is, be-
low the pedal diapason pitch; in German
organs this is a double open bass stop of 32-
feet scale.

Subsemitone. The semitone below the key-
board, the sharp seventh of any key.

Subsemitoniutn modi (soon-sCm ito'ni-oom
mo'di). Lat. The leading note.

Subtonic. Under the tonic; the s« mitone
immediately below the tonic.

Succentor (sook-sCn'tor), Lat. A subchanter,
a deputy of the precentor. A bass singer.

Sudden modulation. Modulation to a distant
key, without any intermediate chord to pre-
pare the ear.

Suffocato (soof - fo - ka' to). It. Suffocated.
Choked, as if with grief.

Sui (soo'i), It. Sul.

Suite (swet). Fr. A series, a succession ; une
suiie depieceti, a series of lessons, or pieces.

Suite (swet), Fr. A series, a set; i.e., a, series,
or set. ot ])ieces (suite de pieces). In the
earlier part of the eighteenth century, and
anterior to tha^^ time, a suite consisted in
most cases of dai.ces, to which, however,
was of ten added a prelude as an introduc-
tory first piece. Other pieces than dauce.s
were also occasionally interspersed— for in-
stance, in some of J. S. Bach's suites we find
an air. As to the dances, they were artis-

tically t recited, differing from those intend-
ed to be danced to, both in form and style,
and not unfrequently also in character.
Bach's Suites Anglaises all open with a pre-
lude, but his Suites Fran^aises are without
such an introductory piece. The first of
Bach's Suites Anglaises contains the follow-
ing pieces: (1) Prelude; 'i2) Allemande;
(3) Courante; (4) Sarabande; (5) BourC-e;
(6) Gigue. Instead of the bourse we find in
others of the master's suites a gavotte, ( ra
menuet, or a passepied. The allemande is
generally the first of the dances; theord'. r
and selection of the other dances were less
settled, but the courante and saraban<l»'
were very common as the second and ihinl
constituents, as was also the gigue as ilie
last. Other dances to be met with in sn'.tes
are the loure, anglaise, polonaise, pavane.
etc. As a rule the pieces are all in the same
key. Their number differed. • In recent
times composers have taken the suite again
into favor. But the modern suite is more
varied than the old ; its constituents com-
prise not only dances of the past and pres-
ent, but also characteristic pieces of all sorts,
even fugues. It need hardly be added that
the moderns do not, like their forefathers,
adhere to unity of key.
Suivez (swe-va), Fr. Follow, attend, pursue ;
the accompaniment must be accommodated
to the singer or solo player.

Sujet (^ii-zha), Fr. A subject, melody, or

theme.
Sul (sol), )

Sull' (sool), It. "-On, upon the.
Sulla (sool'la), |

Sul A. Ou the A string.

Sul D. On the D string.

Sulla mezza corda (sool'la mgt'sii kor'da). It.
On the middle of the string.

Sulla tastiera (sool-Ia tas-ti-a'ra). It. Upon

the keys, upon the fingerboard.
Sul ponticello (sool p6n-ti-tsh6l'lo). It. On or

near the bridge.

Sumara. A species of flute having two pipes,
common in Turkey ; the shorter pipe is used
for playing airs, and the longer for a con-
tinued bass.

Summational tones. Sec Resultant tones.

Sumpunjah (soom-poon-yah), Ileh. The dul-
cimer of the ancients. It was a wind instru-
ment made of reeds; by the Syrians called
samboujah and by the Italians zampogua.

Sumsen (soom's'n), Ger. To hum.

Suo loco (soo'6 lo'ko). It. In its own or usual
place.

Suonantina (soo-6 nan-te'na), It. A short, easy

sonata.
Suonare (soo-6-na'r6), It. To play upon an

instrument.

Suonare 'I2 campane (soo-6-na'r6 16 kam-pa'n6).
It. To ring the bells.

Suonarsordamente (soo-6- uar' sor-da-m6n'te).
It. To play softly.

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(213)

suo

DICTIONARY OF MUSIC.

SYM

Suonata (soo-6-na'ta), It. A sonata.

Suoni (soo-6'ni), It. pi. Sounds.

Suoni armonichi (soo-o'ni ar-nao'ni-ki), It.pl.

llarmouic sounds.
Suono armonioso (soo-o'no ar-m6-ni-6'z6), It.

Harmouious sounds.
Superano (soo-per-ii'nG), Sp. Soprano.

Superdominant. The note in the scale next
iib.wc the dominant.

Superfluous intervals. Those which are one
^emitone more than the perfect, or major,
intervals. See Augmented intervals.

Superoctave. An organ-stop tuned two oc-
taves, or a fifteenth, above the diapasons;
also a coupler producing the octave above.

Supersus (soo-pgr'soos), Lat. Name formerly

given to trebles when their station was very

high in the scale.
Supertonic. "I The note

Supertonique (sii-p6r-t6nh-6k'),i^r-. j next

above the tonic, or key-note; the second

note of the scale.
Supplichevole (soop-pli-ka'vo-16), \

Suppiichevolmente (soop-pli-ka-v61-m6n't6) j

It. In a supplicatory manner.

Sur (soor), It. \ q

Sur (stir), Fr. j ^^^' ^^^^' "^^^•

Surdeline. The old Italian bagpipe, a large
and rather complicated instrument con-
sisting of many pipes and conduits for the
conveyance of the wind, with keys for the
opening of the holes by the pressure of the
fingers, and inflated by means of bellows,
which the performer blows with his arm at
the same time that he fingers the pipe.

Sur la quatrseme corde (stir la kat-ri-am
k6rd), Fr. On the fourth string.

Sur la seconde corde (siir la sa-k6nhd k6rd),
Fr. Upon the second string.

Sur una corda (soor oo'na kor'da), It.\ Upon
Sur une corde (siir iiuh k6rd), Fr. J one

string.
Suspended cadence. See Interrupted Cadence.

Suspension. The clashing effect of a disso-
nant tone which having been a conso-
nant tone in one chord is retained, sus-
pended, after the beginning of the next
following chord, in which it is dissonant.
The dissonance presently subsides, or gives
place to the consonant tone (generally one
degree below), which it had displaced.
This disappearance of the dissonance is
called its resolution. The appearance of
the proposed dissonant tone as one of the
regular members of the previous chord is
called its preparation.

Suspension, double. A suspension retaining
two notes, and requiring a double prepara-
tion and resolution.

Suspension, single. A suspension retaining
but one note, and requiring only a single
preparation and resolution.

Suspension, triple. A suspension formed by
suspending a dominant or diminished sev-
enth on the tonic, mediant, or dominant, of
the key.

Siiss (siiss), Ger. Sweetly.

Stissflote (siiss' flo'te), Ger. In organs, the soft

ttute.
Sussurando (soos-soo-ran'do), jf \ Whisper-
Sussurante (soos-soo-ran't6), '/ing, mur-

muriug.

Sussuration. A whispering; a soft, mur-
muring sound.

Sustained. Notes are said to be sustained
when their sound is continued through
their whole time or length. See Sostenuto.

Svegliato ( sval-yi- a' to), 7<. Brisk, lively,

sprightly.
Svegliatojo (sv61-yi-a-t6'y6). It. An alarm bell.
Svelte (sv61't6), It. Free, light, easy.
Swell. A gradual increase of sound.

Swell organ. In organs having three rows of
lieys, the thiid, or upper, row controlling a
number of pipes enclosed in a box, which
may be gradually opened or shut, and thus
the tone increased or diminished by degrees.

Swell pedal. That which raises the dampers
from the strings or opens the swell-bliuds of
the organ.

Syllables, Guidonian. The syllables ut, re,
mi, fa, sol, la, used by Guido for his system
of tetrachords.

Symbal. See Cymbal.

Sympathetic strings. Strings which were
formerly fastened under the fingerboard of
the viola d'amore. beneath the bridge, and,
being tuned to the strings above, vibrated
with them and strengthened the tone.

Symphonia (sim fo-ni-a), Gr. Agreement of
sounds. The name was applied at one time
to a stringed instrument of the hurdygurdy
variety. A symphony.

Symphonic. In the style, or manner, of a
symphony; harmonious; agreeing in sound.

Symphonie (sanh-fo-ne). Fr. t Aformofcom-
Symphonie (sim-fo-ne), Ger. > position for
Symphony (sim fo-ny), Eng. ) orchestra
(somewhat enlarged), of an elevated and no-
ble style. There is no settled order of move-
ments in a symphony, but in general (with
or without a slow introduction) the first
movement is allegro, in the form of a soo-
ata-piece ; the second is a slow movement :
the third a scherzo or other playful move-
ment, and the fourth a finale, which ismore
often a sonata-piece. The variety of instru-
ments in a modern orchestra affords the
symphony unlimited opportunities for poet-
ical and pleasing effects of tone color and
contrast. The greatest masters ('f symphony
are Beethoven, Schubert, Schumann, and
Brahms.

The name symphony is applied in Eng-
land to orchestral or other interludes and
preludes of songs. In this sense Handel

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(214)

.lYM

DICTIONARY OF MUSIC.

TAC

uses it in the " Messiah " as " Pastoral Sym-
yjhony," which would now be called an in-
termezzo.

Symphonienseser (sira-f6-m-6n-s6-s6r), Qer.
Symphonist; a composer of symphonies.

Symphonious. Harmonious; agreeing in
sound.

Symphonische Dichtung (sim-f6'ni-sh6 dlkh'-
toong), Gcr. A symphonic poem. An or-
chestral composition with a pc^etic basis (a
program) and of a free form— the latter be-
ing determined by the subject, not by rule
pnd custom. Lihzt is the originator of the
kind and the name. Before him Berlioz
bad written symphonies with a poetic basis
a-'d differing more or less from the ortho-
dox compositions of that appellation. Nev-
ertheless Li8zt was an originator of more
than the name, for his symphonic p ems
are peculiar in various w»ys, especially in
these two: their continuity (they are not
broken up into separate divisions) and the
extensive employment of transformation
of themes (melodic, harmonic, and rhyth-
mic, modification of themes for the purpose
of changing their expression). This latter
serves to give unity to the various constitu-
ents of the composition.

Symphonist. A composer of symphonies. In
France the term symphonist is also applied
to a composer of church-music.

Symposia. An epithet generally applicable
to cheerful and convivial compositions, as
catches, glees, rounds, etc.

Syncopata (sin-ko-pa'ta) )

Syncopate (sln-k6-pa't6). It. > Syncopated.

Syncopate (slu-ko-pa'to), j

Syncopat!o(sln-k6-pa'tsi-6), Lat.~\ A rhyth-
Syncopation, £?ifif. }-raic dis'tur-

Syncope (stlnh-kop), Fr. ) bance con-

sisting essentially of concealing the true
accent by the device of beginning a tone on
the weak pulse or part of a pulse, and pro-
longing it across the strong pulse or part of
a pulse, thus depriving the strong rhythmic
place of its proper accent. The note so be-
gun, and prolonged across a point where an
accent would be expected, is said to bo syn-
copated.

In pianoforte-music, when one hand has
syncopation, the other generally has the
true accent. Syncopated notes are accent-
ed, the accent being anticipated from the
strong pulse across which they sync pate.
There area few examples, in modern music,
of syncopating forms in the accompani-
ment where no accent is implied. (For in-
stance in Schumann's " Warum.")

Syncoper (sinh-ko-pa), Fr. } To syn-

Syncopiren (sin-ko-pe'r'n), Ger. | copate.

Systeme (sis-tam), Fr. A system.

1^

T. Abbreviation of Tempo ; also of Tenor.

Taballd (ta-bal'lo). It, A kettledrum.

Tabar (tii-biir), It. A small drum ; a tabor.

Tablatura (tab-lii-too'ra), /^ ^ A term for-
Tablature (la-bla-tiJr), /'r. I merly ap-

Tablature (tab'la-tshur), £r?sr. [ plied to the
Tabulatur (tii' boo-la-toor),Gn\ J totality or
general assemblage of the signs used in mu-
se ; so that to understand the notes, clefs,
and other necessary marks, and to be able
t • sing at sight, was to be skilled in the tab-
hiiure. More particularly applied, however,
to a curious notation for the lute, viols, and
wind instruments invented between A.I).
J 100 and 1500. It consisted of lines and bars,
with signs in the spaces and above the staff.
'J" here were as many lines as strings upon
the instrument noted. The lute had six
frets, which the tablatura indicated by let-
ters, a for open string, b for first fret, c for
second, etc. The tabulature had these let-
ters for all the stopping required, bars for
measure, and signs of value for duration.
The tablature for wind instruments was dif-
ferent, but upon similar principles, indicat-
ing the mechanism of performing the tones
rather than the tones themselves.

Table d'harmonie (tiibl d'ar-mo-ne), Fr. A
table or diagram of chords, intervals, etc.

Table d'instrument (tabl d'anh-strii-manh),
Fr. The beily of an instrument.

Table songs. Songs for male voices formerly
much in vogue in German glee clubs.

Tabor. A sra_all drum, generally tised to ac-
company the pipe or fife in dances. Prob-
ably a tambourine without jingles.

Taboret. A small tabor.

Tabourin (la-boo-ranh), Fr. A tabor, or tam-
bourine—a shallow drum with but one
bead.

Tabret. A kind of drum used by the ancient
Hebrews.

Tacet (tii'set), or, Tacent (ta-ts6nt), I.at.

Tace (tii'tshg). It.

Taci (ta'tshi), //.

Taciasi (ta-tshl-ii'zl), It.
Be silent; meaning that certain instruments
are not to play ; Hs.violino facet, the violin is
not to play ; oboe tucct, let the oboe be silent.

Tact (tiikt), "c?cr. See TaW.

Tactus (tiik'toos), L"t. In the ancient music
the stroke of the hand by which the time
was measured or beaten.

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(215)

TAF

DICTIONARY OF MUSIC.

TEA

Tafeltnusik (ta'f'l-moo-sik'), Gtr. Table-
music; music sung at, the table, as part-
songs, glees, etc.

Taille (ta-uh), Fr. The tenor part ; the viola.

Taille de violon (ta-Gh dtih ve-o-16nh), Fr.

The viola, or tenor violin.
Tailpiece. That piece of ebony to which the

violin, viola, etc., are fastened.
Takt (tiikt), Ger. Time, measure.

Taktart (takt'art), Ger. Species of time, com-
mon or triple.

Taktfest (takt'fgst), Ger. Steadiness in keep-
ing time.

Taktfiihrer (takt-fiih-r6r), Ger. A conductor ;
leader.

Taktieren (tak'ter^n), Ger. To direct in meas-
ure.

Taktiinie (takt'le-nl-6), ^ )A bar-line;

Taktstrich (tiikt'strikh), ^''- | the lines

which mark the bars.

Taktmassig (takt'ma'sig), Ger. Conformable
to the time.

Taktzeichen (takt'tsl'kh'n), Ger. The figures,
or signs, at the beginning of a piece, to
show the iime.

Talabalacco (ta-la-ba-lak'ko), It. A species of
Moorish drum.

Talon (tii-lOnh), Fr. The heel of the bow ;
that part nearest the nut.

Tambour (tanh-boor), Fr. Drum; the great
drum ; also a drummer.

Tamboura. An ancient instrument of the
guitar kind used in the East.

Tambour de basque (tanh-boor dQh bask),Fr.
A tabour, or tabor ; a tambourine.

Tambouret (tanh-boo-ra), Fr. \ A timbrel, a

Tambourine, Eng_. j small instru-

ment of percussion, like the head of a drum,
with little bells placed round its rim to in-
crease the noise.

Tambourine (tanh-boo-ren), Fr. A species of
dance, accompanied by the tambourine;
also a tambourine.

Tambourineur (tanh-boo-re-niir), Fr. Drum-
mer, tambourine-player.

Tambour major. See Drum major.

Tambourello (tam-boo-ral'16), j, ) A tam-
Tambouretto (tam-boo-rat'to), " J bourine ; a

little drum.
Tambourone (tam-boo-r6'n6), It. The great

drum.
Tamburaccio (tam-boo-rat'tshi-6). It. A large

old drum ; a tabor.
Tamburino ( tarn - boo- re' no), //. A little

drum ; also a drummer.
Tamburo (lam-boo'ro). It. A drum.

Tamtam. An Indian instrument of percus-
sion ; a species of drum, or tambourine.

Tandelnd (tan'deind), Ger. In a playful man-
ner.

Tanedor ( ta- ng-thor'), Sp. Player on a mu-
sical instrument.

Tangent (tan'gh$nt),Grer. The jack of a harp-
sichord.

Tantino (tan-te'no). It. A little.

Tanto (tan'to). It. So much ; as much ; alle-
gro 71011 tanto, not so quick, not too quick.

Tantum ergo (tiin'toom ar'go), Lat. A hymn
sung at tbe Benediction in the Roman
Catholic service.

Tanz (tants), Ger. A dance.

Tanze (tan'ts6), Gcr.pZ. Dances.

Tanzer (tan'tsfir), Ger. A dancer.

Tanzerin (tan'ts6-rin), Ger. A female dancer.

Tanzkunst (tants'koonst), Ger. The art of
dancing.

Tanzstiick (tans-stiik), Ger. A dance tune.

Tap. A drum-beat of a single note.

Tarabouk. A musical instrument used by
the Turks, formed by drawing a parchment
over the bottom of a large earthen vefcsel.

Tarantella (tar-ran-t61'la), It. A swift, deliri-
ous sort of Italian dance in 6-8 time. The
form has been adopted by many of the mod-
ern composers, as Liszt, Chopin, etc. So
called because long regarded by the peas-
antry as a remedy for the bite of the taran-
tula spider.

Tardamente (tar-da-m6n't6). It. Slowly.

Tardando (tar-dan'do), It. Lingering, retard-
ing the time.

Tardo (tar'do), It. Tardy, slow.

Tartini's tones. The resultant or combina-
tion tones, which are formed when two
notes are sounded together upon the violin.
Taptini first observed them, and as they al-
ways represent the natural root of the tones
which sound them, he made them serve
him as guides to the correct stopping of
double touches in the high positions.
Tastame (tas-ta-m6). It. \ The keys or

Tastatur (tas'ta-toor), Ger. (keyboard of a
Tastatura(tas-ta-too'ra),(T€r. ("pianoforte, or-
Tastiera (liis-ti-a'ra), It. ) gan, etc.

Taste. A sympathetic appreciation of the re-
fined, intelligent, and noble in any art.

Taste (tas't?), Ger. 1 The touch of any instru-

iasto (tas'to), It. j ment; hence, also., a key,
or thing, touched.

Tastenbrett (tas't'n-br6t), Ger. Keyboard of
a pianoforte, etc.

Taste solo (tils'to so'lo). It. One key alone ; in
organ or pianoforte music this means a note
without harmony, the bass notes over or un-
der w hich it is written are not to be accom-
panied with chords.

Tatto (ta'to), It. The touch.

Tattoo. The beat of a drum at night calling
the boldicrs to their quarters.

Teatro (ta-ii'tro). It. A theater, playhouse.

Teatro di gran cartello (ta-ii'tro de griin kar-
tel'lo), It. Lyric theater of the first rank.

^arm,Siadd, a ale, 6 end, e e^e, i ill, \ isle, 6 old, 6odd, oo moon, <i but, ii Fr. sound, kh Ger. cfi. nh nasaL

(2 G)

TEC

DICTIONAHY OF MUSIC.

TEM

Technic. That part of the art of playing, per-
forming, or working which can be taught.
Upon instruments the technic includes the
application of the finders, their expertness,
and the means for making them expert, and
the mechanism of producing tones of differ-
ent qualities. In composition the technic
includes all the practical principles, and ex-
pertness in applying them. With reference
to piano-playing, the terra technic was for-
merly restricted to finger-facility merely,
whereas at present it applies to all parts of
the mechanism of playing, including every
sort of movement and the art of differenti-
ating tones.

Technik (tCkh'nik), Ger. ' Technic.

Technisch (tfikh'nish), Ger. Technical ; this
word is also used to indicate mechanical
proficiency, as regards execution.

Tedesca (t6-d6s'ka), „ \ German ; alia tedes-
Tedesco UC-dCs'ko), j ca, in the German

style.
Te Deum laudamus (t6 da'oom lou-da'Aoos),
Lat. We praise Thee; a canticle, or hymn
of praise, often attributed to St. Arnbrosius.

Telltale. A movable piece of metal, bone, or
ivory, attached to an organ, indicating by
its position the amount of wind supplied by
the bellows.

Tema (ta'mii). It. A theme or subject; a
melody.

Temperament. The system of compromise, in
accordance with which the octave is divided
into twelve equal intervals (sometimes
called semitones) for the purpose of simpli-
fying the music and permitting many rela-
tions of chords which would not be possible
upon instruments producing fifths and
thirds in perfectly accurate accoustieal re-
lation. In order to play in perfect tune itp-
wards of fifty intervals in the octave would
be necessary, and many tones which are
id ntical upon the tempered instrument
would then be found different aid incap-
able of substitution for each other. An
equal temperament is one in which the im-
perfections are equally distribuied ; an un-
equal temperament is one in which a few
keys are nearly perfect, while all others are
very bad. In corrtct temperaments the
fifths are a twelfth of a comma flat; the
fourths the same amount too sharp; the
major third is a fonrllv of a comma too
shaip, and so on. All intervals are incor-
ri'Ct except the octave and unison. But the
differences are so small that, except in slow
chords, the ear is quite well satisfied.

Tempcratur (t6m'pe-ra-toor'), Ger. Tempera-
ment.

Tempostosamente (t?m'p6s-to-za-m6n't6), It.
Furiously, impetuously.

Tempestoso (t6m-pes-t6'z6),7^ Tempestuous,
stormy, boisterous.

Ten^pete (tanh-paf), Fr. A boisterous dance
iu 2-4 time.

Tempo (t6m'p6). It. Time, rate of movement.
Tempo is classified from very slow to mod-
erate, fast, and very fast, the grades being
the following: Grave, lento, adagio, an-
dante, moderato, allegro, presto, prestissi-
mo, the latter being as fast as possible ; a
tempo, in time.

Tempo alia breve (tem'po al'la bra'v6). It. In
a quick species of common time.

Tempo a piacere (tfim'po ji pe-a-tsha'r6), //.
The time at pleasure.

Tempobezeichnung (t6m'p6-b6-tsIkh'noong),
Ger. Measure-marking. The signs indicat-
ing the variety of measure.

Tempo comodo (t6m'p6 ko-mo'do), It. Con-
venient time ; an easy, moderate degree of
movement.

Tempo do ballo (t6m'p6 de bal'16), It. In

dance time ; rather quick.
Tempo di bolero (tem'po de b6-16'r6), It. In

time of a bolero.

Tempo di cappella (tem'po de kap-pgl'lii), //.
In the church time. See Alia hreve.

Tempo di gavotta (t6m'p6 de ga-vol'ta), It.
In the time of a gavot.

