^'OTi;^i;i^i^^ijft4-ft^ 
 
 
 /•>ATiir-.v,'§A«;if.5i.ir!6i'. 
 
Skl)0y Cox Library of Music & Dance 
 
 Lincoln Hal! 
 
 Cornell University 
 
 Jihaca. NY 14853-4101 
 
CORNELL UNIVERSITY LIBRARY 
 
 3 1924 093 686 271 
 
m 
 
 Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924093686271 
 
PRONOUNCING AND DEFINING 
 
 DICTIONARY OF MUSIC 
 
 BY 
 
 W. S. B. MATHEWS AND EMIL LIEBLINa 
 
 PUBLISHED BY 
 
 THE JOHN CHURCH COMPANY, 
 
 Cincinnati. New York. Chicago. 
 
 Leipsic. London. 
 
 Copyright, 1896, by The John Chubch Co. 
 International Copyright. 
 
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. 
 
PREFAGE. 
 
 ^"* HE book herewith offered the musical puMic 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, theVork 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 cvnplete 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, Ccm- 
 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 found 
 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 we 
 have been able to collect them, this summary includes every sign liable to be 
 met with by the student, no matter in what department he may work. 
 
 3 
 
4 PRBFACB. 
 
 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 
 their 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 p., /., 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 musiipal 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. 33d. 64th. 
 
 Notes: <* {* T f 5 6 5 
 
 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 MUSICAI, 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 rhj-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 tc the notes. Dots are applied to them in the same way 
 as to notes. 
 
 ^f^hole 
 
 Half 
 
 Quarter 
 
 Eighth 
 
 i6th 
 
 S^d 
 
 64th 
 
 Rest. 
 
 Rest. 
 
 Rest. 
 
 Rest. 
 
 Rest. 
 
 Rest. 
 
 Rest. 
 
 1 I 
 
 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 
 
 TT- 
 
 ±6= 
 
 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 fpUow- 
 ing the clef. The upper figure denotes the number of pulsations in a measure. 
 
THE MUSICAI, NOTATION. / 
 
 The lower figure tells what kind of n(j)te is taken to represent' one unit of 
 time. All other notes in the piece are computed witji 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 dififerent 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. 
 
 ••• S 2 2 
 
 2 2 
 
 In all these forms the unit is a half note, and all other note forms are 
 computed from that. 
 
 4 4 or tz 4 4 4 
 
 4 
 
 In all these forms the unit is a quarter, and this is the measure-note from 
 which all are computed. 
 
 /2\ s (4,\ 6 9 12 
 \S) S \S/ 8 i g 
 
 In these forms the measure-note is an eighth, and all forms are computed 
 from that, 
 
 ; 1% A i'« etc. 
 
 In these forms the measure-note is a sixteenth. 
 
 MEASURE FORMS. 
 |„rEA.l.br«e. ^ J j ^ J | 
 
 t J_ J J \ i J J i 
 
8 THE MUSICAL NOTATION. 
 
 I i J J li J J I 
 
 I -'^ .^ .M J^ .^ ^ I 
 
 i" I I I I 
 
 Y I I I I I I I I 
 
 Tvio a* J. 
 
 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 : 
 
 I J J J i J J I J J J J J J I --•^• 
 
 I rr^ rn i jtz rn i 
 
 Note.— 6-8 measure is not at all the same as six-eights derived from 3-4 
 measure. The latter is accented as three groups of two : 
 
 I /^ /i n I i^ n n\ 
 
 S i J J i J J j J J I J J J i J J i J J I 
 
 I /T] iT^4 rn I -rn rn rn \ 
 ^rn J71 rn rn \ ni rn jTijTi \ '"'•"'^'- 
 
THE MUSICAI< 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 staflf 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, 
 with the six appertaining spaces, afford places for eleven scale degrees. When 
 more are wanted, short additional lines (called added lines) are written above 
 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, ahd 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. 
 
 Violin or Soprano 
 Staff. 
 
 i 
 
 Soprano-staff. — f"-Ei- 
 
 -a". 
 
 -c"'- 
 
 d'" 
 
 . f " 
 
 gg 
 
 -Middle-C- 
 
 Mezzo-^opr. Staff. - 
 
 -^- 
 
 -e'- 
 
 T5- 
 
 -CC- 
 
 -f-E- 
 
 -BB- 
 
 :S=:-: 
 
 Tenor-staff.- 
 
 ■sir 
 
 ■PF- 
 
lO THE MUSICAI, NOTATION. 
 
 Very high tones, requiring many added lines to properly indicate, are 
 sometimes written an octave lower, with an Sva over them to show that the 
 passage is to be played an octave higher. 
 
 ^- . .l_J_4_4_^_a— 4— +-4— +- 4— ( 
 
 X4— 4— 4— +-+- #-4— »— 4— 
 -4^+-4. 
 
 -4—4—4—4—4—4—4— 4—4—4—4— 4— 
 
 <— 4— 4— 4 1- 
 
 4— ^— 4— 4— J- 
 
 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 " - * ^ 
 
 I I I I I I 
 
 — I — I — I — 1-» 
 
 T:t 
 
 ^* 
 
 ^^^^ 
 
 Soprano Clef. 
 
 y 
 
 tisr 
 
 Alto Clef. 
 
 i 
 
 ^ 
 
 t=t=t 
 
 ♦^.r: 
 
 g 
 
 ^;jrrf-"m 
 
 -•-(t 
 
 r^m 
 
 -h-l-M- 
 
 t=t 
 
 T=R 
 
 ^f?f#? 
 
 S5se 
 
 I I I I I 
 
 S 
 
 Tenor Clef. 
 
 T^ 
 
 4-W-:? 
 
 ♦r 
 
 
 E^i^^^ 
 
 -»-#- 
 
 -•^. 
 
 ££^ 
 
 Bass Clef 
 
 ■»-(t 
 
 ;.Aj:f:tt 
 
 
 1111 1 1 
 
 -^-d-^ gabcdefga 
 
 g a b d d' c' {' g' a' 
 
 d e i 
 
 These different clefs, although at first confusing to the student of theory^ 
 are later a convenience, since they permit him to represent almost any melody 
 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 a 
 single key. 
 
THE MUSICAI, NOTATION. H 
 
 NOTATION OF TONES IN KEY. 
 
 The stafif is adjusted to the representation of the chromatic tones, and the 
 hlack keys, by means of characters called sharps #, flats \>, and naturals C|. 
 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 upo'H A, indicates A-flat ; upon B, B-flat, etc. 
 
 A natural upon A-sharp, indicates A ; upon B-flat, B, etc. 
 
 Double sharps X and double flats ^\> 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-sharp, 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 Hot 
 different. 
 
 ^1 
 
 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. 
 
12 
 
 THE MUSICAL NOTATION. 
 
 Signatures of the Keys, and Relative Minors. 
 
 4 
 
 W^ 
 
 Key of C or A minor. / Key of G or E minor. 
 
 i (^^ 
 
 ( g T*^ ( N ==ti =^ iB 
 
 #^»=H ^ 
 
 Key of D or B minor. 
 
 i^^=f=i (^^ 
 
 Key of A or F( minor. 
 
 Key of E or CJ minor. 
 
 ^^^^ ( Wr=f^ (^^^^ 
 
 pft^^ 
 
 Key of B or G( minor. 
 
 ^tf 
 
 ^^m ( 
 
 Key of FJ or D$ minor. 
 
 ^ hN^=l (^^^^ N 
 
 te 
 
 ^ 
 
 Key of C^ or A( minor. 
 
 s 
 
 m 
 
 Key of F or D minor. 
 
 fc: 
 
 1= 
 
 ^ 
 
 » 
 
 Key of Bfe or G minor. 
 
 ^ (i 
 
 ^ 
 
 fo'V U-J ( |^^^^=^M 
 
 Key of Efe or C minor. 
 
 fe 
 
 Key of At? or F minor. 
 
 ^ ( H^b'V^ I " 1 
 
 (^^^ ( g AV-4^— ^ 
 
 Key of Db or Bb minor. 
 
 Key of Gbor F|z minor. 
 
 fe^r-^ i ' r^'^''>t i ' 1 ^ -I (^^ 
 
 feE 
 
 ^ 
 
 Key of Ch or Ab minor. 
 
 *: 
 
 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. 
 
 COMIN' THRO' THE RYE. 
 
 : s, .,s ! s, ,m.-\ r .,d ; r, m.-^ s, .,s, : 1, .s, 
 
 s, 
 
 H 
 
 ..m : d, m.— ^ r .,d : r, m.— I s .,m I d .si 
 
 .,m ; f .,r m -A \ r, m.— I s .,s : 1, 
 
 •s, 
 
 PATENT NOTES. 
 
 SOMETIMES CAI<I,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. 
 
 m 
 
 ^^ 
 
 ^^E 
 
 Do, Ray, Me, Faw, Sol, I<aw, Se, Do. 
 
SIGNS APPERTAINING TO EXPRESSION AND 
 
 INTERPRETATION.— MELODIC 
 
 EMBELLISHMENTS. 
 
 THE I,ONG APPOGGIAfURA. 
 
 This embellishment consists of a grace note which takes half (a), two- 
 thirds (A), or even the whole (f), of the time of its principal, as shown in the 
 examples following: 
 
 «. ItOng 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. 
 IVrilten. | 
 
 i 
 
 -^- 
 
 Z3SZ 
 
 A- 
 
 ± 
 
 ^ 
 
 -y- 
 
 •st-t^ — *^s- 
 
 It=t 
 
 Played. 
 
 m 
 
 mm 
 
 ^Eli 
 
 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, d, c.) 
 
 IVHtten. J5_ ^ /. .K K 
 
 J3iH- 
 
 ^ 
 
 ^ 
 
 =R#= 
 
 m 
 
 ^m 
 
 S--: 
 
 a. Moderato. 
 Played. 
 
 b. Presto. 
 
 c. Before double notes. 
 
 ^^^ Kf^ 
 
 m 
 
 =1S5=^ 
 
 -^-H^- 
 
 ^a.jj 
 
 e 
 
 I 
 
 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. They are gen- 
 erally connected with their principal note by a slur, and never fall on aa 
 accent. 
 
 14 
 
MUSICAI, SIGNS. 
 
 Written 
 
 $=Em 3:igEBr : :vT7^ aj 
 
 15 
 
 Played. 
 
 DOUBLE APPOGGIATURAS. 
 
 Double appoggiaturas consist of two grace notes preceding a nielorlj 
 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. 
 
 f f 
 
 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 scalfe 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, hovvever, 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 and/ 
 
i6 
 
 MUSICAI< SIGNS. 
 
 i 
 
 *EEBai 
 
 
 i»B 
 
 
 j^p^^^fct 
 
 
 
 ^71 j:^gp3:a i^ ^feM-0^- j 
 
 i 
 
 -• — p- 
 
 i 
 
 .p=pe-^>^ 
 
 ^ 
 
 f-^-^ 
 
 £ 
 
 5-H«— f-P ^-^■ 
 
 
 ! I M I 
 
 
 -•— *- 
 
 i 
 
 # f 
 
 i 
 
 THE MORDENT AND BOUNDING TRILL. "^ 
 
 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. 
 
 ^ 
 
 1 
 
 i: 
 
 d According to Mason, e 
 
 m 
 
 -^ 
 
 f f 
 
 f with double notes. 
 
 »i«^ 
 
 tJtii 
 
 -F^i- 
 
 -»A 
 
 ^ 
 
 =^ 
 
 ±^t 
 
MUSICAI. SIONS. 
 
 THE TRII<I,. 
 
 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- 
 cludes with a turn, which, hoiyever, may sometimes be omitted in chain trills. 
 On the pianoforte a long trill, accompanied by a melody in thp same hand, 
 may omit the' auxiliary note at the moment of sounding the melody, in order 
 to facilitate the passage, as shoVn at d. It is of the greatest importance that 
 the 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 
 once established, and in some definite ratio to the time of the passage. 
 
 The trill begins with the principal note, and not with the auxiliary, 
 although the contrary has been taiight by eminent masters, and is sometimes 
 required by a grace note, as at b and c below. 
 
 Written. 
 
 Presto tr_ 
 d 
 
 ^^r^^^r 
 
 THE PEDALS OF THE PIANOFORTE. 
 
 Modern pianofortes sometimes have two and sometimes three pedals. 
 That upon the right is the Damper pedal. (There is no such thing as a loud 
 pedal.) 
 
 It is indicated by the abbreviation Ped., and the termination of its use by 
 rjc or ^. 
 
 In some old music (printed between 1830 and 1850) the use of the pedal is 
 indicated by the character ^. This is now obsolete, 
 3 
 
l8 MUSICAI. SIOXS. 
 
 Mr.' Arthur Poote has proposed the following mark, which indicates that 
 the pedal is to be pressed at the beginning of the line and discontinued at the 
 precise point where the line terminates : 
 
 The left-hand pedal is called the Soft fedal, and its office is to reduce the 
 volume of sound. Upon upright pianos it does this by bringing the hammers 
 nearer the strings. Upon grand pianos, by shifting the hammers so that they 
 do not strike all the strings of the unison. Hence the origin of the term Una 
 Corda, for indicating that the soft pedal should be pressed by the left foot. 
 The term Tre Corda indicates its discontinuance. Occasionally these terms 
 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 tones 
 are actually sounding at the moment when the tone-sustaining pedal is 
 pressed. Meanwhile, others can be taken and left to any extent, the original 
 tone or chord remaining sounding until the vibration of the strings dies 
 away, or until the tone-sustaining pedal is dismissed. There is no mark as 
 yet for this pedal. Its use is advisable in places where there are tones to be 
 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, indicat- 
 ing that they are to be closely connected in performance ; or that they form a 
 single idea, although the idea itself may contain several smaller ideas 
 
 —~y<^ — Cross slur points indicate that the note under them belongs to 
 two ideas, being the end of one and the beginning of the other. 
 
 f f f f Dots, or pointed specs, over notes indicate Staccato quality. 
 
 Tones so indicated are disconnected more or less according to the nature of 
 the passage. In older music the dots were sometimes considered to indicate 
 a duration equal to half the value of the notes; and the specs a duration equal 
 to a quarter of the apparent value of the notes. In modern music no distinc- 
 tion of this kind exists. 
 
 T V T Short lines over notes indicate emphasis and individuality, 
 occasionally a slight prolonging. 
 
 P P P Short lines with a dot, or dots and slur together, indicate a 
 
 I I I 
 less degree of staccato than the dots alone. Generally considered to equdl 
 three fourths of the value of the notes. 
 
MUSICAI, SIGNS. 19 
 
 y 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. 
 
 f/ ^ 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. 
 /fS. Hauptsatz, Headpiece, or Principal Subject. 
 .S",S. Seitensatz, Sidepiece, or Second Subject. 
 SCHLS. Schlusssatz, Closingpiece, or Conclusion. 
 
 ZWS. Zwischensatz, Betweenpiece, or 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 ppssible. 
 
 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. 
 
 Legato. All the tones connected. 
 
 Every tone emphasized, individualized, and slightly separated. 
 
 Every tone strongly individualized. 
 
 Sometimes used as breathing mark in solfeggi, and in music 
 
 for wood wind. 
 Tenuto. Hold the tone its full value. 
 
20 
 
 MUSICAL SIGNS. 
 
 ABBREVIATIONS. 
 
 USED MAINLY IN MSS. 
 
 Wrilten. 
 
 h" 
 
 M, 
 
 F^ 
 
 =f=R 
 
 =gi 
 
 Flayed. 
 
 Fy~d i: y p jr^ip^il: 
 
 * 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. 
 
 1 
 
 Dotted Bars. 
 Signs of Repetition. 
 
 sign of repetition 
 of the following 
 ■Strain. 
 
 Sign of repetition — ^TP ~ 
 of the preceding ■ 11* i 
 and following I | I I 
 strains. 
 
 ^org 
 
 Da Capo Signs. 
 Signs of Repetition 
 
 :S: 
 
 :$: 
 
 S. 
 
 S. 
 
 Sign indicating the close of a 
 
 Repeat, or the end of a 
 
 Piece. 
 
 1 
 
 Sign of Repeat 
 
 -0-0- 
 
 =FH? 
 
 ^ 
 
 TfZox 
 
 *-0- 
 
 ^^ 
 
 ^m 
 
 Played. 
 
MUSICAL SIGNS. 
 
 A note with two stems belongs to different voicfis. 
 
 Example : 
 
 Example. Meaning. 
 
 =3= 
 
 Meaning : 
 
 Chords played Arpeggiando. 
 
 T ^ 
 
 Written 
 
 P^te 
 
 Played. 
 
 ^T-gg,.^:^ 
 
 SPECIAL SIGNS USED IN INSTRUMENTAL MUSIC. 
 
 STRINGED INSTRUMENTS PLAYED WITH A BOW. 
 
 r— 1 
 
 Down bow. 
 
 A 
 
 H.B. 
 
 Up bow. 
 Half bow. 
 
 Sh. St. 
 
 Short strokes 
 
 W.B. 
 
 Whole Txrr. 
 
 G.B. 
 M.B. 
 
 Whole length of bow. 
 Middle of bow. 
 
 Fr. 
 
 At the nut. 
 
 sp. 
 
 At the point. 
 Short bowing. 
 Long bowing. 
 
 
 MANDOLIN. 
 
 
 • 
 
 f Down Plectrum. 
 
 
 f Up Plectrum. 
 
 
 
 I, 2,3- 
 
 • P P 
 
 BRASS INSTRUMENTS, 
 
 Open tube. 
 
 Numbers of the valves. 
 
 Demi staccato. (Made by tonguing) as if in pronouncing the 
 
32 MUSICAI, SIGNS. 
 
 DRUM MUSIC. 
 
 V Placed above the staff to indicate that the left-hand stick is raised, 
 and delow the staff to show that the right-hand stick is raised. 
 X Used to indicate a tap, or a tap beat. 
 
 (| 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 
 fingci'ing. 
 
 Open string, 
 " First string, 
 
 " Second string, 
 
 Third string, 
 Right hand. First string, 
 " Second string, 
 
 " Third string, 
 
 Thumb, 
 
 
 
 1 
 2 
 3 
 
 FLUTE OR FLAGEOLET. 
 
 Open hole. Q 
 
 Oosed hole. % 
 
 Pinched, or partly :icsed hole. 9 
 
COMPLETE CLASSIFICATIOM OF THE 
 MUSICAL FORMS. 
 
 THE ELEMENTARY FORMS. 
 
 Figure, 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). 
 
 riotlve, a musical- idea, taken as a gernl or pattern for development. The 
 natural compass of a motive is one mlasure, which may be from any point 
 within the measure to the correspohding point in the next. A Motive 
 may be a fraction of a measure ; or it may run to two measures. 
 
 Phrase, 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. 
 
 Section, 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. 
 
 Period, 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 t37pe. 
 Perlod-Qroup, 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 Song-form 
 consists of two periods, of which the second is the consequent and coiji- 
 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 ^ 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 papular 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. 
 
SWMMARY OF FORM. 25 
 
 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 Cle- 
 ment! 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. 
 Binary Forms are those in whichthere 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 E 
 minor concerto, after a Principal in E minor he introduced a second in E 
 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 upin th" dominant side ; while the Third was in the subdominant oc 
 
36 SUMMARY OF POKll. 
 
 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 tp 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 above. 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 carel^s 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 overtures 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 types 
 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? 
 
 .;erto, 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, Sonala-satz) of the form 
 already described in the ternary forms. The first movement usually 
 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 slew 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 begiijs 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 in, begins with a vigor- 
 ous introduction, leading into a 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 
 mufeical 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 fonn, 
 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 ia/atlier. 
 
 e has (1) the sound of 8 iu pen, and (2) the 
 sound of a in fate. 
 
 I is pronounced like e in vie, and in short syl- 
 lables, 1 in pin, 
 
 J, at the beginning of a syllable, is like y in 
 you. At the end of a word it !■ like e in be. 
 
 o has the sound of 6 in tone. 
 
 u has always the sound of oo in coot. 
 
 CONSONANTS. 
 
 b, d, f, 1, n, p, q, v, are the same as in Eng- 
 lish. 
 
 c, before a, u, and u, has the sound of k ; be- 
 fore e, i, and y it has the sound of tsh, or that 
 of eh in the word cheek. When doubled (co) 
 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 lodae. 
 
 gh, followed by e or i, is pronounced like g 
 in go. 
 
 gl, followed by i, preceding another vowel, 
 ^ -pronounced like 11 in miUion. 
 
 gn, followed by a, e, i, o, or u, is like ni in the 
 English word minion. 
 
 gua, gue, gui are pronounced gwa, gwa, gwe. 
 
 gla, gio, glu 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. 
 
 sc, 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. 
 
 z has usually the sound of ts ; it is sometimes 
 pronounced like dz. 
 
 Italian words are pronounced exactly 8« 
 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 whii'h they 
 may be combined. 
 
 In words of two ,or more syllables there is 
 usually a slight emphasis placed on the pennU 
 or antepenult, but rarely on the last syllable. 
 
RUI<ES OF PRONUNCIATION. 
 
 29 
 
 GERMAN. 
 
 VOWELS. 
 
 a has the sound of a as in far, 
 
 au is like ou in lumse. 
 
 ai occurs but rarely, and has the sound on as 
 
 iupine. 
 ae OT a when long is lilce a in mate ; when 
 
 short it is lilse 6 in met. 
 aeu or au is like oy in bau. 
 e has (1) the sound of € as in help, and (2) the 
 
 sound of a^ iu }uU£. 
 ei has always the sound of i in pine. 
 eu is like oi in Imler. 
 I has the sound of 1 as in pin. 
 le takes the sound of e as iu tree. 
 o has the sound of o as in tone. 
 oe or 5 has nearly the sound of € as in feU. 
 u has the sound of 00 as in moon. 
 ue or ii has the sound of the French u. 
 y is used only iu foreign words, where it does 
 
 not differ from 1 in pin. 
 
 CONSONANTS. 
 
 b and d are pronounced as in English. 
 
 c is only used iu foreign words. Before e, i, 
 and y it is pronounced like ts ; before other 
 vowels and consonants it is like k. 
 
 ch 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 beginning of words ch is like k. 
 
 ch« Is pronounced like ks «r x. 
 
 f , I, m, p, t and x are the same as in English. 
 
 g has the hard sound as in go. In some parts 
 of Germany the unaccented final ig is soft- 
 ened into something like ikh. 
 
 h at the beginning of words is aspirated ; be- 
 tween two vowels the aspiration is very 
 weak, and before a cousnuant or at the end 
 of words it is mute ; but in this case it 
 makes thu preceding vowel long. 
 
 j is equivalent to the English y in you, and is 
 always followed by a vowel. 
 
 k is like the English k, but is never mute 
 before n. 
 
 ngsoundslikengin length; but in compound 
 words where Ibc first ends iu n and the last 
 begins wiih g, they ure separated, and both 
 pronounced distinclly. 
 
 q is always joined with u, and together they 
 are pronouuct-d like bw. 
 
 ph has the sound of f. ^ 
 
 pf unites the two letters iu one sound uttered 
 with compressed lips. 
 
 r has a stronger sound than in English, and 
 is the same at the beginuing, 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 ship. 
 
 th takes always the sound of t ; h being silent. 
 It has never the sound of th in iliee. 
 
 tz intensifies the sound of z. 
 
 V is pronounced like f. 
 
 w following a vowel auswers to the English v 
 
 z is pronounced like ts in nets. 
 