Tempo di marcia (t6m'p6 de mar'tshi-a). It.

In the time of a march.
Tempo di menuetto (t6m'p6 de m6 noo-6t't6).

It. In the time of a minuet.

Tempo di polacca (tfim'po de po-lak'kii). It.

In the time of a polacca.
Tempo di prima parte (tfim'po de pre'ma

pai'tg), It. In the same time as the first

part.

Tempo di valse (t6m'p6 de val'se), M. In
waltz time.

Tempo debole (t6m'p6 da-b6'16), It. The un-
accented part of the measure.

Tempo frettevole (tem'po frgt-1a'v6-16), ) j.

Tempo frettoloso (tem'po fr6t-to-16'zo), j '
In quicker time; hurrying, hastily.

Tempo giusto (tSm'po joos'to). It. In just, ex-
act, strict time.

Tempo maggiore (tOm'po miid-jl-o're), It. In
a quick species of common time.

Tempo ordinario (tem'po (3r-di-nil'ri-6), It. Or-
dinary or moderate time.

Tempo primo (tem'po pre'mo). It. First, or
original, time.

Tempo rubato (t6m'po roo-bii'to), It. Robbed
or stolen time; irregular time ; meaning a
slight deviation to give more expression, by ^
retarding one note, and quickening anothf-r.
but so that the time of each measure is not
altered in the whole. Rubato is of several
grades : Applied to a single tone, and so re-
lating to the movement of the tones in one
or two beats, or (2) within the measure as a
whole, or (3) applied to a group of measures
within which certain motives or tone« are
retarded and others accelerated.

Tempo wie vorher (tem'po we for'har), G& .
Tlic time as before.

a arm, a add, a ale, e end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, a but, ii Fr. sound, kh Ger. ch, nh nasal.

(217)

TEM

• DICTIONARY OF MUSIC.

TEv,

I

Temps (tiinh), p \ Time; also the various

Terns (tauli), J parts.or divisious,of a bar.

Tensps foible (tanh fwiibl), Fr. The weak, or
unaccented, parts of a measure.

Temps fort (tanh for), Fr. The strong, or ac-
cenied, jtarts of a measure.

Temps leve (tiinh 16-va), Fr. The upbeats, or
unaccented parts.

Temps trappe (tanh trap- pa), Fr. The down-
beats; or accented parts.

Tempus imperfectum (tgm'poos im-p6r-f?k'-
tnum), Lat. Imperlect time; a term used
by old writers, meaning common time of
two in a measure.

Tempus perfectum (tgm'poos p6r-f6k'toom),
Lai. Perfect time ; a term used by old
writers, meaning time of three in a meas-
ure.

Tendrcment (tanhdr'-manh), Fr. Tenderly,
atiectionately.

Tenebrae (ten'6-bia), Lat. Darkness; a name
gi V en to the Roman Catholic evening serv-
ice during Hbly Week, in commemoration
of the darkness which attended the cruci-
fixion.

Teneramente (t6-n6'ra-m6n'te). It. Tenderly,
delicately.

Tenerezza (t6-n6-r6t'tsa), It. Tenderness, soft-
ness, delicacy.

Tenero (ta'n6-ro), It. Tenderly, softly, deli-
cately.

Tenor. That species of male voice next
above the baritone, and extending from
the C upon the second space in the bass,
to G on the second line in the treble.

Tenor C. The lowest C in the tenor voice;
the lowest string of the viola, or tenor vio-
lin. One octave below middle C.

Tenor clef. The C clef when placed upon
the fourth line.

Tenore (t6-n6'r6), 7<. Tenor voice; a tenor
singer. S.e also Viola.

Tenore buffo (t6-no'r6 boof fo). It. The second
tenor singer of au opera company for comic
parts.

Tenore di grazia (t^no'rfi de grJi'tsi-a), It. A
delicate and graceful tenor.

Tenore leggiero (t6-n6'r6 16d-ji-a'ro), It. A
tenor voice of a light quality of tone.

Tenore primo (t(5-n6're pre'mo), It. First
tenor.

Tenore robusto (t6-no'r6 ro-boos'to). It. A
strong tenor voice.

Tenore secondo (tS-no're s6-k6n'd6), It. Sec-
ond tenor.

Tenore viola (t6-uo'r6 ve-6'la). It. Tenor viol.

Tenorist(t6n'6-rist) Gcr U tenor singer.
Tenorista (t6n-o-res'ta),-Z<. j ^

Tenoroon. The old tenor hautboy, the com-
pass of which extended downward to tenor
C. The name is sometimes applied to an or-
gan-stop.

The

The

Tenorposaune (t6-n6r'p6-zou'n6), Oer.

tenor trombone.
Tenorschlussel (tg-nor'shliis's'l), 6er.

tenor clef.
Tenor, second. Low tenor,
Tenorstimme (t6-n6r'stlm'm6), Ger. Tenor

voice ; a tenor.

Tenor trombone, A trombone having a com-
pass from the small c to the one-lined g, and
noted in the tenor clef.

Tenor viole (t?-nor fi-6'16), Ger. | The viola.
Tenor violm, Fug. j

Tenorzeichen (t6-n6r'tsi'kh'n),Ger. The tenor

clef.
Tensile. A term applied to all stringed in

struments, on account of the tension of their

strings.
Tenth. An interval comprising an octave and

a third; also au organ-stop tuned a tenih

above the diapasons, called, also, decinia

and double tierce; obsolete.

Tenue (ta-nii), Fr. See Tniuto.

Tenute (ta-noo't?), r. \ Held on, sustained
Tenuto (ta-noo'toj, " j or kept down the full

time.
Teorbe ^ta-orb), Fr. See Theorbo.
Teoretico (ta-o-ra'ti-ko), It. Theoretical.
Teoria (ta-o-re'u). It. Theory.

Teoria del canto (ta 6-re'a dfii kan'to). It. The
theory, or art, of singing.

Tepidamente (ta-pi-da-mCn'tg), It. Coldly,
with indifference; lukewarm.

Tepid ita (ta-pe-di-fa'), It. Coldness, indiffer-
ence
Ter (I6r), Lat. Thrice, three times.
Tercero (t6r-tha'ro) , Sp. Third.
Tercet (t6r-sa), Fr. A triplet.

Terms, musical. Words and sentences ap-
plied to passages of music for tlie purpose of
indicating the style in which they should
be performed.

Ternario (ter-nii'ri-o). It. Ternario.

Ternario tempo (t6r-na'ri-6 tCm'po), It. Triple
time.

Ternary measure. Threefold measure ; triple
time.

Terpodion. An instrument invented by
Buschmann, of Hamburg, resembling the
harmonium in appearance, the tone being
produced from sticks of wood ; the name is
also given to an organ-stop of 8-feet tone.

Terpsichore, In classical mythology the muse
of choral dance and song.

Tertia (t?r't«^a), ia^ \ Third, tierce; also
Tertzia(tt^r'tsi-f), Ger. jan organ-stop, sound-
ing a third or tenth above the foundation
stops.
Ter unca (teroon'ka), Lat. Three-hooked;
the old name of the demisemiquaver.

a arm, a add, a ale, e end, e tve, i ill, I isle, 6 old, 6 odd, oo moon, ti but, ii Fr. sound, kh Ger. ch. nh nasul^

C218)

TER

DICTIONARY OF MUSIC.

TIB

Terz (•arts)..Gcr.

Terza (tai'ts^a), It.

Terze (Ur'tsg), Ger.

Terzie (iar'tsi-6). Ger

Terzo (tar'tso), Jt.

Terz decimole (tarts da-tsi-mo'ie). Ger.

A third, the inter-
val of a third ; also
au organ-stop sound-
ing a third above the
fifteenth. See Tierce.
A

Kronp of thirteen notes, having the value of
eight similar ones

Terza maggiore (tar'tsa mad-ji-©'r6). It. Ma-
jor third.

Terza minore (tar'tsa me-no'r6), It. Minor
third.

Terzen (tar'ts'u), Ger. Thirds.

Terzetto (t6r-ts6t't6). It. A short piece, or
trio, for three voices.

Terzflote (ttlrts'flo't^), Ger. A flute sounding
a minor third above ; also«an organ-stop.

Terzina (ta-r-tse'na), It. A triplet.

Testo (t6s'to;i, It. The text, suDject. or theme
of any composition. A word applied by the
Italians to the poetry of a song; when the
words are well written the song is said to
have a good testo.

Testudo ft^s-too'do), Lat. Name give© by the
Romans, in imitation of the Greeks, to the
lyre ot Mercury, because it was made of the
back or hollow of a sea tortoise.

Tetrachord (t6t'ra-k6rd), Gr. ) A fourth ; also

Tetracorde (i6t'ra-k6rd), Fr. > a sy.-tem of

Tetracordo (i6t-ra-kor'do), /<. j four sounds

among the ancients, the extremes (^f which

were fixed, but the middle sounds were

varied according to the mode.

Tetrachords, conjoint. Two tctrachords, or
fourths, where the same note is tlie highest
of one and the lowest of the other.

Theile (t!'16), Ger. pi. Parts, divisions of the
bar; also strains, or component parts of a
movement or piece.

Thema (tha'ma), Gr.')

Thema (ta'ma), Ger. > A theme or subject.

Theme (tani), Fr. j

Thematic. Derived from appertaining to a
theme. This style of music is illustrated
by tlic Inventions of Bach, many pieces of
Schumann (the Novell6ttes, etc.) and the
middle part of the sonata-piece. It is op-
posed to lyric.

Theme. The subject of a composition.

Theorbe (t?-6r'h6), Ger. | An ancient in-

Theorbo (the or'bo), Eng. ) strumeut of the
lute species. See Archlnte.

Theoretical musician. One who is acquaint-
ed with the essence, nature, and properties
of music, considered as science, and as art.

Theoretiker (te-o-r?'ti-k6r), Ger.\ A theoret-

Theoricien (ta-o-re'si-iinti), Fr. j ical mu-
sician, a theorist.

Theoria (t^-o'rl-ii), Lat.\ The science of mu-

Fheorie (ta'o-re'). ^'>- > sic ; the principles

Theory (the'o-ry), En^. ) of sound, as je-

gards concords and discords; the system of

harmonica! and meh'dial arrangement for

the purpose of musical expression.

Thesis (tha'sis), Gr. Downbeat; theaccented
part of the bar.

Theurgic hymns. Songs of incantation, such
as those ascribed to Orpheus, performed in
the mysteries upon the most solemn occa-
sions. Tliese hymns were the first of which
we have any account in Greece.

Third. The interval between any tone of a
scale and the next but one above or below.
The major third is equal to four half-steps ;
the minor to three half-steps; the dimin-
ished to two half-steps. The latter is of
rare occurrence.

Third shift. The double shift in violin-plav-

mg

Thirteenth, An interval comprising an oc-
tave and a sixth. It contains twelve dia-
toiiie degrees, i. e., thirteen sounds.

Thirty=second note. A demisemiquaver.

Thirty=second rest. A rest, or pause, equal to
the length of a thirty-second note.

Thoroughbass. A system of indicating the
chords by means of figures written over or
under the notes of the bass. In this system
3, 5, or 8 indicated the common chord ; 7,
6 5, 4-3, 4-2, or 2, various forms of the seven th .
All intervals were indicated by writing their
figural number, reckoning from the actual
bass note (not necessarily the root). Hence
the term " thoroughbass" is often employed
as synonymous with " harmony." This'no-
tation was first invented for accompanying
recitative, and afterwards used in scores for
facilitating reading.

Three=eighth measure. A measure having
the value of three eighth-notes, marked 3-8.

Threefold. A chord consisting of three tones,
comprising a tone combined with its third
and fifth.

Threnodia (thre-no'di-ii), Lat. \ An elegy, a
Threnodie (thr6 no'de), Gr. j funeral-song.

Threnody.

tion.

Lamentation, a song of lamenta-

Thrice=marked octave. The name given in
Germany to the notes between the C on the
second added line above the treble staflfand
the next B above, inclusive ; these notes are
expressed by small letters, with three short
strokes.

Tibia (te'bl-a), Lat. The ancient name of all
wind instruments with holes, such as the
flute, pipe, and fife : originally the term was
applied to the human leg-bone made into a
flute.

Tibia major (te'bi-ii ma-yor), Lat. An organ-
stop of 16-feet tone, the pipes of which are
stopped or covered.

Tibiae pares (te'bi-a pa'rgs), Lat pi. Two flutes,
one for the right hand and the other for the
left, which were played on by the same per-
former.

Tibia utricularia (te'bi-a oot-ri-koo-la'rl-a),
Lat. Name by which the bagpipe was
known among the ancient Eomans.

a arm, a add, a ale, e end^e eve, 1 ill, I isle, 6 old, 6 odd, oo moon, a but, u Fr. sound, kh Qer. ch, nh nasal.

TIB

DICTIONARY OF MUSIC.

TON

I

Tibicen (te'bi-ts6n), Lat. The ancient flute-
player, or piper.

Tie. A slur ; a curved line placed over notes
on the same degree of staff requiring a con-
nected note.

Tief (tef), Ger. Deep, low, profound.

Tiefer (te'fgr), Ger. Deeper, lower ; 8va liefer,
octave below.

Tieftonend (tefto'ngnd), Ger. Deep-toned.

Tierce (ters), Fr. A third ; also the name of
ail organ-stop tuned a major third higher
than the fifteenth.

Tierce de picardie (ters dvih pl-kar'de), Fr.
'I leroeof Picardy ; a term applied to a major
third, when introduced in the last chord of
a com position in a miuor mode ; the cublom
was supposed to have originated in Picardy,
and formerly was quite common.

TISa'I^SSi^lKsf/*. } A ke.tledru,n.

Timbalier (tanh-ba-H-a), Fr. A kettledrum-

nier.
Titnballes (tanh-bai), Fr. pi. Kettledrums.

Timbre (tanh-br), Fr. Quality of tone or
sound.

Timbrel. An ancient Hebrew instrument,
supposed to have been like a tambourine.

Time. That in which duration exists. The
measure of sounds in regard to their con-
tinuance or duration. Often used, inele-
gantly, in place of measure.

Time=table. A representation of the several
notes in music, showing their relative
lengths or durations.

Timidezza, con (te-mi-d6t'sa kon), //. With

timidity.
Timorosamente ( te - mo-ro - zii - m6n' t6 ), It.

Timidly, with fear.

Timoroso (te-mo-ro'zo), It. Timorous, with

hesitation.
Timpani (tim-pa'ne), 7/. p^ ') The kettle-
Timpani (lim-pa'ne), Sp. pi. j drums.
Timpano (tim'pa-no). It. Drum, timbrel, la-
bor.
Tintement (tanh-t'-manh), Fr. Tingling of a
bell; vibration, or ringing sound.

Tintermell. An old dance.

Tintinnabulary. Having, or making, the
sound of a bell.

Tintinnabulum (tin-tin-na'bro-loom), Lat. )

Tintinnabolo (tin-iin-na'bo-lo). It. >

Tintinnabulo (tin-lIu-na'boo-16), It. )

A little bell.

Tintinnamento (tin-tln-na-m6n't6). It. Tink-
ling of small bells.

Tiorba (teor'ba). It. Theorbo.

Tipping. A distinctarticulation given to the
tones of a flute by placing the end of the
tongue on the roof of the mouth. See Dou-
ble-tongveivg.

Tirasse (ti-rass'), Fr. The pedals of an organ
which act on the manual keys by pulling or
drawing them down.

Tirata (te-ra'ta), It. A term formerly applied
to any number of notes of equal value or
length, aud moving in conjoint degrees.

Tirato (te-ra'to), It. Drawn, pulled, stretched
out ; a downbow. See, also, Tirasse.

Tira tutto (te'ra toot' to), It. A pedal or mech-
anism in an organ, which, acting upon all
the stops, enables the performer to obtain at
once the full power of the instrument.

Tire (te-ra), Fr. Drawn, pulled ; a downbow.

Tire-'Iirer (t6-ra le-ra), Fr. To sing like a lark.

Toccata (tok-ka'ta), If. A purely instrumental
form, of which we hear already in the latt< r
part of the sixteenth century. The name is
derived from tocare, to touch, to play. In
its older form the toccata is a prelude con-
sisting of a few chords and colorature, or a
something between a prelude and a fantasia,
made up of runs, arpeggios, and short aper-
gus. A characteristic of the toccata is that
it has the appearance of an improvisation.
Although very different, the modern toccata
shares yet to a greater or less extent the
chief characteristics of its predecessor. It is
generally constructed out of a nimble figure
which is kept up throughout ; melodic effu-
sions are excluded, and technical display
and rhythmical movement are mainly
aimed at. In short, the modern toccata pnf-
takes of the nature of the prelude, study,
and improvisation.

Toccatina (tok-ka-te'na). It. A short toccata.

Tocsin. An alarm-bell ; ringing of a bell for
the purpose of alarm.

Todesgesang (t6'd6s-g6-zang), ^ ) A dirge,

Todeslied (t<5'des-led), ^^- j a fu-

neral-song.

Todtengiockchen ( tod' t'n - glok' kh'u ), Ger.
Funeral-bell.

Todtenlied (tod't'n-led'), Ger. Funeral-song
or anihem.

Todtenmarsch (tod't'n-marsh'),G€r. Funeral
march.

Toiling. The act of ringing a church bell in

a slow, measured manner.
Tome (tom), Fr. Volume, book.
Tomtom. A sort of drum used by the natives

lu the East Indies.

Ton (t5nh), Fr. "\ Tone, sound, voice,

Ton (ton), Ger. f melody ; also accent.

Tone (to'n6), Ger. pi. > stress ; also the pitch
Tono (to'uo), Sp. V of any note as to its

Tons Fr. pi. J acuteness or gravity ;

also the key or mode. Le ton d'ut, the key
of C. See, also. Tone.
Tonadica (to-na-de'ka), o„ "I A song of a live-
Tonadilla (to-nadel'ya),' ^" j ly and cheerful
character, generally with guitar accompa-
niment.
Tonae ficliti (to'ng fich't6), Lat. The trans-
posed ecclesiastical modes.

Tonalitat (l6n'al-i-tat').Ger. ) TnnoiitiT-
Tonalite (ton al i-ta), J^r. / ^o^a^^^y-

Tonality. Relation in key.

u, arrriy^ add, a ale, 6 end, e eve, i iU, I isle, 6 old, 6odd, oo moon, tl but, vi Fr. sound, kh Ger. ch. nh nasal.

(220)

TON

DICTIONARY OF MUSIC.

TON

Tonart (ton'art), Ger. Mode, scale, key.
Tonbildung (lon-bil'doong), Ger.

Ton de voix (t6nh duh vwii), Fr. Tone of

voice.
Tondichter (t6n-dlkh't6r),6rcr. Poet of sound,

a composer of music.
Tondichtung: (ton'dikh-toong), Ger. Musical

composition of a high character.
Tondo (ton'do), //. Round, or full, as regards

toue.

Tone. A musical sound. Its characteristic
is the possession of a determinate pitch. In
this it differs from noise. Sometimes im-
pioperly employed as a name for the inter-
val of the whole step, or a major second.

Tonen (to'nen), Ger. To sound, to resound.
Tdnend (to'n6nd), Ger. Sounding.
Tonfall (ton'fall), Ger. A cadence.
Tonfarbe (t6n'far-b6), (rtr. Tone-color. Timbre.
Tonfolge (ton'fol'ghC), Ger. A succession of
sounds.

Tonfiihrung (ton'fii'roong), Ger. Tone-carry-
ing. Melodic and harmonic progressioja.

Tonfuss (ton'foos), Ger. Metre.

Tongang (ton'giing), Ger. Tune, melody.

Tongattung (ton'gat'toong), ) ^

Tongeschlecht (toti'gg-shlgkhf), I '
The division of the octave. The selection of
tones for use in a particular strain. Hence
the key and mode. Tongeschlecht is the
more correct term.

Ton=generateur (t5nh zha-na-ra-tur), Fr. The
ruling, or principal, key in which a piece is
written.

Tongue. In the reed pipe of an organ a thin,
elastic f-lip of metal, somewhat bent, and
placed near the reed.

Tonguing, double. A mode of articulating
quick notes, used by Uutists and players
upon brass instruments.

Tonic. The tone, the keytone, from which all
others are determined.

Tonica (to'ni-ka). It. )
Tonica (to'ni-ka), Ger. >- Tonic.
Tontque (t6nh-ek'),^'''- '

Tonic pedal. A continued bass note on which
chords foreign to its harmony are given.

Tonic section. A section closing on the com-
mon chord of the tonic.

Tonic solfa. A system of teaching music
(priucipally vocal) which has attained wide
success in England. It consists essentially
of two elements: First an analysis of mu-
sical effects, in which everything is referred
to relations in key. Hence the training ad-
dresses itself to the correct apprehension of
the relations of tones to a central tone, the
tonic, or, as they say it, "tones in key."
This part of the work has been carried out
in a highly ingenious manner in a multi-
tude of textbooks and by thousands of well-
trained teachers, and has exerted an appre-

ciable influence upon the growth of musical
taste by educating musical perceptions in
people who, without this training, would
rarely have arrived at them. The second
element in the system is a notation, consist-
ing of the letters indicating the solfa. d for
do, r for re, m for mi, f for la, etc., changing
si to te for seven, in order to remove the am-
biguity of s for sol and s for si. These ini-
tials take the place of notes, and are all writ-
ten .upon the same plane. Without addi-
tional marks they are to indicate the cur-
rent octave. When a higher or lower octave
is desired an index mark is written at the
top or bottom of the initial letter. Time-
values are indicated by means of bars and
time-spaces, of which there are as many as
the measure requires. When one initial oc
cupies a time-space, the tone extendr one
beat ; when two initials occupy the space,
the tones are half-beats. When a toue is
prolonged through a second time-space a
dash is written in the second time-space,
which means prolong it. Rests are indi-
cated by vacant time-spaces. Example :

d:d m:m

e:e t, : t.

d:— —

This notation, being simplicity itself, and
equally valid for all keys, has proven ex-
tremely valuable in elementary instruction
and for children. It also has uses for ad-
vanced students as a generalized statement
of relations in key. The tonic solfa was in-
vented by Miss Glover, of Norwich, and
greatly perfected by the late Rev. John Cur-
wen, and his son, John Spencer Curweu, who
is the present head of the movement

Tonlcunst (ton'koonst), Ger. Music: the art
and science of music.

Tonlciinstler (t6n'kunst'16r), Ger. Musician.

Tonkunstschule (ton'koonst- shoo' 16), Ger.
School of music.

Tonlehre (ton'la'rg), <7e;-. Acoustic?:; tones.

Tonleiter (ton-li't6r), Ger. Scale, gamut.

Ton majeur (t5nh mjizhur), Fr. Major key.

Tonmalerei (t6n-ma'16-rr), Ger. Tone-paint-
ing.