3P 
 
 RUtES OF PRONUNCIATION. 
 
 FRENCH. 
 
 VOWELS. 
 
 a has two sounds ; A as in mass, and £ as in bar. 
 
 alls like a in fate. 
 
 au is similar to o in English. 
 
 e is (Ij like 6 in nut ; (2) like a in fale; (S) sim- 
 ilar to £1 in bait, the latter chiefly In mono- 
 syllables, as le, de, etc. It is frequently si- 
 le-.tat the end of words. 
 
 el is nearly like a in /ate. 
 
 eu resembles tl in tvb. 
 
 i has the sound H) of 1 in pin, (2) of e in me. 
 
 la has nearly the sound of la in medial. 
 
 ie is like ce iu bee. 
 
 o is pronounced like d iu 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 w, we get an approximate sound of 
 the French u, or ii 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 i (II), the first forming a diphthong 
 with the preceding one and the 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 (I) the sound of k before a, o, or u ; (2) 
 -when written with the (edilla, 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 ae 
 rived froih the Greek, ch is pronounced 
 like k. 
 
 d is the same as in English. It is silent at the 
 end of woWs. 
 
 f is like the English ; when final it is usually 
 sounded. 
 
 E, before a, b, 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, th6 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 
 soundasin English; if preceded by a vowel 
 in the same syllable, they are always nasal 
 unless immediately followed by a vowel in 
 the next syllable. 
 
 am, an, em, en are pronounced somewhat 
 like an in want. 
 
 im. In, ym, aim, ain, elm, eln are pro- 
 nounced like au in anger. 
 
 cm and on are like on in song. 
 
 urn 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 usually followed 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 e. 
 s has generally the same sound as in English ; 
 
 between two vowels it has generally the 
 
 same sound as iu the English word rose. 
 se is the same as iu English, g final is gener 
 
 ally silent 
 
RULES OF PRONUNCIATION. 
 
 31 
 
 t has its hard English sound, but in tial, tiel, 
 and tion it has the sound of 5. 
 
 th is always the same as t alone, t final is 
 usually silent. 
 
 V is like the English, only a little softer. 
 
 w is found only in foreign words, and Is pro- 
 nounced lilce 11. 
 
 z, initial, is pronounced like gz ; it occurs but 
 in few words. 
 
 ex, at the beginning of words, is sounded like 
 egz. In other places, and between two 
 vowels, it is pronounced like ks. 
 z is like z in zone. 
 
 Final consonants, which would otherwise 
 be silent, are frequently sounded by carrying 
 them over to the next woid, when commenc- 
 ing with a vowel. 
 
 Note. — While the French language does not properly have syllabic 
 emphasis, the rate of speaking is very fast, and the practical result is an 
 emphasis upon the last syllable of words. This rule is almost universal. In 
 some cases we have marked it, in others not. 
 
PRONOUNCING AND DEFINING 
 
 DICTIONARY OF MUSIC. 
 
 ABB 
 
 A. 1. Name of a musical pitch produced by 
 {rom 435 to 450 yibiatlous per second, aud 
 the octaves of the same. Frencti pitch is 
 the former Tate aud American concert pitch 
 approximately the latter. Also the name 
 of all octaves of these pitches. 
 
 2. Tlie name of the staff-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 of modifying its pitch to auy 
 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 line. 
 
 A in olttsslmo. An octave above A iu alt. 
 
 A ballata (& bal-la'ta), /(. In the style of a 
 ballaia. 
 
 Abandon (a-banh-donh), Fr. Without re- 
 straint ; with self-abandon ; with ease. 
 
 A battuta (ii bat-too'ta), It. As beaten ; strict- 
 ly in time. 
 
 Abb. Abbr. for Abbassamento. 
 
 Abbadare (a.b-hS,-dsi'iS), It. Take care; pay 
 attention. 
 
 Abbandonasi (ab-ban-do-na'sl). It. Without 
 restraint ; with passionate expression. 
 
 Abbandonataniente(ab-ban-da'na-ta-m€u-te), 
 It. Vehemently; violently. 
 
 Abbandone (ab-ban-do'nS), It. Makinsr the 
 time subservient to the expression; de- 
 spoudingly; with self-abandonment. 
 
 Abbandone (ab-ban-do'u6), It. With passion- 
 ate expression. 
 
 Abbassamento di mano (ab-bas-sa-mgn'to de 
 mariio), It. The downbeat, or descent of 
 the hand in beating time. 
 
 Abbassamento di voce (ab-bas-sa-m$n'to de 
 vo'tshS), It. Diminishing or lowering of the 
 voice. 
 
 Abbasslmento (ab-bas-sI-mSn'to), /(. Under. 
 
 Abbellare (ab-beUa'r6), It. To embellish with 
 ornaments.. 
 
 Abbellimenti (ab-bei-ll-m^n'tl). It. Orna- 
 ments introduced tu embellish a plaiu mel- 
 ody ; grace uotes. 
 
 Abbellimento (ab-b61-ll-mSn't6), It. A grace 
 note, or ornament. 
 
 Abbellire (ab-bSl-le'rS), It. To embellish with 
 oruaments. 
 
 Abbellitura (ab-bSl-U-too'ra), „ 1 Orna- 
 
 Abbelli^ture (ab-bei-ll-too'rfi), ""• ; meuts; 
 embellishments. 
 
 Abbreviation marlcs. 1. Oblique strokes 
 which distinguish the eighth, sixteenth, or 
 thirty-second notes ; when appl ied to the stem 
 of the quarter or half note, signify as many 
 repetitious of the shorter note thus iudi- 
 cated as are equal to the longer note 
 
 represented. Thus, Sg is equivalent to 
 
 CS' SS" 
 
 2. A diagonal stroke with a dot each side 
 signifies a repetition of a group of notes, or 
 
 sometimes of a complete measure. 
 
 3. When the long notes are omitted, the 
 oblique strokes, distinKUisliiiig eighth, six- 
 teenth, etc., notes, aie sometimes employed 
 to denote a repetition of hueh short notes. 
 
 Thus, ^ ^ indicate a repetition of 
 
 eighths, sixteenths, thirty-seconds, respec- 
 tively. 
 
 4. A short horizontal line, a row of dots, 
 
 ii arm, i, add, & ofe, S end, e eve, liii, i iste, oold,6 odd, oo moon, t.lmt,\i Fr. sound, kh Qer. eft, nh naxaU 
 3 (33) 
 
ABE 
 
 DICTIONARY OF MUSIC. 
 
 AGO 
 
 or a waving line is used to express the repe- 
 tition, or a continuation of the influence, of 
 the I receding character. Thus, 
 
 mi - - sot --do 
 - 5. A combinatinn of rests so written as to 
 denote a long period of si 
 
 P 
 
 ^^ 
 
 lence. Tnese rests indi- 
 cate a period of eleven 
 measures' silence. 
 
 fi. Figures, when placed upon the stafl', or 
 over a measure ia which rests 8 
 are written, serve to indicate 
 the number of whole, rests or 
 measures of silence. 
 
 Abendmusik (a-b6ud-moo-sek'), Ger. Evening 
 music; music of a soft and quiet character. 
 
 A bene placito (a ha'ng pla-tshe'tC), /(. At 
 pleasure. 
 
 Abgestossen (ab-ghe-stos's'n), ^„„ 1 cj„„„,, 
 or Abstossen lab-stos's'n), <?«»•• | Staccato. 
 
 Abnehmend (iib-na'mgnd), ffer. Fading away ; 
 dimiuueudo. 
 
 Absatz (ab-satz), Ger. Cadence. 
 
 Absolute music. Music developed freely, ac- 
 cording to its ideal, merely as music. In 
 contradistinction to vocal music, which is 
 restricted by the words; program music, de- 
 voted to a series of incidents ; and dance mu- 
 sic, restricted to the steps of the dance. In 
 short, high art music, loyal to the highest 
 Ideal. 
 
 Absteigende Tonarten (ab-sti-g6ndS tou-ttr- 
 t'n), Ger. Descending scales or keys. 
 
 AbtSnen (ab-tSh'nSn), Ger. To deviate from 
 the right tone. 
 
 Abub (a-boob), Heb. A flute, or hautboy. 
 
 Abwechseind (ab-v6k's'lnd), Ger. Alternat- 
 ing ; cbanging. In organ-playing, alternate- 
 ly, with different manuals; in choir-sing- 
 ing, antiphonally ; In dance music, change 
 of movements. 
 
 Abyssinian flute. An instrument resem- 
 bling the German flute, but with mouth- 
 piece like the clarinet, and played upon 
 from the end like an oboe. 
 
 Academie de Mujique (a-ka-dg-me dtih raoo- 
 seek'), Fr. An academy of music, consist- 
 ing of professors and scholars ; a society for 
 promoting musical culture. 
 
 Academie Royale de Musique, Fr. The name 
 
 ' given to the opera-house in Paris. 
 
 Academie spirituelle (a-kadS-me spl-rl-too- 
 &l')r Fr. A performance or concert of sa- 
 cred music. 
 
 A cappella (a kap-p51'la), „ 1 In the church 
 or. Alia cappella. I or chapel style. 
 
 Without instrumental accompaniment. 
 
 T, 1 Abbreviations )f 
 , ■ J Accelerando. 
 
 A capriccio (a kii-prl'tshlo). It. In a ca- 
 pricious style ; according to the taste of the 
 performer. Especially in the matter of time 
 and phrasing. More commonly the former. 
 
 Acatalectlc {a-ka-ta-16k'tlc). Gr. A verse 
 having the complete number of syllables 
 without superfluity or deficiency. 
 
 Acathistiis (a-kg-thls-toos), Gr. A hymn of 
 praise sung in the ancient Greek Church 
 in honor of the Virgin. 
 
 Academia (a-ka-dS-me'a), It. An academy. 
 The word also means a concert. 
 
 Accarezzevole (ak-ka-rSt-tsa'vo-lfi), It. Bland- 
 ishing; in a persuasive and caressing uan- 
 ner. 
 
 Accare22evolmente(ak-ka-rSt-ts8-v61-m6^'\S), 
 It. Caressingly; coaxingly. 
 
 Accel. (at-tshSl), 
 
 Acceldo. (at-tshsl-do). 
 
 Accelerando (at-tsh61-e-ran'd6>. It. Accel ',r- 
 aiing the time; gradually increasing (ko 
 velocity of the movement. An acceleran So 
 generally occurs when approaching a tli- 
 max. The disturbauce thus produced Jn 
 the long rhythms is generally compensated 
 by corresponding retards at the climax. 
 
 Acceleratamente (at-tshSl-S-rii-ta-mfin'tS), /(. 
 
 Speedily. 
 Accelerate (at-tshgl-e-ra'to), /(. Accelerated; 
 
 increasing in rapidity. 
 
 Accent. 1. Stress, or emphasis, (a) tipon a 
 certain division of measure; (6) a tone in a 
 figure; (i;) a chord in an harmonic phrase, 
 and the mark or marks by means of which 
 such stress is indicated. Measure accent 
 falls upon the beginning of the first beat; 
 and in- measures having more than three 
 beats, upon the first beat of each aliquot 
 part likewise. {See Measure.) Besides the ac- 
 cent upon the beat (the bar indicating the 
 place of the strong accent to be upon the 
 next time-place following) there are subor- 
 dinate grades of what might be called "mo- 
 lecular" accentuation, upon the beginning 
 of divided beats, and upon the beginning of 
 each aliquot part of a beat when thesubdi- 
 vision extends to quarter-pulse division. 
 
 2. The accentuation of a melodic phrase 
 is primarily determined by the measure, but 
 the occurrence of dissonance adds fresh 
 element, every dissonance occurring upon 
 the beginning of a beat, or upon the begin- 
 ning of a half beat (in quarter-pulse subdi- 
 vision), receivinganaccentof itsown, parlly 
 due to its rhythmic place, but intensified 
 for the sake of the dissonance. So also dis- 
 sonant chords, such as appoggiaturas. sus- 
 pensions, etc., are accented. What is called 
 Syncopation is an accent breaking into the 
 natural order of the measure. (See Synco- 
 pation.) 
 
 3. Also the name applied to the marks in- 
 dicating accent. The chief of these are the 
 horizontal short angle > , and the abbre- 
 viation 8/. or sfz. In old music (from Mozart 
 and before) the expression /p. often occurs 
 
 i arm, a add, a ale, 6 end, e eve, I ill, i isle, o old, odd, oo moon, a but, (i Fr. sound, kh Ger. eft, nb nasa^ 
 
 m 
 
ACC 
 
 DIOTIONAEY OF MUSIC. 
 
 ACC 
 
 ludioaling that one tone is loud and all the 
 following soft. (See Forsando, also Sfor- 
 sando.) The short vertical accent standing 
 upon its base (a) is not properly an accent, 
 but a mark of tenuto (q. v.), but in some 
 French and Belgian music it is occasionally 
 employed where the horizontal mark is in- 
 tended. 
 
 4. Accent is the life of music, and is of 
 multitudinous variety of shading and in- 
 tensity. 
 Accento (at-tshfin'to), It. Accent or emphasis 
 
 laid upon certain notes. 
 Accent! (at-tshfin'te). It \ Accents 
 Accent (ak-sanh), J-r. | Accents. 
 
 Accentuate (at-tshSn-too-a'rS), 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-tsh6n-too-a't6). It. Distinctly 
 and strongly accented. 
 
 Accentuiren (ak-tsSn-too-e'r'n), Ger. To ac- 
 cent. 
 
 Accentus (ak-.sen'toos), LaC. Accent. " Un- 
 der the name Accentus were classed those 
 portions of the ritual song (of the Roman 
 Catholic Church) chanted or intoned by the 
 oiBciatiug priest, the deacon, subdeacon, or 
 other sacred ministers at the altar; in con- 
 tradistinction to Concentzts, which referred 
 to all that should be sung by the assistants 
 or by a special trained choir." (Rev. F. H. 
 Haberl.) See the next article. 
 
 Accentus ecclesiastici, Lat. Ecclesiastical ac- 
 cents are melodic forms used in the Roman 
 Catholic Church in chanting, or rather re- 
 citing, the collects, epistles, gospels, etc. 
 These melodic inflections which vary the 
 monotone recitation, correspond with the 
 comma, colon, semicolon, period, mark of 
 interrogation, etc. See the preceding article. 
 These variations were of seven kinds, called 
 the immutabiiis, m* d/w, gravis, acutu.*, mnde- 
 ratus, interrogn'us, and firmlis, each of which 
 was practically an upward||Or downward 
 inflection extending to a particular interval, 
 namely: immutnbWiB, monotone; Tnedivs, a 
 minor third, sol me; ffrn™, a fifth, soldo; 
 actUus, sol mi me sol; modemtus, sol iasol ; 
 ivierrogatuK, sol fa fa sol ; finatis, sol la sol fa 
 mi re— thus closing on the ecclesiastical 
 Dorian key. 
 
 Accessory notes. Those notes situated one 
 degree 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 (at-tshl-ak-ka'rg), It. A broken 
 
 and unexpected way of striking a chord. 
 Acciaccato (iit-tshl-iik-kii'to). It. Violently. 
 
 Acclaccatura (at-tsM-ak-ka-too'ra), It. A spe- 
 cies of arpeggio; an accessory note placed 
 before the principal note, the aocent being 
 on the principal note. Practically about the 
 same as an appoggiatura. 
 
 Accidentl (at-tshl-dfin'te), It.\ a„„!.:i„„<.„i. 
 Accidents (ak-si-danh), »r. \ Accidentals. 
 
 Accidentals. 1. The name applied to sharps, 
 flats, naturals, double sharps, and double 
 flats occurring in written music elsewhere 
 than in the signature. [See Signature.) The 
 name accidental appertains to the charac- 
 ters only, and not to the tones they help to 
 iudicate ; many of the tones written by the 
 help of these unforeseen characters being 
 merely the natural diatonic tones of the 
 key into which the passage may have mo- 
 mentarily digressed. (See Moduiation.) More-j 
 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 throughout the 
 measure in which they occur ; and In strict 
 practice no farther. But there have been 
 theorists holding that in certain cases (as 
 when the la^t tone of the measure is writ- 
 ten with an accidental, and this tone is tied 
 over into the next measure) the accidental 
 is continued until some other tone Inter- 
 venes in the same voice. In consequence of 
 this questionable exception the great ma- 
 jority of composers introduce a natural be- 
 fore again using a staff-degree recently af- 
 fected by an accidental, even when it occurs 
 in a later measure, but in immediate Con- 
 nection. This practice is precautionary, on- 
 ly. It would be simpler to make the rule 
 inflexible that the influence of the acci- 
 dental ceases with the measure in which it 
 occurs. 
 
 Unlike chromatic signs in the signatures, 
 accidentals do 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, both to those in 
 the signature and those occurring in the 
 course of a piece. The origin of all these 
 signs are the "roiind B" (B rotuiidum) and 
 "square B " (B quadratum), by which in the 
 middle ages B-flat was distinguished from B- 
 natural. By and by the two forms of the 
 letters became common signs of elevation 
 and depression, being applied not only to B, 
 butalsoto othernotes. Toe square Bassiim- 
 ed various shapes, two of them likeoursharp 
 and natural; but no distinction was made 
 between them till towards the end. of the 
 seventeenth century— a flat not only flat- 
 tened a natural note, but also revoked a 
 preceding sharp; a sharp not only sharp- 
 ened a natural note, but also revoked a pre- 
 ceding flat. Double sharps and flats did 
 not come into use till ahout 1700. In 
 earlier times, more especially before 1600, 
 
 a arm, a add, a ale, 6 end, e eve,i lU, i isle,o old, 6 odd, oo moan, Xs. but, ii Fr.eound, kh Oer. ch. nhnojoJ. 
 
 (35) 
 
ACC 
 
 DICTIONARY OF MTSIC. 
 
 ACH 
 
 composers left it very much to the per- 
 formers to find out what accidentals were 
 required. For a long time, if there was any 
 signature at all, it consLsted of a fiat only. 
 Before the seventeenth century it was not 
 customary to put more than one flat or one 
 sharp in the signature. Even as late as the 
 first half of the eighteenth century we meet 
 with various anomalies. Bach , Handel, and 
 their contemporaries,^ for instance, furnish 
 examples of placing one flat and one sharp 
 less in the signature than the 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 
 cenfury. 
 Accolade (at-ko-lad'), Fr. The brace which 
 connects two, three, or more staves to- 
 gether. 
 
 A^mi) I Abbreviations of Accompaniment. 
 
 Accom. ad lib. An abbreviation of Accompa- 
 niment ad libitum. 
 
 Acconi!nodare(ak-k6m-mo-da'rS), It. To tune 
 an instrument. 
 
 Accompagnamento (ak-kom-pan-ya-mSn'to), 
 It. Accompaniment; the figured bass or 
 harmony. 
 
 Accompagnare (ak-kdm-pa-na'rg). It. To ac- 
 company ; to play from the figured bass. 
 
 Accompagnato (ak-kom-pa-na'to), /(. Accom- 
 panied. 
 
 Accompagne (ak-komh-panh-ya), Fr. Accom- 
 panied. 
 
 Accompagnement (ak-komh-panh-y«-manh), 
 Fr. An accompaniment. 
 
 Accompagner (akkomh-panh-ya), Fr. To ac- 
 company. 
 
 Accompaniment. A part added to a solo or 
 other principal part, to enhance and enrich 
 its effect. Vocal or instrumental parts' in a 
 composition which do not include the prin- 
 cipal melody but fill up the harmony, sus- 
 tain the rhythm, and, Dy tmbellishments, 
 heighten the general efTect. 
 
 Accompaniment ad libitum. Use the accom- 
 paniment or not, at pleasure. 
 
 Accompaniment obligato. The accompani- 
 ment must be used. 
 Accompanist. The person playing the ac- 
 
 cumpaiiiment. 
 Accomp. oblto. An abbreviation of accompa- 
 
 nimeuto obligato. 
 Accoppiato (ak-kop-pl-ii'to), //. Bound, tied; 
 
 joined together. 
 .\ccorciare (ak-kor-tshl-a'r^), It. To contract, 
 
 to abridge. 
 Accord (iik-kor), Fr. A chord ; a concord ; 
 
 cousonaiice. 
 Accordamento {ak-kdr-da-m6n'td). It. Accord 
 
 of pans : unison. 
 
 Accordando (ak-kor-dan'do), It. Tuning. 
 
 Accordant (ak-kor-danh), Fr. In concord, in 
 
 unison. 
 Accordare (ak-kdr-da'r€). It. To tune, to 
 
 cause to accord. Many derivatives occur. 
 Accordato (ak-kor-da'to). It. Accorded, in 
 
 tune. 
 Accordatore (ak-kor-da-to'rS), It. One who 
 
 tunes instruments. 
 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 beaccom- 
 panied with a tonic and dominant harmo- 
 ny. At first it was used only as a toy, but 
 the introduction 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 (g.i;.) 
 and the harmonium (g.v.) are superior in- 
 struments constructed upon similar princi- 
 ples. 
 
 Accorder (ak-kor-da), Fr. To tune an instru- 
 ment ; to sing or play in tune. 
 
 Accordeur (ak-kor-dflr^, Fr. One who tunes 
 
 ' an instrument. 
 
 Accordi (ak-kor'de). It. Play again as before. 
 
 According. An harmonious blending of dif- 
 ferent parts. 
 
 Accordiren (ak-kor-de'r'n), Ger. To accord. 
 
 Accordo consono (ak-kor'do kon'so-no), It. A 
 concord. 
 
 Accordo dissono (ak-kor'do dls'so-no). It. A 
 discord. 
 
 Accordoir (ak-kor-dwS'). Fr. A tuning-key, 
 tuning-hammer 
 
 Accresciuto (ak-kre-sbloo'to). It. Increased, 
 superfiuous, augmented in respect to inter- 
 vals. 
 
 Acceleratamente (at-tshgl-S ra-ta-mgn'tfi, B. 
 Speedily, swiftly. 
 
 A cemb. An abbreviation of A cembalo. 
 
 A cembalo (a tshem'ba-lo). It. For the harp- 
 sichord or cembalo. 
 
 Acetabulum (a-ts6-ta'boo-loom), Lat. An an- 
 cient instrument of music. 
 
 Achromatic music. Simple music in which 
 modulations seldom occur, and lew acci- 
 dental fiats and sharps are used. 
 
 a arrfi^ & add, a ale, 6 end, e€vc,i.ill,i isle,6 old,6 odd, oo moon, H but, ii Fr. sound, kh Ger. ch, nh nofldZ. 
 
 (36) 
 
ACH 
 
 DICTIONARY OP MUSIC. 
 
 ADE 
 
 Acht (akht), Ger. Eight. 
 Achtel (akh't'l), Ger. Eighth, quaver or 
 eighth note. • 
 
 Achtelnote (akh't'l-no'tS), Oer. A quaver, an 
 eighth uote. 
 
 Acbtefpause (akh't'l-pou'sfi), Ger. A quaver 
 or eighth-note rest. 
 
 Achtfusston (akht-foos-ton), Oer. Eight-foot 
 tone. A tone which sounds as written, in 
 contradistinction from a sixteen-foot tone, 
 which sounds an octave lower; or a four- 
 foot tone, sounding an octave higher than 
 written. 
 
 Achtstimmigr (akht'stlm-mlg), Ger. For eight 
 voices. 
 
 A cinque (£i tsbln-kwe). It., or (a sanhk), Fr. 
 For live voices or Instruments. 
 