Tonmass (ton'mas), Ger. Measure, time.

Tonmesser (ton-mes'ser), Ger. A monochord.

Ton mineur (t6nh me-nflr), Fr. Minor key.

Tonos (to'nds), Gr. Tone.

Tonsatz (ton'sats), Ger. A musical composi-
tion.

Tonschluss ( ton -sh loos'), Gtr. A cadence.

Tonscliliissel (ton-shlvis's'l), Ger. The key;

keynote.
Tonschrift (ton' shrift), Ger. Musical notes.
Tons de I'eglise ( tonh duh I'a-glez), Fr.

Church modes, or tones.
Tons de la trompette (t(5nh dOh lii trom- )

pat'), .Fr.

Tons du cor (t6nh dii kor), )

The additional crooks of the trumpet, and

horn for raising or lowering the pitch.

a arm, ft add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, a. but, u Fr. sound, kh Ger. ch, nb naml

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TON

DICTIONARY OF MUSIC.

TR^,

Tonsetzer (tou-set'tser\ Ger. A composer ; a
less flattering term than tondichter.

Tonsetzerkoonst (ton- set' tser-koonst), Ger.
The art of musical composition.

Tonsetzung (t6n-s6t'tsoong),^ \ A musical

Tonstiick (ton-stiik), '^'^ " j piece, or

composition.

Tonsilbe (ton-sii'bg), Ger. Accented syllable.

Tons.overt (tons 6-var), Fr. Open tones.

Tonspiel (ton'speli, Ger. Music, a concert.

Tonspieler (ton -spe' Igr), Ger. Musical per-
lormer.

Tonstufe 'tou-stoo'f6), Ger. Tone-step.

Tonsystem (ton'sls- tam'l, Ger. System of
tones or sounds; the science of harmony:
the systematic arrangement to musical
tones or sounds in their regular order.

Tonumfang (ton-oom'fiing), Ger. Tone com-
pass.

Tonveranderung (ton'v6r-an'd6-roong), Ger.
Modulation.

Tonverhalt (lon'ver-halt'), Ger. Rhythm.

Tonwerk (tou'wirk), Ger. A musical com-
position.

Tonwerkzeug ( ton-vark'zoig), Ger. A mu-
sical apparatus ; an instrument ; the human
voice.

Tonzeichen (ton'tsi'kh'u), Ger. Accent.

Tonwissenschaft( ton' vis's' n-shuitj, Ger. The
science of tones.

Toph (tof), Heh. An instrument like the tam-
bourine, -which was known to the Jews be-
fore they left Syria.

Torch dance. A dance of former times, in
which the dancers carried torches.

Tosto (tos'tot, It. Quick, swift, rapid. See,
also, Piu tosto.

Touch . Stvle of striking, or pressing, the keys
of an organ, pianoforte, or similar instru-
ment; the resistance made to the fingers
by the kevs of any instrument, as when the
keys are put down with difficult^-, an in-
strument is said to have a hard, or heavy,
touch; when there is little resistance the
touch 'is said to be soft, or light. la speak-
ing of the mechanism and results of touch,
several compounds are of frequent occur-
rence: Finger touch, a touch made by the
fingers onlv; staccato touch, a touch in
which the" tones are not connected, but
separated; legato touch, a touch in which
the fingers cling to the keys, so that the
successive tones are fully connected. A
similar effect can also be made by using
the pedal discreetly. Organ touch is one
in which the pressure quality is promi-
nent. Piano touch is one in which the
hammer element is important.

Touche (toosh), Fr. The touch : also a key
of the pianoforte, etc.

Toucher (too - sha), Fr. To play upon an in-
strument.

Touquet (too-ka), Fr. A term formerly given
to the lowest trumpet part.

Tourne boute (toorn boot). Fr. A musical in-
strument similar to the flute.

Tours de force (toor dtih fors), Fr. Bravura
passages, roulades, divisions, etc.

Tout ensemble itoot anh-sanhbri, Fr. The
whole together ; the general effect.

Town pipers. Performers on the pipe, for-
merly retained by most of the principal
towns in Scotland to assist in the ctleb ra-
tion of jjarticular holidays, festivals, etc.

Toys. A name formerly given to little tri-
flng airs or dance tunes.

Tp. Abbreviation of Timpani.

Tr. Abbreviation for trumpet.

Trachea (tra'ka-a i, Lat. The windpipe.

Trackers. Thin strips of wood connecting
organ-keys and valves.

Tractus (trak'toos\ Lat. Tracts are melodies
of sorrowful expression sung between the
Graduale and Allelujah. during Lent, iu
the requiem mass, and upon some other
occasions. The words are taken from the
Psalms.

Tradolce (tra-dol'tshe], /^ Very soft : sweet.

Tradottoftr<L-d6t't6),7i?. Translated, arranged,
adapted, fitted to.

Tragedie en musique (tra-zha'de anh mii-zek)
Fr. A Serious, or tragic, opera.

Tragedy. A dramatic poem, representing
some signal action jierformed by illustrious
persons, and generally having a fatal issue.

Tragedy, lyric. A tragedy accompanied by
singing ; tragic opera.

Traine (tra-na), Fr. Slurred, bound, linger-
ing, drawn along.

Trait ( tra^, F^. Passage, run ; a phrase.

Trait de chant (tra dilh shanh), Fr. A me-
lodic passage, or phrase.

Trait d'harmonie ira dar-mo-ne), Fr. Suc-
cession of chords ; a sequence.

Traite (tra-ta'.Fr. A treatise on the practice,
or the theory, of music.

Tranquillamente (tran-kwil-la-m6n't^). It.
Quietly, calmly, tranquilly.

Tranquillezza (tran kwil-16'tsa), ") Tran-

Tranquillita (triir-kwil-li-ta'), It. V quillity,

Tranquillo itran-kwll'16), J calm-

ness, quietness.

Transcription. An arrangement for the
pianoforte, or other instrument, of a song
or other composition not originally de-
signed for that instrument ; an adaptation.

Transient. An epithet applied to those
chords of whose harmony no account is
meant to be taken, but which are used as
passing chords.

Transitio (tnin se'tsi-6), Lat. \ Passing sud-

Transition. ) denly out o{

one kev into another without preparation
for or hinting at another key; or without
making use of chords common to both
keys.

a arm, a add, a ale, ^end g eve, l ill, i isle, 6 old, 6 odd, oo moon, a but, il F.: sound, kh Ger. ch, nh nasaL

(222)

TRA

DICTIONARY OF MUSIC.

TRl

I

Transitus (tran'si-toos), Lat. A passing note.
Transitu^ irregularis (tran'si-toos ir'r6g-oo-

la'rls), Ixit. Irrcgnlar passing notes. See

Changing notes.
Transitus regularis itran-si-toos r6-goo-la'-

iris), Lat. Passing notes placed on the un-
accented parts of the bar.

Transpose. To change the pitch of a com-
position into a higher ov lower key. This
is done by substituting for each of the tones
of the composition the corresponding scale
tone of the desired key. Thus the t(>ne do is
answered by the do of the now key, ro by
re, etc. Accidentals are sometimes changed,
.sharps in some cases being changed to nat-
urals, and naturals to flats. But in every
correct transposiuon the melodic and har-
monic effects are unchanged.

Transposed. Removed, or changed into an-
O'her key.

Transposer (triinhs-po-za)^ Fr. \ Change

Transponiren (t-tiris-po-ne'ren), Ger. j of key;
removing a piece i.ito another key.

Transposing instruments. The orchestral
instruments which are not written in
.scores as th'^ys -und. but upon some other
pitch. To this class belong the clarinets,
horns, and trumpets; an instrument "in
A," as it is called, sounds a minor third
lower than written; an instrument " In B "
sounds one degree lower than written ; one
" in Et)" a minor third higher than written.

Transverse flute. The German flute ; the
fiauta iraverso.

Traquenard (tra-k6-nard), Fr. A brisk sort of
dauce.

Trascinando(tra-shi-nan'do), It. Dragging the
time.

Trascritto (tni-.skret'lo), It. Copied, tran-
scribed.

Trattato (tnit-ta'to), //. Sec Traite.

Trauergeuang (trou'er-ge-sang'),Ger. Mourn-
ing son-, dirge.

Trauermarscli(trou'6r-marsh'), Ger. Funeral
march.

Traurig(trou'rig),Ger. Ileavily, sadly, mourn-
fully.

Traversiere (tra-ver-sT-ar'), Fr. ) Cross, across;

Traverso (tra-v^r'so), /<. j" applied to

the iransA'erse, or German, flute, to distin-
guish it from the flCite a bee.

Travestie (trii'f^s-te'), Ger. Parody.

Travestiren (tra'fgs-tir'gn), Ger. To parody.

Tre (tra). It. Three ; a tre, for three voices or
instruments.

Treble. The upper part, the highest voice,
the soprano, that which generally contains
the melody.

Treble clef. The G clef, the soprano clef.
Treble, first. The highest treble, or soprano.
Treble forte stop. A stop recently applied to
cabinet organs, by means of which the treble

part of the instrument may be increased in
power, while the bass remains subdued.
Treble, second. Low soprano.

Treble staff. The staff upon which the treble
clef is placed.

Treble viol. An instrument invented before
the modern viol, furnished with six strings
tuned chiefly by fourths.

Treble voice. The highest species of the fe-
male voice.

Tre corde (tra kor'dg), It. Three strings; in.
pianoforte music this means that the soft
pedal must no longer be pressed down.

Treibend (tri'bend), Ger. Hurrying, pressing,
urging.

Tremando (tra-miin'do). It. See Tremolando.

Tremblant (triinhbliinh), i^r. Shaking. See

1 rvmulu/if.

Tremblement (triinhbl-manh), Fr. A trill, or
shake.

Tremolando (tr6m-6-lan'd6), ^ Trembling
Tremolate(trem-o-la,'t6), j, I quivering:

Tremolo (tra'mo-lo), ■* • | a note, or

Tremulo (tra'moo-16), J chord, re-

iterated with great rapidity, producing a
tremulous kind of effect.
Tremolant. 1 An orgai- stop Avhich gives to
Tremulant, /the tone a waving, trembling, or
undulating effect, resembling the vibrato in
singing and the tremolando in violin-play
ing; also a harmonium stop of the same
kind.
Tremore (tra-mo'r6), ^. ) Tremor,

Tremoroso (tra-mo-ro'zo), ( trembling.

See, also, Tremolando.

Trenchmore. An old dance, supposed to

have been of a lively species.
Trenise ( tra-nez), Fr. One of the movements

of a quadrille.

Trenodia (tra-no'di-a), It. A funeral dirge.

Tres (tra), Fr. Very, most.

Tres=anime (tra siin-i-ma), Fr. Very animated,
very lively.

Tresca (trCs'kii), It. A country dance.

Trescone (trCs-ko'ng), It. A species of dance.

Tres fort (tra for), Fr. Very loud.

Tres lentement (tra lanht-miinh), Fr. Verv

slow.

Tres piano (tra pe-ii-no), Fr. Very soft.
Tres vif (tra vef), Fr. Very lively, very brisk.

Tres vite et impetueux (tra vet a slnh-pet-oo-
liz), Fr. Very quick and impetuous.

Treter (tra't^r), Ger. Treader of the bellows
in German organs. The blower.

Tre volte (tra v61't6). It. pi. Three times.

Triad. A"three-er." A chord of three tones,
consisting of a root, its third and fifth. Ac-
cording to recent theorists all triads are
either of the natural harmony triad, which
corresponds with the partial tones of a fun-
damental. Having a major third ar.d a per-

a arm, a ada, a ale, ^ end, e tve, i ill, i isle,6 old,6 odd, oo moon, d but, ii Fr.sound, kh Ger. ch, nh nasal.

(223

1

'^^RI

DICTIONARY OF MUSIC.

THl

feet fifth, and imitations of it upon other
degrees of the scale, where many strange in-
tervals arise. For instance, iu the major
scale the triads of the tonic, fourth, aud
fifth are natural and complete. 'Ihose ot
the second, third, and sixth are minor, hav-
ing a minor third aud a perfect fifth, and
that of the seventh degree having a minor
third and diminished fifth, is called di-
minished. In the minor scale several other
triads arise: Upon the first and fourth,
minor triads ; upon the second aud seventh,
diminished triads ; upon the third an aug-
mented triad, aud upon the fifth and sixth,
major triads.

A triad is said to be inverted when its bass
is not the root but one of the other members
of the chord. Hence two inversions, the
first, in which the third of the triad is bass,
and the .second, in which the fifth cf the
triad is bass.

The root of a triad is its greatest common
measure. Iu other words the root of the
natural triad is exactly the natural bass tone
which contains the third and fifth among
its partials. In all other varieties of triad
coutradictorv elements are present, at least
two roots being represented. The absence
of easy agreement is the source of the ap-
pealing effect in minor and all other less
agreeable triads.

The proper fundamentals of any two tones
sounding together are the combination
tones generated iu the low bass. Thus, C
aud Et> together generate Ab in the bass ; C
aud K or E and C generate C ; G and Bl? gen-
erate El?. In general, minor thirds generate
roots a twelfth below the upper of the two
notes; major thirds generate the octave be-
low the lower tone. Every two tones sound-
ing together above treble clef G generate
combination tones, which, when the tones
are sounded loudly upon an organ iu good
tune, can always be heard.

Triad, augmented. Consisting of a root, ma-
jor third, and augmented fifth. Its naiural
place is upon the third degree of ihe minor
scale.

Triangle. A small three-sided steel frame,
which is played upon by being struck with
a rod.

Triangolo (tre-au-go-lo). It. ")

Triangulo (Ire an-goo-lo), Sp. )- A triangle.

Triangulus (tr!-an'goo-loos), Lat.)

Trias deficiens (tre-as d6-fe-si-6ns), Lat. The
imperfect chord, or triad.

Tribrach (tre-brak), Lat. A trisyllabic mu-
sical foot, comprising three short notes or
syllables, ^ ■^^.

Trichord. The name given to the three-
stringed lyre, supposed to have been the
invention "of Mercury.

Tricinium (tre-tsi'ni-oom), Lat. A composi-
tion in three parts.

Tridiapason (tre'dl-il- pii'son), Gr. A triple
octave, or twenty-second.

Trigon. A three-stringed instrument resem-
bling the lyre used by the aucient Greeks.

Trigonum, or triangular harp. An instrn-
raent supposed to have been of Phrygian
invention, resembling the Theban harp.

Trill. A shake.

Trillando (trel-lan'do), It. A succession, or
chain, of shakes on different notes.

Trille (trell), Fr. i 4

Triller (trll'16r). Ger. \ A shake; a trill. ^

Trillo (trel'16), It. )
Trillerlcette (tril'16r-k6t'te), Ger. A chain, or

succession, of shakes.
Trillern(tril'iern),(?e7-. To trill; to shake; to

warble.
Trillette (trll-iet't^), Fr. ) A short trill, or .
Triiletta (trel-iet'tii), It. > shake ; a short

Trilletto (trel-lei'to), It. \ warble.

Trillettino (trel-16t-te'n6). It. A soft shake, a
soft trilling.

Trill, imperfect. A trill, or shake, without a
turn at the close.

Trillo caprino (trel'-16 ka-pre'n6), It. A false
shake.

Trimeters. Ancient lyrical verses of a six-
feet measure.

Trinkgesang (trink-g6-zang), p \ A bae-

Trinklied (irink-led), '^'^' j chana-

lian, or drinking, song.

Trinona. An orgau-stop of open eight-feet
small scale, and pleasant, gamba-like tone.

Trio (tre'o),//. A piece for three instruments.
In England the word is also applied to a
piece for three voices, but incorrectly,
terzetto being the proper appellation. A
trio is alsj the second movement to a
menuetto, march, waltz, etc., and always
leads back to a repetition of the first, or
principal, movement.

Triole (tri o'l?). Gfr. ) A triplet; a group of

Triolet (trio la), Fr. j' three notes to be

played in the time of two.

Triomphale (tre-Onh-fal) Fr. | Triumphal.
Trionfale (tre-ou-fa'l6). It. j ^

Triomphant (tre-6nhfanh), Fr. \ Trinmph-
Trionfante (tre-on-fan't6), It. j ant.

Tripartite. Divided into three parts ; scores

in three parts are said to be tripartite.
Tripeltakt (tri'p'l-tukt), Ger. Triple measure.
Triphony. Three sounds heard together.
Tripla (tri'plii), //. Triple measure.
Triple. Threefold, treble.
Triple concerto. A concerto for three solo

instruments with accompaniment. (Very

unusual.)
Triple counterpoint. Counterpoint in thne

parts, invenible; that is, so contrived that

each part will serve indifferently for either

ba^fS, middle or upper part.
Triple croche (tripl krosh), Fr. A demisemi-

quaver.

I, a add, a ale, 6 end, e eve, \ ill, I isle, 6 old, 6 odd, oo moon, H but, u Fr. souTid, kh Ger. ch. nh nasal.

(224)

TRI

DICTIONARY OF MUSIC.

TliO

TripIe=dotted note. A note whose leugth is
increased seven eighths of its original
value by three dots placed after it.

Triple fugue. A fugue with three subjects,
which after being worked separately are
all worked together. This is possible only
when the second and third subjects have
been invented as counterpoints to the first
subject.

Triplet. A group of three notes, played in
the usual time of two similar ones.

Triplet, double. A sextole.

Triple time. Such as has an odd, or uneven,
number of parts in a bar, as three, nine.

Triplum (trip'loom), Lat. Formerly the name
ot ihe treble, or highest, part.

Trisagion (tri sa'ghi-6n), Gr. \ The sanc-
Trisagium (tri-sa-ghi-oom), Lat. J tus.

Trisemitonium (tre's6mi-t6'ni-oom),jLa<. The
lesser, or minor, third.

Tristezza (tris-tet'sii). It. Sadness, heaviness,

pensiveness.

Triton (tre-t6nh), Fr. \ A superfluous,

Tritone (tri ton), Eng. f or auguaented,

Tritono (tre-to'no). It. [ fourth, oontain-

Tritonus (tri-to'noos),I,o^. J ing three whole

steps.

Triton avis (tre'ton a'vis), Lat. The name of
a West-Indian bird remarkable for its mu-
sical powers, having three distinct notes-
its tonic, or lower, note, and the twelfth
and seventeenth of that note— and capable
of sounding them all at the same time.

Tritt (tritt), Gcr. Step, tread, treadle.

Trittbrett (tritt-brCtt), ^^^ ) The board upon
Trittholz (trltt-holts), ^^'^- j which the bel-
lows-treader steps in blowing an organ.

Triumphirend (tri-oom- fe' r6nd), Ger. Tri-
umphant.

Triumphlied (tri-oomf'led), Ger. Song of tri-
umph.

Trochaisch (tro-kha'ish), Ger. Trochaic.

Trochaus (tro-kha'oos), Ger. Trochee.

Trochee ( tro' ka), Lat. A dissyllabic mu-
sical foot containing one long and one
short syllable, — ^.

Trois (trAvii), Fr. Three.

Tromba (trom'ba), It. A trumpet; also an

8 ieet reed organ-stop.
Trombacelloclyde. A B[? ophicleide.

Tromba cromatica (trom'ba kro-mii'ti-ka). It.
The modern valve trumpet, upon which
semitones can be produced.

Tromba di basso (trom'ba de biis'so). It. The
bass trumpet.

Trombadore (trom-bii-do'rC), It. A trumpeter.

Tromba marina (trom'ba ma-re'na), It. See

Trumpet, marine.

Tromba prima (trom'ba pre'ma), It. First
trumpet.

Tromba seconda (trom'ba sa-kon'da). It. Sec-
ond trumpet.

Tromba spezzato (trom'ba sp6-tsa't6), It. An
obsolete name for the bass trombone.

Trombe sorde (trom'bg s6r'd6), It. pi. Trum-
pets having dampers.

Trombetta (trom-bet'ta), It. A small trum-
pet.

Trombettino (trom-bet-te'no), 7<. A trum-
peter.

Trombone (trom-bo'ng) , It. "(A very powerful
Trombone (tr6nh-b6u), Fr. ) instrument of
the trumpet species, but much larger and
with a sliding-tube ; also a very powerful
and full-toned reed-stop in an organ, of 8- feet
scale on the manual, and 16- or 32-feet on
the pedal.

Trombone, alto. A trombone having a com-
pass from the small c or e to the one-lined a
or two-lined c, aiid noted in the alto clef.

Trombone, bass. A trombone with a com-
pass from the great c; to the one-lined c,
and noted in the F clef.

Trombone, tenor. A trombone having a
compass from the small c to the one-lined
g, and noted in the tenor clef.

Tromboni (trom-bo'ni), It.pl. Trombones.

Trommel (trom'm'l),Gn-. The military drum.

Trommelboden (trom'm'l-bo'd'n), Ger. Bot-
tom of a drum.

Trommelkasten (trom'm'l-kiis-t'n), Gcr. The
body of a drum.

Trommelklopfel (trom'm'lklop-fCl*, ) ^
Trommelschlagel (trom'm'l-shla'g^]), J '*•
Drumsticks.

Trommeln(tr6m'mgln),Ger. To drum; drum-
iug; beating the drum.

Trommelstiick (trom'm'l-stxik'), Ger. A tam-
bourine ; a tabor.

Trompe (tr5nhp), Fr. A trumpet; also a
reed stop in an organ.

Trompe de beam (trOnhp dah ba-iirn), Fr.
The jew's-harp.

Trompete (trom-pa't^), Ger. A trumpet ; also
a reed stop in an organ.

Trompetenzug ( trom - pa' t'n - tsoog' ), Gcr.

Trumpet stop, or register, in an organ.
Trompeter (trora-pa'ter), Ger. \ A trum-
Trompeteur (tr6un-pa-tiir), Fr. j peter.

Trompette (tr5nh-pat), Fr. A trumpet; also
a trumpeter ; albo a reed-stop in an organ.

Trompette a clefs (tr6nh-pat a kla), Fr. The
keyed trumpet.

Trompette a pistons (tr5nh-pat a pes-t6nh),
Fr. The valve trumpet.

Trompette harmonique (tr5nh-pat har-m5nh-
ek), Fr. Harmonic trumpet, a reed-stop in
an organ of 8 or 16 feet. See Harmonic Jlutc.

Troppo (trop'po), J^ Too much; non troppo
allegro, not too quick.

a arm, a add, a ale, 6 end, e eve, 1 ill, l isle, 6 old, 6 odd, oo moon, H but, ii Fr. sound, kh Gcr. ch, uh nasal.
15 (225)

TRO

DICTIONARY OF MUSIC.

TUR

Troubadours (troo-M-door), ") The

Trouveres (troo-var), Fr.pl. > bards,

Trouveurs (troo-var), I and

poet-musicians of Provence about the tenth
century.
Troupe, opera. A company of musicians as-
sociated for the purpose of giving operas,
generally traveling from place to place.
Trovatore (tro-va-to'r6), It. A minstrel.