 Acolytes. Persons, usually boys, employed 
 In the musical services of the Catholic 
 Church, or as assistants to the priest at the 
 altar. 
 
 Acolythi fil-ko-le'thl), Gr. Acolytes. 
 
 Acolythia (a-ko-le'tM-a), Gr. The order of 
 service observed in the Greek Church. 
 
 Acousmate (a-koos-mS,t), Fr. The sound of 
 instruments or voices Heard in the air. 
 
 Acoustics. The science which treats of the 
 nature and properties of sounds. 
 
 Acoustique (a-koos-tek), Fr, Acoustics. 
 
 Acte (akt), Fr. An act; a part of an opera. 
 
 Acte de cadence (akt dab ka-danhs), Fr. A 
 cadence; a final part. 
 
 Actear (ak-ttlr'), ii'r. 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 parts 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 (ak-weef), Fr. Acuteness. 
 
 Acustica (iirkooz'ti-ka). It. Acoustics; the 
 doctrine of sounds. 
 
 Acustik (a-koos'tik), Ger. Acoustics. 
 
 Acustisch (a-koos'tlsh), Oer. Acoustic. 
 
 Acuta (a-koo'ta). It. Acute, shrill; also, a 
 shrill-toned organ-stop of two-foot pitch. 
 
 Acute. High, shrill, sharp as to pitch. 
 
 Acuteness, Refers to the pitch of sounds. 
 Tiie greater the number of vibrations, tte 
 higher or more acute does the sound be- 
 come. 
 
 Ad (ad), Lai. At, to, for, by. 
 
 Adas. An abbreviation of Adagio. 
 
 Adagietto (a-da'jl-6t-to). It. Slow, but not 
 quite so slow as adagio. 
 
 Adaeto (a-da'ji-o). It. A slow rate of move- 
 ment, slower than andante, but not so slow 
 as lento, grave, or largo. Often employed 
 as the name of a movement in a symjjhuny 
 or sonata. 
 
 Adagio assal (a-da'jl-o as-sa'S), It. Very slow 
 and with much expression. 
 
 Adagio cantabile e sostenuto (a-da'jl-o Uan- 
 ta'bl-16 a s6s-l6-noo't6), /(. Slow, in u siug- 
 ing style and sustained. 
 
 Adagio con gravita (a-da'jI-3 kon gra'vl-tii) /(. 
 Blow, with gravity and majesty. 
 
 Adagio molto (a-da'jl-6 mol'to), It. Very slow 
 and expressive. 
 
 Adagio non troppo (a-da'jI-6 non trop'po). It. 
 Not too slow. 
 
 Adagio patetico (a-da'jl-6 pa-t6'tl-k6), It. 
 Slowly and pathetically. 
 
 Adagio pesante (a-da'jI-o p&-zan'tS), It. Slow- 
 ly and heavily. 
 
 Adagio pol allegro (a-da'jl-6 p6-e al-la'gr6). It. 
 Slow, then quick. 
 
 Adagio quasi una fantasia (iirda'jl-o kwa-se 
 oo-na fan-t£L-6e'aj, It. An adagio similar to 
 a fantasia. 
 
 Adagio religiose (il-da'jI-6 r6-ll-ji-6's6), It. 
 Slowly, and in a devotional manner. 
 
 Adagisslmo (a-da-jis'sl-mo), It. Extremely 
 slow. 
 
 Adaptation. A union of sentiment between 
 the words and the music. 
 
 Adattare (a-dat-til'rS), It. Adapted. 
 
 Adattazlone (ii-dat-ta-tsl-o'ng), It. Adapta- 
 tion. 
 
 Ad captandum (ad cap-tan'doom), Lat. In a 
 light and brilliant style. 
 
 Added lines. Short lines, either above or 
 below the staff; ledger lines. 
 
 Added sixth. A sixth added to a fundamen- 
 tal chord. 
 
 Addltato (ad-dl-ta't6). It. Fingered. 
 
 Additional keys. Those keys of a pianoforte 
 which extend above F in Alt. 
 
 Additional accompaniments. Accompani- 
 ments or parts added to a choral work by a 
 later hand than that of the composer, in 
 order to bring the instrumentation more 
 nearly to the later standard of fullness and 
 sonority; or to introduce instruments of 
 later Invention. Farts of this kind have 
 been added to "The Messiah" by Mozart, 
 Robert Franz, and others. 
 
 Addolorato (ad-dd-16-ra't6). It. With sad and 
 melancholy expression. 
 
 Addottrlnante (ad-d6t-tre-nan't6). It. Teach- 
 er, professor. 
 
 A demi-ieu (adfi-ml-zhd), i With half 
 
 A demi- voix (a d«-mi-vwa), ' J tl»e voice or 
 tone. See Mezea Voce. 
 
 ft arm, & add, a<Ue,& end, e eve, I ill, I UU, 6 old, 6 odd, oo moon, tl but, fi Fr. aownd, kh Qer. eh. nh naaal. 
 
 (87) 
 
ADE 
 
 DICTIONARY OF MUSIC. 
 
 MO 
 
 Adept. A thorough composer, performer, or 
 singer. 
 
 A deux (a dilh), Fr. For two voices or instru- 
 meuts. 
 
 A deux temps (a ddh tanh), Fr. In two 
 time ; two equal notes in a measure. 
 
 Adlaponon (a-dI-&-p6-uon), Or. A species of 
 pianoforte with six octaves : invented in 
 1820 by Lab uster, a watchmaker of Vienna. 
 The tone was produced from metal bars. 
 In a later adaptation of the same idea, called 
 the Atiiajthone, the tones were produced 
 from tuning-forks. Both these forms were 
 of permanent tune 
 Adiratamente (a-dl-ra-ta-mSn'te), j, \ Angrily, 
 Adirato (a-dl-ra'to), ' j sternly. 
 
 A dirlttura (a d!-rlt-too'ra). It. Directly; 
 
 straight. 
 Adjuvant (ad'yoo-vant), Ger. The deputy 
 
 master of the choristers; assistant to an 
 
 organist. 
 Ad lib. An abbreviation of Ad libitum. 
 
 Ad libitum (ad llb-I-toom), Lat. At will, at 
 pleasure ; changing the time of a particular 
 passage at the discretion of the performer. 
 
 Adonia (a-do'nl-a), Ger. A solemn feast of 
 the ancients at which hymns and odes were 
 sung 
 
 Adonic verse. A verse consisting of one 
 long, two short, and two long syllables. 
 
 Adornamente (a-dor-na-mSn'tS), It. Gaily, 
 neatly, elegantly. 
 
 Adornamenti (a-dor-na-mSn'tl), It. Embel- 
 lishments. 
 
 Adornamente (a-dor-na-men'to). It. An or- 
 nament, an embellishment. 
 
 Adoucir (ft-doo-ser), Fr. To soften, to flatten. 
 
 A due, or, A 2 (a doo'6). It. For two voices 
 
 or instruments ; a dnet. 
 A due clarini (a doo'6 kla-re'ni). It. For two 
 
 trumpets. 
 A due corde (a doo'6 kor'dS), It. Upon two 
 
 strings. 
 A due cori (a doo'S ko're). It. For two choirs. 
 
 A deux mains (a dflh manh), J<'r. 1 For two 
 A due man! (a doo'S ma-ne), It. J hands. 
 
 A due soprani (a doo'6 so-pra'ne). It. For two 
 
 trebles. 
 A due stromentl (a doo'6 stro-m6n'ti). It. 
 
 For two instruments. 
 A due voce (a doo'S v6'tsh6), It. For two 
 
 voices. 
 A-dur (a-door), Ger. The key of A major. 
 
 iCdophone. A musical instrument invented 
 in the eighteenth century. 
 
 iColian. One of the ancient Greek modes 
 answering to the diatonic succession, la si 
 do re mi fa sol la; referring to the winds; 
 played upon by the wind. 
 
 /Eollan, the. An automatic instrument of 
 the reed organ class, with many sets of reeds, 
 and mechanism enabling itto perform over- 
 tures and much pretentious music. 
 
 ^olian harp. An instrument invented by 
 Kircher about the middle of the seventeenth 
 century. The tones are produced by the 
 strings being so arranged that the air causes 
 vibration among them when it passes 
 through. 
 
 The box of the .ffiolian harp should be 
 long enough to exactly fit tne window 
 where it is proposed to place it, and about 
 five or six inches deep. There should be at 
 least six strings of silk or gut, tuned in 
 unison, passing over bridges about three 
 fourths of an inch high, near each end. Cn- 
 der the influence of the wind the strings 
 vibrate in sweetly harmonious chords, 
 changing with every variation in the cur- 
 rent of the wind. ''Oi course all the tones 
 produced are necessarily partial tones of the 
 vibrating striug ; but the varying intensity 
 of the wind makes so many changes in the 
 combinations of tones produced as to give 
 at times much the eflfeut of mysterious in- 
 telligence. 
 
 /Eolian lyre. The .ffilolian harp. 
 
 /Eolian mute. A combination of the Moli&n 
 pitch-pipe and the mute for the violin. 
 
 yGollan pianoforte. A pianoforte with reed 
 attachment, invented and manufactured by 
 the firm of T. Gilbert & Co., Boston, about 
 1850. The piano, of the small pattern of 
 square then unfversally manufactured, was 
 provided with a set of free reeds and a bel- 
 lows operated by a pedal at the right of the 
 regular pedals of the piano. The reed in- 
 strument was of the old-fashioned "melo- 
 deon" pattern, the reeds being practically 
 unvoiced, and the bellows of the pressure 
 variety. The design of the addition was 
 that ol giving the piano a sustaining power, 
 which up to that time had not been secured. 
 The efTectof the two tones in combination 
 was agreeable in passages where sostenuto 
 was desired. But the in.>itrument had only 
 a temporary currency in consequence of th-ij 
 practical impossibility ol keeping the strings 
 in tune wifh the reeds. 
 
 /Golodicon (a-o-lo'dl-kon), 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. 
 
 .,Colodion (a-o-lo'dl-on), Gr. An seolodlcon. 1 
 
 Aeolsharfe (a'ols-har'fS), Ger. An jEolian 
 harp. 
 
 JEolus modus. The .Slolian, or fifth. Au- 
 thentic mode of the Greeks, nearly allied to 
 the Phrygian mode. The scale is the same 
 as the old scale of A minor without any/ 
 accidentals. (See Greek Modes.) 
 
 JEoUma (a-6-ta'na), Gr. A very small musical 
 instrument made of several short metallio 
 
 a arm, i, actiX, a a!e, i end, e due, liU,\ isle, 6 old, 6 odd, 00 moon, a but, iX Fr. sound, kh Ger. ch, nh noaoi, 
 
 (38) 
 
iEQ 
 
 DICTIONARY OF MUSIC. 
 
 AGI 
 
 , reeds fasiened in a rrame and played upon 
 by the breath ot che performer. Perhaps 
 the ancestor of the modern " jew's-harp." 
 
 Aequal(a->kwal''.ff'T.,from Lat. Generally ap- 
 plied to organ stops, in which use it signi- 
 fies "8 ft." 
 
 Aeolsklavier(a-ols-kla-veer'), Oer. .fflolian pi- 
 ano. An obsolete keyboard wind instru- 
 ment, invented in 1825 by schortmHun, of 
 Euttlestedt. It had reeds of w.iod instead 
 of metal, by the vibration of which a soft, 
 pleasing tone was produced. 
 
 /Gquisonans (a-qnl-Bo'iiaus), Xaf. A unison; 
 of the same or like sound, 
 
 /Gqulsonus. Sounding in unison ; coucord- 
 ant. 
 
 £re recurvo (a-r6 rS-coor'vo)^ Lat. A militarv 
 wind instrument resembling a trumpet; 
 the bucena. 
 
 ^rophone (e'ro-fon). A French reed instru- 
 ment of the melodeon class. 
 
 <4Esthetlc5 (8s-thStlks), Gr. The principles or 
 laws of the beautiful. The chitf writers 
 upon this department of philosophy have 
 been Germans, the foremost beiug Winkel- 
 maun. Herder, and Hegel. The latter made 
 the most ambitious attempt to discover the 
 principles of the musically beautiful. A- 
 moDg recent writers, Schopenhauer is to be 
 mentioned as having gone Into this subject 
 more deeply, and in a more successfnl man- 
 ner than any of the others. 
 
 Aeusserste Stimmen (ois's8rs-t6 stIm'mSn), 
 Oer.pl. The extreme parts. 
 
 iCvia (a'vi-a), /(. An abbreviation of the 
 word Alleluia. 
 
 Affabile (af-fa'bl-lS), It. In a courteous and 
 pleasing manner. 
 
 Affabilita {af-farhe'11-ta), „ IWithea^e 
 
 Affabiimente (af-fa-Ml m6n't«), ■"■• J and ele- 
 gance : with freedom ; in a pleasing and 
 agreeable manner. 
 
 Affanato (af-fa-na'to), It. Sad, mournful, dis- 
 tressed. 
 
 Affanoso (af-fa-no'so), It. With mournful ex- 
 pression. 
 
 Affectation. An sittempt to assume or exhibit 
 what is not natural or real. 
 
 Affectirt (af-ffik-tlrf), Ger. With afTectation. 
 
 Affectueux(af-f8k-tii-0h), Fr. Affeetionate. 
 
 Affet. An abbreviation of Aflfettuoso. 
 
 Aflettatamente (af-f«t-ta-ta-m6n'tS), It. Very 
 affectedly. 
 
 ASfettazione (af-ffit-ta-tsl.o'ne), It. An artifi- 
 cial style. 
 
 Affettivo (af-fet-te'vo), It. Affecting, pathetic. 
 
 .\ffetto (af-f6t't6). It. Feeling, tenderness, 
 pathos. 
 
 Affettuosamente (af-fSt-too-o-za-mfin'tg), It. 
 With tenderness and feeling. 
 
 Affettuoslssimo (af-f€t-ton o-sSs'hl-mo), It, 
 With pathos; with tender expression. Su- 
 perlative of Affettuoso. 
 
 Affettuoso {af-ffit-too-6'z6). It. With tender 
 feeling or emotion. 
 
 Affettuoso di molto (af-f«t-too-6'zo de mol'to), 
 Jf. With much feeling. 
 
 Affiche de com^die (af-flsh dUh ko-mS-dej.Jr. 
 A playbill. 
 
 Affilas {or 'lias) il tuono fiif felas el too-6'ud), 
 //. 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 (aC-flet'to), „ 1 Sorrowfully, 
 
 Afflizioiic (af-fle-tsI-0'.iiS), | with mouruful 
 expression. » 
 
 Affref ». An abbreviation of Affrettando. 
 
 Affrettando(af-frSl-tan'do), „ 1 Hurrying, 
 
 Affrettate (af-fr6t-ta'tS) J quickeumg, 
 
 Quick, accelerat- 
 
 g-p^U^jq 
 
 Liglltly, 
 easily, 
 
 acceler,itini; 1 he time. 
 
 Affrettoso (af-frfit-to'zo), II. 
 ed, hurri.d. 
 
 A f of a (a fo-ra), Por. A Portuguese dance re- 
 sembling Ibe-fandango. 
 
 After note. A small note occurring on an uu- 
 at'ceuied part of the writteo. petfonMd. 
 measure, and takiii[ r , ■ . i ["J i 
 its time from the note 53!s= ^.3 J — 
 preceding it. ^~=»' 
 
 After notes, double. 
 
 - Two alter iioles tak- 
 ing their time from 
 the prerertmg note. 
 
 Agevole faja'v6-16), t. 1 
 
 Agevolmente (a-j6-vol-mSn't8), } 
 with agility. 
 
 Agevolezza (arjS-vo-lSt'tsa), It. Lightness, 
 ease, agility. 
 
 Aggiustamente (ad-joos-ta^men t8). It. In 
 strict lime. 
 
 Aggiustare (ad-joos-ta'fS), „ 1 Adjusted, ai"- 
 
 Aggiustato (ad-joos-ta'to), J ranged, 
 
 adapted. 
 
 Aggraver la fugue (ag-gra-va la fiig), Fr. To 
 augment the subject of fugue. 
 
 Agilita (a-je'll-ta), Jt. Lightness, agility. 
 
 Agilita, con. /(. With agility, with light- 
 ness, with rapidity 
 
 Agllmente (a-jel-mSn'tgl, It. Nimbly gajf. 
 
 Agiren (a-ghe'r'n), Oer. To act to mimic. 
 
 Agitamento (a-jI-tSrm8n'tS), It. Agitation, 
 restlessness, motion. 
 
 Agitato (ajMa'to), It. Agitated, hurried, 
 restless. 
 
 Agitato allegro (ilrji-tii'td al-la'gro). It. An 
 allegro which is not steadily held, but it 
 nervous, unsteady, and unreposeful. 
 
 Agitato cr<n passlone (a-jl-tii'td kOn pas-sl- 
 6'n8), It. Passionately agitated. 
 
 Agite (a-zhet), Fr. Agitated. 
 
 M, a ale, 6 end, e eve, iill,i isle, 6 old, 6 odd, oo moon, abut, ii Fr. la 
 
 (39) 
 
 ncMol. 
 
AGL 
 
 DICTIONARY OF MUSIC. 
 
 ALB 
 
 Agli (al'ye), /(. pi. See AUa. 
 
 Aznus Dei (ag'noos da-e), Lai. " Iiamb of 
 God." Last movement in the Ma£s. 
 
 Aeoge (a-go'ghe), Or. Used by the ancient 
 Greeks to signify melodic motion of differ- 
 ent kinds necessary to musical expression. 
 In modern use restricted to accent and ex- 
 pression. (Not sanctioned by authoritative 
 usage.) 
 
 Aeoge rhythmica (a-gyghg rlth-ml-ka), Gr. 
 Rhythmical movement. 
 
 Agogik la-go'ghlk), Ger. The art of express- 
 ive nuance (variety) in tempo. (Eubato, 
 accelerando, etc.) 
 
 A grand chceur (kiir), Fr. For the entire 
 chorus. 
 
 A grand orchestre (6r-k6str), Fr. For the 
 full or complete orchestra. 
 
 Agrem^nts (a-gra-manh), Fr.pl. Embellish- 
 ments, ornaments. 
 
 Ai (a-e), It. To the ; in the style of. 
 
 Aigre (agr), Fr. Harsh, sharp. 
 
 Algrement (Srgr-manh), Fr. Sharply, harshly. 
 
 Aigu (a-gil), Fr. Acute, high, sharp, shrill. 
 
 Air. A short song, melody, or tune veith or 
 without words. A series of tones bearing a 
 certain relation to each other by their sym- 
 metry and regularity, producing a unity of 
 effect, which is called " a tune." 
 
 Air a boire (ariibwilr), Fr. A drinking-song. 
 
 Air a reprisAS (ar a rSh-prez), Fr. A catch. 
 
 Air chantant (ar piianh-tanh), Fr. An air in 
 graceful, melodious style. 
 
 Air detache (ar da-ta-sha), Fr. A single air 
 or melody extracted from an opera or larjer 
 work. 
 
 Air ecossals (ar a-o6s-sa), Fr. A Scotch air. 
 
 Air iriandais (ar er-lanh-da), Fr. Irish air. 
 
 Air Italien (arI-ta-11-anh), Fr. An Italian air. 
 
 Air rapide (ar rapped), Fr. A flourish. 
 
 Airs des batellers venetiens (ar d6 ba^tS-ler 
 vS-na-si-anh), Fr. Melodies sung by the 
 Venetian gondoliers and boatmen. 
 
 Airs fran(ais (ar franh-sa), Fr. French airs. 
 
 Air russes (ar rus), Fr. Eussian airs. 
 
 Airs tendres (ar tanh-dr), Fr. Amatory airs ; 
 love songs. 
 
 Air varie (ar varrl-a), Fr. Air with variations ; 
 
 . an air embellished and ornamented. 
 
 Ais (ais), Ger. The note A}f. 
 
 Ais-dur (ais-door), Oer. The key of Ajf major. 
 This key is not in use, being represented by 
 B[? major. 
 
 Ais'uoli (ais-moU), Ger. The key of A# mi- 
 nor. Not in use, being represented by Bl> 
 minor. 
 
 Aise (aza), Fr. Glad, joyful; also, easy, fap- 
 ile, convenient. 
 
 Aisement (a-zarmanh), Fr. Easily, freely. 
 
 AjakH-lceman(a-yak-leka-man), Twr. A Turk- 
 ish instrument resembling the violin. 
 
 Akkord (ak-kord'), Ger. See Accord, 
 
 Akromat (arkro-maf), Ger. A musician, a 
 singer. 
 
 Akromatlsch (a-kro-ma'tlsh), Qer. See Achro- 
 matic. 
 
 Akustik (a-koos'tik), Qer. See Acomtf/x. 
 
 Al (al), It. To the ; in the style of. 
 
 A I'abandon (a la-banh-donh), Fr. Without 
 restraint ; with passionate expression. 
 
 A la chasse (a la sbass), Fr. In hunting style. 
 
 A la franfaise (a la franh-sa'), Fr. In the 
 French style. 
 
 A la grecque (a la grSk), Fr. In the Greek 
 style. 
 
 A la mesure (a lii ma-ziir), .TV. In time ; syn- 
 onymous with A tempo. 
 
 A la mllitaire (a la mll-I-tarO, Fr. In military 
 or march style. 
 
 A Tantlque (a lanh-tek), Fr. Antique, in the 
 style of the ancients. 
 
 Alamoth (a'la-mot), Heb. This word occurs 
 in Psalm Ixviil. 25. "First go the Btmrim 
 (singers), then follow the neginim (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 virginum." But, 
 on the other hand, in I. Chron. xv. 20, tiie 
 names of men 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 nebels, much as the 
 expression sheniinith 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 po-lak'ka). It. In the style of 
 the polacca. 
 
 Alarum, All' arml, It. A call to arms. 
 
 " Alarums sounded and ordnance shot off." 
 
 — Shaktpeart. 
 
 Originally a general shout; afterwards, n 
 recognized signal by trumpets and drums. 
 
 A la savoy arde (a la sarvwiUyard), Fr. In the 
 style of the airs of Savoy. 
 
 Albada (ai-ba'da), Sp. A morning serenade. 
 
 Albertl bass. A bass consisting of arpeggios 
 or irolxn, hamumy, e, g.: 
 
 So called after its reputed inventor, Dome- 
 nico Albferti, who died in 1739. 
 
 Albogue (al-bo-ga'), Sp. An instrument be- 
 longing to the flute species. 
 
 a arm, & odd, a die, S end, e eve, i iU, i tsJe, o old, d odd, oo rtwon, ii but, ii Fr. smmd, kh Ger. ch, nh mual. 
 
 m 
 
ALC 
 
 DICTIONARY OF MUSIC. 
 
 ALL 
 
 Alcaics. Several kiad« of verse, bo called 
 fruiii Alcacus, a lyric poet aud their In- 
 ventor. 
 
 Alemanlan. Pertaining to Aleman, a lyric 
 puet. 
 
 Alemanian verse. A verse consisting of six 
 uiiapestu or their equivalents, with the ex- 
 ception of the last two syllables, which are 
 omitted. 
 
 Aleluya (a-16-loo'ya), Sp. Halleluiah. 
 
 Alemana (a-lS-ma'na), i^. An old Spanish 
 dance. 
 
 Alexandrian verse. A verse consisting of 
 twelve syllables, or twelve and thirteen al- 
 ternately. 
 
 AI fine (al le'nS), It. To the end. 
 
 Al fine e poi la coda (al fe'nS a po-e la ko'da), 
 /(. "After playing t> where the fine is 
 marked, go on to the coda." 
 
 A'iquot tones. Accessory or. secondary 
 Kounds; tones indistinctly heard, which 
 are always^ produced with the principal 
 tone, at harmonic intervals above it. tiee 
 Partial Tanas. The flageolet tones of the 
 violin. 
 A I'italienne (a ll-ta-U-anh), J^V. 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 (al), \ 
 
 Air (all). I =a«, " up to; " e.g., nc- 
 
 Allaial-la), „ I cd. al preulo, increase the 
 Alle (al-16), ( speed up to prestii. Also, 
 
 Agli (al-ye), ) in the style or manner uf. 
 Allo(al-16), / 
 
 Alia breve (al-labra'v6), li. A quick species 
 of measure, marked J equivalent to 2-2. 
 two counts in a measure. This measure is 
 to be distinguished from 4-4 measure, 
 marked (5 which has four beats and is 
 generally slower. Each contains the value 
 of a breve— equal to two semibreves, or four 
 miuims. 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'la kat'tshl-a), It. In the style 
 of hunting music. 
 
 Alia camera (al'la kii'm£-ra). It. In the style 
 of chamber music. 
 
 Alia cappella (al'la kap-p61'la). It. In the 
 uunrch or sacred style; derived from Alia 
 Kreve style, the bar being subdivided. See 
 AUn ireve. 
 
 Alia dirltta (aWa di-rit'ta), It. in direct as- 
 cending or descending style. "With the 
 right hand. 
 
 Alia irancese (al'la fran-tsha-zfi), „ 1 In the 
 
 Alia franzese (al'la fran-tsa-z6), •"• j French 
 style. 
 
 Alia hanacca (M'la ha-nak'ka). It. A kind ol 
 daneo lesembliiig the polonaise. 
 
 Alia madre (al'la ma'drC), It. To the Virgin 
 Marjr. ijougs and hymns addressed to the 
 Virgin Mary. 
 
 Alia maniera turka (al'la ma-ni-a'ra toor'kk), 
 It. In the Turkish style. 
 
 Alia marcia (£l'Ia mar'isbl'a), It. In the style 
 of a march. 
 
 Alia mente (al'la mgn'tfi), II. Extempora- 
 neous. {V. Contrapuiito alia mentc.) 
 
 Alia mllitare (al'lii ml'U-tii're), It. In the mil- 
 itary style. 
 
 Alia moderna (al'la md-d€r'na). It. lu the 
 modern style. 
 
 Alia moresco (al'la mo-r€s'kd), It. In the 
 Moorish style. 
 
 Alia Palestrina (al'la pa-lfis-tre'na). It. In the 
 style of I'alestrina; in the ecclesiastical 
 style. 
 
 Alia polacca (al'la po-lak'ka) , It. In the ti me 
 and style of a polonaise ^r Polish dance. 
 
 Alia quinta (al'la kwln-ta), It. At, or in, the 
 
 tifth. 
 Allargando (al-lar-ghan'do), /(. Gradually 
 
 slower and louder; in broader style; 
 
 "widening." 
 Alia riversa (al'la re-v6r'sa), /(. In an oppo- 
 site direction. 
 Alia rovescio (al'la ro-vS'sho) ,It. In a reverse 
 
 or contrary movement. 
 Alia russe (ai'la roos-sfi). It. In Russian style. 
 Alia scozzese (al'la skS-tsa'z€), It, In Scotch 
 
 style. 
 Alia siciliana (al'la se-tshl-ll-a'na). It. In the 
 
 style of the Sicilian shepherd's dance. 
 
 Alia stretta (al'la strSt'ta), It. Increaiing the 
 time ; accelerating the movement. In close, 
 compressed style. 
 
 Alia tedesca (al'la te-dez'ka). It. In the Ger- 
 man style. 
 
 Alia turka (al'la toor'ka). It. In the Turkish 
 or Oriental style. 
 
 Alia unisono (al'la oo-ne'so-no). It. See AW 
 unisotw. 
 
 Alia veneziana (al'la vS-nS-tsI-a'na), It. In 
 the Venetian style. 
 
 Alia zingara (al'la tsen'ga-ra). It. In the style 
 of gipsy songs. 
 
 Alia zoppa (al'la t<!dp'pa). It. In a constrained 
 and limping style. 
 
 Alia 3za, It. A sign which, when placed above 
 the staff, indicates that with each note 
 played, a note a third higher must be 
 played, and vi^hen placed below the staff, a 
 note a third lower. 
 
 Alia 6ta. A sign, which, when placed above 
 the staff, indicates tliat with each note 
 played, a note a sixtn higher must be 
 played, aud when placed belov the staff, a 
 note a sixth lower. 
 
 a arm, i add, a ale, eend, eeiie,iiU,l isle,a old, 6 odd, oo moon, tl 6m(, ii Fr. sound, kh Ger. ch. nh Jtasai. 
 
 (41) 
 
ALL 
 
 DICTIONARY OF MUSIC. 
 
 ALL 
 
 Air antlca (al-lan-te'ka)j It. In the ancient 
 
 style. 
 Air espagnuola (al-lSss-pan-yoo-6'la), It. In 
 
 the Spanish style. 
 
 Air improviso (ai-lem-pro-ve'zo), „ |With- 
 Air improvlsta (al-lem-pro-ves'ta), j out 
 previous study ; extemporaneously. 
 
 Air Inglese (al-len-gla'zS), It. In the English 
 style. 
 
 Air italiana (al-le-tarll-a'na), It. In the Ital- 
 ian style. 
 
 Air ongarese (al-16n-garra'z6), It. In the Hun- 
 garian style. 
 
 Air ottava (al-loMa'va), It. At the octave. 
 (1) A direction to play an octavo 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 bassa 
 (" low "—at the low octave) is sometimes 
 added. Instead of all' ottava the abbrevia- 
 tions aU'Sfo and 8va are often used. (2) This 
 expression is also used in scores to indicate 
 that one instrument haa to play with an- 
 other in octaves. 
 
 Air ottava alta (al-lot-ta-vfi. al-ta), It. In the 
 octave above. 
 
 Air ottava bassa (al-l6t-ta^a bas-sa), It. In 
 the octave below. 
 
 Air unisono (ai-loo-ue'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 (al'lS), Ger. All: alle Instrumente, all 
 the instruments ; the whole orchestra. 
 
 Allegramente (al-l&.gra-m6n't6), It. \ Gaily, 
 
 Alle^rement (al-la-grfi-manh), Fr. j joyfully, 
 quickly. 
 
 Allegrante {al-16-gran't«), It. Joyous, mirth- 
 ful. 
 
 Allegratlvo (al-16-gra-te'vo), /(. Gladdening, 
 cheering, blithe. 
 
 Allegrettino (al-l&.grSt-te'no), It. A diminu- 
 tive of Allegretto, and rather slower. 
 
 Allegretto (al-l&-gr6t't6,. It. Rather light and 
 cheerful, but not as quick as allegro. 
 
 Allegretto scherzando (al-16-gr6t'to skfir-tsan'- 
 do), /(. Moderately playful and lively. 
 
 Allegrezza (al-lS-gret'za), „ 1 Joy, gladness, 
 Alle^ria (ai-lS-gr&a), J cheerfulness, 
 
 ' gaiety. 
 Alle^rezza, con, It. With cheerfulness, joy, 
 
 animation. 
 AllegrI d'! bravura (al-16-gre de brtUvoo'ra), 
 
 It. Compositions written in a brilliant and 
 
 effective style. 
 Allegrissimamente (al-lS-grl-sI-mii'mgn'tS), It. 
 
 Very joyfully ; with great animation. 
 
 AUegrisslmo (al-lg-grls'sl-mo). It. Extremely 
 quick and lively; the superlative of Alle- 
 gro. 
 
 Alliero (al-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 Jal-la'gr6a-jl-tart6),/i!. Quick, 
 wiih anxiety and agitation. 
 
 Allegro appassionato (al-la'gro ap-pas-sl-o-na'- 
 toj. It. Quick and passionate. 
 
 Allegro assai (al-la'gro as-sa'e;,ii!. Veryquick. 
 
 Allegro brillante (al-la'gro brel-lan't£), It. Re- 
 quiring a brilliant style of execution. 
 
 Allegro comodo (al-la'gro ko'mo-do), /{. With 
 a eoiivenient degree of quickness, " conven- 
 ience " here determined according to the 
 best effect of the pass ge, in its details and 
 spirit, and liot with reference to the con- 
 venience of the performer. 
 
 Allegro con brio (al-la'gro kon bre'd), It. 
 Quick, with brilliancy. 
 
 Allegro con brioso (al-la'gro kon bre-6'z6), It. 
 Joyful aud bold. 
 
 Allegro con fuoco (al-la'gro kon foo-o'ko). It. 
 Quick, with tire and animation. 
 
 Allegro con moltlssimo moto (al-lil'grd kon 
 mol-tes'sl-mo mo'to). It. A very quick alle- 
 gro ; as fast as possible. 
 
 Allegro con moto. It Quick, with more than 
 the usual degree of movement. 
 
 Allegro con spirito (al-la'gro kon spe'rl-to). It. 
 Quick, with much spirit. 
 
 Allegro di bravura (al-Ut'gro de bra-voo'ra), 
 It. Quick, with brilliant and spirited exe- 
 cution. 
 
 Allegro di molto (al-la'gro de mol'to). It. Ex- 
 ceedingly quick and animated. 
 
 Allegro fuocoso (al-la'gro foo-o-ko'zd), It. 
 With a great deal of fire and animation. 
 
 Allegro furloso (al-la'gro foo-rl-ffzo), /(. 
 
 Quick, with iury and Impetuosity. 
 Allegro gajo (al-la'gro ga'yo), It. In a gay and 
 
 spirited style. 
 Allegro giusto (al-la'gro joos'to). It. Quick, 
 
 with exactness ; in steady and precise time. 
 
 Allegro magrazioso (al-la'gro ma grii-tsl o'zo). 
 It. Quick, but gracefully. 
 
 Allegro ma non presto (al-la'gro. ma non 
 prSs-to), It. Quick, but not too fast. 
 
 Allegro ma non tanto (al-la'gro ma non tan- 
 to); /(. Quick, but not too much so. 
 
 Allegro ma non troppo (iil-la'grdmandntrdp- 
 po). It. Quick and lively, but not too fast. 
 
 Allegro moderate (iil-la'grd md-d&.ra'to). It. 
 
 Moderately quick. 
 Allegro molto (al-la/gro mol-to), It. Very 
 
 quick and animated. 
 Allegro non molto (al-la'gro non mol'to), It. 
 
 Not very fast. 
 Allegro non troppo (al-la'gro non trop'pO), It. 
 
 Quick, hot too fast. 
 
 & arm, ft add, a, ale, 6 end, e eve, 1 iB, i iste, o old, 6 odd, oo moon, H but, u Fr. sound, kh Qer. ch, nh mual, 
 
 (42) 
 
ALL 
 
 DICTIONARY OF MUSIC. 
 
 ALT 
 
 Allegro rlsoluto (al-la'gro re-zo-loo'to). It. 
 
 Quick, with vigor and decision. 
 Allegro veloce (iLI-la'^rd y£-ld'tshe), Jl. Quick, 
 
 witu exinsme velocity. 
 
 Allegro vivace (itl-la'Rro ve-va'tshe), It. With 
 vivacity, very lapidly. 
 
 Allegro vivo (al-Ia'gro ve-vo). It. With great 
 hie and rapidity. 
 
 Allegrusio (al-ie-groo'zl-o). It. Good-humor- 
 ed, Kprightly. 
 
 Alleln (al-Un'), Ber. Alone, single. 
 
 Allelnsang (al-Un'sang), Qer. A solo, 
 
 Allelnsanger (al-lin'sftug-er)! Oer. A solo- 
 Biuijer. 
 
 Alielnspleler (al-lin'spe-lSr), Qer. One who 
 play^i a solo. 
 
 Alleluia (al-ie-loo-ya), Fr. Praise the Lord ; 
 Hallelujah. l; 
 
 Allelujah (al-ie-loo-y&), Hd). An ascription of 
 praiae; Hallelujah. 
 
 Allemande (&U-manhd), Fr. A German air. 
 Also au obsolete dance form in ipommon 
 measure, beginning upon the last beat. The 
 measure was slow, and the steps were made 
 iu a rapid, sliding manner, as in tbejnodern 
 wallz, out there was no turuiug, oiily a pe- 
 culiar entwining and unloosening of the 
 arms of the dancers in the various Steps. It 
 Is said by some that the AUemaud^was in- 
 vented in the lesser provinces of Germany 
 or Switzerland, but its antiquity is un- 
 known. Scarlatti, Corelli, Bach, Handel, 
 and other composers of the period they rep- 
 resent, incorporated the measure oj 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 in 3-4 or 3-8 
 measure. 
 
 Allentainento(al-l£n-t&-men'td), j, \ Selaza- 
 
 Allentato (al-l«n-ta't6), -"■ J tion,giv- 
 
 iug way, slackeulng of the speed. 
 
 Allentando (al-lfin-tan'do). It. Decreasing the 
 movement until the close. 
 
 Allied tones. Accessory tones, 
 
 Allmilich (al'ma-llkh), Ger. Little hy little. 
 
 Al' loco (&l-ld'k6). It. To the previous place ; 
 a term of reference. 
 
 Allonger (al-lfinh-zha), Fr. To lengthen, pro- 
 long, delay. 
 
 Allonger I'arcliet (al-lOnh-zha lar-sha), Fr. 
 To lengthen or prolong the stroke of the bo w 
 in violin music. 
 
 Alma (iil-ma), Ara. The name given in the 
 Orient to singing and dancing girls, who are 
 hired to furnish amusementat publiceuterr 
 tainments and to sing dirges at funerals, i-tc. 
 
 ^I2"L"' I The name of an old slow dance 
 Almud. ) °' * dignified character. 
 
 Almanes, pi. See Alnian. 
 
 Alma Redemptoris (iil-ma r£-d§m-to-rIs), Lot. 
 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-h6rn), Oer. The Alpine or 
 
 cowhorn. 
 Al piacere (al pe-a-tsha'rS), It. At pleasure. 
 
 Sec A pktcere. 
 Al piu (al pe'oo). The most. 
 
 Alphabet. Tho seven letters used iu music, 
 A, B, C, D, E, F, G. Wheu m<ire are requir- 
 ed, either ascending 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 for conveying sounds a long distance. 
 
 Al rigore dl tempo (al re-go'rS de tSm'po), It. 
 Iu very rigorous and strict time. 
 
 Al rigore del tempo (SI re-g6're del t€m'po), It. 
 Iu very rigorous and strict time , 
 
 Al riverso (3,1 re-v6r's5). It. Reverse, back- 
 ward motion. 
 A la russe (a la riiss), Fr. In the Russian style. 
 Al seg. An abbreviation of Al segno. 
 
 Al segno (al san'yo). It. To the sign ; meaii- 
 iug that the performer must return to the 
 sign .ft in a previous part of the piece and 
 play from that place to the lyord flrte, or 
 the mark /?\ over a double ha*. ' The sign 
 itself.;^: is sometimes used in place of the 
 direction ai segmi. 
 
 Alt (iilt), It. High. This term is applied to 
 the notes which lie between f pu tne fifth 
 line of treble staff and g on the fourtti 
 added line below. 
 
 Alta (al'ta), /{!. High, or higher; Ottava alia, 
 au octave higher. ' 
 
 Alta (iil'ta), Sp. A dance formerly used iu 
 Spain. 
 
 Alta-vlola(al'ta-vS-6'la), I«. A counter tenor 
 viol. ' 
 
 Altclarlnet (iilt'kla-rl-net'), Oer. A large clari- 
 net, a fifth deeper than the ordinary clari- 
 net. 
 
 ALtedesco (al tS-des'ko), It. In the German 
 style. 
 
 Altera prima donna (al't$-ra pre'tba don'na). 
 It. Ouj uf two principal femal^ singers. 
 
 Alteratio (al-tS r&'tsi-o), Lat.) Changed, aug- 
 Alterato ta.-lS ra'to), It. > me'n ted. Iu 
 Altere(iil-l6-ra'), JiV. ) composition it 
 
 means doubling the valueof a note. 
 
 Altered notes. Notes changed by accidentals. 
 
 Alternamente (al-t€r-na-men't£), It. Alter- 
 
 ualiug, by turns. 
 Alternando (al-tSr-imu'do), It. See AUema- 
 
 menie. 
 Alternations. Melodies composed for bells. 
 
 a arm, a odd, a afe, e end, ecw, I iU, i isle, o 0ld, 6 0(2<2, 00 moon, a i»it, ii fV. aotuid, kh Oer. cA, nh norat. 
 
 (13) 
 
ALT 
 
 DICTIONARY OF MITSIC. 
 
 AMA 
 
 Alternativo (al-t6r-na-te'v61, It. A movement 
 alternating with another. A sort of trio, 
 of less importance than the movement with 
 which it alternates. 
 
 Altgeige (alt'ghi-ghS), Qer. The viola, or ten- 
 or violin. 
 Alt horn. A cornet in E-flat. 
 Alti (al'te), /(. High ; the plaral of alto. 
 
 Altieramente (al-te-Sr-a-mSn'tS), It. With 
 grandeur; haughtily. 
 
 Altisonante (al-ti-s6-nan'tS), It. Loud-sound- 
 ing. 
 
 Altisono (al-te'so-no), U. Sonorous. 
 
 Altisonous. High-sounding. A term for- 
 merly used to denote the highest part in- 
 tended for the natural adult male voice. 
 
 Altiso (ill-te'zo), /(. An abbreviation of Altis- 
 simo. 
 
 Altlssimo (al-tls'sl-mo), It. The highest ; ex- 
 tremely nigh as to pitch. It is applied to 
 all the high treble notes which are more 
 than an octave above F, on the fifth line of 
 the treble staff. 
 
 Altist. An alto singer. 
 
 Altista(al-t£s'ta), 71!. 1 One who has an alto 
 
 Altiste (ai-test), Fr. ] voice. 
 
 Alto (al'to), It. High. (1) One of the four 
 chief classes of the human voice ; the deeper 
 of the two classes of the female voice, wtiich 
 in England Is more commonly called con- 
 tralto. There are to be distinguished three 
 different kinds of alto voices: those of 
 women, boys, and men. Among the latter 
 are agajn to be distinguished those of the 
 castrati and of the atti naturali, tenon acuti, 
 or fdlsetti. The last-mentioned male altos, 
 in England also called counter tenors, make 
 use of a developed/ateeHo (head voice). The 
 English music written for this kind of voice 
 demands a compass from g to c". The alti 
 naturali, who, till the 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,a,nA Bratsche are synonyms. The 
 three upper strings of the viola correspond 
 jvith 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 C clef, which brought them upon the 
 highest lines of the staff and upon added 
 lines above. 
 
 Alto basso (al-t» bas'so), It. A primitive In- 
 strument formerly in use in northern Italy, 
 consisting of a wooden box, over which 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 line c'. It is used lor 
 the alto voice, viola, etc. 
 
 P 
 
 Alto concertina. A concertina having the 
 compass of a viola. 
 
 Alto f lauto (iil-to flii-oo'to). It. An alto flute , 
 used in bands. 
 
 Alt' ottava (al-tot-ta'vii). It. The same notes 
 an octave higher. 
 
 Alto primo (al-lo pre'mo), J(. The highest alto. 
 
 Alto secondo (al-tosS-kon'do), It. The lowest 
 alto. 
 
 Alto tenore (al-to t€-n6'r«), /(. The highest 
 tenor. 
 
 Alto trombone. A trombone with the nota^ 
 tiou ou the alto clef. Its compass is from 
 the small c or e to the one-lined a or two- 
 lined 0. 
 
 Alto viola (al-to ve-6'la), It. The viola, or 
 tenor violin. 
 
 Alto violino (al to ve-6-le'nd), It. Small tenor 
 violin on which the alto may be played. 
 
 Altposanne (alt-po-sou'nS), Oer. Alto trom- 
 bone. 
 
 Altri (al'tre), /(. Others. 
 
 Altro modo (al'tro mo'do). It. Another mode 
 
 or manner. 
 Altsanger(alt'sang-«r),Ger. Alto singer, conn-, 
 
 ter tenor singer. 
 Altschliis5el(aU'shliis-s'l),(?er. The alto clef ; 
 
 the C clef on the third line. 
 Altus (al'toos),Xat. The alto or counter tenor. 
 
 Altviole (alt'fl-6-lS), Oer. The viola, or tenor 
 
 violin. 
 Altzeichen (alt'tsi-k'n), Ber. See AUwhluteel. 
 
 Atzamento (al-tsiUmSn'to). It. An elevating 
 
 of the voice ; lifting up. 
 Alzamento di mano (al-tsa-mSn'-to de rua'nS), 
 
 It. To elevate the hand in beating t/me. 
 Alzando (al-tsan'dd)i It. Raising, lifting up. 
 Al. zop. An abbreviation of Alia zoppA. 
 
 Amabile (a-ma'bl-lS), It. Amiable, gentle, 
 
 graceful. 
 Amabilita (armarbl-U-ta'), It. Tenderness, alhi- 
 
 ability. 
 Amabilita, con. With amiability. , 
 
 Amabilmente (a-ma-bll-m6n'tS), /(. Amiably, 
 
 gently. 
 A major. The major mode founded on it. 
 Amarezza (a-ma-ret'za), It. Bitterness, sad- 
 
 ft arm, & add, a ale, S end, e eve, liU,l isle, o old, odd, oo moon, tl but, ti Fr. sound, kh Qer. eh, nh tkuo*, 
 
 (44) 
 
^MA 
 
 DICTIONARY OF MUSIC. 
 
 ANA 
 
 Amarezza, con. It. With bitterness ; with 
 sorrow. 
 
 Amarissimamente (EUmii-rls-sI-ma-mgQ'tg), » ) 
 
 Amarlssimo (a-ma-rls'sl-mo), / 
 
 Very bitterly, in a mournlul, sad, and afflict- 
 ed manner. s 
 
 Amaro (a-ma'ro). It. Grief, bitterness, afflic- 
 tion. 
 
 Amateur (&m-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 has 
 learnt nothing Ihoroughly. Distinguished 
 from lyiXeltanti, 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 ordinarv violin, and distiu- 
 guisihed fortheirpeculiarswuetijcsa of tone. 
 
 Ambitus (am'hi-toos), Lnt. Compass or range 
 of suuiidb; also, the distance between the 
 highest and lowest sounds. 
 
 Ambo (sim'bo), IM. The desk at which the 
 canons were sung in the middle ages. 
 
 Ambon (anh-bonh), Ft. The ambo. 
 
 Ambrosian chant. A series of sacited melo- 
 dies or chanis collected and introduced into 
 the Ch urch by St. Ambrose, Bishop of Milan, 
 in the fourth century, and supposed to have 
 been borrowed from the ancient Greek 
 music. 
 
 Ambrosianus cantus (am-bro sl-ii'noos kan'- 
 tuos), Xu<. Ambrosian chant. 
 
 Ambubaje (&m-boo-ba'y€), Gr. The name of a 
 
 society of strolling flute-players among the 
 
 ancient Greeks. 
 Ambulant (anh-biilanh), iiV. Wandering; an 
 
 itinerant musician. 
 Ame (am). Ft. The soundpost of a violin, 
 
 viola, etc. 
 Amen (ii'mfin), Heb. " So be it." A word used 
 
 as a termination to psalms, hymns, and 
 
 other sacred music. 
 Amen chorus. A chorus in which the word 
 
 amen forms the principal language. 
 