Trugschluss (troogh-shloos'), 6er. Interrupt-
ed, or deceptive, cadence ; an unexpected,
or interrupted, resolution of a discord.

Trumpet. The loudest of all portable wind
instruments, consisting of a folded tube,
generally made of brass, but sometimes of
silver ; it is used chiefly in martial and or-
chestral music.

Trumpeter. One who sounds, or plays, the
trumpet.

Trumpet, harmonical. An instrument, the
sounds of which resemble those of a trum-
pet, differing from that instrument only in
being longer and having more branches;
the sackbut.

Trumpet, marine. An ancient species of
mouochord, played with a bow, and pro-
ducing a sound resembling that of a trum-
pet.

Trumpet, reed. An instrument consisting of
a trumpet within which were inclosed
thirty-six brass-reeded pipes, arranged in a
circle, so that in turning the circle each
pipe could, in turn, be brought between
the mouth-piece and the bell of the instru-
ment.

Trumpet stop. A stop in an organ having a
tone similar to that of a trumpet.

Trumpet, valve. A trumpet the tones of
which are changed by the use of valves.

Trumscheit (troom'shit), Ger. A rude mu-
sical instrument with one or more chords.
A sort of rude bass fiddle.

T. S. The initials of Tasto Solo. Unison.

Tuba (too'ba), I,a<. A trumpet ; also the name
of a powerful reed-stop in an organ. See
Ophideide.

Tuba clarion (too'ba kla'ri-6n), Lat. A 4-feet
reed-stop of the tuba species.

Tuba communis (too'ba kom-moo'nis), Lat.

An ancient instrument of the trumpet

kind so called in contradistinction to the

tuba ductilis.
Tuba ductilis (too'ba dook- te' lis), Lat. An

ancient trumpet of the curvilinear form.

Tubare (too-ba'r6), Lat. To blow the trumpet.

Tuba major (too'ba. ma'yor) mt X -^^

Tuba mirabilis(too'bami-ra'be-lis).^"'^" ) 8-feet
reed-stop, on a high pressure of wind, first
introduced into the Birmingham Town
Hall organ, and invented by William Hill.
See Ophideide.
Tuba stentorofonica (too'ba stfin-to-ro-fo'ni-
ka), It. The name given by Sir Samuel

Morehead and other writers to his inven-
tion of the speaking-trumpet.

Tubicen (too'bi-ts6u), La<. A trumpeter; one
who plays on the trumpet.

Tubular Instruntents. Instruments formed
of tubes, straight or curved, of wood or
metal.

Tucket. A flourish of trumpets.

Tuiau d'orgue (twe-o dorg), Fr. .See Tuyau
d' or gut.

Tumultuoso (too-mool'too-o'zo),/^. Tumultu-
ous, agitated.

Tunable. An epithet given to those pipes,
strings, and other sonorous'bodies which,
from the tqual density of their parts, are
capable of being perfectly tuued.

Tune. An air, a melody; a succession of
measured sounds agreeable to the ear, and
possessing a distil. ot and striking charac-
ter; to bring into harmony.

Tuned. Put in tunc.

Tuneful. Harmonious, melodious, musical;
as, tuneful notes, tuneful birds.

Tuneless. Unmelodious, unmusical.

Tuner. One whose occupation is to tune mu-
sical instruments.

Tuning. Putting in tune; rendering the
tones of an instrument accordant.

Tuning=cone. A cone of metal or horn used
in tuning organ-pipes. By pressing it in
the end of the pipe the pitch is slightly low-
ered, or by pressing it over the end i.f the
pipe it is Slightly contracted, whereby the
tone is sharpened.

Tuning=fork. A small steel instrument hav-
ing two prongs, which, upon being struck,
gives a certain fixed tone, used fur tuning
instruments, and fur ascertaining, or indi-
cating, the pitch of tunes.

Tuning=hammer. A steel or iron utensil
used by harpsichord and pianoforte- tuners.

Tuning=key. A tuning-hammer.

Tuning=slide. An English instrument for
pitching the keynote, producing thirteen
semitones— from C to C.

Tuoni ecclesiastici (too-o'ni Ck-kla-zi-iis-ti'-
tshi), It.pL. Ecclesiastical modes or tones.

Tuoni transportati (too-6'ni trans-por-ta'ti),
It. pi. Transposed tones or melodies.

Tuorbe (twurb), Fr. See Theorbo.

Turbo (ttir'bo), Gr. A seashell anciently cm-
ployed as a trumpet.

Turca (toorkii), i Turkish; alia

Turchesco (toor'-ka-sko),//. > Twrca, in the
Turco (toor'ko) ) style of Turkish

music.
Turdion (toor-dion'), Sp. An ancient Span-
ish dance.
Turkish (ti.ir'kish), Ger. See Turca.
Turkish music. See Janitscharenmvsik.

a arm, & add, a ale, e end, e eve, i ill, I isle, 6 old, 6 odd, oo moon, a but, ii Fr. soujid, kh Ger. ch. ih na&al.

(226)

ruR

DICTIONARY OF MUSIC.

UNC

Turn. An cmbellishmeut formed of appog-

giaturas, consisting of the -written. Played.

note on which the turn is ^^—^^
made, the note above, and Hg~
the semitone below it. H— t

Turn, common. A turn commencing on the
note above the note on which the turn is
made.

Turn, Inverted. An embellishment formed
by prefixing three notes to a principal note,
viz.: the semitone below the principal note,
the principal note, and the note above it.

Turn, regular. A turn con.sisting of the note
above the principal note, the principal
note, and the semitone below it.

Tusch (toosh), Gcr. A flourish of trumpets
and kettledrums.

Tute (too'tg), Ger. A cornet.

Tutta (toot'ta). j. ) All, the whole; entirely,
Tutto (toot'to), -''• I quite.

Tutta forza (toot-ta for'tsa\ j. \ The

Tutta la lorza ( toot'ta la for'tsa), ^^- ( whole
power ; as loud as possible ; with the ut-
most force and vehemence.
Tutte (toot'tg), „ ) All, the entire teand or
Tutti (toot'ti), ■) choru.s ; in a solo or
concerto it means that the full orchestra
is to come in.

Tutte corde (toot'tfi kor'dg). It. All the

strings ; in pianoforte music this means that
the pedal, which shifts the action, or move-
ment, must no longer be pressed down.

Tutti unison! (toot'ti oo-ne-zo'ni), It.pL All
in unison.

Tutto arco (toot'to ar'ko), It. With the whole
length of the bow.

Tuyau d'orgue (tii-yo dorg), Fr. An organ-
pipe.

Twelfth. An interval comprising eleven
conjunct degrees, or twelve sounds; also
an organ-stop tuned twelve notes above the
diapasons.

Twice=marked octave. The name -m-
Ger- p-£— -— p r-^ —

given in
many to the
notes between

inclusive ; these are'expressed by small let-
ters with two short strokes.

Twitter. To make a succession of small,
tremulous, intermitted tones.

Tympani (tim'pa-ne). It. pi. Kettledrums.

Tympanista. See Timpanista.

Type, music. Notes of music cast in metal,
or cut in word for the purpose of printing.

Tyrolienne (ti-ro-li-6n), i^'r. Songs or dances
peculiar to the Tyrolese.

and

XJ

Ueberblasen (ii'b'r-bla-s'n), G^cr. To overblow.
Uebergang 'ii'b6r-gang), Ger. Transition,
change of key.

Ucberleitung (ii'b'r-ll-toong). Ger. Leading
over. A passage leading across to some-
thing else of greater importance.

Uebermassig (ii'b6r-mas'slg), Ger. Augment-
ed, superfluous.

Ueberschlagen (ii'b^^r-shla'g'n), Ger. Cross-
iug over (the hands in piano-performance).

Uebersetzen (ii'b'r-sft-z'n), Ger. Setting over.
The passing of a finger over the thumb, or
of one foot over the other, in pedal-playing.

Uebung (ii'boong),(Ter. An exercise ; a study
for the practice of some peculiar diflBculty.

Uebungen (vi'boon-ggn), Ger. pi. Exercises.

Ugab (oo-gab), Heb. An organ.

Uguale (oo-gwa'16). It. Equal, like, similar.

Ugualita (oo-gwal'i-ta), It. Equality.

tigualmente (oo-gwal-m6n't6). It. Equality,
alike.

Umana (oo-ma'na), j, \ Human ; voce umana,
Umano (oo-ma'no), j the human voice.
Umfang (oom'fang), Ger. Compass, extent.

Umfang der Stimme (oom'fang d6r stim'mg),
Gcr. Compass of the voice.

Umkehrung (oom'ka-roong), Ger. Inversion.

Umore (oo-m6'r6), It. Humor, caprice.

Umschreibung (oom'shri-boong), Ger. Cir-
cumscription, limitation.

Umstimmung (oom'stim-moong), Ger. Re-

tuuiug, a change of tuning.
Un. Abbreviation of Unison.
Un (oon), 1

Una (oo'na). It. VA, an, one.
Uno (oo'no), j

Una altera volta (oo'na al't6-ra vol'ta), It.
Play it over again.

Unaccented. A term applied to those parts of
a measure which have no accent.

Unaccompanied. A song or other vocal com-
position without instrumental accompani-
ment.

Una corda (oo'na. kor'da), It. One string, on
one string only: in pianoforte music it
means that the soft pedal is to be used.

Unca (oon'ka), Lat. The old name for a
quaver.

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(227)

UNC

DICTIONARY OF MUSIC.

UNS

Un canto spianato (oon kan'to spe-a-na'to),
It. A vocal composition, the notes of which
are peculiarly distinct from one another.

Und {oon^),Ger. And ; Aria und Chor, air and
chorus.

Unda maris (oon'da ma'ris), Lat. Wave of the
sea; an organ-stop tuned rather sharper
than the others, and producing an undulat-
ing, or waving, effect, when drawn in con-
junction with another stop; this effect is
sometimes produced by means of a pipe
with two mouths, the one a little higher
than the other.

Undecima (oon-da'tsl-ma), Lat. The eleventh.

Undecimole (oon-d6-tshi-m6'16). It. A group
of eleven notes, occupying a unit of time or
an aliquot part thereof.

Under part. The part beneath, or subordi-
nate to, the other part or parts.

Under song. In very old English music this
was a kind of ground or drone accompani-
ment to a song, and which was sustained
by a;nother singer; called, also, burden and
foot.

Undulation. That agitation in the air caused
by the vibration of any sonorous body. So
called because it resembles the motion of
waves.

Unendlicher Canon (oon-end'li-kh'r ka'non),
Ger. Endless canon, a canon w hich goes on
indefinitely ; a round.

Unequal Temperament. That method of
tuning the twelve sounds included in an
octave, which renders some of the scales
more in tune than the others. See Equal
temperament.

Ungar (oon'gar), a^^ \ . Hungarian

Ger.

■■}:

Ungarisch (oon-ga'rish), ^'^^^ j" in the Hunga-
rian style.

Ungeduldig (oon'gg-dool'digh), Ger. Impa-
tient.

Ungerade Taktart (oon - g6 - ra' d6 takt'art).
Ger. Triple time; uneven time.

Ungestiim (oon'gS-stiim), Ger. Impetuous.

Ungezwungen ( oon'gg- tswoon- gh'n ), \Gtr.
Easy, natural.

Ungleicher Contrapunkt (oon'gll-kh'r kon'-
trii-poonkt'), Ger. Unequal counterpoint;
counterpoint in which the notes are not
of the same value as those of the cantus
fermus,

UngleichschwebendeTemperatur(oon'glikh-
shwa'b n-d6 t6m'p6-ra-toor'), Ger. Unequal
temperament.

Unharmonischer Querstand (oon'har-mo'ni-
shCr kwar'stand), Ger. A false relation.

Unichordum (oo-ni-kor'doom), Lat. A mono-
chord. The marine trumpet.

Unison (oon-i-s6nh), Fr. One sound ; unison.

Unison. An accordance, or coincidence, of
one sound.

Unisonant. \ Being in unison ; having the

Unisonous, /same degree of gravity or acute-
ness.

Unison, augmented. A semitone on same

degree of staff.
Unisoni (oo'ne-zo'ni), It.pl. Unisons; two,

three or more parts are to play or sing in

unison with each other, or, if this be not

practicable, in octaves.
Unisono (oo-ni-s6'no), 7^ | A unison ; iu

Unisonus (oo-ni-so'uoos),Ln<. J unison, two

or more sounds having the same pitch.

Unita (oo'ni-ta), j. \ united ioined
Unito (oo'ui-lo), ^^- j ^^i'^^^' JOi^iea.

Unitamente (oo-ni-ia-m6n't6), It. Together

jointly, unitedly.
Unite (ii-net), Fr. Unity.

Unity. Oneness, the agreement of all parts
of a composition, or idea, in such manner
that a whole is expressed. In essay unity
depends upon the preponderance of a sin-
gle idea, iu composition, upon the prepon-
derance of a single motive.

Unmeasured recitative. Recitative without
definite measure.

Unmusical. Not musical, not harmonious
(r agreeable to the ear. Unmusical sounds
are those produced by irregular vibrations.

Uno (oo'no), „ ) q
Una (oo'na), ^^- J ^^®-

Uno a uno (oo'no a oo'no). It. One by one;

one after another.
Un peu (iinh pilh), Fr. A little.

Un peu lent (iinh ptih liinh), Fr. Rather

slow.
Un peu plus vite qu 'andante (iinh pQh plij

vet k'auh-diiuht), Fr. A little quicker than

andante.
Un pochettino (oon p6-k6t-te'n6), r/ ) A little,
Un pochina (oon p6-ke'na), J a very

little.
Un pochina piu mosso (oon po-ke'nil pe'oo

mos'fco). It. A very little more lively.

Un poco (oon po'ko). It. A little.

Un poco allegro (oon po'ko al-la'gro). It. A

litUe quick, rather quick.
Un poco piu (oon po'ko pe'oo), It. A little

more.
Un poco piu presto (oon po'ko pe'oo pr&'to),

It. A little quicker.

Un poco ritenuto (oon p(3'ko re-t6-noo't6). It.
Gradually siower.

Un recitativo spianato (oon r^-tshi-ta-te'vo
spi-a-nii'io), It. A recitative having notes
distinct from each other. ;

Unrein (oon'rin), Ger. Impure; out of tune. ^

Unruhig (oon'roo-hig), Ger. Restless; in-
quiet. (Manifested mainly in nuances of
the tempo rubato.)

Unschuldig (oon'shool'dlgh), Ger, Innocent,
simply.

Unsingbar (oon-sing'bar), Ger. Impossible to
be sung.

Unstrung. Relaxed iu tension ; an intru-
meut from which the strings have been 4
taken.

&, arm, & add, a ale, 6 end, Qevc,l ill, i isle, 6 old, 6 odd, 00 moon, H but, ii Fr. sound, kh Ger. ch, nh 'lasaL

(228)

UNS

BICTIONAHY OF MUSIC.

VAL

Un style aise (iia stel a-za), Fr. A free, easy

style.
Unter (oon'tSr), Oer. Under, below.

Unterbass (oon'tgr- biiss), Ger. The double

bass.
IJnterbrechung (oou'ter-brfi'khoong), Ger.

Interruptiuu.
Unterbrochene Cadenz ( oon - tfir-bro'kh' nS

kii-denz). Ger. Interrupted cadence.

Unterdominante (oon't6r-d6-mi-nan't6), Ger.
Under dominant. The subdominant.

Unterhalbton (oon'tgr-halb'ton), Ger. A half-
step below.

Unterhaltungsstiick (oon't6r-hal'toongs-stuk),
Ger. Entertainment, short play, short piece
of music.

Untermediant (oon't^r-ma'di-tint), Ger. The
submediant ; the third below the tonic.

Unterricht (oon't6r-rikht), Ger. Instruction,
infurmation.

Untersatz (oon'lgr-siitz), Ger. Supporter,
stay ; a pedal register, double-stopped bass
of 32-feet tone, in German organs. See
Suhbourdon.

Untersetzen (oon't6r-s6t-z'n),6rer. Passing the
thumb under a finger in piano-playing;
passing one foot under another in pedal-
playing.

Unterstimtne (oon't6r-stim-m6),G€r. The un-
der voice; lowest voice in a composition.

Untertasten (oon't6r-tas-t'n),Ger. The lower,
or while, keys of the pianoforte or organ.

Un terzo di battuta (oon tfir'zo de bat-too'tii).
It. A third part of the bar.

Dntonend (oon-to'n6nd), Ger. Not sonorous ;
void of tone.

Untunable. Incapable of being tuned.

Untune. To put out of tune ; to make dis-
cordant.

Untuned. Not tuned ; discordant.

Unverziert (oon 'fCr - zert ), Ger. Unorna-
mented.

Unvollkommen (oon'voU-kom-mCn), Ger. In-
complete. Applied generally to cadences

and closes.
Uomo (oo-6-mo). It. A man. Primo uomo, a

male f^oprano.
Up beat. The raising of the hand, or baton,

in beating,'or marking, time.
Up=bow sign. A mark used in violin music,

hhowiug that the bow is to be carried up, >
Upinge ioo-pin-gh6), Ger. The name of a

son< consecrated by the ancient Greeks to

Diana.
Upper voice. A designation applied to the

person who sings the higher part.
Upright pianoforte. A pianoforte, the strings

of which are placed obliquely or vertically

upward.

Uranion. An instrument in make similar to
a harpsichord, or pianoforte.

Uscir di tuono (oos-tsher de too-o'no). It. To
get out of tune.

Usus (oo'sils), Gr. That branch of the an-
cient meloposia which comprehended the
rules for so regulating the order, or succes-
sion, of the sounds as to produce an agree-
able melody.

Ut (oot), Fr. The note C ; the syllable origi-
nally applied by Guido to the note C, or do.

Ut bemol (oot ba'mol), Fr. The note Cb.

Ut diese (oot di-az), Fr. The note CS.

Ut diese mineur (oot di-az me-nQr), Fr. The

key of €# minor.

Ut mineur (oot me-niir), Fr. C minor.

Ut queant laxis (oot kwa'Snt Mx'is), Lat. The
commencing words of the hymn lO St. John
the Baptist, from which Guido is said to
have taken the syllables ut, re, mi, fa, sol,
la for his system of solmisation. It was com-
posed about the year 770.

Utricularis tibia (oo-trik'oo-la'rlis te'be-ii), Lat.
The name given by the Romans to the bag-
pipe. See that word.

Ut supra (oot soo-pra), Lat. As above, as be-
fore. See Come sopra.

\r

v., or Vi. Abbreviations for Violini.
Va (vii). It. Go on.

Vaccilando (vat-tshl-lan'do), It. Wavering,

uiux-rtuin, irregular iu the time.
Va con spirito (vii kou spe'ri-to), It. Continue

ill aspiriLcd style.

Va crescendo (va kr6-sh6n'd6). It. Go on in-
creasing the tone.

Vagans (va'"an.«), Lat. Vague. A term ap-
pii d by the old composers to the last part

of a five- part composition, because, being
written after the remaining voices, it had
only the least significant opportuiiitit s, and
could be written as second alto or second
tenor.

Vago (vJi'go), It. Vague, rambling, uncertain,

as to the time or expression.
Valce (viil'tshe). It. ) A waltz, a dance in 3-4
Valse (viils), Fr. j time.

Valeur (vii-ldr), Fr. ) The value, length, or
Valore (va-l6'r6). It. /duration, of a note.

a arm, & add, a ale, 6 end, e eve, i ill, I isle, 6 old, 6 odd, oo moon, a but, u Fr. sound, kh Ger. ch, nh nasal.

(229)

VAL

DICTIONARY OF MUSIC.

VER

Valse a deux temps (viils a du tanh), Fr. A
modern quick waltz, in which the dancers
make two steps in each measure.

Valves. Contrivances for admitting or shut-
ting off wind. Found in organs, reed or-
gans, and especially in brass instruments,
where they serve to admit air or cut it oft
from what fire called " crooks," or addition-
al lengths of tube. Horns and instruments
of this class have three valves, one lowering
the pitch a half step, one a full step, and
one a step and a half. They may be used
separately or together. Each of these valves
opens a tube affording a complete set of har-
monics like that of the natural tube, only as
much lower as the tube affords additional
length. » Hence, by means of them a com-
plete chromatic scale may be obtained,
and many notes can be obtained in either
one of several ways.

Valve trumpets, whose tones are varied by
the use of valves.

Variamente (va-re-a-m6n't6), j-f "I In a varied,
Variamento (va-re-a-m6n't6), ' J free style
of performance or execution.

Variationen (fa-re-a-tse-o'n6n), Ger.p^ ) Varia-
Variazioni (va.-re-a-tse-6'ne), It. pi. j tions.

Variations. A. musical form consisting of
characteristic treatments of a musical theme
or air. The diversification of a theme in
thematic work differs from that in variation
work in the following particulars: In the-
matic w^ork (sonata and fugue) the rhythm
of the theme is not varied, but the harmony
and melodic outline are; in variation writ-
ing there are two principles of proceeding.
In the older one, called formal variations,
the harmony of the theme is not varied, or
if varied, only so much as to transfer it from
major to minor mode; but the melody is
amplified and ornamented to any extent.
In the more modern method of writing,
called character variations, the theme is
sometimes varied in harmony to a very un-
usual degree. The limits of this method of
diversification rest upon the fact that a mu-
sical theme consists of three elements, its
melody, harmony, and rhythm. Its com-
plete identity resides in the three combined,
but either one or even two of these may be
modified and still the theme contain enough
of its original character to permit us to re-
fer the modified forms to the original as
their source. In thematic transformation
the rhythm, being the ruling element, is
rarely changed; in variation writing the
melody (and its harmony) being the ruling
element, these are less changed than the
rhythm, and most variations are essentially
amplifications of an idea rather than trans-
formations. Of character variations those
in the sonata of Beethoven, Opiis 26, are
strong examples ; of formal variations tho.se
in the second movement of Beethoven's So-
nata Appassionata are notable.

Variato (va-re-il'to), It. } Varied, diversified,
Varie (va-re-a'), Fr. /with variations.

Variazione (va-re-a-tse-6'n6), It. Variation.
Varsovienne (var-so-vi-Snh), Fr. A slow Pol-
ish dance in ; -4 measure.
Vaudevil. A ballad, a song, a vaudeville.

Vaudeville (vo-d(5-vel'), Fr. A country ballad,
or song, a roundelay : also a simple form of
operetta; a comedy, or short drama, inter-
spersed with songs.

Vc. Abbreviation for Violoncello.

Veemente(va-m6n't6), It. Vehement, forcible.

Veemenza (va-m6n'tsa). It. Vehemence, force.

Velata (va-la'ta), j. (Veiled; a voice sound-
Velato(va-la't6), ' j ing as if it were cov-
ered with a veil.

Vellutata (v61-loo-ta'ta), t^ I In a velvety
Vellutato (v^l-loo-ta'to), J manner; in a

soft, smooth, and velvety style.
Veloce (vt^-lo'tshe), \ r-,

Velocemente (v6-lo-tsh6-m6n't6), j

Swiftly, quickly, in a rap.d time.

Velocissimamente (v6-lo-tshes-se-ma- j

men'tg), Vlt.

Velocissimo (vWo-tshes'si-mo), )

Very swiftly, with extreme rapidity.

Velocita (ve-lo-tshe'tii). It. Swiftness, rapidity.

Veneziana (v6-na-tsi-a'na), It. Venetian, the

. Venetian style.

Ventil (fgn'til), Ger. \ Valve, in modern

Ventile (vfin-te'le), It. J wind instruments, for
producing the semitones ; also a valve for
•shutting off the wind in an organ.

Vepres (vapr) * Fr. Vespers, evening prayer.

Veranderungen (f6r-an'd6r-oong-en), Ger. pi.
Variations.

Verbindung (f6r-bIn'doong), Ger. Combina-
tion, union, connection.

Verbindungszeichen (f6r - bind' oongs - tsi'
kh'n), Ger. Binding-marks, i.e., ties.

Verdeckt (fCr-d^kt), Ger. Hidden. (Octaves,
filths, etc.)

Verdoppelt (f6r-dop'p61t), Ger. Doubled.

Verdoppelung (ffir-dop'pei-oong), Ger. Dou-
bling.

Vergellen (ffir-gglTn), Ger. To diminish
gradually.

Verger. The chief officer of a cathedral ; a
pew-opener or attendant at a church.

Vergliedern (f?r-gle'd6rn),Ger. To articulate.

Vergrosserung (fCr-gros's^r-oong), Ger. Aug-
mentation.

Verhallen (f6r-harrn),(jer. To diminish grad-
ually.

Verhallend (f6r-hal'16nd), Ger. Dying away,

Verilay. Rustic ballad, a roundelay. See
Vaudeville, and, also, Freemen's songs.

Verkehrung (f6r-ka'roong), Ger. Inversion ;
contrary motion in imitation.

Verkleinerung (f6r-kli'ner-oong), Ger. Dimi-
nution.

Verlagsrecht (fer-lags'rekht'),<?er. Copyright.

i

a arm, & add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, H but, ii Fr. sound, kh Ger. ch. nh nasal.

C230)

VER

DICTIONARY OF MUSIC.

VIE

Verloschend (ffir-lo'shgnd), Ger. Extinguish-
ing.

Vermindert (fer-min'd6rt),(?er. Diminished;
diminished interval.

Vers (f6rs), Ger. Verse, strophe, stanza.

Verschiebung (f6r-she'boong),Crcr. A " shift.''
The soft pedal of a piano.

Verschwindend (f6r-shwin-d6nd), Ger. Dying
away.

Verse. That portion of an anthem, or serv-
ice, intended to be sung by one singer to
each part, and not by the full choir in cho-
rus. In secular music, as a song or ballad,
each stanza of the words is a verse.

Verse, hexameter. A verse having six feet,
of which the first four maybe either dactyls
or spondees ; the fifth must be a dactyl, and
the sixth a spondee.

Verse, iambic. A verse consisting of a short
syllable followed by a long one, or of an un-
accented syllable followed by an accented
one.

Verser (var-sa), Fr. A verse.

Versetta (v6r-s6t'ta). j/ ]. A shori, or little,

Versetto (v6r-s6t't6), ' J verse; a strophe.

Versette (f^r-s(^t't6), ^ "(Short pieces for
Versetten (f6r-b6t't'n), j the organ, in-

tended as preludes, interludes, or postludes.
Versetzen (f6r-s6t'ts6n), Ger. To transpose.

Versetzung (f6r-s6t'tsoong), Ger. Transposi-
tion.

Versetzungszeichen (f6r-s6t'tsoongs-tsi'kh'n),
Ger. The marks of transposition, the sharp,
the flat and the natural.

Versicle. A little verse.

Versilcel (fer-slk'l), Ger. A versicle.

Versmass (f^rs-mass), Ger. The measure of

the verse ; the metre.
Verso (v6r's6). It. Verse.

Verspatung (f6r-spa'toong),6rer. Retardation,

delay.
Verstimmt (f6r-stlmt'), Ger. Out of tune.
Verte (v6r't6), Lai. Turn over.
Verte subito (v6r't6 soo'bi-to), Lat. Turn the

leaf quickly.

Vertonen (f6r-t6'u6n),(?er. To cease sounding,
to die away.

Verwandt (fCr-wandtO.G'er, Related, relative

keys, etc.
Verwechselung (f6r - w6uh' s^l - oong), Ger.

Changing, mutation, as to key, tone, etc.

Verweilend (f6r-wi'16nd), Ger. Delaying, re-
tarding the time.

Verwerfung (f(5r-w6rf'oong), Ger. Transpos-
ing.

Verziert (fCr-tsirt'), Ger. Embellished, dec-
orated.

Verzierung (f6r-tse'roong), Ger. Embellish-
ment, ornament.

Verzogerung (f(5r-ts6'g6-roong), Ger. Retard-
ation.

VerzweiflungsvoII (f6r-tswi'floongs-f61), Ger.
Full of despair.

Vesper (fgs'pgr), Ger. »
Vespero (vSs'p^-ro), It. \ Vespers.
Vespro (vfis'pro), It. )

Vesperse (v6s'p6-ra),La«. Vespers, or the even-
ing service in the Roman Catholic Church.

Vesper bell. The sounding of a bell about
half au hour after sunset in Roman Catho-
lic countries, calling to Vespers.

Vesper hymn. A hymn snug in the evening
service of the Roman Catholic Church.

Vespers. Name of the last evening service
in the Roman Catholic Church, consisting
chiefly of singing.

Vespertini psalmi (v6s-p6r-te'ni psal'ml), It.
pi. Evening psalms, or hymns.

Vezzosamente (v6t-ts6 za-m6n't6), It. Tender-
ly, softly, gracefully.

Vezzoso (v6t-tso'z6), It. Graceful, sweet, ten-
der.

Vibrante (ve-bran't6), It. Vibrating, a trem-
ulous, quivering touch, full resonance of
tone.

Vibrate (ve-bra't^), ^. ) A'strong, vibrating.
Vibrato (ve-bra'to), ^ • J full quality of tone;
resonant.

Vibration. The tremulous or undulalory mo-
tion of any sonorous body by which the
sound is produced, the sound being grave
or acute as the vibrations are fewer or more
numerous in a giveu time.

Vibratissimo (ve-bra-tes'sl-mo). It. Extreme-
ly vibrating and tiemulous.

Vibrato molto (ve-bra'to mol'to). It. Ex-
tremely rapid.

Vibrazione (ve-bra-tsl-6'n6), It. Vibration,

tremulousness.

Vicenda(ve-tsh6n'da), It. Alternation, change.

Vicendevole (ve-tsh6n-da'v6-16), It. Alternate-
ly, by turns.

Vide (ved), i^r. la„^ ta..-w^
Vido(ve'd6), /i.r^^^"^^-

Videi (fid'61), Ger. A fiddle.

Viel. An old name for instruments of the
violin species. ,

Viel (fel), Ger. Much, a great deal ; mit videm
Tone, with much tone.

Vielchorig (fel'kor igh), Ger. Many-choired.
For several choirs.

Vielfacher kontrapunkt (fel'fii-kh'r kou-tra-
poonkt), Ger. Polymorphous counterpoint.
Vielle (vel), Fr. The hurdygurdy.
Vielleur (ve-y\ir), Fr. Ilurdygurdy-player.

Vielstimmig (fel'stim'mig), Ger. For many
voices.

Vielstimmiges Tonstiick (fel'stlm'mi-gSs ton-
stiik), Ger. A piece for several voices, a
choral piece, a glee.

Vieltonig ( fel- to 'nigh), Ger. Multisonous,
manysounding.

. arm, & add, a ale, 6 ejid, e eve, i ill, i isle, 6 old, 6 odd, oo moon, tl but, \i Fr. sound, kh Ger. ch, nh nasal.

(231)

VIE

DICTIONARY OF MUSIC.

VIO

Vier (fer), Ger. Four.

Vierfach (fer'fakh), Ocr. Fourfold; of four

rauks of pipes, etc.
Vierfussig (fer'fiis-sig), Ger. Four-feet (of

orgau-pipts aud pitch).
Viergesang (fer'gg-zang), Ger. Song for four

voices.
Viergestrichene Note (fer-gg-stri'kh'ng no'

16), Gtr. A (lemisemi quaver.
Viergestrichene Octave (fer'g6-stri'kh'n6 6k-

til'v^), Ger. The four-marked octave.

VJerhandig ( fer-han'digh ), Ger. For four

hands.
VierhandigesTonstiick (fer-han'di-gh6s ton'-

stiiK), Gtr. A piece for four hands.

Vierklang (fer'klang), Ger. A chord of four

tones.
Viermassig (fer -ma' sigh), Ger. Containing

four measures.
Viersaitig (fer'sai-tigh), Ger. Four-stringed.

Vierstimmig (fer'stim-migh), Ger. Four-
voiced ; in four parts ; for four voices or in-
struments.

Vierstimmiges Tonstuck (fer'stim-mi- gh6s
ton'stiik), Ger. A quartet.

Vierstiick (fer-stiik), Ger. Quartet; for four

performers.
Vierte (fer'tg), Ger. Fourth.

Viertelnote (fer't'l-no't6), Ger. Quarter note ;
a crotchet, the fourth part of a semibreve.

Viertelton (fer't'l-toia), Ger. A quarter tone.

Vierundsechzigstel ( fer - oond - s6kh' tsigh -
st61), Gtr. Hemidemisemiquavers.

Viervierteltakt(fer-fer'tl-takt), Qer. Common
time of four crotchets.

Vierzehn (fer-tsan), Ger. Fourteen.

Vierzehnte (fer'tsan-t6), Ger. Fourteenth.

Vierzweiteltact (fer-zwi't61-ta,kt'), Ger. Time
of four minims. A measure composed of
half notes, Four-two measure.

Vietato (ve-a-tli'to), It. Forbidden, prohib-
ited ; a term applied to such intervals aud
modulations as are not allowed by the laws
of harmony.

Vif (vef), Fr. Lively, brisk, qnick, sprightly.

Vigorosamente (ve-g6-ro-za-m6n't6), It. Vig-
orously, with energy.

Vigoroso (ve-go- ro'zo). It. Vigorous, bold,
energetic.

Viguela (ve-goo-a'la), Sp. A species of lute or
guitar.

Vihuela (ve-hoo-a'la), Sp. Guitar.

Villageois (ve-lii-zhwa), Fr. Rustic; a la vll-
liKjeiAse, in a rustic style.

Villancico (vel-yan-thi'ko), ^ \ A species
Villancio (vel-yan'thi-6), ^' j of pastoral
poem or song.

Villanella (vel-la-n61'la), It.\ An old rustic
Villanelle (vel-ya-n61), Fr. /Italian dance,
accompanied with singing.

Villareccio(vil-la-r6'tshi-6), It. Rustic, rural.

Vina. A Hindoo instrument, of the plucked-
string variety. It consists of a sounding-
body of bamboo, with two gourds as reso-
nance-bodies. There are seven strings of
fine wire or of silk. The instrument is
furnished with frets. It is now obsolete.
It dates from about a thousand years be-
fore the Christian era.

Vinata (ve-na'ta). It. A vintage-song.
Vinetta (ve-n6t'ta). It. Diminutive of Vinata.

Viol. An old instrument somewhat resem-
bling the violin, of which it was the origin,
but with a fiat back ; it had six strings, with
frets, and was played with a bow. The con-
tra bass is the only surviving representa-
tive.

Viola. A tenor violin ; an instrument similar
in tone and formation to the violin, but
larger in size aud having a compass a fifth
lower.

Viola bardone (ve-6'la biir-do'ng). It. A kind
of baritone viol. This was a stringed in-
strument, approximately of the same size as
the violoncello, mounted with six or seven
catgut strings, tuned to C, E, A, D, g, b, e'.
There were also a large number of wire
strings, not passing over the bridge but ly-
ing along the belly. These were tuned dia-
tonically, beginning with C, and resounded
by resonatiou. Haydn wrote about sixty
compositions for this instrument.

Viola bastada (ve-6'la bas-ta'da). It. Bastard

viol. A kind of viol da gamba.
Viola da braccio (ve-6'la da brat'tshi-6). It.

The viola ; thus named because it rested on

the arm.

Viola d'amore (ve-6'la da-mo'r6), It. "I An in-
Viola d'amour (ve-61' da-moor'), Fr. j stru-
menta little larger than the viola, furnished
with frets and a greater number of strings,
some above the fingerboard and some be-
low. The name is also given to an organ-
stop of similar quality to the gamba or sal-
cional.
Viola pomposa (ve-6'la p6m-p6'za), It. An en-
larged viol or viola of the same compass as
the violoncello, but with the addition of a
fifth strii^g. It is said to have been invent-
ed by J. S. Bach. It is no longer used. The
viola pomposa was one of many forms of
viol tried in the period between the de-
cadence of the lute and the certainty that
four strings were sufl&cient for all demands.

Viol, bass. The violoncello ; a stringed in-
strument in the form of a violin, but much
larger, having four strings, and is performed
on with a bow.

Viol da gamba (ve-61 dii gam'ba), j, ) Leg
Viol di gamba (ve-61 de gam'ba), j viol;
an instrument formerly much used in Ger-
many, but nearly obsolete. It was a little

'i arm, & add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, ti but, u Fr. sound, kh Ger. ch, nh nasal.

(232)

VIO

DICTIONARY OF MUSIC.

VIT

smaller thau the violoucello, f urn ishe*l with
frets and five or six strings, and held be-
tween the kuees in playing, hence its name.

Viol, double-bass. The largest and deepest-
toned of stringed instruments.

Viole (fe (V16), ^^^J*- l^he viola
VIoie (ve 61'), Fr. |Aae viola.

Viole alt (fe-6'16 alt), Gcr. The tenor violin.

Violentemente (ve-6-lCn-t6-m6n'lC), It. Vio-
lently, with force.

Violento (ve-5-16u't6), It. Violent, vehement,
boisterous.

Violenza (ve-6-lSa^tsa), It. Violence, force,
vehemence.

Violin. A well-known stringed instrument,
having four strings, and played with a bow.
It is the most perfect musical instrument
known, of brilliant tone, and capable of
every variety of expression. When, or by
what nation, this important instrument was
first invented is not at present known.

Violinbos^en (fe-o-llu'bo'g'u), Ger. A violin-
bow.

Violine (fe-6-le'n6), Ger. The violin ; also an
organ-stop of eight, four, or two fetJt.

Violinier (ve-6-li-ner), Fr. A violinist.

Violinist. A performer on the violin.

Violinista (ve-6-le-nes'ta), It. A violinist.

Violini unisoni (ve-6-le'ne oo-ne'zo-nl), It.
The violins in unison.

Vioiino (ve-6-le'no), It. The violin ; it at-
tained its present shape, with four strings,
iu the sixteenth century.

Vioiino alto (ve-6-le'u6 al'to). It. Counter
tenor viol, or small tenor viol, on which the
alto may be played.

Vioiino picclolo (ve-o-le'no pet'tshi-6-16), i
Vioiino piccolo (ve-o-le'no pek'k6-16), v It.
Vioiino pochetto (ve-6-le'n6 p6-kh6t't6), )

A small violin, tuned a fifth higher than the

common violin.

Vioiino pomposO (ve-6-le'no p6m-p6'z6). It. A
viola with an additional higher string. It
was tuned c, g, d, a, e.

Vioiino primo (ve-6-le'no pre'mo), ")

Vioiino principale (ve-6-le'no pren-tshi- ylt.
pa'16), )

The first, or principal, violin part ; the lead-
ing violin, or chef d'attaque.

Violin-principal. An eight- or four-feet or-
gan-stop, with an agreeable and violin-like
tone.

Violinsaite (fe-6 liu'si'tS), Ger. Violin string.

Violinschliissel (fe-6-lIn'shliis's'l), "I ^
Violinzeichen (fe o-lin'tsi'kh'n), [ ^'^'^•
The treble clef used for tne violin.

Vioiino secondo ( ve-o-le'no sa-kou'do). It. Sec-
ond violin.

Vlolin«chuIe(fe-6-lin'shoo'ie), Ger. School for
the violin.

Violinspieler (fe-6-lin'spe'16r), Ger. A violin-
player.

e 6-lon'ts611 , 6rfr. "| The large,
(vi-6-16nh-sal). Fr. Vor ba.ss, vi-
(ve-6-16n-tsh61'16). It ) o 1 i n ; the

Violinsteg (fe-6-lin'st6gh), Ger. Violin bridge.

Violinstimme (fe-6-liu'stim'm6), Ger. Part for
the viuliu.

VioIin=tenor. A violin of low tone.
Violinvirtuosin (fe-6-Jin'fir-too-6'zin), Ger. A
tirst-class violinist ; a virtuoso on the violin.
Viol, leg. The viola di gamba ; the bass viol.

Violon (vi-616nh), Fr. The French name for
the violin.

Violon (fe-6-16n), Ger. The double bass. Sec

als(j, Violone.

Violoncell (fe o-lon'tsgll^, Ger.
Violoncelle (^ "
Violoncello (^

name is also applied to an orgau-.stop of

small scale and crisp tone.

Violoncellist. A player on the violoncello.

Violone (ve-o-16'n6), j. ) The name origin-
Violono (ve-6-16'no), / ally given to the
violoncello but afterward transferred to the
double bass. Its pitch is an octave below
that of the violoncello, and its true use is
to sustain the harmony; the name is also
applied to an open wood stop, of much
smaller scale than the diapason, on the pe-
dals of an organ.

Viols, chest of. An expression formerly ap-
plied to a set of viols, consisting of six, the
particular use of which was to play fanta-
sias in six parts, generally two each of bass,
tenor, and treble.

VIrelay. A rustic song, or ballad, in the
fourteenth century ; nearly the same as the
roundel, but with this difference: the roun-
del begins and ends with the same sentence,
or strain, but the viielay is under no such
restriction. The name is deri'-'ed from the
Vaux de Vire, in Normandy; the subjects
of the songs were generally love, drinking,
and passing events. Vaudeville comes from
the same source.

Virginal. A small-keyed instrument much
used about the time of Queen Elizabeth,
and placed upon a table when played upon.
It is supposed to have been the origin of
the spinet as the latter was of the harpsi-
chord.

Virtuose {lQT-ioo-6'z€),Ge.r. ) A skillful per-
Virtuoso (ver-too-6'z6j. It. j" former upoa

some instrument.
Virtuositat (fir' too- 6- zi- tat'), Ger. Remark-
able proficiency, fine execution; applied
both to singers and players.

Vis=a-vis (viz-a-ve'). Fr. Face to face. The
name given a large double grand piano,
with keyboards at opposite ends.

Vista (ves'ta). It. Sight. A prima vista, at
first sight.

Vistamente (ves-ta-m6n't6), t^ ) Quickly,
Vitamente (ve-ta-msin'tg), J swiftly,

briskly, immediately.
Vite (vet), „ \ Quickly, swiftly ;

Vitement (vet-manh), j un pen plus vite,

a little more quickly.

a arm, & add, a ale, 6 end, e eve, i ill, i i8le,6 old,6 odd, oo moon, d but, u Fr.sound, kh Ger, ch, uh nasav.

(233)

\

VIT

DICTIONARY OF MUSIC.

vol

Lively,
brisk-

Vitesse (ve-t6ss), Fr. Swiftness, quickness.

Vivace (ve-va-tsh6), j^ "I

Vivacemente ve-va-tsha-m6n't6), ' J

Jy, quickly.
Vivace ma non troppo presto (ve-va-tsh6 ma

uon trop'po pr6s't6), It. Lively, but not too

quick.
Vivacetto (ve-va tshet'to), I^ A little lively,

somewhat quick.
Vivacezza (ve-va-tsh6t'sa), t. ) Vivacity, live-
Vivacita (.ve-va-tshi-ta), ' j liness.

Vivacissimo (ve - va- tshes'si - mo), It. Very
lively, extreme vivacity.

Vivamente (ve- va- m6n' te), /<. In a lively,
brisk manner.

Vive (vev), Fr. Lively, brisk, quick, spright-
ly-

Vivente (ve-v6n't6), It. Animated, lively.

VIvezza (ve-v6t'tsa), It. Vivacity, liveliness.

Vivido (ve'vi-do). It. Lively, brisk.

Vivo (ve'vo). It. Animated, lively, brisk.

Via. Abbreviation for Viola.

Vocal. Belonging, or relating, to the human
voice.

Vocal apparatus. The various organs which
are employed in the formation and produc-
tion of vocal sounds.

Vocale (v6-ka'16). It. Vocal, belonging to the
voice.

Vocalezzo (vo-ka-16t'tso). It. A vocal exercise.

Vocalist. A singer.

Vocality. Quality of being utterable by the

voice.
Vocalization. The practice and art of singing

on vowels.

Vocalize. To practice vocal exercises, using
the vowels and the letter A sounded in the
Italian manner, for the purpose of develop-
ing the voice and of acquiring skill and flex-
ibility.

Vocalizes. Solfeggios; exercises for the voice.

Vocalizzare (v6-ka-let-tsa'r6). It. To vocalize ;

to sing exercises for the voice.
Vocalizzo (vo-ka-let'ts6). It. Vocal exercises,

to be sung on the vowels.

Vocal music. Music composed for the voice.

Vocal score. An arrangement of all the sepa-
rate voice parts, placed in their proper order
under each other.

Voce {v6-tsh6). It. The voice.

Voce angelica (v6-tsh6 an-j61'i-ka). It. \ Angel
Vox angelica (vox an-g61'i-ka), Lat. j voice.
The name of an organ-stop of delicate reed
tone.
Voce di bianca (vo'tsh^ de be-aa'ka), It.
" White voice." Applied to pure and color-
less tones, such as ihe voices of young
women and children.

Voce di camera (v6'tsh6deka'm6-ra), It. Voice
for the chamber ; one suited for private
rather than public singing.

Voce di gola (vo'tshfi de go'la), It. The throat
voice ; also a gutteral voice.

Voce di petto (vo'tshg de pgt'to), It. The chest
voice, the lowest register of the voice.

Voce di ripenio (v6'tsh6 de re-p6-ne'6), It. A
voice-part written in to fill up the harmony.

Voce di testa (vo'tshg de t6s'ta), It. The head
voice, the falsetto, or feigned voice ; the up-
per register of the voice.

Voce flebile (v6'tsh6 fla'bi-16), It. A doleful
voice.

Voce granita (v6'tsh6 gra-ne'ta), It. A firm,
massive voice, round and full.