 Ameno (a-ma'nO), It. Charming, pleasing, 
 sweet. 
 
 American fingerlnK. That style of fingering 
 in which the sigu x is used to indicate the 
 thumb in piano-playing, in distinction from 
 the German or foreign fingering, in which 
 the thumb is called the first finger. 
 
 American organ. A reed instrument of the 
 harmonium kind, differing from harmoni- 
 ums in the method of the bellows (which 
 sucks the air through the reeds, instead of 
 expelling it through them). Also diffeiing 
 in tone quality, which is broader and less 
 thin ana nasal— merits due in jiart 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 eharacteristin excellen- 
 cies. 
 
 A mezza aria (a mSt'sa S.'rl-S,\ It. An air 
 partly in the style of a recitative; between 
 speaking and singing. 
 
 A mezza voce (a mSt'sa vo'tshS , „1Ina 
 
 A mezza dl voce lii mgt'sa de vo'tshe), /soft, 
 subdued tone; with half the power of the 
 voice. The term is also applied to instru- 
 mental music. 
 
 A mezza manico (iimet'sama-nS'ko), Jf. In 
 violin-playing, the placing the hand near 
 the middle of the neck. 
 
 A-moU (a-moll), Qer. The key of A minor. 
 
 A molto corl (a mol'to ko're). It. Full cho- 
 ruses ; a coUectiou of choruses. 
 
 A monocorde (a monh-o-kord), Fr. On one 
 string only. 
 
 Amore (a-mffre), It. Tenderness, affection, 
 love. 
 
 Amore, con. It. With tenderness and affec- 
 tion. 
 
 A moresGO (ii mo-rSs'ko), It. In the Moorish 
 
 style ; in the style of a moreseo or Moorlah 
 
 dance. 
 Amorevole (a-mo-ra'vo-le), R. Tenderly, gen- 
 
 tlj , lovingly. 
 Amorevolmente (a-mo-re-yol-mfin'tS), It. 
 
 With extreme tenderness. 
 Amorosamente (a-mo-ro-za-mSn'te), It. In a 
 
 tender and affectionate style. 
 
 Amoroso (a^mo-ro'zo). It. See Amorosafnewle. 
 
 Amphibrach (am'ft-briikh), Qer. A fnusical 
 foot, comprising one sbort, one long, and 
 one short note or syllable, accented and 
 marked thus, ■^—'■~- 
 
 Amphimacer (am'fl-ma-ts6r), Gr. A musical 
 foot, comprising one long, one short, ami 
 one long note or syllable, accented and 
 marked thus, — — — ' 
 
 Amphion (am'fl-on), Gr. The most ancient 
 Greek musician. He played upon the lyre. 
 
 Ampollosamente (am-p61-16-za-m6u't6), „ 1 
 Ampolloso(am-p61-16'z6), ■ j 
 
 iu a bombastic and pompons manner. 
 
 Ampouli (anh-poo-la), Fr. Iligb-flown, bom, 
 bastic. 
 
 Amusement (a-miiz-manhl, Fr. A light and 
 pleasing composition introduced as an exer- 
 cise iu a course of piano studies. 
 
 Anabasis (Et-na'bii-sls), Gr. A succession o( 
 ascending tones. 
 
 Anacreontic (Brua-krS-on't'Ik), Gr. In the Bac- 
 chanalian or drinking style. 
 
 Anafll (a-niirfel'), Sp. A musical pipe used by 
 the Moors. 
 
 & arm, & add, a, ale, 6 end, e eve, lUl.i tele, 6 old, 6 odd, oo moon, Hl but, ii Fr. sound, kh Qer. ch, nh nasal, 
 
 (45) 
 
ANA 
 
 DICTIONAEY OF MUSIC. 
 
 ANG 
 
 Anafllero (a-na-fe'ie-T6), Sp. A player on the 
 
 auafil. 
 Anagaza (a-na-ga'tha), Sp, A bird-call. 
 Anakara (a-na-kil'ra), It. The kettledrum. 
 Anakarista (a-na-karrls'ta), It. A tympanist, 
 
 or ^ettkdrum-player. 
 Anakrusis (a-ra-kroo's'ls). The up stroke in 
 
 cuuducting or beating time. • 
 
 Analisl (a-na'li ze), /(. "I . „„»i„„i_ 
 An«lyse (a-na-lez), f r. / •*'' *°*'y^''- 
 
 Analyzatlon. The resolution of a musical 
 composition into the elements which com- 
 pose it, for the sake of ascertaining its con- 
 struction. 
 
 Anapest (ii'na-pgst), Gr. A metrical foot, con- 
 taining two short notes or syllables, and a 
 long one, accented and marked thus, w ^ — ' 
 
 Jj I J or two unaccented tones followed 
 by an accented tone, thus, J J | J 
 
 Anche (anhsh), Fr. The reed, or mouthpiece, 
 of the oboe, bassoon, clarionet, etc. ; also 
 the yarious reed-stops in an organ. 
 
 Anche d'orgue (anhsh d'org), Fr, A reed-stop 
 of an organ. 
 
 Ancia(an-tshe'a), /f. A reed. 
 
 Ancient flute. An instrument of the oboe 
 
 } kind; composed of two tubes, with a mouth- 
 
 i piece attached, then called double-flute. It 
 IS not certain whether both tubes were 
 sounded together, but probably not. 
 
 Ancora (an-ko'rii), /(. Once more, repeat 
 again ; also, yet, still, etc. 
 
 Ancor plu mosso (an-kor pe-oo mos'so). It. 
 
 ', Still more motion, quicker. 
 
 Andacht (an'dakht), Ger. Devotion. 
 
 Andachtlg (au'dilkh-tig), Ger. Devotional. 
 
 Andamento (an-da-mga'to). It. A rather slow 
 movement ; also, an accessory idea or epi- 
 sode introduced into a fugue to produce va- 
 riety. 
 
 Andante (an-dan'tS), It. A movement in mod- 
 erate time, but flowing steadily, easily, 
 gracefully. This term is often modified, 
 both as to time and style, by the addition 
 of other words ; as. 
 
 Andante affettuoso (an-dan't€ af-fet-too-o'zo), 
 It. Moderately, aud with much pathos. 
 
 Andante amablle (an-dan't£ a-mii'bMS), It. 
 An andante expri ssive of affection. 
 
 Andante cantablle (an-dan'tS can-ta'bl-lS), It. 
 Andante, and in a singing and melodious 
 style. 
 
 Andante con moto (iin-dan'te kon mo' to). It. 
 Moving easily, with motion or agitation; 
 rather lively. 
 
 Andante grazloso (an-dan'tS grii-tsi-d'zd). It. 
 Moderately slow in time, and in graceful, 
 easy style. 
 
 Andante largo (an-diln'te lar'go). It. Slow, 
 broad, distinct, and exact. 
 
 Andante maestoso (an-dfi.n'tS ma-Ss-to'zo), It, 
 Moving rather slowly and in majesticstyle. 
 
 Andante ma non troppo, e con tristezza (an- 
 dail'te ma noii trop'po, a kon tres-tfil'sa), M. 
 Not too slow, and with pathos. 
 
 Andante non troppo. Moving slowly, but not 
 too much so. 
 
 Andante pastorale (an-dan'tS pas-td-ra'l€), P, 
 Moderately slow and in simple, pastors I 
 style. 
 
 Andante plu tosto allegretto (an-dan't€ pe'ot 
 tos-to ill lS-gr6t't6), It. Andante, or almo! t 
 allegretto. 
 
 Andante quasi allegretto. It. An andant; 
 nearly as rapid as allegretto. 
 
 Andantemente (an-dan-tS-mSn'tS), It. Set 
 Andante. 
 
 Andantino (an-dan-te'no). It. Diminutive of 
 andante. Opinions are divided as towhether 
 it denotes a slower or faster movement thai i 
 andante. But the general idea makes an 
 dantino a little faster than andante, shad . 
 ing toward allegretto. Italian lexivogra. 
 phers take the latter view, but non-Italiai ; 
 composers do not teem so unanimous. 
 
 Andantino sostenuto e slmplicemente, ill 
 canto e poco plu forte (an-dan-te'nd sos-tS' 
 noo'to a slm-ple-tsbS-mSn'to, el kan-to a p6- 
 ko pe'uo for'tS). In a sustained and simple 
 manner, with the melody a little louder than 
 the other tones. 
 
 Andno. An abbreviation of Andantino. 
 
 Andar dirltto (an-dar' di-ret'to), It. To go 
 straight on. 
 
 Andare a tempo (an-da'rg a tSm'po). It. To 
 play or sing in time. 
 
 Anelantemente (a-n6-lan-t6-men't8), It. Anx- 
 iously, ardently. 
 
 Anelanza(a-ne-lan'tsa), n I Shortness of 
 Anellto (a-ng-le-to) -"■ / breath. 
 
 Anemochord. A species of jEolian harp. 
 Anemometer. A windgauge, or machine for 
 
 weighing the wind in an organ. 
 Anfang (an'fang), Oer. Beginning. 
 Anfiinger (an'f6ng-6r), Ger. A beginner. 
 
 Anfangsgrunde(an-fangs-grun'dfi), Oer. Ru- 
 dimenis, elements, principles. 
 
 Anfangsritornell (an'tangs-re-tor-nfil'), Oer. 
 Introductory symphony to au air. 
 
 Anfiihrer (an'fii-rfiT). Ger. A conductor, di- 
 rector, leader. 
 
 Angeben (an'ga-b'n), Ger, To give a sound; 
 to utter a tone; den Ton, angdien, to give 
 out the tone. 
 
 Angelica (an-gall-ka), Ger. l An organ-stop; 
 
 Angellque (anh-zha-lek). /^. J alsoanangclot. 
 
 Angelot. An old musical instrument, some- 
 what similar to the lute. 
 
 Angelas (an'g€-loos). Lot. "The Angel of 
 the Lord." The angelic annunciation. 
 Also, the prayer-time of ibeAngelue, name- 
 ly, morning, noon and evening. 
 
 jtsriR, a odd, a ale, Send, e me, I iU, I isle, d old, odd, 00 moon, & i>u<, il J'r. sound, kb tier. cA. nh nosoi, 
 
 (46) 
 
ANG 
 
 DICTIONARY OF MUSIC. 
 
 ANT 
 
 Aneemessen (au'g;he-m$s's'n), Qer. Conform- 
 able, suitable, fit. 
 
 Angenehm (an'ghS-nam'), Qer. Agreeable, 
 pleasing, sweet. 
 
 Angklouns (&uk-loong), Jav. A rude instru- 
 ment oi the Javanese, made of different 
 lengths of bamboo fastened to a strip of 
 wood. A sprt of xylophone. 
 
 Anglaise (anh-glaz), Fr. \ In ttie ;E:nKlish 
 Anglico (an'gle-ko), Jt. j style; a tune adapt- 
 ed for au English air or country dance. 
 
 Angore (an-go're), B, Distress, anguish, pas- 
 sion, grief. 
 
 Angoscevole (an-go-shS'vo-lfi), It. Sad, sor- 
 rowful. 
 
 Angoscia (an-go'sha), n \ Anir. 
 
 Angosciamente (an-go-Bha-mgn'tS), •"■/■*^n^ 
 iety, anguish, grief. 
 
 Angosclosamente (an-gd-8hd-za-men't£), II. 
 Apprehensively, anxiously, sorrowfully. 
 
 Angoscioso (an-go-sho'zo), It. Afflicted, dis- 
 
 tiesbed. 
 Angstllch (angstlikh), ffer. Uneasy, timid, 
 
 auxious. 
 Anhaltend (an'hal-tfind), Ger. Continuous, 
 
 constant, holding out. 
 
 Anhaltende Cadenz (an'hal-t£n-de ka-dSnts'), 
 Ger. A pedal note or organ point ; a pro- 
 tracted cadence. 
 
 Anhang (anTjang), Qer. A postscript, an ap- 
 pendix, a coda. 
 
 Anlma (a'ni-ma). It. Soul, feeling ; animated, 
 lively. 
 
 Animato (a-nl-ma'to). It. Animated; with 
 life and spirit. 
 
 Animazione (a-nl-ma-tsl-6'n£), It. Animation. 
 
 Anime (anh-I-ma),?'r. ) Animated, lively, 
 Animo (ii'nl-mo). It. j spirited. 
 
 Animo, con. It. With boldness. 
 
 Animo corde (a'ni-mo kor'dfi), Lat. An in- 
 strument invented in 1789 by Jacob Schnell, 
 of Paris. The tone is produced by wind 
 passing over the strings. 
 
 Anlmosamente (a-ni-mo-za-men't«), /(. Bold- 
 ly ; resolutely. 
 
 Animoso (a-nl-mo'zo). It. In an animated 
 manner; lively, energetic. 
 
 Ankli>jig (an'klang), Qer. Accord, harmony, 
 sympathy* 
 
 Anlage (an'Iarghg), Ger. The plan or outline 
 of n composition. 
 
 Aniaufen (an'lou-f'n), Ger. To increase in 
 sound, to swell. 
 
 Anieitnng (an'li-toong), Ger. An introduc- 
 tiou, a preface. 
 
 Anmuth (an'moot), Ger. Sweetness, grace. 
 
 Anniuthig(an'moo-tIg), Ger. Agreeable, pleas- 
 ant, sweet. 
 
 Anonner (&n-ndnh-na), Fr. To hesitate, 
 blunder or stammer. 
 
 Anpfelfen (an'pfi-f 'n), Ger. To whistle at ; to 
 
 hiss at. 
 Ansatz (an'sats), Qer. The position of the 
 
 Tural parts (glottis, etc.) in singing. The 
 
 embouchure of a wind instrument. 
 Anschlag (£n'shlag), (?er. Touch; manner 
 
 of striking the .keys. 2. Obsolete term for 
 
 a peculiar kind of appoggiatura. 
 
 Ansplelen (an'spe-l'n), Ger. To play first. 
 
 Anstimmung (iin'stlm-moong), Ger. Intonar 
 tion, tuning. 
 
 Answer. A term used in fugue. 
 
 Anteludium (iin-te-loo'dl-oom), Lat. A pre- 
 lude, or 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 wi thout 
 accompaniment. The forms In which this 
 kind 01 composition presents itself are very 
 varied. "Thereare five speciesof anthems," 
 says Dr. Busby. " (1) The Verie and Clumts 
 anthem, consisting of verse and chorus, but 
 beginning in verse ; (2) the Verse anthem, 
 containing verse and chorus, but beginning 
 in veise; (3) the FuU anthem, consisting 
 wholly of chorus ; (4) the Sato anthem, con- 
 sisting of solos and choruses, but without 
 verse ; and (5) the Itistrumentat anthem," 
 Verses are those portions of an anthem that 
 are meant to be performed hy 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 . A n anthem consisting of solos 
 and choruses. 
 
 Anthologie (an-to-16-ghee'), Fr. and Ger. An- 
 thology, acoUection of choice compositions. 
 Lit. , " a gathering of flowers. ' ' 
 
 Anthologlum (an-tho-lo'gl-oom), Gr. The 
 name uf a book in which are collected the 
 hymns, prayers, and lections of the Greek 
 Church. 
 
 Anthropoglossa (an-thro-po-glos'sa), Gr. The 
 vox Lumana, an organ-stop somewhat re- 
 sembling the human voice. 
 
 Antibacchius (an'tl-bak-kl-oos). A musical 
 foot uf three syllables, the first two long or 
 accented and the last short or unaccented, 
 thus, ^. 
 
 Antica (an-te'ka), It. Ancient. 
 
 Anticipamento (an-te-tshi-pa-m£n't6). It. An- 
 ticipation. 
 
 Anticipation. The taking of a note or chord 
 before its natural and expected place. 
 
 I add, aale,6 end, e eve, iiU,i isle, 6 old, 6 odd, oo moon, Q but, ii Fr, sound, kh Ger. ch. nhnatal. 
 
 (47) 
 
ANT 
 
 DICTIONARY OF MUSIC. 
 
 APP 
 
 Anticipation. The Introduction of a note pre- 
 vious to ttie entrance of the harmony tn 
 which it belongs. The anticipations are in- 
 dicated in the illustrations by *. 
 * * 
 
 Anticipazione (an-te-tshi-pa-zi-6'n§), It. See 
 Anticipation. 
 
 Antico (an-te'ko), It, Ancient. 
 
 Antico, all' (an-te'ko, all'), It. In the ancient 
 style. 
 
 Antienne (an-ti-6n'), Fr. An anthem. 
 
 Antifona (an-tif'o-na). It. and Sp. An anthem . 
 
 Antifonal (an-ti fo-nal), Sp. \ A book of 
 
 Antifonario (an-ti-Io-na'rio), It. ] anthems ; 
 an authem-siuger. 
 
 Antifonero (an-ti-fo-na'ro), Sp. A precentor. 
 
 Antiplion. The chant or alternate singing in 
 churches aud cathedrals. 
 
 Antiphona (au-tif'6-na), Gr. An anthem. 
 
 Antipiionaire (anh-te-fo-nar'), Fr. A book of 
 auihems, responses, etc. 
 
 Antiphonarium (an'ti-fo-na'ri-oom), Gr. The 
 collection of antiphous 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 (an-tlf-o-ng), 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 (an-tif'o-non), Gr. In ancient 
 Greek music, accompaniment in the octave. 
 
 Antipliony . The response of one choir to an- 
 other when an anthem or psalm is sung by 
 two choirs; alternate singing or chanting. 
 
 Antlstrofa (an-ti-stro'fa), 5p. An ancient Span- 
 ish dauce. 
 
 Antistrophe. 1 The second couplet of each 
 
 Antistrophy . ) period in the ancient Greek 
 odes sung ip 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, 
 
 Antitliesis. Counter subject. In fugues this 
 term is applied to the aitswer; it generally 
 signifif s contrast. 
 
 A parte (a piir-tfi). It. On the side of. 
 
 A parte equale (a par-t6a-kwa'lS), 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 difficulty. 
 
 A passo a passo (a pas-so ii pas-s6). It. Step by 
 step ; regularly. 
 
 Apertus (a-p6r'toos). Lot. Open ; as, open dia- 
 pason, open canon, etc. 
 
 Apfeiregai (ap'fei-rg-gal), Oer. Apple-register, 
 a reed-stop in old organs ; no longer in use. 
 
 Aphonie (&-i6-ue), Fr. Aphony,waut of voice. 
 
 Aphonous. Being destitute of voice. 
 
 Apliony, Dumbness, loss of voice. 
 
 A piacere (a pe-a-tsha'r6). It. At pleasure. 
 
 A piacimento (a pe a-tRhe-m6n'to), It. At the 
 pleasure or taste or the performer. 
 
 A piena orcliestra (a pe-a'na 6r-k6s'tra), It. 
 
 For full orchestra. 
 A plomb (a plomh), Fr. Firm, in exact time, 
 
 with precision. 
 A poco (a po'ko). It. By degrees, gradually. 
 
 A poco a poco (a po'ko a po'ko). It. By little 
 
 and little. 
 A poco piu lento (a po'ko pe'oo 16n-t6), /(. A 
 
 little slower. 
 A poco piu nio5so (a poTso pe'oo mos-so). 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. 
 
 Apoilino (a-pol-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 Ijffa. An instrument shaped like a 
 lyre, with a bra^s mouthpiece like 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, 
 
 Eroducing the effect of a full orchestra. It 
 ad six keyboards, and could be played 
 upon by six performers at the same tiiae. 
 Was exhibited in London. 
 Apotome (a'po-to-mfi), Gr. That portion oi 
 a major tone that remains after deducting 
 from it an interval less, by a comma, than 
 a major semitone. 
 
 Appassionatamente (ap-pas-si-o-niUta- 
 mSn'te), ■ 
 
 Appassionatamento (ap-pas-si-o-na-ta- y It. 
 mSn'to), 
 
 Appassionato (ap-pas-si-o-na'to). 
 Passionately, with iutenseemotion and feel- 
 ing. 
 
 Appeau (ap-p6), Fr. Tones which resemble 
 the singing of birds. 
 
 Appel (Slp-pSl), Fr. Call of the drum. 
 
 Appenato (ap-pS-ua'to). It. Grieved, distress- 
 ed ; an expression of suffering and melan- 
 choly. 
 Applaudissement (ap-plo-dess-mOnh), Fr. \ 
 Applauso (ap-pla-oo'zo). It. j 
 
 Applause. 
 
 a arm, & add, a ale, iend,h eve, i iU, I iete, 6 old, odd, oo moon, tnmt, ii Fr. sound, kh Ger. eh, nh vasal. 
 
 (48) 
 
APP 
 
 DICTIONAEY OF MUSIC. 
 
 AEl 
 
 Applicatur (ap-pli-ka-toor'), Bet. The art of 
 fingering. 
 
 Appoggiando(ap-p6d-;an'do), « (.Leaning 
 
 Appoggiato (ap-pod-ja'to), J upon, 
 
 dwelt upon, drawn out. 
 
 Appoggtatura (ap-pod-ja-too'Ta), It. Leaning 
 note, grace note, note of embellishment. 
 An accessory tone, or grace note, situated 
 one degree from the principal tone. The 
 appoggiatura 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 appoggiatura 
 situated one degree below its principal note. 
 
 Appoggiatura, superior. An appoggiatura 
 situated one degree above its principal note. 
 
 Appoggiature (ap-pod-ja-too'r^). It. See A'p- 
 
 poggiatura. 
 Apprestare (ap-pr&-ta'r6), It To prepare, or 
 
 put in a condition to be played. 
 
 Appretiren (ap-pr6-te'-r'n), Oer. To set in or- 
 der. 
 
 A premiere vue (it prS-mi-ar Til), JV. 1 At first 
 A prima vista (a pre'ma vez'ta). It, j sight. 
 
 Apre (apr), Fr. Harsh. 
 
 Aprement (apr-mOnh), Fr. Harshly. 
 
 Aprete (iip-rfi-ta), Fr. Harshness. 
 
 A punta d'arco (a poon'ta dar'ko). It. With 
 the point of the bow. 
 
 A punto (a poon'to). It. Punctually, exactly, 
 correctly. 
 
 A qnatre mains (a katr manh), Fr. \ Vot 
 
 A quattro manl (a kwat'tro ma'ne), It. j four 
 hands. For two performers on one piano- 
 forte. 
 
 A quattro, or, a 4, It. For four voices or in- 
 struments ; a quartette. 
 
 A quattro parti (a kwat'tro par-te). It. In four 
 parts. 
 
 A quatre yolx (a katr vwa), Fr. 1 For 
 
 A quattro voci (akwSt'tro vo'tshe), Jt /four 
 voices. 
 
 A quatre seuls (a katr siSl), Fr. 1 For four 
 
 A quattro soil (a kwat'tro so-le). It. j solo 
 
 voices or instruments. 
 
 A quattro tempo staccatie vivace (a kwat'tro 
 tfim'po stak-ka'te a ve-va'tsh6). It. The meas- 
 ure m four time to be taken with spirit and 
 animation. 
 
 Ar (ar), Par. Air. 
 
 ArbKril (ar-bit'rl-e), Lai. Certain points or 
 embellishments which a singer introduces 
 or improvises at pleasure while singing an 
 aria or tune. 
 
 Arbitrio (ar-be'tri-o), It. At the will orpleas- 
 ure of the performer. 
 