Voce intonata (vo'tshg in-to-na'ta), It. A pure-
toned voice.

Voce mezza (vo'tshS mfit'tsa), It. Half the
power of the voice ; a moderate, subdued
tone, rather soft than loud.

Voce pastosa (vo'tshg pas-to'za), It. A soft,
flexible voice.

Voce piacente (v6'tsh6 pe-a-tsh6n't6), It. A
pleasing voice.

Voce principale (vo'tshg prin-tshi-pa'16), It.
Principal voice.

Voce rauca (vo'tshfi ra'oo-ka), It. A hoarse,

rough voice.

Voce sola (v6'tsh6 so'la). It. The voice alone.

Voce spianata (vo'tshfi spe-a-na'ta), It. Drawn
out ; an even, smooth, sustained voice.

Voce spiccata (v6'tsh6 spek-ka'ta), It. A clear,
distinct voice, well articulated.

Voce umana (v6'tsh6 oo-ma'na),'//. The hu-
man voice.

Vociaccia (v6- tshi-a-tshi-a). It. A bad, disa-
greeable voice.

Vocina (v6-tshe-na). It. A little, thin voice.

Vogelflote (fo-g'1-flo'te), Qer. Bird-flute.

Vogelgesang ( f6'g*l-g6-zang ), Ger. Singing
of birds ; an accessory stop in some very
old German organs, producing a chirping
eff'ect by some little pipes standing in a
vessel with water, through which the wind
passes to them.

Vogelpfeife (f6-g'l-pfi'f6), Oer. Bird-call, fla-
geolet.

Voglia (v61'yi-a). It. Desire, longing, ardor,
fervor.

Voice. The sound, or sounds, produced by
the vocal organs in singing ; applied also
to the tuning, and quality of tone, of or-
gan-pipes, the voicing being a most import-
ant part of the organ-builder's work. To
voice also means writing the voice-parts,
regard being had to the nature and capa-
bilities of each kind of voice.

Voice, alto. The lowest female voice.

Voice, baritone. A male voice, intermediate
in respect to pitch, between the bass and

a arm, ft add, a ale, 6 end, e .ye, 1 ill, i isle, 6 old, 6 odd, oo moon, ii but, u Fr. sound, kh Qer. ch, nh nasal

(234)

vol

DICTIONARY OF MUSIC.

VOL

tenor, the v'ompaiss usually extending from
Bb to li.

Voice, basso The gravest, or deepest, of the
male voices.

Voice, chamber. A voice suited to the per-
formance of parlor music.

Voice, chest. The register of the chest tones.

Voice, falsetto. Head-voice, feigned voice;
certain notes in a man's voice which are
above its natural compass, and which can
only be produced in an artificial, or feigned,
tone.

Voice, head. The highest register of the fe-
male voice ; the falsetto in male voices.

Voice parts. The vocal parts, chorus parts.

Voices, accessory. Accompanying voices.

Voicing. The adjustment of the parts of an
'organ-pipe for the purpose of giving it its
proper pitch and its peculiar character of
sound.

Voix (vwa), Fr. The voice.

Voix algre (vwa sagr), Fr. Harsh voice.

VoIx angelique (vwasan-j61-ek). Sge Vox An-
gelica.

Voix argentine (vwa sar-zhanh-ten), Fr. A
clear-toned voice, a silvery voice.

Voix celestes (vwa sa-l6st), Fr. Celestial
voice, an organ-stop of French invention,
formed of two dulcianas, one of which has
the pitch slightly raised, which gives to the
stop a waving, undulating character; also
a soft stop on the harmonium.

Voix de poitrine (vwa diih pwa-trenn), Fr.
Chest voice, natural voice.

Voix de tete (vwa diih tat), Fr. Head voice,
falsetto voice.

Voix eclatante (vwa sa-kla-tanht), Fr. Loud,
piercing voice.

Voix giaplssante (vwa gla-pe-sanht), Fr. A
shrill voice.

Voix grele (vwa gral), Fr. A sharp, thin

voice.
Voix humaine (vwa hii manh), Fr. See Vox

hiimana.

Voix percante (vwa p6r-sanht), Fr. Shrill

voice.
Voix perlee (vwa p6r-la'), Fr. A pearly voice,

Voix ronde (vwa r5nhd), Fr. A round, full
voice.

Voix trainante (vwa tra-nanht), Fr. A drawl-
ing voice.

Vohinte (v6-lan-t6), It. Flying; a light and
rapid series of notes.

Volata (vo-lii'ta). It. A flight, run, rapid series
of notes, a roulade, or division.

VoIate(vo-la't6), Jf.pJ. See Volata.

Volatina (vo-la-te'na). It. A little flight, etc.
See Volata.

Volatine (v6-la-te'n6). It. pi. Short runs. See
Volata.

Vol6e (v6-la'). Fr. A rapid flight of notes.

Volksgesang (folks'g6-s£lng'), >

Voikslied (foiks'led), \ Ger.

Voiksstiickchen (folks'stiik'kh'n),)
Folksong. Thesimpleand natural melodies
which common people find for themselves,
or those which good musicians compose for
them, within the limits proper to this kind
of composition. The qualities of good folks-
melody aresimplicity, diatonic progression,
symmetry, and easy rhythm. In addition
to these it should possess individuality,
making it agreeable to sing and easy to re-
member. In America the melodies of Ste-
phen C. Foster and Dr. Geo. F. Root best ful-
fill these conditions. The native songs of
the negroes in the South are folksongs pe-
culiar to the race. Every race and stock ac-
quires, by heredity and historical associa-
tion, aptitudes for certain kinds of musical
progression, and especially of certain
rhythms, which are common to their verse
and their music.

Volkston (folks-ton), Ger. Resembling peo-
ple's songs.

VoII (foil), Ger. Full ; mit vollem Werde, with
the full organ.

VoIIer (fol'16r), Ger. Fuller, louder.

Voiles Werk (fol'lgs wftrk), Ger. The full or-
gan,

Vollgesang (foirgg-sang'), Ger. Chorus.

Vollkommen (foll'kom'mfin), Ger. Perfect,
complete.

Vollstlmmlg (foll'stim'mlg), Ger. Full-toned,
full-voiced.

Vollstimmigkeit (f611-stlm'mig-kit),(?er. Full-
ness of tone.

Volltonend (f611't6'n6nd),(?cr. Full-sounding,

sonorous.

Volltonige Stimme (f611'to'ni-g6 stlm'm^),
Ger. Full- toned, sonorous voice. ^

Volonte (v6-16nh-ta), Fr. Will, pleasure; d
volante, at will.

Volta (vol'ta), It. Time; also an old three-
timed air, peculiar to an Italian dance of
the same name, and forming a kind of gal-

liard.

Volta prima (vol'ta pre'ma), It. First time.

Voltare (v61-ta'r6), It. To turn, to turn over.

Volta secdnda (vol'ta sa-kon'da). It. The sec-
ond time.

Volte (vol'tg). It. \ An obsolete dance in 3-4

^■}

galliard, and with a rising and leaping kind
of motion.

Voltegglando (v61-t6d-ji-an'd6), It. Crossing
the hands, on the pianoforte.

Voiti (voi'te). It

Volteggiare (vol-tCd-ji-a'rC), //
hands in playing.

Voltl (vol'ti), It. Turn over.

The plural of Volta.

To cross the

a arm, & add, a ale, 6end, e eve, I ill, i isle, 6 old, 6 odd, oo moon, d but, ii Fr. sound, kh Ger. ch. nh nasal.

(235)

VOL

DICTIONARY OF MUSIC.

WAL

Voiti, segue la seconda parte (vol'ii sa-{?w6
la s6-k6ii'da par'l6), It. Turn over, the stc-
ond part follows.

Volt! subito (vol'tl soo'bi-to), It. Turn over
quickly.

Volubilita (v6-loo-be'li-ta), j. ) Volu-

Volubilmente (vo-loo-bel m^n'tg), ^'- j bility,
freedom of performance, fluency in deliv-
ery.

Volume. The quantity of fullness of the tone
of a voice or instrument.

Voluntary. An introductory performance
upon the organ, either extemporaneous or
otherwise; also a species of toccata, gen-
erally in two or three movement*, calcu-
lated to display the capabilities of the in-
strument and the skill of the performer.

Volver a la tnisma cancion (vol'var a lil mes'-

mii kilu-thion'), Sp. To returu to the old

tune.
Vom Anfang (fom iin'fang), Ger. From the

beginning.
Vom Blatte (fom blat'tfi), Ger. From the

page ; at first sight.

Von (fon), Ger. By, of, from, on.

Vorausnahme (for-ous'na-m6), Ger. Antici-
pation.

Vorbereitung (f6r'b6-ri-toong ), Ger. Prepara-
tion, of discords, etc.

Vorbereitungsunterricht (for' b6 - rl' toongs-
oon'tSr-rikht'), G(r. Preparatory lesson, ele-
mentary instruction.

Vorgeiger ( for'gi-ghCr), Grr. The first vio-
lin, the leader of the violins.

Vorgreifung (for'gri-foong), ^ \ Anticipa-
Vorgriff (lor'giltt'), ^^^- ] tiou.

Vorhalt (for'halt), Ger. A suspension, or syn-
copation.

Vorher (for'hgr), (?er. Before. Tempo wie vor-
her, the time as before.

Vorig ( fo' righ ), Ger. Former, preceding.
Voriges Zeitmaas, in the preceding tempo.

Vorsang (for'siing), Ger. Leading off in the
song ; act of beginning the tune.

Vorsanger (for' s6n- gfir), (?er. The leading
singer in a choir ; a precentor.

Vorschlag (for'shlag), Ger. Appoggiatura,
t>eat.

Vorspiel (for'spel), Ger. Prelude; introduc-
tory movement.

Vorspleler (for'spe-l'r), Ger. Leader of the
band ; ihe principal, primo performer upon
any orchestral instrument.

Vorsteller ( lor'stt^l - I'r ), Ger. Performer,
phiyer.

Vortrag (for'trag). Ger. Execution, mode of
executing a piece ; delivery, elocution, dic-
ti n; the act of uttering, or pronouncing.

Vortragsbezeichnungen ( ' or' trags- b6- tsikh'-
noon-geii), Ger. Murks of expre.-sion.

Vorzeichnung ( for' tsikh- noong), Ger. The
.vigiiaiuic; al-so a sketch, or outline, of a
composition.

Vox (vox), Lat: Voice.

Vox acuta (vox ii-koo'ta), Lnt. A shrill, or
high, voice. In the ancient music, the high-
est note in the bisdiapason, or double oc-
tHve,

Vox angelica (vox an-g6'li-ka), Lat. Angelic
voice. See Vox celestes.

Vox antecedens ( vox an't6- tsa'd^iis). L'lt.
The ante<'edent voice. The voice propos-
ing a subject for another voice to imitate.

Vox consequens (vox k6n-s6'kw6us). Lat. The
consequent voice. The voice performing
the imitation.

Vox gravis (vox gra'vis), Lat. A grave, or
low, voice.

Vox humana (vox hoo-raii'na), Lat. Human
voice. An organ reed stop of 8-foet tone,
intended to imitate the human voice; which
it sometimes does, though very imperfectly.

Vox nasalis (vox na-sii'lis), Lat. A nasal
voice.

Vox retusa (vox rS- too'sti), Lat. An 8-feet
organ-stop.

Vuide (vwed), Fr. Open. On the open string.
Vuoto (voo-o'to), It. Open, e. (/., an open

string.
V. S. Abbreviation for Volti subito.

X?V

^'

Waits. An old word, meaning hautboys ;
also players on the hautboys. See, also,
Wayghtes.

Waldflote (wald'fld't6),Gfr. Forest-flute, shep-
herd's flute; an organ-stop with a full and
powerful tone.

Waldhorn (waid-horn), Ger.
also winding-horn.

Forest-horn

Wals ( vvals), Dut. A waltz.

Walz (wiilts), Ger. \ The name of a modern

Waltz. j dance originally used in

Suabia. The measure of its music is triple,
usually in 3-4 or 3-8 time, and performed
moderately slow, or, at the quickest, in al-
legrelt«).

Walzer (wal-ts^r), Ger. Waltz, national Ger-
man dance.

a arm, & add, a ale, & end, e eve, i ill, i isle, 6 old, 6 odd, oo rnoon, Ci but, ii Fr. sound, kh Ger. ch, nh nasal

(236)

AVAN

DICTIONARY OF MUSIC.

AVIR

Wankend (waii'k^nd), Ger. Wavering, uu-

sLcady, hesitating.

Warble. To quaver the sound ; to sing in a
manner imitating that of birds.

Wiirme (war'm6), Ger. Warmth.

Wassail. An old term signifying a merry or
Convivial song.

Wasserorgel (was'ser-or'g'l), Ger. Hydraulic
organ.

Water music. A term applied by Handel to
certain airs composed by him and perform-
ed on the water by the first band of wind in-
struments instituted in England.

Water organ. The hydraulicon.

Wayghtes. Persons who play hymn tunes,
etc., in the streets during the night, about
Christmas. iSee, also, Waits.

Way, lyra. One of the two modes of notation
in the ancient Greek system.

I Weber chronometer. An instrument similar
to a metronome, but simpler in its construc-
tion, invented by Weber. It consists of a
piece of twine about five feet in leiigih, on
which are fifty-five inch spaces, and, a small
weight at the lower end, the degree of mo-
tion being determined by the length of
string swinging with the weight. Web.
Chron. j*=38" Rh., (393^ Eng.)

Wechselchor (w6k's'l-khor'), Ger. Alternate
chorus or choir.

Wechselgesang (w6k's'l-g6-sang'), Ger. Al-
ternative, or autiphonal, song.

Wech.selnoten (w6k' s'l - no' t'n), Ger. pi.
«-'hangiug notes; passing notes, notes of ir-
regular transition, appoggiaturas.

Wehmuth (wa'moot), Ger. Sadness.

Wehmiithig (wa-mii'tigh), Ger. Sad, sorrow-
ful.

Weiberstimme (wl'b6r-stim'm6), Ger. A fe-
male voice, a treble voice.

Welch (wikh), Ger. Minor, in respect to keys
and mode.

Weihnachtslied (wi-nakhts-led'). Ger. Canti-
cle ut Christmas ; (Christmas hymn or carol.
Weinend (wl'nSnd), Ger. Weeping.
Weise (wi'z6), Ger. Melody, air, song.

Weisse Note (wi's6 no'tg), Ger. White note;
uuuim.

Weite Harmonie (wi't6 har-mo-ne'), Ger. Dis-
persed or open harmony.

\ V/cIsh harp. See Harp.

Weltlich (w«t'llkh;, Ger. Secular.

Weltliche Lieder (w61t'llkh-6 le'dfir), Ger. Sec-
ular suugs.

Wenig (wa'nigh), Ger. Little ; ein wenig stark,

a Utile strong, rather loud.
Werk (wark), Ger. Work, movement, action.

See Hauptwerk and Oberwerk.

Wesentlich (wa'sent-likh), Ger. Essential.

Wesentliche Septime (wa's6nt-llkh-e s6p-te'-
n:6), Crer. Dominant seventh.

Wettgesang (wet'gg-sang), Ger. A singing-
match.

Whistle. A small, shrill wind instrument,
in tone resembling a fife, but blown at the
end like an old English flute.

Whole note. A semi breve.

Whole rest. A pause equal in length
to u whole note.

Whole shift. A violin shift on the eighth

line, or A. Sec Violm shift.
Whole tone. Inelegant and unscientific term

for a large second ; a whole step.

Wieder anfangen (we'd^r an'fa.n-gn),G6T. To
begin again, to recommence.

Wiederhblung (we'dCr-h6'loong),(Ter. Repeat-
ing, repetition.

Wiederholungszeichen (we'der-ho'loongs-tsx'-
khCu), Ger. Sigus of repetition.

Wiederklang (we'd(5r-klang'), ^ | Echo, re-
Wiederschall (we'd6r-shall'), j sound-

ing.

Wieder schnell (we'd'r schnCll), Ger. Again
quick.

Wieder zuriickhalten (we'd'r tzoo-riick'hiil-
t'n), Ger. Again retarding.

Wie oben (we 6'b'n), Ger. Again as above.

Wind. To give a prolonged and varied sound,
as, to wind a horn.

Wind band. A band composed of wind in-
struments.

Windchest. A n airtight box under the sound-
board of an organ, into which the wind
passes from the bellows, and from which it
passes to the pipes.

Wind instruments. A general name for all
instruments the sounds of which are pro-
duced by the breath or by the wind of bel-
lows.

Windharfe (wind'hiir'fe), ^olian harp.

WIndlade (wind-la'd6), Ger. Windchest in an
organ.

Windmesser (wind-m6s's6r), Ger. Anemome-
ter, windgauge.

Windstock (wind'stok), Ger. Cover of organ-
pipes.

Windtrunk. A large passage in an organ
through which air is conveyed from the bel-
lows to the windchest.

Windzunge (wind'tsoon'ghfi), Ger. Tongue
of an organ-pipe.

Winsellg (win's6-llg), Ger. Plaintive.

Winselstimme(win's'l-stim'mC),Ge/-. A plain-
tive voice.

WIrbel (wir'b'l), Ger. Peg of a violin, viola,
etc.; the stopper in an organ-pipe.

Wirbelkasten(wir-b'l-kas't'n),Ger. That part
of the neck of a violin, etc., which contains
the pegs.

a arm , & add, a ale, 6 end, e eve, i ill, 1 isle, 6 old, 6 odd, oo moon, a hut, u Fr. sound, kh Ger. ch,nh nasal.

(237)

WIE

DICTIONARY OF MUSIC.

2AV

Wirbelstock (wir-b'l-st5k'), Ger. A sound-
board.

Wogend (wo'ghend), Ger. Waving.

Wohlklang(w6rklang),G€r. Agreeable sound,
harmony.

Wohlklingend (w6rkling-6ud), Ger. Harmo-
nious, sonorous.

Wohllaut (wol-loui), Ger. Euphony, har-
mony.

Wolf. Name commonly applied to the dis-
agreeable beating and snarling of two organ-
pipes when almost in perfect tune. The dis-
sonances of the tempered scale are equally
distributed iu equal temperament, aud
there is no wolf; but in the old method
some keys were tuned almost perfect, and
the dissonances concentrated into one or
two of the less used keys, where the wolf
was very bad.

Word painting. Musical coloring aimed at
the words individually more than to the
general idea of a passage of poetry.

Wortklang (wort-klang), Ger. Accent, tone.

Wrest. An old name for a tuning-key.

Wrestpins. Movable pins in a piano, about
which one end of the string is wound, and
by turning Avhich the instrument is tuned.

Wrestplank. The plank into which the tun-
ing-pins are driven. A wrestplank is glued
up of several layers of wood, and must be
very solid.

Wristguide. A contrivance for steadying the
wrisis of young piano-players iu order to
prevent unbecoming oscillation. While ac-
complishing the result intended, these ap-
paratuses are unnecessary.

Wuchtig (wiikh'tigh), Ger,. Weighty.

Wunderlich (woon'd'r-likh),Crer. Odd, capri-
cious.

Wunderstimme (woon-d'r-stim'm6), Ger. A
woudcriul, extraordinary voice.

Wiirde (wiir'dg), Ger. Dignity.

WurdevolI.(Avur^d^-f61), ^^^_ JDig^jfied.

Wiirdig (wiir'
Wuth (woot), Ger.

Madness, rage.

x:-"5r

Xanorphika (ksan-or'fi-ka), Ger. A German
instrument having a violin-bow and keys ;
a keyed violin.

Xenorphica. An instrument of the harpsi-
churd aud pianoforte class.

Xylharmonicon ( ksil- hiir- mo' ni-kon), Gr.
The wooden harmonica, invented in 1810
by Uthe, an organ-builder at Sangerhausen.

Xylorganon (ksil'or-ga-non),^, ) An instru-
Xylophone (ksU'o-fon), 'jment com-

posed of bars of wood lying upon bands of
straw. Each piece of wood is tuned to a
certain note, and tunes are played by strik-
ing the bars with wooden mallets. Called,
also, in Germany, the Strohfiedel, straw
fiddle.

Yabal (ya-bal), Heb. The blast of a trumpet.
Yo. The Indian flute.

Za. A syllable formerly applied by the
French, in their church music, to Bl?, to dis-
tinguish it from BQ, called Si.

Zampogna (tsam-pon'yii), j, \ An ancient

Zampugna (tsiim-poon'ya), * fpipe, or bag-
pipe, now nearly extinct, with a reedy tone,
resembling, but much inferior to, the clar-
inet. See Cornaviusa and Chalumeati.

Zampognare (tsam-pon-ya're), It. To play on
the pipes.

Zampognatore (tsam-pon -ya- to' r6), It. A
piper.

Zampognetta(t?am-pon-y6t'ta), Tt ) A small

Zampognino (tsam-pon-ye'no),
pipe.

n.}

Zapfenstrelch (tsa'pf'n-strlkh'), Ger. The

tattoo.
Zarge (Isar'ghfi), Ger. The sides of a violin,

guitar; etc.
Zart (tsiirt), fj,^ \ Tenderly, softly.

Ger.

Zartlich (tsart'likh), ""'• j delicately.

Zarte Stimmen (tstlr'tfi stlm'm^n), Ger. Deli-
cate stops ; mlt zarieii Stimmen.

Zartflote (tsiirt'flo-tC), Ger. Soft-flate; an or-
gan-stop of the tluie species.

Zarzuela (thar-thoo-alaT.-^p. A short drama
with incidentaUgmj^iiS', something similar
to the vaudevillSPJ^

Zauber (tsou'b'r),«BR.v Magic.

a ar7n, & add, a ale, 6 eiid, &€ve, i ill, 1 isle, 6 old, 6 odd, oo moon, 0 but, u Ft, sound, kh Oer, ch. nh nasal,

(238)

ZAU

DICTIONARY OF MUSIC.

ZUR

Zauberlied (tsou'b'r-led), Ger. A charmiug

soug.
Zauberstimme (tsou' b'r-stim'mC), Ger. A

charming voice.
Zehn (tsau), Ger. Ten.
Zehnte (tsan'tg), Ger. Tenth.
Zeitmass (tsit'mas), Ger. Time measure.
Zeitmesser (tsit'm6s-s6r), Ger. Time-measure,

meironome.

Zeie (z\\a\),Fr.\ ^ , , Pnerev
Zelo (tsa'lo), It. | ^^^^- ^'^^°^' energj .

Zelosamente (tsa-16-za-m6n'te), //. Zealously,
ardently.

Zeloso (tsa-16'z6), It. Zealous, ardent, earn-
est.

Zeng (tsfing), Per. The Persian cymbals.

Zerstreut (ts6r-stroit'). Ger. Dispersed, scat-
tered, with respect to the notes of arpeggios
or chords, the situation of the different parts
of a composition, etc.

Zeze. An African instrument similar to a
guitar.

Zle Harmonica (tse hiir-nKVui-ka), G/:r. The
accordion.

Ziemlich (tsem'likh), Ger. Tolerably, moder-
ately.

Ziemlich langsam (tsem'likh liiug'sam), Ger.
Tolerably slow.

Zierathen (tse-ra'tfin), Ger. Ornaments.

Zierliches Singen (tser-likh-es sing'6n), Ger.

Modulation.
Ziffern (tsif'f'rn), Ger. Figures, namely, Ara-
bic numerals.
Zigeunerartig (tse-goin'6r-ar'tigh), Ger. In

gypsy style.
Zigeunertnusik (tse - goin' 6r - moo - sek'), Ger.

Gypsy music.
Zillo (tsel'16). It. Chirp, chirping.
Zimbel (tsem'bgl), Ger. Cymbal.
Zincke (tsluk'6), Ger. See Zinke.
Zinfonia (tsen-fo-ne'a). It. A symphony,
Zingana (tsen-ga'na). It. Ballad ; Bohemian

soug.
Zingaresa (tsen-ga-ra'zii), It. In the style of

gypsy music.
Zlngaresca {tsen-ga-r6s'ka), It. A song or

dance in the style of the gypsies.
Zingaro (tsen'ga-ro). It. Gypsy, in the gypsy

style.
Zingen (tsin-g'n)^ I>M<. To sing; singing.
Zinkblaser (itsink'bla'z6r),(Tfr. Cornet-player.

Zinke (tsink'6), ^, ) Small cornet,

Zinken (tsin'k'n), pi. ' /species of horn or
trumpet of very ancient date, now almost
obsolete. It was made either of wood or the
small brandies on the head of the deer.
Also the name of a treble stop in German
organs, which is sometimes a reed and at
others a mixture stop.

Zitlier tsit'gr ,(?er. A cither. (1) The old Ger-
man zither was an instrument consisting of
a soundbox, a neck with a fretted finger-
board, and eight, leu, twelve, or more strings,
two and two tuned in unison, which were
plucked with a quill or piece of whalebone
(2) Tlie modern zither consists of a low, fiat
soundbox without a neck, over which are
stretched thirty-six or fewer or more strings
of various material— steel wire, brass wire,
catgut— some of them overspun. Under four
or five of the strings on one side of the
soundbox is a fretted fingerboard ; on them
the melody is played. These four or five
strings the performer, who has the instru-
ment lying before him on a table, stops with
his left hand and pluckswith a plectrum at-
tached to his right-hand thumb; the rest of
the strings he plucks with the Other fingers
of the same hand.
Zitherspieler (tsit'6r-spe'16r), ) p
Zittiersch lager (tsit'6r-shla'g6r), j ''^^'
Guitar-player.

Zitternde Stimme (tsit't§rn-d6 stim'mg), Ger.
A trembling voice.

Zittino (tsit-te'no), K. Silence.

Zogernd (tso'ghgrnd), Ger. A continual re-
tarding of the time.
Zolfa (tsol'fii), It. See Solfa.

Zoppa (tsop'pa),
Zoppe (tsop'pg),
Zoppo(ts6p'po),

Zornig (tsor'nigh), Ger. Angry, wrathful.

Zu (tsoo;, Ger. At, by, in, to, unto.

Zufallig (tsoo-fal'lig), Ger. Accidental sharp,

flat, etc.
Zufolo (tsoo-fo'lo), It. Flageolet, small flute,
or whistle.

Zuf clone (tsoo-fo-16'n6), It. A flute, a large

Avhistle.

Zug (tsoog), Ger. Draw-stop, or register, in
an organ .

Ziige (tsii'ghg), Ger. pi. See Zug.

Ztigeglockchen (tsu'ghg-glok'kh6n),(Ter, The
passing bell ; a knell.

Zugtrompete (tsoogh'trom-pa't§), Ger. Slide-
trumpet. The soprano trombone.

Zugwerke ( tsoog- wSr'kg), It. Organ mechan-
ism.

Zuklang (tsoo'-klang), Ger. Unison, har-
mony, concord.

Zum (tsoom'), Ger. To the.

Zummarah. An Egyptian musical instru-
ment, very harsh "and discordant in its
tone, forrned of reeds.

Zunehmend (tsoo-na'mend), Ger. Increasing.

Zunge (tsoon'ghg), Qer. The tongue of a reed
pipe.

Zungenblatt (tsoon'gh6n-blat'), Ger. The
clarinet reed.

), It. [

), )

Lame, halting. See Syn-
copation.

Zuriickblasen (tsoo-r\ik'bla'z6n),Ger. To blow
a retreat.

arm, a add, a ale, & end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, iX but, u Fr. sound, kh Ger. ch, nh nasal.

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ZUR

DICTIONARY OF MUSIC.

ZYM

Zuriickgehend (tsoo-ruk'ga-6nd), Ger. Going
back to the original tempo, after an accele-
rando or ritardando.

Zuriickhaltung (tsoo-ruk'hal'toong), Ger. Re-
tardation ; keeping back.

Zuriicktonen (tsoo-riik-to'n^n), ^ ) To

Zuriicktreiben (tsoo-rtik'tri-b'n), "^"^ ' ) re-
sound, to reverberate.

Zusatntnen (tsoo-zam'm'n), Ger. Together.

Zusammengesetzt ( tsoo-zam'm'n-g6-s6tst' ),

Ger. Compound, condensed, compound

time.
Zusammenklang (tsoo-sam'm'n -klang), Ger.

Harmony, consonance.
Zusammenlaut ( tsoo - sam' m'n - lout ), Ger.

Harmony, consonance.
Zusammenschlag: (tsoo-sam'm'nshlag), Ger.

Zusammensingen(tsoo-sa,m'm'n-sin'g6n),Ger.
To sing together.

Zusammenstimmig: (tsoo - sam' m6n - stim'-
migh), Ger. Harmonious, concordant.

Zusammenstimmung (tsoo- sam' m6n - stim'-
mooug), Ger. Harmony, concord, conson-
ance.

Zutraulich (tsoo-trou'likh),Ger. Confidently.

Zuversicht (tsoo'f6r-sikht'), Ger. Confidence.

Zwanzig (tswan'tsigh), Ger. Twenty.

Zwanzigste (tswan'tsigh-st6),(?er. Twentieth.

Zwei (tswi), Ger. Two.

Zweichorig ( tswi' kho - righ ) , Ger. T w o-
choired.

Zweifach (tswi'fakh), p \ Two-foM, of

Zweifaltig (tswi'fal'tigh), *^ • j two ranks, in
organ pipes ; compound, speaking of inter-
vals, such as exceed the octave, as the 9th,
16th, etc.

Zweiftissig (tswi-fiis'sig), Ger. Of two feet
(organ pipe and pitch.)

Zweigesang (tswi' g6 - zang'), Ger. For two
voices ; a duet.

Zweigestrichen ( tswi - g§- stri' kh'n ), Ger.
With two strokes ; applied to C on the third
space in the treble, and the six notes above.
See Twice-marked octave.

Zweiglied (tswig'led), Ger. A sequence of two

links or chords.
Zweihalbertakt(tswi'hal-b6r-takt'), Ger. Two

half-note measure, 2-2 measure.

Zweihandige Uebungsstucke (tswi- han' di-
gh6 ii-boongs-stiik'I), Ger. Exercises for
two hands.

Zweiklang (tswi'klang), Ger. A chord of two
sounds.

Zweitnal (tswi'mal), Ger. Twice.

Zweistimmig (tswi'stim'mig), Ger. For two
voices, or parts ; a duet.

Zweispiel (tswi'spel), Ger. A duet.

Zweite (tswi'tfi), Ger. Second.

Zweites Mai (tswi'tfis mal), Ger, Second time.

Zweites Manual (tswi't6s ma-noo-al), Ger.
The second manual.

Zweiunddreissigstel ( tswi'oond-dri'sigs-t61 ),
Ger. A demisemiquaver.

Zweiunddreissigstel Pause (tswi'oond-dri'-
slg stei pow'z6),(T€r. A demisemiquaver rest.

Zweiviertelnote (tswi- ler' t6l-n6't6), Ger. A
minim.

Zweiviertelpause (tswi-fer't61-pow'z6), Ger. A
minim rest.

Zweivierteltakt (tswi-fer'tfil-takt), Oer. Time
of two crotchets, 2-4.

Zweizweiteltakt (tswi-tswi't'l-takt),(T6r. Time
of two minims, 2-2.

Zwerchflote (tsw6rkh'fl6-t6),Ger. Transverse
flute, the German flute.

Zwerchpfeife ( tswSrkh' pfi - f6 ), Ger. Trans-
verse pipe, the fife.

Zwey (tswi), Ger. See Zwei.

Zwischenakt (tswi'sh6u-akt'), Ger. Between
acts ; au intermezzo.

Zwischengesang (tswi'sh6n-g6 zang'),i
Zwischenhandlung ( tswi' sh6n - hand'-> Ger.

loong), )

An episode.

Zwischenharmonie (tswi'shen-har'mo-ne'),
Gtr. Between harmony; the connecting
harmony in a fugue.

Zwischenraume (tswi' sh6n - roy' m6), Ger. pi
The spaces between the lines of the stafi".

Zwischensatz (tswi' sh6n- silts), Ger. Inter
mezzo, parenthesis, episode.

Zwischenspiel (tswi'shen-spel), Ger. Intet
lude played between the verses of a hymn

Zwischenstille ( tswi'sh6n-stil'16), Ger. A

pause.
Zwischenstimme (tswi'shen -stim'mg), Ger

Middle voice ; high tenor or alto.
Zwischenton (tswi' sh6n- ton), Ger. luterme'

diate tone.
Zwolf (tswolf), Ger. Twelve.

Zwolfachteltakt (tswolf-akh' t'l - takt'), Oer
12-8 measure.

Zymbel (tsim'b'l), Ger. Cymbal.

i arm, & add, a.ale,& end, e eve, 1 ill, i isle, 6 old, 6 odd, oo moon, iibut,VL Fr. sound, kh Qer. ch, nh nasal.

im

ABE DICTIONARY OF MUSIC. BAZ

HOW TO PRONOUNCE
MUSICIANS' NAMES.

THEIR NATIVITY AND
DATES OF BIRTH AND DEATH.

ABERT (a-bar')— Bohemian composer, born September 21, 1832,

ABT (abt), FRANZ— German composer, born December 22, 1819 ; died March 31, 1885.

ACCOLAY (a'ko-la)—

ACHENBACH (iikh'gn-bakh)—

ADAM— French, born 1803; died 1856.

AHLSTROM (al'strom)—

ALARY (a-la're)— French composer, born 1814 ; died 1891.

ALBERTI (al-bar'te)—

ALBRECHTSBERGER (al'br6khts-bar'g6r)— German composer, born February 3,

1736; died March 7, 1809.
ANDRE (an'dra)- German composer, born March 28, 1741 ; died June 18, 1799.
ARBAN (ar-ba')— French composer, born February 28, 1825 ; died April 8, 1889.
ARDITl (iir-de'te)— Italian composer, born July 22, 1822.
ASANTSCHEWSKY (a saut-sh6v'ski)— Russian composer, born 1838.
ASCHER (a'shgr)— German composer, born 1831 ; died June 3, 1869.
ATTENHOFER (a't6u-h6'f6r)— Swiss composer, born May 5, 18;^7.
AUBER (6-bar')— French composer, born January 29, 1782; died May 12, 1870.
ALARD (alar') -French violinist, born March 8. 1815; died February 22, 1888.
ARNE— English composer, born 1710; died 1778.

BACH (bakh)— German composer, born March 21, 1685; died July 28, "i750.
BADARZEWSKA (ba-dartsCv'ski)- Polish female composer, born 1838; died 1862.
BAERMAN (bar'man)— German composer, burn February 17, 1784; died June 11",

1847.
BAILLOT (bii-e-o')— French composer, born October 1, 1771 ; died September 15, 1842.
BALFE— English, born 1S08; died 1870.

BARGIEL (bar-zhe'61)— German composer, born October 3, 1828.
BARNBY— English composer, born 1838; died 1896.
BATTMAN (bai'miin)— French composer, born August 25, 1818.
BAUMFELDER (boum'f61-d6r)— German composer, born May 28, 1836,
BAZIN (baza')— French composer, born September 4, 1816; died July, 1878.
BAZZINI (bat-ze'nl)— Italian composer, born Novembei 11, 1818.

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BEE DICTIONAKY OF MUSIC. CH.

BEETHOVEN (bat'ho\-Sn)— German composer, born December 16, 1770 ; died March

26, 1827.
BEHR (bar)— German compose:', born Jul> 22, 1837.
BERENS (b6r'6nz)— German composer, born 1826; died May 9, 1880.
BERG (barg)- Pianist, born 1765; die i 1852.

BERGER (bar'ggr;— German composer, born April 18, 17:7; died February 16, 1839,
BERICT (bar'i o)— Belgian composer, born February 20, 1802 ; died April 8, 1870.
BERLIOZ (bar'ii 6)— French composer, born December 11, 1803; died March 9, 1869.
BERTINI (bar-te'ni)— French composer, born October 28. 1798; died October 1, 1876.
BEVIGNANI (b6v in-yii'ni) — Italian composer and conductor.
BEYER (bi'er)— German composer, born July 25, 1803 ; died May 14, 1863.
BIAL (be'jil)—

BIEDERMANN (be'd6r-man)—

BIEHL (bel)— German composer, born August 16, 1833.
BILLEMA (be yg-ma)—

BIZET (be-za')— French composer, born October 25, 1838; died June 3, 1875.
BLOMBERG (blom barg)—

BLUMENTHAL (bloo'mgn-tiil)— German composer, born October 4, 1829.
BOCCHERINI (bok'kere'ni)— Italian composer, born February 19, 1743; died May

2S, 1805.
BOIELDIEU (bwCl'di-il)— French composer, born December 16, 1775 ; died. October

8, 1834.
BOITO (bo'i-to)— Italian composer, born February 24, 1842.
BONAWITZ (bo'nii vitz)— German composer born December 4, 1839.
BORDESE ''b6r-da'za)-^Italian composer, born 1815 ; died March, 1886.
BORDOGNI (bor-dou'ye)— Italian composer, born 1788; died 1856.
BRADSKY (brad'ski)— Bohemian composer, born January 17, 1833; died August 9,

1881.
BRAGA (bra'ga)— Italian composer, born June 9, 1829.

BRAHMS (bramz)— German composer, born May 7, 1833; died April 3, 1897.
BRASSIN (bra-sa')— German composer, born June 24, 1840 ; died May 17, 1884.
BRUCH (brookh;— German composer, born January 6, 1838.
BRULL (brel)— German composer, born November 7. 1846.
BUCK. DUDLEY -American composer, born 1839.
BULOW (be'16) -German composer, born January 8, 1830; died, 1894.
BURGMiJLLER (boorg'mIl-16r)— German composer, born 1806 ; died February 13,

1874.
BELLINI (bgl-le'ni)— Italian composer, born November 1, 1801 ; died September 24,

1835.
BENDEL (bgn'dgl)— German composer, born March 23, 1833; died July 3, 1874.
BOHM (bom)— German composer, born September 11, 1844.
BOTTESINI (bot-te-ze'ni)— Italian composer, born December 24, 1823; died April 7,

1890.
CAMPAGNOLI (kam-pan-yo'li)— Italian composer, born September 10, 1751 ; died

November 6, 1827.
CAMPANA (kam-pan'a) — Italian composer, born January 14, 1819 ; died February

2, 1882.
CARISSIMI (kar-is'si-me)— Italian composer, born about 1604; died 1674.
CARULLI (ka-rool'li)— Italian guitar-player, born February 10, 1770; died 1841.
CHADWICK, GEO. W.— American composer, born November 13, 1854.
CHAMINADE (sham-l-na'd6), CECILE— French contemporary composer, born Au-
gust 8, 1861.

a arm, &, add, a aXe, 6 end, e eve, i HI, i isle, 6 old, 6 odd, oo moon, ou our, kh Ger ch, nh nasal.

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CHE DICTIONARY OF MtJSlC. EGG

CHERUBINI (ka-roo-be'ni) — Italian composer, born September 14, 1760; died
March 15, 1842.

CHOPIN (sho-pa') -Polish composer, born March 1, 1809; died October 17, 1849.

CHWATAL (shva-tal')— Bohemian composer, born June 19, 1808; died June 14, 1879.

CIMAROSA (tshe-mii-rozii)— Italian composer, born December 17,1719; died Janu-
ary 11, 1801.

CLAUSS (klouss), WILHELMINE— German pianist, born December 13, 1834.

CLEMENTI (kla-m6n'ti)— Italian composer, born 1752; died March 10, 1832.

COENEN (k6'6-nen), FRANZ— Dutch composer, born December 26, 1826.
" WILLEM— Dutch composer, boru November 17, 1837.

CONCONE (kon-ko'na)— Italian composer, born 1810; died June, 1861.

COSTA (koss'tii), SIR MICHAEL— Italian composer and conductor, born February,
1810 ; died 1884.

COUPERIN (koope-ra')— French composer, born November 10, 1668; died 1733.

COURVOISIER (koor-vwa'zi-a)— Swiss composer, born November 12, 1846.

CRAMER (kra'mer)— German composer, born February 24, 1771 ; died April 16, 1858

CRISTOFORI (kris'lo-fo'ri)— Italian ; inventor of the piano; born 1651 ; died 1731.

CURSCHMAN (koorsh'man)— German composer, born June 21, 1805; died August
24,1811.

CZERNY (tsar'ni— German composer, born February 21, 1791 ; died July 15, 1857.

CZERWINSKI (zar-viu'shi).

CZIBULKA (ze-bool'ka)— Hungarian composer, born May 14, 1842.

DAMM (dam)— German composer, born January 25, 1830.

DANCLA (dank'la)— French composer, boru December 19, 1818.

DAVID (dii'vid'), F. C— French composer, boru April 13, 1810; died August 29, 1876.
" " F.— German composer, bornJanuary 10, 18 0; died July 18, 1873.

DELAHAYE (d^l-a-ha')

DELIBES (dei-eb')— French composer, born 1836; died January 16, 1891.

DEPROSSE (de-pros')— German composer, born May 18, 1838 ; died June 23, 1878.

DESORMES (daz-6rm').

DESSAUER (d6s-sour')— Bohemian composer, born May 28, 1798; died July, 1876.

DIABELLI (de-a-b6i'li)— German composer, boru September 6, 1781 ; died April

7, 1858.

DOKLER (do'ier)— Italian pianist, born 1814 ; died 1856.

DONIZETTI (don-i-tset'ti)— Italian composer, born November 28, 1795; died April

8, 1818.

DOPPLER (dop'plfir;— German composer, born October 16, 1821 ; died July 27, 1883.
DOTZAUER (dot-sour')— German composer, born January 20, 1783 ; died March

6, 1860.
DREYSCHOCK (dri'shok), ALEX.— Bohemian composer, born October 15, 1818 ;

died April 1,1868.
DREYSCHOCK (dri'shok), FELIX— German composer, born December 27, 1860.
DROUET (droo'a)— Dutch composer, born 1792 ; died September 30, 1873
DULCKEN (dool'kfin)— German composer, born 1837.
DUPONT (doo-pii')— Belgian composer, born February 9, 1828; died December 17,

1890.
DURAND (doo-ra')— French composer, born July 18, 1830.

DUSSEK (doo's^k)— Bohemian composer, born February 9, 1761 ; died March 20, 1812.
DUVERNOY (doo-varnwii)— French composer, born 1802 ; died 1880.
DVORAK (dCvor-zhiik)— Bohemian composer, born September 8, 1841.
ECCARD (6k-kar')— German composer, born 1553 ; died 1611.
EGGHARD (gg'giird)- German composer, born Apiil 24, 1834 ; died March 22, 1867.

a arm, ft add, a ale, 6 end, e eve, \ ill, i isle, 6 old, 6 odd, oo moon, ou our, kh Ger. ch, nh naaal.

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EIC DICTIONARY OF MUSIC. HEN

EICHBERG (ikh'barg)- German composer, born 1828 ; died January 19, 1893.

ENCKHAUSEN (6uk'hou-z6n)— German composer, born August 28, 1799; died .Jan-
uary 15, 1885.

FAHRBACH (far'bakh)— German composer, born August 25, 1804 ; died 1883.

FAURE (fo'gr)— French composer, born January 15, 1830.

FAUST (foust)— German composer, born February 18, 1825 ; died 1892.

FAVARGER (ia-var-zha')— French composer, born 1815; died 1868.

FLOTOW (flo'to)— German opera composer, born 1812 ; died 1883.

FRANZ (friints)— German composer, born June 28, 1815 ; died October 24, 1892.

FETIS (fa'ti)— French composer, born 1784 ; died 1871.

FOOTE— American composer, born 1853.

FORMES (for'mgs)— German basso, born 1810 ; died 1889.

FOSTER— American songwriter, born 182(5 ; died 18G1.

FRESCOBALDI (fr6s'c6bal'di)— Italian composer, born 1583 ; died 1G44.

GADE (ga'da)— Danish composer, born February 22, 1817; died December 21, 1890.

GANSBACHER (gilnz'bakh-6r)— German composer, born 1778; died 1844.

GANZ (giints)— German composer, born 1830.

GARCIA (gar'thi ah)— Spanish teacher, born 1805.

GENEE (zha-na')— German composer, born February 7, 1823.

GENEE (zha-na') DANTZIG— Born 1821 ; died 1896.

GILCHRIST — .\merican composer, born 1846.

GILMORE— Irish, conductor, born 1820 ; died 1890.

GIORDANI (jC'or-dii'ni)— Italian composer, born 1744; died 18—.

GLUCK (glook)— German or era composer, born 1714 ; died 1787.

GODARD (go-dahr')— French composer, born 1849 ; died 1895.

GODDARD— English pianist, born 1836.

GOUDIMEL (goo'di-mel)— French compost r, born 1510 ; died 1572

GOUNOD (goo'no')— French composer, born 1818; died 1893.

GRETRY (gra'tre)- Belgian composer, born 1741 ; died 1813.

GRIEG (greg)— Swedish composer, born 1843.

GRISI (gre'si;— Italian soprano, born 1812; died 1869.

GU ARNERIUS (gwar-neh'ri-oos)— Italian, born 1683 ; died 1745.

GUI DO (gwe'do)— Italian theorist, eleventh century.

GUILMANT (gel'moug)— French organist, born 1837.

HABERBIER (ha'b^r-beer), ERNST— German composer, born October 5, 1813 ; died
March 12, 1869.

HALEVY (ha'16-ve)— French composer, born May 27, 1799; died March 17, 1862,

HALLE (hiil'la), CHARLES— German conductor, born April 11, 1819; died 1896.

HANDEL, GEORG FRIEDRICH— German composer, born February 23, 1685 ; died
April 14, 1759.