 Arc (ark), /(. The bow ; an abbreviation of 
 Aroo. 
 
 Areata (ar-ka'ta). It. Manner of bowing. 
 
 Arcato (ar-ka'to). It. Bowed, played with the 
 bow. 
 
 Arche (ar'khfi), Ger. The sounding-hoard of 
 an organ. 
 
 Arclcembalo (ar-tshi-tshSm'ba-lo), li. A cem- 
 balo, or harpsichord, invented in the six- 
 teenth century, having an enharmonic 
 scale. Little is known about it. 
 
 Arche'ggiare (ar-kad-ja'rfi), It. To use the 
 bow, to fiddle. 
 
 Arcliet (ar-sha), Fr. \ . _i„i,.„ \,„„ 
 
 Archettlno (ar-ket-te'no), i(.|Aviohn-bow. 
 
 Archetto (ar-k6t't6), „ 1 > uMinKn,.. 
 
 Arclcelio (Vr-tshi-tshgllo), ^'- \ ^ ^"*1« ^°'^- 
 Archiluth (ar-she-liit), Fr, ) „„_ i,.i,7.,/» 
 Arciliuto (ar-tshel-yoo'to), It. J See^rcWute. 
 
 Archlute. A theorbo or lute with two nuts 
 and sets of strings, one for the ba£s. 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. 
 
 Area (ar'ko). It. With the bow (after pfeaftorio). 
 
 Ardente (ar-dSn'tg), It. With fire, glowing, 
 vehement. 
 
 Ardentemente (ar-dto-tg-mgn'tfi), It. Ardent- 
 ly, vehemently. 
 
 Ardentissimo (ar-dfin-tis'si-mo), It, Very ar- 
 dently. 
 
 Ardltamente (ar-de-ta-mgn t€), It, Boldly, 
 with ardor. 
 
 Arditezza (ar-dl-t£t'sa). It. Boldness. 
 
 Ardito (ar-de'to). It. Bold, with energy. 
 
 Ardlto di molto (ar-de'to de iuol'to), It. Pas- 
 sionately, with much force. 
 
 Aretlnian sj^Ilables. The syllables ut, re, me, 
 fa, sol, la, introduced by Guido d'Arezzo for 
 his system of hexachords, or six notes. 
 
 Argentin (ar-zhan-tan), Fr. Silver-toned. 
 
 Arghool (ar-ghool), Tur. A musical instru- 
 ment of the Turks, of the flute species. 
 
 Aria(a'ri-a), Jf. An air; a song; a vocal com- 
 position lor a single voice, with instrumen- 
 tal accompaniment. The aria, such as we 
 find it in the opera, oratorio, cantata, etc., 
 in the structure of which itforms nneof 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 copo— that 
 is, a composition consisting of a more or less 
 extended first part, a shorter second part, 
 and a repetition of the first part. Foralong 
 period it was the prevalent type. Most of 
 the other varieties of the aria form sprang 
 out of this one. For instance, that in which 
 a free, modified repetition took the place of 
 
 a arm, & add, a ate, « end, e eve, liU,i Ule, 6 old, 6 odd, oo moan, 0. but, ii Fr. sound, kh 6er. ch, nh na»aj. 
 
 4 m 
 
ARI 
 
 DICTIONARY OF MUSIC. 
 
 ARP 
 
 the do capo; or that in which the repetition 
 was altogether dispensed with ; or that in 
 which the center 01 gravity was to he found 
 in the second part, and so forth. Arias, 
 however, have often been written in the 
 rondo form, and also in what we may call 
 the abridged sonata form. Since Mozart, 
 the great masters have departed more and 
 more from the conventional pattern, and 
 have taken for their guides, as regards form 
 as well as sentiment, the character and 
 mood of the person for whom, and the na- 
 ture of the situation fOr which, the aria is 
 intended. See Air. 
 
 Aria buff a (a'ri-a, boof'fa). It. A comic or hu- 
 morous air. 
 
 Aria cantablle (a'rI-S. kan-ta'bi-lS), It. An air 
 in a graceful and melodious style. 
 
 Aria concertata (a'rI-a kon-tshSr-ta'ta). It. An 
 air, with orchestral accompaniments, in a 
 concertante style ; a concerted air. 
 
 Aria concertante. It. An aria with MigatD 
 instrumental accompaniment — i. e., an aria 
 in which one or more instruments vie with 
 the voice. 
 
 Aria d' abllita (a'rI-a da-|)el-ll-ta,'). It. A dif- 
 ficult air, requiring great skill and musical 
 ability in the singer. 
 
 Aria di bravura (a'ri-a de bra-voo'ra). It. A 
 florid air in bold, marked style, and permit- 
 ting great freedom of execution. 
 
 Aria di cantabile. It. See Aria carUabile. 
 
 Aria fugata (a'rl-a foo-ga'ta), It. An air ac- 
 companied in the fugue style. 
 
 Aria d' ostinazione (a'rI-a dos-ti-na-tsl-o'ne). 
 It. An aria all parts of which are essential- 
 ly counterpoints to the same bass figure 
 (called boMO osHmiio) repeated over and over. 
 
 Aria parlante (a'rI-a par-lan'tS), It. An air in 
 the declamatory style ; a recitative a tempo. 
 
 Aria tedesca (a'rI-a tS-dSs'ka), It. An air in 
 
 the German style. 
 Aria und Chor (&'rl-a oond kor), Ger, Air and 
 
 chorus. 
 
 Arie aKglunte (a-ri-a ad-joon'tS), It. Airs 
 adde?to or introduced into an opera or 
 other large work. 
 
 iriette |t*l^]^' }"^ ^''"■■' -' - ^-">^y- 
 
 Arietta alia veneclana (a-il-£t'ta al'la vS-na- 
 tNl-a'ua), It. A ^ort air in the style of the 
 Venetian barcarolles. 
 
 Ariettlna (a-rl-St-te'na), It. A short air or 
 
 melody. 
 A rigore del tempo (a re-go'rS d61 tgm'po), It. 
 
 In strict time. 
 
 Arigot (a-rl-go), Fr. A fife. 
 
 Ariosa (ii-rl-d'za), It. In the movement of an 
 aria, or tune. 
 
 Ariose cantate (a-rl-6'zS kan-ta'tS), It. Airs 
 in a style between a song and recitative, in- 
 troducing frequent" changes in time and 
 maimer. 
 
 Arioso (ar-i-o'zo), It. 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 
 but a few words, many times repeated (iis 
 we find in Handel's oratorios, ete.J, and the 
 musical development is the main thing. 
 The opposite of aria is recitative (q. v.), in 
 which the declamation of the syllables is the 
 main thing, colored, perhaps, by means of 
 clever orshestration. The arioso stands be- 
 tween these extremes! In modern practice 
 it has had a great development, especially 
 at the hands of Wagner. An arioso declaims 
 tfae 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 character, and, being - 
 less bound 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 foran importantmomentof a work 
 is to indulge himself in iree fantasy to the 
 extreme extent needed for dramatically 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 
 the musical ear. 
 
 Arm. A small piece of iron at the end of the 
 roller of an organ. 
 
 Armer la del (ar-ma' la kla), Fr. The signa- 
 ture ; or, the flats and sharps placed imme- 
 diately alter the clef. 
 
 Armonesgiare {ar-m6-n6d-ja'r6),I«. To sound 
 in harmony. 
 
 Armonia (ar-mo'ni-a). It. Harmony, concord. 
 
 Armoniaco (ar-mo-ni-a'ko). It. Harmonized. 
 
 Armonlale (ar-md-n!-a'l£). It. Harmonious, 
 concordant. 
 
 Armonlato (ar-mo-ni-a'to), It. See Armoniaco. 
 
 Armonica (ar-mo'ni-ka). It. The earliest form 
 of the accordion; a collection of musical 
 glasses, so arranged as to produce exquisite 
 effects. 
 
 Armonica guida (ar-mo'nI-ka gwe-da). It. A 
 guide to harmony. 
 
 Armonici (ar-mp-ne'tshi). It. Harmonic. 
 
 Armonico (ar-mo'nl-ko). It. Harmonious. 
 
 Armoniosamente (iir-mo'nl-d-za-men'te). It. 
 Harmoniously. 
 
 Armonioso (ar-md-ni-o'zo). It. Concordant, 
 harmonious. 
 
 Armure (ar-miir), Fr. The signature of the 
 
 ^j£iS;?l!;^-}Tbeharp. 
 
 Arpa d' eolo (ar'pa da-d'lo). It. An Solian 
 harp. 
 
 a arm, & aid, a afe, € end, e eve, I iU, i isle, 6 old, d odd, oo moon, d t>ut, \i Fr. sound, kh Qer. ch, nh naaai 
 
 (50) 
 
AEP 
 
 DICTIONARY OF MUSIC. 
 
 ATE 
 
 Arpa doppia (ar'pii dop'pl-il), It. The double- 
 action liarp ; it meant formofly a tiarp with 
 two strings to each note. 
 
 Arpanetta (ar-pa-nSt'ta), « l A. small harp or 
 Arpinella (Sr-pi-nei'la), ■''• ; lute. 
 
 Arpeg. An abbrcTiation of Arpeggio. 
 
 Arpegement (ar-pazh-milnh), Fr. An arpeg- 
 gio. / 
 Arpeggl (ar-p6d'je), It. Arpeggios. 
 
 ' Arpegsiamento (ar-ped-ja-m€n'td), It. In the 
 style of the harp ; arpeggio. 
 Arpesgiando (Sr-ped-ian'do), „ \ Music 
 Arpeggiato (ar-pSd-ja'to), ( played ar- 
 
 peggio, in imitation of the harp ; harp mu- 
 sic. 
 
 To play upon 
 
 It. 
 
 Arpeggiare (ar-p^-ja'rS), 
 
 tbe narp. 
 Arpegglatura (ar-pgd-ja-too'rii), It. Playing 
 
 arpeggio, or iu tue style of the harp. 
 
 Arpeggio (ar-pSd-jo'J, li. Playing the notes 
 
 of a chord quick- Written. Pla;ed. 
 
 ly, one after an- 1 (jig n mF _pf 
 
 other, iu Ihe 
 harp style, thus. 
 
 Arpeggio accompaniment. An accompani- 
 nieut which consists chiefly of chords 
 played in arpeggio style. 
 
 Arrang } Abbreviations of Arrangement. 
 
 Arrangement. Tbe selection and adaptation 
 of a composition or parts of a composition 
 to instruments for which it was not origi- 
 nally designed, or for some other use for 
 which i t was not at first written. 
 Arranger (ar-ranh zha), J^V. .1 To ar- 
 Arrangiren (iir-riiah-glie'r'n), Ger. J range mu- 
 sic for particular voices or instruments; to 
 arrange orchestral music for the pianoforte. 
 
 Arsis (aWsIs), (Jr. The up stroke of the hand 
 
 in beating time. 
 Ars musica (ars moo'si-ka), Lot. The art of 
 
 music. 
 Art (art), Ger. Species, kind, quality. 
 
 Art de I'archet (art dah lar-sha), fr. The 
 art of bowing. 
 
 Articolare (ar-ti-ko-la'r6). It. \ To pronounce 
 
 Articuler (ar-tl-ku-la), Ji'r. /the words dls- 
 tiuctly ; 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 ; 
 a clear and exact rendering of every sylla- 
 ble and tone. 
 
 Articolato (ar-tVko-la'to), It. Articulated, dis- 
 tinctly enunciated. 
 
 Artlcolazione (ar-tl-kd-la'tsl-6'ne), It. Exact 
 and distinct pronunciation. 
 
 Artlkuliren (Sr-tik-oo-le'r'n), Ger. To articu- 
 late. 
 
 Artlsta (Sr-tls'ta), It. \ Ap artist ; one who 
 Artiste (ar-ti3t')i Fr. /excels in thecomposi- 
 
 tiou or performance of music. 
 As (as), Oer. The pote A\>, 
 Asas (as-iis), Ger. A-doubJe-flat. 
 
 Ascoltatore (as-kol-ta-to'rg), It. An auditor, 
 
 a hearer. 
 As-dur (as-door), Ger. Tl^e key of A\> major. 
 
 Asheor (a'shSor), Heb. A ten-striqfeed instru- 
 ment of the Hebrews. i 
 As-moll (as-moU), Ger. ^he key of A\> minor. 
 
 Asperges me (as-pAr'g^s qia). Lot. The open- 
 ing of the Mass in the Catholic service. 
 
 Aspirare (as-pi-ra'rS), It.'. To breathe loudly; 
 to use too much breatl) in singing. 
 
 Asprezza (as-pret'tsa),/i!. Roughness, dryness, 
 harshness. 
 
 Assal (as-sii'e). It. Very, extremely, in n high 
 degree. In composition with other terms if. 
 intensifies everything, as, Allegro assai, 
 Very allegro, etc. 
 
 Assal plu (as-sa'e pe'oo), It. Much more. 
 
 Assemblage (ils-sanh-Miizh), .Fr. Double- 
 tongueiug on the flute; executing rapid 
 passages on wind instruments. 
 
 Assez (as-sa), Fr. Enough, sufficiently. 
 
 Assez lent (Ss-sa lanh), Fr. Rather slowly. 
 
 Assoluto (sis-sd-loo'to), It. Absolute, free, 
 
 alone, one voice. 
 Assonant. Having a resemblance of sounds. 
 
 A.ssonante (as-sd-nan'tS),7i!. Harmonious, con- 
 sonaut. 
 
 Assonanz (as-s5-nants'). Ger. \ Similarity, or 
 
 Assonanza (sis-so-nan'tsa). It. f consonance of 
 tone. 
 
 Assourdir (Ss-soor-der'), Fr. To muffle, to 
 deafen, to stun. 
 
 Assourdissant(as-soor-dis-siinh), Fr. Deafen- 
 ing, stunning. 
 
 A sue arbltrlo (a soo'6 ar-bl'trl-o), 
 
 A sue bene placlto (a soo'6 ba-n« pUt'- „ 
 tshi-to), •"• 
 
 A suo comodo (a soo'd ko'mo-do), 
 At pleasure, at will, at the inclination or 
 discretion of the performer; synonymous 
 with Ad libitum. 
 
 A suo bene placlmento (a soo'o ba-n£ pla'tshl- 
 mgn'to), U. An aid term, signifying At the 
 will or pleasure of the performer. 
 
 Atabal. A kind of tabour used by the Moors. 
 
 A temp ^^- } Abbreviations of A tempo. 
 
 A tempo (a tSm'po), 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 comodo (a tSm'po ko-mo-do). It. In 
 convenient time; an easy, moderate time. 
 
 A tempo deir allegro (ii tSm'po d£l lal-la'gro). 
 It. In allegro time. 
 
 a arm, a add, a ate, £ end, e eve, I tU, I i>le, o o(d, a ad<(, 00 moon, a but, ii .fV. 30un<2, kh Oer. cA, nh nasal. 
 
 (5U 
 
 jiSS: 
 
"ATE 
 
 DICTIONARY OF MUSIC. 
 
 AUG 
 
 A tempo d! gavotta (a t6in'p6 de ga-v6t'ta), It, 
 In the time of a gavot ; moderately quick. 
 
 A tempo g:iusto (atfim'po joos'to), It. In just, 
 strict, exact time. 
 
 A tempo ordinario (a t6m'p6 6r-di-nd.'ri-6), It. 
 In ordinary, moderate time. 
 
 A tempo rubato (a tSm'po roo-ta'to), It. Ir- 
 regular time ; deviation in time so as to 
 give.more expression, but so that the time 
 of each bar is not altered on the whole. 
 See Rubaki. 
 
 Athem (a'tSm), Qer. Breath, breathing, respi- 
 ration. 
 
 Athemholen (a^tSm-hol'n), Oer. To breathe, 
 to respire. 
 
 Athemzug (a-tSm-tsoog), Qer. Act of respira- 
 tion, breathing. 
 
 Athmen (al'mfin), Qer. To blow softly. 
 
 A ton basse (a tOnh bass), Fr. In a low tone 
 
 of voice. 
 A tre, or, a 3 ( a tra), It. For three Toioes or 
 
 instruments ; a trio, or terzetto. 
 A, tre corde (a tra lior'dfi), It. P<J» three 
 
 strings; with three strings. Discontinue 
 
 the soft pedal. 
 A tre man! (a tra ma'ni). It. For three hands. 
 A tre parti (ii tra par'ti), It. In three parts. 
 A tre soli (a tra so'li). It. For three solo 
 
 voices. 
 A tre soprani (a tra so-pra'ni), It. For three 
 
 soprano voices. 
 A tre voci (a tra vo'tshi), It. For three voices. 
 Atril (a-trel'), Sp. A missal-staud. 
 
 A trois, or, a 3 (a trwa), Fr. For three voices 
 or instruments. 
 
 A trois mains (a trwa mtoh), Fr. i'or three 
 hands. 
 
 A trois parties (a trwa par-te), Fr. In three 
 parts. 
 
 A trois voix (a trwa vwa), Fr. For three 
 voices. 
 
 Attacca (at-talt'lia), „ 1 At- 
 
 Attaccasubito(at-talc'ljasoo'bi-to), j taclc 
 or commence the next movement immedi- 
 ately. 
 
 Attacca I' allegro (at-taJ^'lia lal-la'gro), Jf. Com- 
 mence the allegro imme^jately. 
 
 Attaccare (at-tak-lia'rfi),^ Ji. ) To attack or com- 
 
 Attaquer (at-ta-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 (at'to). It. An act of an opera or play. 
 
 Atto di cadenza (at'to de ka-d«n'tsa), It. The 
 point in a piece where a cadence may be in- 
 troduced. 
 
 Atto primo (at-to pre'mo), It. The first act. 
 
 Attore (at-t6'r6). It. An actor or singer in an 
 opera or play. 
 
 Attori (at-to're), It. The principal actors or 
 siugers in an opera. 
 
 Atto secondo (at'to s6-kon'do). It, The second 
 act. 
 
 Atto terzo (at-to tfir'tsS), It, The third act. 
 
 Attrlce (at-tre'tsh6), It, An actress or singer. 
 
 Aubade (o-bad), Fr, A morning serenade. 
 
 Audace (a-oo-da'tshs), It, Bold, spirited, au- 
 dacious. 
 
 Auf (out), Oct, On, upon, in, at, etc. 
 
 Aufblasen (ouf'bla-z'n),^^-. To sound a wind 
 instrument. 
 
 Auf dem Oberwerk (ouf dSm 6'b6r-wark), Qtr. 
 Upon the upper work, or highest row of keys 
 in organ-playing. Generally indicates the 
 swell organ. 
 
 Auffassung (ouf'fas-soong), Qer. Conception, 
 reading of a work. 
 
 Auffiihrung (ouf'fii-roong), Qer. Perform' 
 ance. 
 
 Aufgeregt (ouf'ghg-rgght), Ger, Excited, agi 
 tated. 
 
 Aufgeweckt (ouf'gh6-w6kt), Ger. Sprightly, 
 lively, cheerful. 
 
 Aufgewecktheit (ouf'ghe-wfikt'hit),(jer. Live* 
 liness, cheerfulness. 
 
 Aufhalten (ouf'hal-t'n), Qer. To stop, to re- 
 tard, to keep back. 
 
 Aufhaltung (ouf'hal-toong), Oer. Keeping 
 back ; a suspension. 
 
 Auflage (ouf'la-ghg), Qer, Edition. 
 
 Auflosung: (ouf'lfi-zoong), Ger. The resolution 
 of a discord. Also, a natural (t^). 
 
 Aufs (oufs), Oer, To the, on the. 
 
 Aufschlag (ouf'shlag), fier. Upbeat; the un- 
 accented part of a bar. 
 
 Aufsteigende Tonarten (ouf'stI-gh$n-de ton'- 
 ar-t'n), Qer, pi. Ascending scales or keys. 
 
 Aufstricb (ouf'strlkh), Qer, An up bow. 
 
 Auftakt (ouf'takt), Qer, The unaccented part 
 of a bar ; especially the commencement of a 
 piece, or division of a piece, when it does 
 not open with a note on the first accented 
 part of the bar, but on a later unaccented 
 one. 
 
 Auftrltt (ouf'tritt), Qer, A scene 
 
 Aufzug (ouf'tzoog), Oer. Act of a play or 
 opera. 
 
 Augmentatio (oug-mSn-ta'tsi-o), 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 of a 
 subject In notes of greater value, as halves 
 for quarters, etc. 
 
 Augmente (og-manh-ta'), Fr. Augmented. 
 
 a arm, & add, a.aU,& end, e eve, 1 iB, i isU, o oUL, 6 odd, 00 moon, a Im(, ii i^V. sound, kh Qer. ch, nh naaal. 
 
 (52) 
 
AUG 
 
 DICTIONARY OF MUSIC. 
 
 AVE 
 
 Augmentazlone (oug-mSn-ta-tsI-o'ne), II. In- 
 crease. 
 
 Augmented. An epithet applied to such In- 
 lervals as are more thau a major or perfect. 
 
 Augmented fifth. A fifth containing four 
 
 whole tones, or steps. 
 Vugmented fourth. A fourth equal to three 
 ..uole steps. 
 
 .ugmented intervals. ThoEe which include 
 
 a semitone more a perfect nrUi Augmented Bfth 
 
 than major, or per- r. " 
 
 feet, intervals ; as, 
 
 
 Augmented octave. An interval equal to five 
 
 wnole 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 
 
 whole tones, or steps, and one semitone, 
 
 or half step. 
 Augmented unison. A semitone, or half step. 
 Augmento (a-oog-mSn'to), It. Augmentation. 
 Auletes (ou-la't6s), Gr. A flute-player, a piper. 
 Auletlc. Pertaining to a pipe ; (little used). 
 
 Au lever du rideau (o 16-va dtth re-do), i^V. At 
 the rising of the curtain. 
 
 Aulo (a-oo'lo), It. 1 A species of ancient 
 
 Aulos (ou'los), Gr. J flute. 
 
 Aulodia (a-oo-16'di-a). It. Singing, accom- 
 panied by the flute. 
 
 Aumentazione (aroo-mSn-ta-tsi-o'ng), It. Aug- 
 mentation. 
 
 A una corda (a oo'na kor'da). It. On one 
 string. 
 
 Aus (ous), Ger. From, out of. 
 
 Ausarbeitung (ous'ar-hi-toong), Ger. The last 
 lluisb or elaboration of a composition. 
 
 A.usdehnung (ous'da^noong),&er. Expansion, 
 extension, development. 
 
 Ausdruck (ous'drook), Ger. Expression. 
 
 A usdrucksvoll (ous'drooks-foU), Ger. Ex- 
 pressive. 
 
 Ausfiihrung (ouB'fil-roong),^^-. Performance. 
 
 Ausfiillung (ous'fiil-loong), Ger. The filling 
 up, the middle parts. 
 
 Ausgabe (ous'ga-bS), Ger. Edition. 
 
 Ausgang (ous'gang), Ger. Going out, exit, 
 conclusion. 
 
 Ausgehalten (ous'ghfi-hal-t'n), Ger. Soste- 
 nuto. 
 
 Ausgeigen (ous'ghl-g'n), Ger. To play to the 
 end. 
 
 Ausgelassen (ous'ghg-las's'n), Ger. Wild, un- 
 governable. 
 
 AusgeIassenheit(ons'gh6-las's'n-hIt),Gcr. Ex- 
 travagance, wantonness. 
 
 Aushalten (ous'hSl-t'n), Ger. To hold on, to' 
 sustain a note. 
 
 Aushaltung (ons'hai-toong), Ger. The sus-" 
 taining of a note. 
 
 Aushaltungszelchen(ous'hal-toongs-tsl'kh'n), 
 Ger. A pause (m). 
 
 Auslosung (ous'lfi-zoong), Ger. A mechan- 
 ism which permits the hammer of the piano- 
 forte to immediately drop away from the 
 string w))ile the finger yet remains upon the 
 key. 
 
 Auswelchen (ous'wi-kh'n), Ger. Tn make a 
 transition from one key to another^ 
 
 Ausweichung (ous'wi-khoong), Ger. A tran- 
 sient modulation, or change of key. 
 
 Autentico (a-oo-tfin'tlko). It. Authentic. 
 
 Auteur (o-ttlr), 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. 
 
 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, thea;olian, etc. 
 
 Autor (ou-tor*), Sp. \ An author, a com- 
 
 Autore (a-oo-tffrg). It. j 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, passing 
 tones on the half beat, suspermions held over 
 out of a previous chord, and changing notis. 
 See lyissonances. 
 
 Avant-scene (a-vSnh-san), Fr. Before the 
 opening of the opera or scene. 
 
 Ave (a-v6), Lat. Hail ! 
 
 Avec (a-v6k), JV. With. 
 
 Avec allegresse (a-v6k ai-16-gras), Fr. Lively, 
 
 sprightly. 
 Avec ame ou gout (a-vSk am oo goo), Fr. 
 
 With feeling or grace. 
 Avec douleur (a-vfik doo-ltir), Fr. With grief, 
 
 with sadness. 
 
 Avec feu (a-v6k ftS), Fr. With spirit. 
 
 Avec force (a-vfik forss), Fr. With power. 
 
 Avec gout (Srvfik goo), Fr. With taste. 
 
 Avec grande expression (a-v€k granh dex- 
 pra-Bi-6nh), Fr. With great expression. 
 
 Avec lenteur (a-vSk Iftnh-tflr), Fr. With slow- 
 ness, lingering. 
 
 Avec les pieds (a-v6k IS pe-a), Fr. With the 
 feet, in organ-playing. 
 
 Avec liaison (S-vfii li-a-sOnh), Fr. With 
 smoothness. 
 
 » arm, S, add, a ate, e end, e eve, i HI, I isle, 6 old, 6 odd, oo moon, ti 6irf, ii Fr. sound^ kh Ger. ch, nn ngfal, 
 
 m 
 
AVE 
 
 DICTIONARY OF MUSIC. 
 
 BAL 
 
 Avec mouvement (a-vSk moov-mOnli), Ft. 
 
 With movement. 
 Ave Maria (a'vS ma-re'a). i>i(. "Hail Mary." 
 
 A hymn or prayer to the Virgin Mary. 
 
 Avena (a-va'na), It. A reed, a pipe. 
 
 A vlcenda (S, ve-tsh6n'da), It. Alternately, 
 
 by turns. 
 A vide (a ved), Fr. Open. 
 A vista (a vl'sta), It. At sight. 
 
 A voce sola (a vo'tshS so'la), It. For one voice 
 aloue. 
 
 Avoir du retentlssement (a-vwftr dii ra-t4nh- 
 t§ss-m6nh), J!")-. To be repeated. 
 
 Avoir le vols haul (ii-vwar' Iflh vwas6), Fr. 
 
 To have a loud voice. 
 A voix forte (a vwa lort), Fr. With a loud 
 
 voice. 
 
 A volonte (ii v6-l(Snh-ta), Fr. At will, at 
 
 pleasure. 
 A vue (a vii), Fr. At sight. 
 
 Azlone sacra (a-tsi-6'nfi sa'lcra), It. An ora- 
 torio ; a sacred musical drama. 
 
 -B. 
 
 B. The name of a pitch one whole step hiRh- 
 er than A. Also of the staff-d' grees, repre- 
 senting B and its octaves. In (iermany the 
 name B is applied to the pitch B flat, B-uat- 
 ural being called H. This usage is gradu- 
 ally becoming obsolete. 
 
 Baazas (ba-za), Fr. A species of guitar. 
 
 Babara (ba-ba'ra), Sp. A Spanish country 
 
 dance. 
 Bacchanalian songs. Brinlcingsongs; songs 
 
 pertaiuiug to druulceuness and revelry. 
 
 Bacchia. A Kamschatka dance in 2-4 time. 
 
 Bacchius (bak'M-oos), Gr. A musical loot, 
 consisting of one short, unaccented, and 
 two long, accented notes or syllables, 
 marked ^^ . 
 
 Bacchuslied (bakh'oos-led),G«-. A Bacchana- 
 lian BUUg. 
 
 Bacciocolo (bat-tshi-o-ko'Io), II. A musical 
 instrument of the guitar kind, common in 
 some parts of Tascauy. 
 
 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^r. Playfulness, sport- 
 ivenetis. 
 
 Bagatelle (bftg-a-t61'), Fr. A trifle, a toy, a 
 snort, easy j>iece of music. 
 
 Bagpipe, or, bagpipes. An ancient wind in- 
 strument, still in use in many countries, 
 consisting of a leathern bag (into which the 
 wind is conveyed through a'tube, one end 
 of which the player holds in his mouth), 
 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 drone, produce .each only one 
 uoie, which they sustain throughout). The 
 form and structure of this instrument vary 
 in diS'eTent countries, and even in one and 
 the same country. Bagpipes with more 
 than one drone pipe have ttfe smaller drone 
 
 pipes generally tuned a fifth or an octave, 
 or one a fifth and another an octave, above 
 the fundamental note produced by the long- 
 est pipe, two of the smaller pipes being 
 often tuned in unison. 
 
 Baguette (bii-ghfit'), Fr. A drumstick. 
 
 Baguettes de tambour (ba-ghfit doh tam- 
 bour), t'r. Drumsticks. 
 
 Balle (ba-e'ie), Bp. The national dances of 
 tipalu. 
 
 Baisser (bas-sa), Fr. To lower or flatten the 
 pitch or tone. 
 
 Baisser le rideau (bas-sa IQh re-doj, Fr. To 
 drop the curtain. 
 
 Balalaika (ba-lii-la'ka), Rns. A rude, guitar- 
 like instrument of the Ukreine. It has three 
 strings. 
 
 Balance (bii-lanh-sa), Fr. A step, or figure, 
 in dancing. 
 
 Balancement (bal-anhs'manh),J'r. Quivering 
 motion, a tremolo. Corresponding to the 
 BebuTig, a trembling of the finger, which 
 was communicated to the strings of the vlo- 
 liu or clavier. 
 
 Balcken, or, Balken (bal'k'n), Ger. The bass 
 bar placed under the fourth ctring in a 
 violin. 
 
 Baldamente (bal-da-mfin'te), /(. Boldly. 
 
 Baldanza (bal-dan'tsa), n 1 Au'iacity, bold- 
 
 Baldezza (bal-dfit'sa), ■^'- (net.s. ' 
 
 Balg (balgh), Ger. The bellows of the organ. 
 
 Balgtreter (balg'tr6-t6r), Grr. Organ-blower, 
 or bellows-treader, in old German organs. 
 
 Balgzug (balg'tsoog), Ger. In an organ, the 
 bellows-stop. 
 
 Balken (bal'k'n), Ger. See Balcken. 
 
 Ballabile (bal-la'bM6), It. In the style of a 
 dance. *^ 
 
 Ballad. This word is derived from haUala 
 (dancing-song), which in its turn is derived 
 from baUnre (to dance). The popular mean- 
 ing of 6aUac2, in English, is " a simple song;" 
 
 a arm, i. add, a ale, 6 end, e eve, i &, i Ule, 6 old, odd, oo moon, iXbut, il Fr. sound, kh Ger. cA, nh nasal. 
 
 (84) 
 
BAL 
 
 DICTIONARY OF MUSIC. 
 
 BAR 
 
 thespeciSc and more widely accepted mean- 
 ing is " a lyrico-narrative poem, or the mu- 
 sic to such a poem " Ballads have been 
 composed for a single voice (which is the 
 most reasonable course), foT several voices, 
 for chorus with and without accompani- 
 ment, and also for single instrument with 
 and without accompaniment, and fur or- 
 chestra. 
 
 Ballade (biil-la'de), Oer. \ A dance, dancing ; 
 
 Ballata (bEil-l£i'ta.), It. J also a ballad. 
 
 BalladenmasslK (bal-la d'n-mas-3lgh),Cr«'. Af- 
 ter the manner of a ballad. 
 
 Balladensanger (bal-lad'n'silng-er), Oer. A 
 ballad-singer. 
 
 Balladlst. 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-slneer. One whose employment Is to 
 slug ballads. 
 
 Ballad style. In the manner or style of a bal- 
 lad. 
 
 Ballare (hal-la-rS), It, To dance. 
 
 Ballatella (bai-la tei'la), „ 1 » oK^rf^ >,oiiotn 
 Ballatetta (bal-la-tSt'ta), ^^- |A short ballata. 
 
 Ballerina (bal-16-re'na). It. A dancing-mis- 
 tress, a female dancer. 
 
 Ballerino (hal-18-re'no). It. A dancing-mas- 
 ter, a male dancer. 
 
 Ballet (bai-la), Fr. \ (ij An artistic, as 
 Balletto (bal-iet'to), Jf. J distinguished from a 
 social dance, performed by several persons. 
 (2) A kind of opera, in which there was 
 not mnch of a plot, but a greal deal of 
 dancing. (3) The represeutatiou of an &'- 
 tion by pantomime and dancini;. (4) A 
 sprightly kind of composition for several 
 voices, which became popular at the end of 
 the sixleenih century. As many of them 
 had a Fn la, burden, they were, in England, 
 commonly called Fa las. 
 
 Ballet-master. The person who superintends 
 the rehearsals of tne ballet, and who fre- 
 quently invents the fable and its details. 
 
 Ballete. A^ballet. 
 
 Balletti (bal-l€t'te), It. Dance airs. 
 
 Ball' (bal'le), It. pi. Dances. 
 
 Ball! della stiria (bal'le del-la sti'ri-a). It. pi. 
 Siyrian dances, resembling waltzes. 
 
 Ball' ungaresi (bal'loon-ga-ra'ze). It. pi. Hun- 
 garian dance in 2-4 time, generally synco- 
 
 ^pated, or accented on the weak part of the 
 measure. 
 
 Ballo (bal'16). It. A dance, or dance tune. 
 
 Ballonchio (bal-lon'ki-o), It. An Italian coun- 
 try dauce. 
 
 Band. A number of instrumental performers 
 playing iu concert on their respective in- 
 struments. 
 
 Band, brass. A hand where only brass in- 
 sii umeuts are played. 
 
 Band, chamber. A band wh^se perform- 
 uuces consist only of chamber music. 
 
 Band, choral. Orchestral performers. 
 
 Band, full. Where all the instruments proper 
 to a band are employed. 
 
 Bandmaister. The leader or conductor of a 
 band. 
 
 Bandola (ban-do'lS.), Sp. An instrument re- 
 sembling a lute. 
 
 Bandora (biin-do'ra), „ \ An ancient string- 
 Bandore (bB,n-d6'rS), Jed instrument of 
 the lute or zither species. 
 
 Band, reed. A band with only reed instru- 
 ments. 
 
 Band, reeimental. A band belonging to a 
 regiment ; a military band. 
 
 Band, string. A band with only stringed 
 instruments. 
 
 Bandurrla. (ban-door-rl'ii), <S^. A species of 
 Spanish guitar ; a bandora. 
 
 Banjo. A long-necked stringed instrument, 
 the body of which cor^sists of a broad hoop 
 with a skin stretched over it. The strings, 
 from five to nine, are variously tuned. Of 
 great antiquity. 
 
 Biinkelsanger. (b&n'k'i-s&ng-er), Ger A bal- 
 lad-singer. 
 
 Bar. Lines drawn perpendicularly across 
 the staff to show that the stroi'g pulse im- 
 mediately follows. Hence, the bar shows 
 where the measure begins. The term bar 
 is also inelegantly used in place uf measure. 
 
 Barbarism. In music it relates to false har- 
 mony or false modulation. 
 
 Barblton (bar'bMon), Or. A name formerly 
 applied to the viol and violin. 
 
 Barbltos (bar'U-tos), Lat. An ancient instru- 
 ment, of the lyre species. 
 
 Barcarola (bar-lta-ro'laj. It. \ A Fong or air 
 
 Barcarolle (bar-ka-rol'), i-V. Jsung by the Ve- 
 netian gondoliera, or boatmen, while fol- 
 lowing their avocations. 
 
 Barcaruola (bar'ka-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 im- 
 
 gortance, and received great attention from 
 igh and low. 
 
 Bardd alan (bard a-l&n), Wd. A professor of 
 music. 
 
 Bardone (bardo'nS), II. See Bourdon. 
 
 Bar. A line drawu across the staff to show 
 the place of the strong accent, which is 
 always upon the time-space immediately 
 following, aud hence to show the division 
 of measures. The measure itself, and the 
 space between the bars, is sometimes called 
 
 a arm, & add, a ale, 6 end, e eve, I ill, 1 isle, 6 old, 6 odd, oo moon, til>ut,iXFr. sound, kb Ser, ch, nh nasal. 
 
 (55) 
 
BAB 
 
 DICTIONARY OF MUSIC. 
 
 BAS 
 
 aMr, but Improperly. Thename barmeans 
 simply the line, and Its office Is to indicate 
 the place oi 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 insertid 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 6as80 cmUinno prove. The 
 systems if notation called Tablature have 
 almost always made use of bars. 
 
 Barem (ba-rfim'), 6er. A stopped register, of 
 soft 8 or It) feet tone, in German organs. 
 
 Barentanz (bir'Sn-tantz), Ger. Bear dance. 
 Imitating the primitive music of the peas- 
 ant, with shrill piccolo and drum. 
 
 Bari. An abbreviation of Baritone. 
 
 Baribasso. A deep baritone voice. 
 
 Bariolage (bar-I-6-lazh), IV. A passage for the 
 violin, etc., in which the open strings are 
 more especially used. 
 
 Baritenor. The deeper sort of tenor voice. 
 
 Bariton (ba-rl-tOnh'), Fr. \ (i) The 
 
 Baritono (ba-re'to-no). It. i 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'|>, or from o to 
 c". (3) The niola di bordone (or bnrdojie). 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 froni, eight to twenty- 
 seven wire strings below the fingerboard, 
 which were plucked and sounded sympa- 
 thetically with the upper ones. (4) The 
 word barytone Is often used as an epithet to 
 indicate an instrument related to other in- 
 struments as the barytone' voice to other 
 voices. 
 
 Baritone clef. The F clef on the third line of 
 the stave. It is now no lopger 
 
 m 
 
 Baritone (ba-rl-to'no). It. Baritone. 
 Barocco (ba-rok'ko), It. 1 A term applied to 
 Baroque (ba-rok), Fr. /music in which the 
 harmony is confused and abounding in un- 
 natural modulations. 
 
 Barpfeife (bar'pfl-fS), Ger. Bear pipe; an ob- 
 solete reed-stop of soft intonation. 
 
 Barra (bar'ra). It. A bar line; a ban 
 
 Barrage (bar-razh'), Fr. See BarrS. 
 
 Barre (bar), Fr. A bar in music. 
 
 Barre (bar-ra), Fr. In guitar-playing, a tem- 
 porary nut, formed by placing the forefinger 
 of the left hand across some of the strings. 
 
 Barred C. C with a bar across it ; one of thi .i 
 marks of alia breve measure, thus, ^ 
 
 Barre de luth (bar dtlh loot), Fr. The bridgi'j 
 of the lute. 
 
 Barre de mesure (bar dflh mg-zflr), Fr. A bat 
 line. 
 
 Barre de repetition (bar dah ra-pa-tl-si-anh) , 
 Fr. A dotted double bar ; also, a thick lin-. 
 used as an abbreviation to mark the repetl ■ 
 tiou of a group of notes. 
 
 Barrel. The body of a bell. 
 
 Barrel chime. The cylindrical portion of tho 
 mechanism sometimes used for the purpose 
 of ringing a chime of bells. 
 
 Barrel organ. An organ in which the key,3 
 which give the wind access to the pipes are 
 acted upon by pins (staples) fixed on 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, each pegged for a 
 certaiu number of tunes, are bought and re- 
 newed as wanted. 
 
 Barrer. The act of employing the forefinger 
 of the left hand as a nut in guitar-playing. 
 
 Barrer, great. The act of pressing all the 
 strings of the guitar 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 (bar-riir), Fr. The bar of a lute, etc. 
 
 Baryphonus (ba-rl-fo'nooe). A man with a 
 very deep or very coarse voice. 
 
 Barz (barz), Wei. A poet-musician, a bard. 
 
 Bas (bah), Fr. Low. 
 
 Bas dessus (bah dfis-sS), Fr. A mezzo-so- 
 prano, or second-treble voice. 
 
 Base.) The lowest, or deepest, male voice; 
 
 Bass. J the lowest part in a musical composi- 
 tion. 
 
 Basilica (ba-zell-ka), It. A cathedral. 
 
 Bassa (bas'sa). It. Xow, deep ; Srabassa, play 
 the notes an octave lower. 
 
 Bass alberti. A bass formed by taking the 
 notes of chords in arpeggios. 
 
 Bassanello (bas-sa-nSl'16),Jil. An obsoletemu- 
 sical instrument. 
 
 Bassa ottava (bas'sa 6t-1a'va),2i. Playthe pas- 
 sage an octave lower than written. 
 
 & arm, & add, &al€,& end, e eve, iiU,li8le,6 old, 6 odd, oo moon, a but, ii Fr. sound, kh Ger. ch.nh nasal. 
 
 (56) 
 
fiAS 
 
 DICTIONARY OP MUSIC. 
 
 BAS 
 
 Bass beam. A thin atrip of wood glued in- 
 side theviol, nearly under tiie bass string. 
 
 Bassblaser (bfiss'bla-z'r), Ger. A bassoonist. 
 Bass chantante (bas shanh-tanbt), Fr. The 
 
 vocal bass. 
 Bass clarinet. A clarinet an octave lower 
 
 than the B-ilat clarinet. 
 Bass clef. The hass, or F clef, placed upon 
 
 the fourth line. 
 Bass concertina. A concertina having the 
 
 cumpa£s ol a violoncello. 
 
 Bass, continued. Bass continued through 
 the whole piece ; the figured bass. 
 
 Basse (bHss), Fr. The bass part. 
 
 Basse eliantante (bass shanh-tanht), Fr. Vo- 
 cal bass. See Bass chaniante. 
 
 Basse chiffree (biiss shef-fr), i^i-. A figured 
 bass. 
 
 Basse continue (bass k6nh-te-nu), fr. Thor- 
 ough ba£S. Figured bass. 
 
 Basse contrainte (basskSnh-tranht), Fr. The 
 constrained, or ground bass. 
 
 Basse ccAitre (bass kSntr), Fr. Bass counter, 
 double ba.'-s ; also, the deep bass voice, called 
 by the Italians basso profondo. 
 
 Basse de cromorne (bass dtih kro-morn) (also 
 written cremorne), aiid Basse de liautbois^ 
 
 (bass dah .ho-bwa), Fr. Old French n^mes 
 •for the bassoon, but also the names of the 
 lowest members of the oboe and cromorne 
 families. 
 
 Basse figurie (bSlss fl-gfl-ra), Fr. The figured 
 bass. 
 
 Basse fondamentale (bass fduh-da-manh-tal), 
 Fr. The fundamental bass. 
 
 Basse taille (bass tallyfi), Fr. Baritone voice ; 
 low tenor voice. 
 
 Basset horn. A variously bent and construct- 
 ed instrument of the clarinet family, no 
 longer used by composers. 1 1 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't61, 7<. The little bass ; also 
 an ohsolete instrument with four strings; 
 also an 8 or 16-feet reed-slop in au organ. 
 
 Boss, figured. A bass flared, or accompa- 
 nied by numerals, denoting the harmony to 
 be played by the olLer parts of the compo- 
 sition. 
 
 Bass, first. High bass. 
 
 Bassfliite (bassilS-tS), Ger. I An old instru- 
 Bass flute. f ment 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 he played, but serves as a 
 test of the correctness of the harmony. 
 
 BassBeia;e(bass'gM-gh8), Oer. Bass viol; the 
 couirabasso. 
 
 Bass, given. A hass to which harmony is to 
 be placed. 
 
 Bass, high. A baritone, a voice midway be- 
 tween bass and tenor. 
 
 Bass horn. An instrument resembling the 
 ophicleide, formerly much used in bands. 
 
 Bassi (hSs'se), It. A term implying the en- 
 trance of the. brass iuslrumeuts. 
 
 Bassist (bas-slsf), Ger. I , !,„„,.„,•„„„. 
 
 Basslsta (bas-sls'ta). It. j ^ °^^ singer. 
 
 Bass, low. Second bass. 
 
 Basso (bas'so), li!. The bass part. 
 
 Basso buffo (bas'so boof'fo), It. The principal 
 bass-singer in the comic opera. 
 
 Basso cantante (bSls'so kan-tan'tS), It. The 
 vocal bass part; also the principal bass- 
 singer in an opera. 
 
 Basso cornice (bas'so ko'mJ-kS), It. A comic 
 bass-siuger in an opera. 
 
 Basso concertante (bas'so k5n-tshSr-tan-tS), Ji!. 
 The principal bass; also the lighter and 
 more delicate parts performed by the violon- 
 cello, or bassoon. 
 
 Basso construtto (bas'so kon-stroot'to). It, 
 Cirouud ba^s, constrained bass. 
 
 Basso continue (biis'sd kon-tS'uoo-d), It. The 
 continued bass ; a bass that is figured to in- 
 dicate the harmony. 
 
 Basso contra (bas'so kon-tra), „ 1 A double 
 
 Basso contro (bas'so kon'tro), J bass viol; 
 the lowest or gravest part of a musical com- 
 position. 
 
 Bass Oder P Scliliissel (bass o'dSr F shliis's'I), 
 Ger. The bass, or F clef. 
 
 Basso d' accompagnamento (bas'so dak-kom- 
 pan-ya-m6u'io). It. An accompanying bass. 
 
 Bassoflgurato(bas'sofe-goo-ra'to), It. Thefig- 
 urud bass. 
 
 Basso fondamentale (bas'so fon-da-mSn-ta'18), 
 It. The fundamental bass. 
 
 Basson (bas-s6nh), Fr. Bassoon, 
 
 Basson quart (bSs'sOnh kSr), Fr. An instru- 
 ment whose tones are a fourth lower than 
 the ordinary bassoon. 
 
 Basson quinte (bils'sOnh kilnht), Fr. A small 
 bassoon of the same compass as the ordinary 
 bassoon, but the tones are a fifth higher. 
 
 Basso numerato (bas'so noo-mg-ra'to), //. Fig- 
 ured bass. 
 
 Bassoon. A wind instrument with a double- 
 reed mouthpiece, invented about 1539, and 
 since then much improved. The Italian 
 name, fagotto (fagot, bundle of sticks), de- 
 scribes somewhat its outward appearance. 
 Its usual compass extends from D,|) to b'b ; 
 its extreme upper limit is e"|>. Music for 
 the bassoon is written in the bass and tenor 
 clefs, the latter clef being used fur the high- 
 er notes. It is not very agreeable as a solo 
 instrument, but indispensable in full or- 
 
 & arm, & add, a ak, 6 end, eeve,\ iU, I iale, o old, odd, oo moon, iXlmt,nFr. somtd, kh Ger. ch, nh nasab 
 
 (57) 
 
BAS 
 
 DICTIONARY OP MUSIC. 
 