HATTON, J. L.— English composer, born October 12, 1809 ; died 1886.

HAUPT (houpt)— German organist, born August 12, 1810 ; died July 4, 1891.

HAUPTMANN (houpt-man), MORITZ— German teacher, born October 13, 1792 ;
died January 3, 1868.

HAYDN (high'dn), FRANCIS JOSEPH— Austrian composer, born March 31, 1732;
died May 31, 1809.

HELLER, STEPHEN— Hungarian composer, born May 15, 1814 ; died January 14,

1888.
HENNES, ALOYSIUS— German teacher, born September 8, 1827 ; died June 8, 1889.
HENSCHEL, GEO.— German composer, born February 18, 1850.
HENSELT, ADOLF— German composer, bom May 12, 1814 ; died October 10, 1889.

a arm, & add, a ale, 6 end, e eve, i tW,i isle, o old, 6 odd, oo moon, ou our, kh Ger. ch, nh nasal.

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HER DICTIONARY OF MUSIC. LAV

Hi^ROLD (ha'rold)— French composer, born January 28, 1791 ; died January 19,
1833.

HILLER, FERD.— German composer, born October 24, 1811 ; died May 10, 18S5.

HUNTEN, (hen'tfin) FRANCOIS— German composer, born December 26, 1793 ; died
February 22, 1878.

JACOBSOHN (ya'cob^on)— German violinist, born 1839.

JADASSOHN (ya'das-son) — German composer, born August 13, 1831.

JAELL (ya'61)— Austrian pianist, born March 5, 1832 ; died February 22, 1882.

JENSEN (ygn'sfin), ADOLF — German composer, born January 12, 1837 ; died Janu-
ary 23, 1879.

JOACHIM (yo'a-khim), JOSEF— Hungarian violinist, born June 28, 1831.

JOMELLI (yomfil'li)— Italian composer, born September 10, 1714 ; died August 25,
1774.

JOSEFFY (y6-s6f'fi)— Hungarian pianist, born 1852.

JULLIEN (zhoorii-anh)— French composer, born June 1, 1812 ; died 1860.

JUNGMANN (yoong'man)— German composer, born November 14, 1824; died Sep-
tember, 1892.

KALKBRENNER (kalk'br6n-u6r)— German composer, born 1784 ; died June 10, 1849.

KALLIWODA (kal-livo'da)— Bohemian composer, born March 21,1800; died De-
cember 3, 1866.

KELER Bi:LA (ka'16r ba'la)— German composer, born February 13, 1820; died
November 20, 1881.

KJERULF, HALFDAN (ke-roolf, haf dan)— Norwegian composer, born 1815 ; died
1868.

KLINDWORTH (klint'wort), C— German pianist, born September 25, 1830.

KOHLER, (ka'16r) LOUIS— German composer, born September 5, 1820 ; died Feb-
ruary 16, 1886.

KOSCHAT (ko'shat), THOMAS— German composer, born August 8, 1845.

KRAUSE (krou'sfi), ANTON— German composer, born November 9, 1834.

KREHBIEL (kra-bel), H. E.— American critic, born March 10, 1854.

KREUTZER (kroy'tzgr), KONRADIN— German composer, born November 22, 1780;
died December 14, 1849.

KRUG (kroogh), D.— German composer, born May 25, 1821 ; died April 7, 1880.

KULLAK (koo'liik), THEO.— German composer, born September 12, 1818 ; died
March 1 , 1882.

LABITSKY (lii-bit'skl), JOSEF— Bohemian composer, born July 4, 1802 ; died Au-
gust 18, 1881.

LABLACHE (la-blash'), LUIGI— Neapolitan basso, born December 4, 1794; died
January 23, 1858.

LACHNER (lakh'n6r), FRANZ— Bavarian composer, born April 2, 1804; died Janu-
ary 20, 1890.

LAMBILLOTE (lam-bi-yote), LOUIS— French composer, born March 27, 1797 ; died
February 27, 1855.

LAMOUREUX (lii-moo-ro'), CH.— French conductor, born September 21, 1834.

LAMPERTI (lam-pgr'll), F.— Italian singer, born March 11, 1813; died May 6, 1892.

LANGE (laTig'6), GUST AV— German composer, born August 13, 1830; died July 20,
1889.

LANNER (lan'ngr), JOS. F R— Austrian composer, born April 12, 1801 ; died April
14, 1843.

LASSEN, (las'sSn) EDUARD— Danish composer, born April 13, 1830.

LAVALEE (la-va-lg), CALIX A— American pianist, borh 1842 ; died 1888.

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LEF 'DICTIONARY OF MUSIC. MEH

LEFi;BURE-WELY (la-fa'boor-va'li), L. J. A.— French composer and organist, born
November 13, 1817 ; died December 31, 18C9.

LESCHETITZKY (la-sh6-tit'ski), THEODORE— Polish composer, pianist and teach-
er, born 1831.

LEYBACH (la-bilkh), IGN ACE— French (Alsace) composer, born July 17, 1817 ; died
May 23, 1891.

LICHNER (llkh'ngr), HEINRICH— German composer, born March 6, 1829.

LIEBLING (leb'ling), EMIL— American pianist and composer, born 1851.

LINDPAINTER, PETER JOSEF VON— German composer, born December 8, 1791 ;
died August 21, 1856.

LISZT (list), FRANZ— Hungarian pianist and composer, bom October 22, 1811 ; died
July 31, 1886.

LORTZING (lort'sing), GUSTAV A.— German composer, born October 23, 1803 ; died
January 21, 1851.

LOW (la-v6), JOSEF— Bohemian composer, born January 23, 1834 ; died October, 1886.

LULLY, JEAN BAPTISTE DE— Italian composer, born 16.33 ; died March 22, 1687.

LWOFF, ALEXIS" VON— Russian composer, born May 25, 1799; died December 28,
1870. Author of the " Russian National Hymn."

LYSBERG (lis'barg), CHARLES— Swiss composer, born March 1, 1821 ; died Febru-
ary 15, 1873.

MACDOWELL, E. A.— American composer, born December 18, 1860.

MACFARREN, SIR GEO. ALEXANDER— English composer, born March 2, 1813;
died November 2, 1887.

MACKENZIE, ALEX. C— Scottish composer, born August 22, 1847.

MAELZEL (m61'ts61), J. N. — German musician and inventor of the metronome,
born August 15, 1772 ; died July 21, 1838.

MALIBRAN (ma'li-bran), MARIA F.— Singer, born 1808 ; died 1836.

MARCHESI (mar-ka'sl), MATHILDE DE C— German teacher and singer, born
March 26, 1826.

MARETZEK (ma-r6ts'6k), MAX — German composer and conductor, born 1821 ; died
1897.

MARPURG, (mar'poorg) FRED. WILHELM— German theorist, born October 1,
1718; died May 22, 1795.

MARIO (ma'ri-6), G.— Italian tenor, born 1812 ; died 1883.

MARSCHNER (mar&h'nfir), H.— German composer, born August 16, 1796; died
December 14, 1861.

MARTINI, GIOVANNI BAPTIST A (miir-te'ni, ge'6-va-nl bap-tis'ta)— Italian com-
poser, born April 25, 1700 ; died October 4, 1784.

MARX, A. B. -German composer and theorist, born May 15, 1799 ; died May 17, 1866.

MARZO (miir'tso), EDUARD— Italian composer, born 1850.

MASCAGNI (miis-kan'yl), PIETRO— Italian composer, born 1864.

MASON, DR. LOWELL— American composer and teacher, born January 8, 1792 .
died August 11, 1872.

MASON, DR. WILLIAM- American pianist and teacher, born January 24, 1829.

MASSENET (mas'sC-na'), J. F. E.— French composer, born May 12, 1842.

MATHEWS, W. S. B.— American pianist, teacher and writer, born May 8, 1837.

MATTEI, TITO (mat-ta'i, te'to)— Italian composer, born 1841.

MAUREL, (m6-r61) VICTOR— French baritone.

MAYSEDER (m!'s6h-d6r), J.— Austrian violinist, born 1789 ; died 1863.

MAZZINGHI (mat-tsin'gi), J.— English composer, born 1765; died 1844.

MEHLIG (ma'ligh), ANNA— German pianist, born 1846.

MEHUL (ma-ool), E. N.— French composer, born 1763; died 1817.

a arm, ft add, a ale, § end, e eve, I HI, i isle, 6 old, 6 odd, oo moon, ou our, kh Oer. ch, nh ruuaU

(246)

MEN DICTIONARY OF MUSIC. PAtJ

MENDELSSOHN, J. L. FELIX B.— German composer and pianist, born 1809; died

1847.

MERCADANTE (m6r-ka-dan'te), S.— Italian composer, born 1795 ; died 1870.

MERKEL, (mgr'kei) GUSTAV— German composer and organist, born 1827 ; died
1S85.

MERZ (ra6rts), CARL— German composer and writer, born 1834; died 1893.

MEYER, LEOPOLD VON— Austrian pianist, born 1811; died 1883.

MEYERBEER, G.— German composer, boru 1791 ; died 1864.

MEYERHELMUND, ERIK— Russian composer, born April 13 (25), 1861.

MILLS, S. B.— American composer and pianist, born 1839.

MOLLOY, J. L.— Irish composer, born 1837.

MONTEVERDE (m6n-ie-v6r'd6), C— Italian composer, born LxW ; died 1G43.

MOSCHELES (m6sh'6-16hs), IGNAZ-Germau composer, born 1794; died 1870.

MOSZIvOWSKI (mosh-kov'ski), M.— Polish composer, boru 1854.

MOZART (mo'tsart), WOLFGANG A.— German composer, born 1756; died 1791,

MURSKA, ILMA DE— Soprano, Croatia, born 1835; died 1889.

NAGELI (na'ge-li), J. G.— Swiss composer, born 1768; died 1836.

NAUMANN (nou-mann), EMIL— German composer, born '327; died 1888.

NEUKOMM (noy'kom), S. CHEV.— Austrian composer, born 1778; died 1858.

NICODE (ni-ko-da), J. L.— Polish Silesia composer, born 1853.

NICOLAI (ni-k6-la-I), OTTO— German composer, born 1810; died 1849.

NICOLINI (ul-ko-le'ni), E.— French tenor, born 1834.

NIECKS, (neks) FREDERIC— German musician, born 1845.

NIKISCH, ARTHUR— Hungarian composer, born 1855.

NOSKOWSKY (nos-kovs-ki), SIGI3MUND— Polish composer, born 1846.

NOVELLO, VINCENT— English composer, born 1781 ; died 1861.

OBERTHUR (6'b6r-ter), CH.- German composer, born 1819.

OESTEN (as'tfin), THEODOR— German composer, born 1813; died 1870.

OFFENBACH, JACQUES (of6n-bah. zhack)— French composer, born 1819; died 1880.

ONSLOW, G.— English composer, born 1784; died 1853.

PACHMANN, VLADIMIR DE (pash-mang, flii'di-mir da)— Russian pianist, born 1848.

PACINI (pa-che'nl), G.— Italian composer, born 1796; died 1867.

PADEREWSKI (pa-d6r-6vs'kl), IGNATZ JOHANN-Polish composer, born 1859.

PAER (pa'gr), F.— Italian composer, born 1771 ; died 1839.

PAGANINI (pa-ga-ne'ni), N.— Italian violinist, born 1784; died 1840.

PAINE, J. K.— United States composer, born 1839.

PAISIELLO (pa-I-sI-61'15), G.— Italian composer, born May 9, 1741 ; died June 5, 1816.

PALADILHE (pa-la-del'), EMILE— French composer, born June 3, 1844.

PALESTRINA (pa-16s-tre'na), G. P. DA-Italian composer, born 1515; died Febru-
ary 2. 1594.

PALMER, H. R.— American composer, born April 26, 1824.

PANSERON (pan-s6-rong). A.— French composer and vocalist, born April 26, 1796;
died July 29, 1859.

PAPE (pa'pgh), WM. B.— American composer and pianist, born February 27, 1850.

PARADIES (parades'), MARIA T. VON— Austrian pianist, born 1759; died 1824.

PAREPA, ROSA— Scottish soprano, born 1836 ; died 1874.

PARKER, J C. D.— American composer and organist, born June 2, 1828.

PASDELOUP (pa-d6-loo'), J. E.— French conductor, born September 15, 1819; died
August 13, 1887.

PATTI, ADELINA— Spanish soprano, born 1843

PAITI, CARLOTTA (sister of A.)— Italian soprano, born 1840; died 188S.

PAUER (pou'6r), ERNST— Austrian composer, pianist and writer, born 1826.

^ arm, & add, a ale, & end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, ou our, kh Ger. ch, uh nasal.

(247)

PEH • DICTIONARY OF MUSIC. SAI

PERGOLESI (p6r-g6-16h'bi), G. B.— Italian, boru January 4, 1710 ; died March 16, 1736.

PIATTI (pe'atti), A.— Italian composer and 'cellist, born January 8, 1822.

PICCINI (pit-che'ui), N.— Italian composer, born January 16, 1728 ; died May 7, 1800.

PINSUTI, GIRO (pin-soo'ti, che'ro)— Italian composer, born May 9,1829 ; died March
10, 1888.

PLAIDY (play'di), LOUIS— German pianist and writer, born November 28, 1810;
died Jlarch 3, 1874.

PLANQUETTE, ROBERT— French composer, born July 21, 1850.

PLEYEL, IGNAZ {pli'6l, ig'nats), J.— German composer, born June 1, 1757; died
November 14, 1831.

PONCHIELLI (pon-ki-61'li), A.— Italian composer, born September, 1834 ; died Janu-
ary 17, 1886.

PONIATOWSKI (pon ya-tow'skl), PRINCE J. M. F. X. J.— Polish composer, born
February 20, 1816 ; died July 3, 1873.

PRE3SEL, G. A.— German composer, born June 11, 1827; died July 80, 1890

PORPORA (p6r-p6-ra), NICCOLO— Italian composer, born August 19, 168G ; died
February, 1707.
• PROCH (prokh), HEINRICH— German composer and violinist, born July 22, 1809 ;
died December 18, 1878.

PROKSCH (proksh), J.— Bohemian teacher, born 1794 ; died 1864.

PRUDENT (proo-dong), E. B. — French composer, born February 3, 1817 ; died May
14, 1863.

PRUME (proom), F. H. —Belgian composer, born June 3, 1816 ; died July 14, 1849.

PURCELL, HENRY— English composer, born 1658 : died November 21, 1695.

QUEDANT (ka-dong), JOSEPH -French composer, born December 7, 1815.

RAFF (raff), J. J.— German composer, born May 27, 1822 ; died June 25, 1882.

RAMEAU (ra-mo), J. P.— French composer, born September 26, 1683 ; died Septem-
ber 12, 1764.

REINECKE (rl'nC k6>, CARL— German composer, born June 23, 1824.

REISSIGER (ris'si-gfir), C. G. -German composer, born January 31, 1798; died No-
vember 7, 1859.

REMENYI (,r6-m6n-yi), ED.— Hungarian violinist, born 1830.

RHEINBERGER (rin'bfir-ger), J —German composer, born March 17, 1839.

RICCI (rit'chi), F.— Italian composer, born October 22, 1809 ; died December 10, 1877.

RICHARDS, BRINLEY— Welsh composer, born November 13, 1817 : died May 1, 1859

RICHTER, HANS (rikh'tfir, bans)— Hungarian composer, born April 4, 1843.

RIEMANN, HUGO (re'man, hoo'go)— German theorist, born July 18, 1849.

RIES (res), F.— German composer, boru November 29, 1784 ; died January 13, 1838.

RIGHINI (re-ghe'nl), V.— Italian composer, born January 22, 1756 ; died August
19, 1812.

RIMBAULT, ED. F.— English composer, born June 13, 1816; died September 26,
1876.

RINK, J. C. H.— German composer, born February 18, 1770 ; died August 7, 1846.

RITTER, FRED L —Alsatian composer, born 1831 ; died 1892.

ROECKEL (r6k'61), J. A.— German tenor, born 1783; died 1870.

ROMBERG, ANDRE IS (rom-barg, an'dr6-as)— German composer, born April 27,
1767; died November 10, 1821.

ROXCONI, SEBASTIAN (ron-ko'ni, s6-bas'ti-an)— Italian baritone, born 1814.

ROOT, GEO F.— American composer, born August 30, 1820; died 1895.

SACCHINI (sak-ke'ni), A. M. L.— Italian composer, born July 23, 1734; died Octo-
ber 7, 1786.

SAINT-SAENS (sanh-sa-onh), CAMILLE— French composer, bcjrn October 9. 1835.

a arm, a add, a ale, 6 ^-(^ c ere, 1 ill, i isle, 6 old, 6 odd, oo moon, ou our, kh Ger. ch, nh nasal.

(248)

; «A! DICTIONARY OF MUSIC. VJE

SAINTON (sang-tong), P. P. C— Freuch composer, born June o, 1813 ; died October

17, 1890.

SALIERI (sa-li-a'ri), A.— Italian composer, born August 19, 1750 ; died May 7, 1825.

SCALCHI, SOFIA (skal'ki, so'fl-a)— Italian alto, born 1850.

SCARLATTI (skiir-lat'tx). A.— Italian composer, born 1659; died October 24, 1725.

SCHARWENKA (shar-v^n'ka), PHILIP— German composer, born February 16, 1847.

SCHARWENKA, XAVER— German composer, born January 6, 1850.

SCHINDLER (shint'16r), ANTON— Germany, born 1796 ; died January 16, 1864.

SCHMIDT, ALOYS— German composer, born August 26, 1789 ; died July 25, 1866.

SCHUBERT, FRANZ PETER— Austrian composer, born January 31, 1797 ; died
November 19, 1828.

SCHUMANN, ROBT. A.— German composer, born June 8, 1810; died July 29, 1856.

SCHUMANN, CLARA (WIECK), (wife of Robt.)— German pianist, born Septem-
ber 13, 1819 ; died 1896.

SGAMBATI (sgam-ba'ti), G.— Italian composer, born May 18, 1843.

SHERWOOD, W. H.— American composer, born January 81, 1854.

SMART, HENRY— English organist, born 1813, died 1879.

SMETANA (sm6-ta'na), FR.— Hungarian composer, born March 2,1824; died May
12, 1884.

SMITH, SIDNEY— English composer, born July 13, 1839 ; died 1889.

SODERMAN (sood'6r-man), J." A.— Swedish composer, born July 17, 1832; died
February 10, 1876.

SPOHR, LUDWIG— German violinist, born April 5, 1784 ; died October 22, 1859.

STAUDIGL (stou'digl), JOS.— German basso, born 1807; died 1861.

STEFFANl (st6f-fa'ni). A.— Italian composer, born 1655 ; died 1730.

STEIBELT (sti'beit), DAN.— German composer, born 1765; died September 20^ 18?3.

&TIGELLI (ste-jerii), G.— German composer, born 1819 ; died 1868.

STRADIVARI (strii-di-va'ri). A.— Italian violin-maker, born 1644 ; died December

18, 1737.

STRAUSS (strouss), ED.— Austrian composer, born February 14, 1835.

STRAUSS, JOS.— Austrian composer, born August, 1827 ; died July 22, 1870.

SULLIVAN, SIR A. S.— English composer, born May 13, 1842.

SUPPE (soop'pC), F. VON— German composer, born April 18, 1820.

TARTINI (tar-te'ni), G.— Italian composer, born April 12, 1692 ; died February 16,

1770.
TAUSIG (tous'ig), CARL— Polish composer, born November 4, 1841 ; died July 17,

1871.
THALBERG (tal-b6rg), S.— Swiss composer, born January 7,1812; died April 27,

1871.

THOMAS, C. AMBROISE (to-mii, ilm-bro-az)— French composer, born August 5,
1811.

THOME (to- ma), F. L. J.— Mauritius composer, born 1850.

TITJENS (tefySus), T. C. J.— German soprano, born 1831 ; died 1877.

TOSTI (tos'tl), F. P.— Italian composer, born April 7, 1846.

TREBELLI (tre-b61'll), LELIA— French alto, born 1838 ; died 1893.

TSCHAIKOWSKY (chl-kow'ski), P. I.— Russian composer, born April 25, laiO; died

1893.
VERDI (var'di), G.— Italian composer, born October 9, 1813.
VIARDOT-GARCIA (ve-ar'do gar'shi-a). M. F. P.— French composer, born July 18,

1821.
VIEUXTEMPS (vee-oo-tom'), H.— French composer, born February 20, 1820 ; died

June 6, 1881.

i 2rm, & add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, ou our, kh Ocr. ch, nh nasal

(2-.

VIO DICTIONARY OF MUSIC. * ZtJN

VIOTTI (ve-6t'ti), G. B.— Italian composer, born May 23, 1753 ; died March 10, 1824.

VIVIER (ve-vi-a'). E. L.— Corsicaii horu-player, born 1821.

VOLCKMAR (folk'mar), WIL.— German composer, born December 26, 1812; died

August 27, 1887.
VOLKMANN (folk-mJin), F. R.— German composer, born April 6, 1815; died Octo-
ber 29, 1883.
WAGNER (vag-n6r), W. RICHARD— German composer, born May 23, 1813; died

February 13, 1883.
WEBER (va'bSr), CARL M. VON-German composer, born December 18, 1786;

died 1826.
WEHLE (va'16), CARL— Bohemian pianist, born March 17, 1825 ; died June 2, 1883.
WIDOR (ve-dor), CH. M.— French composer, born February 24, 1845.
WIENIAWSKI (ve ni-iiv'ski), IL— Polish composer, born July 10, 1835; died April 2,

(March 31) 1880.
WILHELMJ (wil-h(51'mi), A. E. D. F. V. -German violinist, born September 21, 1845.
YSAYE (e-sii'e), E.— Belgian violinist, born 1858.
ZACHAU (tsii'khon), F. W.— German composer, born November 19, 1663; died

August 14, 1712.
ZARLINO (tsiir-le'no), G.— Italian composer, born March 22,1517; died February

14, 1590.
ZEUNER (tsoy'ner), CH.— German organist, born 1797; died 1857.
ZINGARELLI (tsin-ga-rel'li), N. A.— Italian composer, born April 4, 1752; died

May 5, 1837.
ZUNDEL, J OH ANN (tsoon'dei, yo'han)— German composer, born 1815; died 1882.

a. arm, a, add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, ou our, kh Ger. ch, nh 'f,4isal.

C?"^

^

BINDING SECT. JUL IS i»D

ML Mathews, William Smythe

109 Babcock

M28 Pronouncing and defining

dictionary of music
Music

FOR USE IN THE LIBRARY afiLY

NOT TO BE TAKEN FROM THIS ROOM

I FORM 121

UNIVERSITY OF TORONTO

EDWARD JOHNSON
MUSIC LIBRARY

FOR USE iN TH - Jif

MM^Mjil;

'V'^?»'