 BEA 
 
 cheetra. Tbe lower tones are strong and 
 rough, but the middle rich aud pleasing. 
 
 Bassoonist. A performer onthc bassoon. 
 
 Bassoon stop. A reed-stop in the organ which 
 imitates the tones of the bussooii. 
 
 Basso ostinato (bas'so os-tl-na'to), It. A con- 
 stantly recurring bass theme, forming the 
 foundation of a polyphonic compusitiou 
 (chacouuc, passacaglia, etc.). 
 
 Basso primo (bas'so pre'mo), It. The first bass. 
 
 Basso ripieno (bas'so il-pl-a'nd), It. A ba<i9 
 part only intended to be played in the full 
 or tutti passages. 
 
 Basso rlvoltato (bas'so ri-vol-ta'to), /(. An in- 
 verted bass. 
 
 Basso secondo (bas'so s6-li6n'do),'7i!. The sec- 
 ond buAS. Tlie lower bass. 
 
 Basso tenuto (bas'so tS-noo'to), It. Continued 
 bass. 
 
 Basso violino (bas'sd ve-o-le'no). It, A small 
 bass viol. 
 
 Basspfeife (biiss pfi-fS), Ger. Basspipe, bas- 
 
 SuuU. 
 
 Basspommer (bass'pom-m'r), Qer. The low- 
 est member of the pommerfamily. See Pum- 
 nler. 
 
 Bassposaune(bass'pd-zou-n6), Ger. Basstrom- 
 buue, sackbut. 
 
 Basssaite (biiss'si-tS), Ger. Bass string. 
 
 Bassschliissel (bass'shliiss-s'l), Ger. The bass 
 ulef. 
 
 Bass staff. The staff marked with the bass 
 
 Cluf. 
 
 Bassstimme (bSss'stlm-me), Ger, Bass voice, 
 bass pait. 
 
 Bass string. The string of any instrument 
 upou which the lowest note is sounded. 
 
 Bass trombone. A trombone having a com- 
 pass from tbegreat c to tlie one-lined o, aud 
 noted in the F clef. 
 
 Bass tuba (bass too-bii), Lat. Sec Tuba. 
 
 Bass viol. An old name for the vi"l da gam- 
 bd, now often given to the violoucellu. 
 
 Bass viol, double. A stringed instrument, 
 the largest aud deepest toned of its clabs. 
 
 Bass voice. The lowest or deepest of male 
 voices. 
 
 Basszeichen (bass'tsl-kh'u), Ger. The bass 
 eluf. 
 
 Basta (bas'ta), „ X Enough, sufficient ; 
 
 Bastante (bas-tan'tfi), ' / proceed no f unUer 
 uulens directed by the conductor. 
 
 Bastardllla (bas-tar-del'ya), Sp, A species of 
 flute. 
 
 BatUlus,(ba-tIl'loos), Lat. An instrument 
 used by the Armenians in their church ser- 
 vice iu the place of bells. A board siruuk 
 With a hammer. 
 
 Battement (bat-monh'), Fr. \ An old name 
 Battimento (bat-tI-m£u'to), ii!. jfor that kind 
 
 of short shake i written. piavefl. 
 
 called a beat. 
 
 Battere (bSt'tS-rg), It. The down stroke In 
 
 beating time. 
 Batterie (bat-tre), Fr. The roll of the drum j 
 
 also, a particular way of playing the guitar 
 
 by striking the strings instead of pulling 
 
 them. 
 
 Baton (bi-tonh'), „ 1 
 
 Baton de mesure (ba-tonh'diih mS-ziir), J 
 
 The stick used "by the conductor in beating 
 
 time. 
 Battre (bfttr), Fr. To beat. 
 Battre la caisse (batrliikass), p \ 
 
 battre le tambour (batrlfih tamboor), j 
 
 To beat the drums. 
 
 Battre la mesure (batr 1^ m£-ziir'), Fr. To 
 
 beat time ; to mark the time by beating witli 
 
 the hand or with a slick. 
 Bau (bou), Ger, Thestructure, the fabric, the 
 
 construction of musical instruments. 
 Bauerisch (by'8r-ish), Ger. Eustio, coarse. 
 Bauemf I6te (bou'«rn-fl6-te), Ger. Rustic flute; 
 
 a stopped register in an organ. 
 
 Bauernlied (bou'Sm-led), Ger. A rustic ballad. 
 
 B cancellatum (B kan-tsSMu'toom), Lat. The 
 old name fur a sharp-(:,rj. 
 
 B, double. ThebbelowGgamut; thetwelfth 
 below the bass-clef note. 
 
 B-dur (Ba-door), Ger. The key of Eb major. 
 
 B durum (B doo'room), Lat. B hard or B ma- 
 jor. 
 
 Bearbeitet (bS-ar'bi-t6t), Ger. Adapted, ar- 
 ranged. 
 
 Bearbeitung (bS-ar'bi-toong), Ger. Adapta- 
 tion. 
 
 Bearing: notes. In tuning instruments those 
 erroneous, or falsely tempered fifths, oil 
 which "the wolf " is said to be thrown. 
 
 Bearpipe. See Bdrpfeife. 
 
 Beat, The rise or fall of the hand or baton in 
 marking the divisions of time in music. 
 These motions, in the different varieties of 
 measure, take the following directions: 
 Double, down, up; Triple, down, left, upj 
 Quadruple, down, left, right, up; Sextuple, 
 down, down, left, right, up, up. An im- 
 portant musical embellishment, consisting 
 of tbe principal note aud the note Mow it, 
 resembling a short trill ; also the pulsation 
 arising f i om the interferences of two series 
 of vibrations slightly differing iu 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 pipes of the same key when they 
 are not exactly in unison. 
 
 & arm, S, add, S. ale, S end, e eve, liU,l isle, 6 old, 6 odd, oo moon, a but, u Fr, sound, kh Ger, ch, nh ntaat. 
 
 (58) 
 
BEA 
 
 DICTIONARY OF MUSIC. 
 
 bji.i 
 
 Beatinjc time, MarkiDg the divisinus of the 
 bar by means of the hand, foot, or baton. 
 
 Beben (ba'b'n), Ger. 
 vibrate. 
 
 To tremble, to shake, to 
 
 Bebende Stlmme (ba'b€n-de stim'mS), Qer. A 
 trembling voice. 
 
 Bebung (ba'boong), Oer. A shakins, a vibra- 
 tion. On the clavier, a tremolo made by vi- 
 brating the finger upon the key. (Imprac- 
 ticable upon the pianoforte.) Also, a Ger- 
 man organ-stop. 
 
 Bee (b€k), Fr. The mouthpiece of a clarinet. 
 
 Becarre (bS-k£r), Fr. The mark called a nat- 
 ural (ID. 
 
 Becco (bJSk'ko), It. The mouthpiece of a clar- 
 inet, flageolet, etc. 
 
 Becco jpolacco (bak'ko po-lak'^o). II. A species 
 of large bagpipe used iu some parts of 
 Italy. 
 Becken (bfik'n), Oer. A cymbal. 
 
 Bedeckt (be-d6kt), Ger. Covered, stopped. 
 Said of striSI^, in contradistinction to (eer, 
 open. Also of stopped pipes. 
 
 Bedon (bS-d6nh'), Fr. An old name for a tab- 
 ret, or drum. 
 
 Be (ba), Ger. Flat, B|j. 
 
 Beffroi (bSf-frwaO, Fr. The frame that sup- 
 ports the bell in a belfry ; a belfry. The 
 tamtam. 
 
 Begelsterung (bS-ghis'tS-roong), Ger. Inspi- 
 ration, animation, enthusiasm. 
 
 Begl. An abbreviation of Begle.tuug. . 
 
 Begleiten (b6-gli't'n), Ger. To accompany. 
 
 Begleltende Stlmmen (bS-gli tSn-dS stlm- 
 mSn), Ger. pi. The accompanying parts. 
 
 Begleitune (bS-gll'toong), Qer. An accompar 
 ulment. 
 
 Bebarrlich (bS-ha'rr'Ukh), Oer. Perseveringly. 
 
 Beherzt (b&-hftrt8t'), Ger. Courageous. 
 
 Belsp. An abbreviation of Beispiel. 
 
 Beisplel (bi'spel), Ger. Example. 
 
 Beisser (bis's'r), Ger. A mordent. 
 
 Beitone (bl'tfi-ng), Ger. Accessory tones. 
 
 Beizeichen (bi'tsl-kh'n), Ger. An accidental. 
 
 Belfry. A tower in which a bell or hells are 
 hung. 
 
 Beliebeii (bSle'b'u), Ger. Pleasure ; at pleas- 
 ure. 
 
 Beliebig (bS-le'big), Ger. To one's liking, or 
 pleasure. 
 
 Beliere {barll-ar'), Fr. The tongue rf a Iji-ll. 
 
 Bell. A vessel, or hollow body, of cast iTietal, 
 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 sounds when 
 shaken. (3) The wide, circular opening at 
 
 the end of a trumpet, horn, and similar 
 instruments. 
 
 Bella (bSl'm), Sax. A bell. 
 
 Bell-chamber. Thnt portion of the tower or 
 steeple in which the oell hangs ; the belfry. 
 
 Bell diapason (di-a-pa'sftn). An organ diapa- 
 son stop of clear and sonorous voice. 
 
 Bellezza (bei-l£t'sa), It. Beauty of tone and 
 expression. 
 
 Bellezza della voce (bei-l€t'sa d«l'Ia vo'tshe). 
 It. Beauty or sweetness of voice. 
 
 Bell gramba. A gamba stop in au organ, the 
 top of each pipe spreading out like a bell. 
 
 Bell harp. An old instrument, probably the 
 lyra or citheraof the ancients, (a) A string- 
 ed instrument, so named from its being 
 swung like a bell when played. 
 
 Bellicosamente (bei-U-ko-za-men'tS), „ > In 
 
 Bellicoso (b«l-n-k6-z6), -"■ / a 
 
 martial and warlike style. 
 
 Bellicum (b£l'lI-koom), Lot. The sound of a 
 trumpet calling to battle. 
 
 Bell metronome. A metronome with a small 
 bell that strikes at the beginning of each bar. 
 
 Bellows. 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. Perlormers who, with bells of 
 differeutsizes, ranging from smallest to larg- 
 est, are able to produce very pleasing and 
 effective music. 
 
 Bell-scale., A diapason with which hell- 
 foundersmeasure the size, thickness, weight, 
 and tone of their bells. 
 
 Belly. The- soundboard of an instrument, 
 that part over which the strings are dis- 
 tended. 
 
 Bel metallo di voce (bSl mS-tal'lo de ro'tshS), 
 It. A clear and brilliant voice. 
 
 Bemerkbar (b€-mark'bar), Ger. Observable, 
 marked ; to be played in a prominent man- 
 ner. 
 
 Bemol (ba-mSl), Fr. \ The mark called a 
 
 Bemolle (ba-mol'ie), It. ;flat(b). 
 
 Bemolise (ba-mo-lez), Fr. Marked with aflat. 
 
 Bemolisee (bS-mo-lI-za'), -J^r. A note preceded 
 by a flat. 
 
 Bemoliser (b6-mo-H-za'), Fr. \ To flat- 
 
 Bemollizzare (be-mol'll-tsa're). It, / ten (lotes ; 
 
 to lower the pitch by putting a flat before 
 
 them. 
 
 ilSiP^S),^'-} well. good. 
 
 Benedlcite (bSn-e-dl'tsi-tS), Lat. A canticle 
 used at morning prayer, iu the church, af- 
 ter the first lesson. 
 
 Benedictus ibgn'e'dlc'toos), Lai. •• Blessed is 
 He that cometh." Second part of the Saiic- 
 tus, which forms the fourth part of the Mass. 
 
 a. arm, a add, a ate, 6 end, e eiK, iiU,i Ule,6 old, 6 odd, oo moon, U but, u Fr.ioimd, kh Oer. ch. nh ruual. 
 
 (SSI 
 
BEN 
 
 DICTIONARY OF MUSIC. 
 
 BIZ 
 
 Bene niacito (M'nS pla'tshi-to), It. At will, 
 at pleasure, at liberty to retard the time and 
 ornament the passage. 
 
 Ben marcato (b6n mar-ka'to), „ 1 Well 
 
 Bene marcato (ba-n6 mar-ka'to), J marked, 
 
 in a distinct and strongly accented manner. 
 
 Ben marcato il canto (bSn mar-ka'to il kan'to), 
 //. Mark well the melody. 
 
 Ben moderato (bSii mo-dg-ra'to) , It. Very mod- 
 erate time. 
 
 Ben pronunciato Ib6n pro-noon-tsha'to, „ \ 
 Ben pronunziato (bfiu pro-noon-tsl-a'to), ■* ' J 
 Pronounced clearly and distinctly. 
 
 Ben tenuto (bSn te-noo to), It, Held on ; fully 
 sustained. 
 
 Be quadro (bakwa'dro), It. 1 The mark called 
 Be quarre (bakar-ra), Fr. Ja natural (tf). 
 
 Bequem (b6-quam'), Ger. Convenient. 
 
 Berceuse (bfir-siiss), Fr. A cradle-song. 
 
 Bergamasca (bSr-ga-mas'ka), It. A kind of 
 rustic dance. 
 
 Ber^eret (b6r-j6-r6t'). It. An old term signi- 
 fying a song. 
 
 Bergomask. A rustic dance. See Bergamasca. 
 
 Bergreigen (barg'ri-ghfin), Ger. Alpine mel- 
 ody. 
 
 Berlingozza (b8r-lin-got'sa), It. A country 
 dance. 
 
 Berloque (b6r-16k), Fr. In military service, 
 the drum calling to meals. 
 
 Bes (b6s), Ger. The note B-double-flat, Bbl>. 
 
 Besaiten (bS-si't'n),G'er. To string an instru- 
 ment. 
 
 Beschleunlgend (b&-shloi'nl-g€nd), Ger. Has- 
 tening. 
 
 Beschreibung (bfi-shri'boong),ffo'. A descrip- 
 tion. 
 
 Bef iedern (bfife'dSm), Ger. To quill a harpsi- 
 chord. 
 
 Besingen (bS-sIng'Sn), Ger. To sing, to cele- 
 brate in song. 
 
 Bestimmt (b§-stimt), Ger. Distinct. 
 
 Bestimmtheit (be-stimt'h!t), Oer. Precision, 
 certainty. 
 
 Betglocke (b6ht'glok-6), Ger. Prayer-bell. 
 
 Betonend (b6-to'nend), g, lApppntpd 
 Betont (bfi-tont), '^^- J-*-ccentea. 
 
 Betonung (bS-to'noong), Ger. Accentuation. 
 
 Betriibniss (bg triib'niss), Ger. Grief, sadness. 
 
 Betriibt (bfi-trubf), Gtr. Afflicted, grieved. 
 
 Beweglich (bfi-wa'glikh), Ger. Movable. 
 
 Bewegt (bfi-wagt), Ger. Moved, rather fast. 
 
 Beweguhg(b6-wa'goong), Ger. Motion, move- 
 ment. 
 
 Beyspiel (bl'spel), Ger. An example. 
 
 Bezeichnung (be-tsikh'nooug), Ger. Mark, ac- 
 centuation. 
 
 Bezifferte Bass (bg-tsiff^r-te bass), Ger. The 
 
 figured bass. 
 B-flat. The flat seventh of the key of C. 
 Bianca (be-an'k£). It. A minim, or half |=: 
 
 note. £ 
 
 Bichord (be'kord), Lat. A term applied to In- 
 struments that have two strings to each note, 
 
 Bien attaquer une note (bi-&nb at-t&k-a iin 
 not), Fr. To strike a note firmly. 
 
 Bimmolle (bim-mol'lS), /(. The mark called 
 aflat (W. 
 
 B in alt (be In alt). It. The third in alt ; the 
 tenth above the treble-clef note. 
 
 B in altlssimo (be in al-tes'si-mo). It. The 
 third note in altlssimo ; the octave above b 
 in alt. 
 
 Binary measure (bi-nS-ry). Common time of 
 two in a bar. 
 
 Bind. A tie uniting two notes on the same 
 degree of the staff. 
 
 Blnde (ben'dfi), Ger. A tie or bind. 
 
 Binding notes. Notes held together by the 
 
 tie or bind. 
 Bindung (bin'doong), Ger. Connection. 
 Bindungszeichen (bin'doong-ts!'kh'n),&er. A 
 
 tie, or bind. 
 Biquadro (be-kwa'dro), It. A natural (J). 
 Bird organ. A small organ used in teaching 
 
 birds to sing. 
 
 Birne (ber'nfi), Ger. The mouthpiece of the 
 clarinet. 
 
 Bis (bis), Xaf, Twice; indicating that the pas- 
 sage marked is to be repeated. 
 
 Biscanto (bis-kan'to), It. A kind of duet; 
 where two are singing. 
 
 Bischero (bis'ke-ro). It. A peg of a violin, 
 violoncello, or similar instrument ; the pin 
 of any instrument. 
 
 Biscroma (bls-kro'ma), /(.■) A semi-quaveri 
 
 Biscrome (bis-krom'), Fr. J Sote.^''*^™"'J'' 
 
 Bis diapason (bis dl-a-pii'san), Lnt. A double 
 octave, or flf teenth : ' a compass of two oc- 
 taves. 
 
 Biseau (dI-zO*), Fr. The stopper of an organ- 
 pipe to make the tone sharper or flatter. 
 
 Biainia (bi-se'ni-a), Lat. A term applied to a 
 pianoforte passage where the notes played 
 by one hand are regularly repeated hy the 
 other. 
 
 Bisinium (bi-s6'nJ-oom), LcU. A romposition 
 in two parts ; a duet, or two-par; song. 
 
 Bis unca (bis oon'ka), Lat. An old name for 
 a semiquaver. 
 
 Bisser (bis-s6), Fr. To redemand. 
 
 Bissex (bis-sfe'), Lat. A species oT guitar, 
 with twelve strings. 
 
 Bitterlceit (blt'ter-kll), Ger. Bitterness. 
 
 Bizzarramente (bet-sar-ra-mfin'tfi), II. Oddly, 
 in a whimsical style. 
 
 {I arm, & add, a ale, & end, e eve, lill,iisle,6 old, 6 odd, oo moo», tl but, iX Fr. sound, th Ger. ch, nh noiol 
 
 (60) 
 
BIZ 
 
 DICTIONARY OF MUSIC. 
 
 BOU 
 
 Bizzarrla (bet-sar-re'a), It. Written in a oapri- 
 cioas, fantastic style ; sudden, uiiezpected 
 modulations. . 
 
 Blzzarro (bet-sar'ro). It. Whimsical, odd, fan- 
 tastical. 
 
 Blanche (blansh), Fr. A minim, or half note. 
 
 Blanche polntie (bl&ush pwanh-ta'), J^. p.- 
 
 A dotted half note. f 
 
 Blasebale (bla'sfi-balg), Ger. The bellows of 
 
 an organ. 
 Blasehorn (bla'z6-h6rii), Ger, Bugle horn. 
 
 hunter's horn. 
 
 Blasemusfk (bla'z6-moo'zek'), Ger. Music for 
 wind instruments. 
 
 Blasen (bla'z'n), Ger. To blow; to sound. 
 
 Blaser (bla'z'r), Ga'. A blower; an instru- 
 ment lor blowing. 
 
 Blasinstrument (blazlu-stroo-mSnt'), Ger. A 
 wind instrument. 
 
 Blast. The sudden blowing of a trumpet or 
 
 oiher instrument of a similar character. 
 Blatant. Bleating, bellowing. 
 
 Blatt (blatt), Ger. A leaf; a reed. The single 
 reed of the clarinet and of the basset horn. 
 
 Blechinstrumente (blfikh ' In- stroo-mgn'tS), 
 Ger. The brass instruments, as trumpets, 
 trombones, etc. 
 
 Blockflote (blok'fletg), 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 
 flac (I7). ijee Betnol. 
 
 B-moll (be-mol), Ger, The keyof Bt> minor. 
 
 Board. A term applied to several different 
 members among musical Instruments, as. 
 Fingerboard, upon which the fingers act ; 
 Soundboard, which vibrates in the piano- 
 forte, or upon which the pipes are placed in 
 the organ ; Keyboard, the keys, etc. 
 
 tJoat-songs. Gondollcr-songs. 
 
 Bocal (bo'kai), Fr. 1 The mouthpiece of a 
 
 Bocca (bok'lca), It. J horn, trumpet, trombone, 
 and similar instruments. 
 
 Bocca ridente (bok'ka ri-dfin'tS), It. " Smiling 
 mouth." A term in singing, applied to a 
 peculiar opening of the mouth, approach- 
 ing to a smile, believed to be conducive to 
 the production of a pure tone. 
 
 Bocchino (bok-ke'no). It. Mouthpiece of a 
 
 horn. 
 Bocina (bo-the'na), Sp. A species of large 
 
 trumpet; a bugle horn. 
 Bocina de cazador (bo-the'na d€ karthardorO, 
 
 Sp. A huntsman's horn. 
 
 Bockpfelfe (bok'pfi-fS), Ger. A bagpipe. 
 
 Bockstriller (boks'trll-lSr), Ger. A bad shake, 
 with false intonation. 
 
 Boden (bo'd'n), Ger. The back of a violin, vi- 
 ola, etc. 
 
 Boehm Plote. A flute of improved mechan- 
 ism, invented in 1834 by Theobald Boehm. 
 The improvement consists of a series of 
 keys by means of which the fingering is 
 simplified and the different tonalities are 
 more nearly equal in facility. The same 
 system has also been applied to the oboes 
 and clarinets. 
 
 Bogen (bo'g'nj, Ger. The bow of a violin, etc. 
 
 Bogenfiihrung: (bo'g'n-fii-roong). Ger. The 
 management of the bow ; the uct of bowing. 
 
 Bogenlnstrumente (bo'g'n-in-stroo-m6n-t«), 
 Ger. Bow instruments ; instruments played 
 with a bow. 
 
 Bogenstrlch (bo'g'n-strikh), Ger. A stroke of 
 
 the bow. 
 Bolero (bo-la'ro), Sp. A lively Spanish dance, 
 
 in 3-4 time, with castanets. 
 
 Bomb. A stroke upon a bell ; to sound. 
 
 Bombarde (b6nh-biird'), Fr. \ A powerful 
 Bombardo (bom-bar'do). It. J reed-stop in an 
 organ of 16-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. 
 
 Bomblx (bom'blx), Gr. An ancient Greek in- 
 strument, formed of a long reed cr tube. 
 
 Bonang (bfi-nang'), 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 (bSnh t6nh dah la 
 me-siir'), Fr. The accented narts of a meas- 
 ure. 
 
 Bora (bo'ra), Tw. A tin trumpet used by the 
 Turkish military. 
 
 Bordone (bor-do'nS), It. \ An organ-stop. 
 
 Bourdon (boor-d6nh), i^r. /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'nS fal-z6). It. A term 
 formerly used for harmony having a drone 
 bas", or one of the other parts continuing in 
 the same pitch. 
 
 Bordun Flote (bor'doon flfl'tfi), Ger. An organ- 
 stop. See Bordone. 
 
 Bourdon de cornemuse (boor-dOnh dilh kdrn- 
 miiz), Fr. The drone of a bagpipe. 
 
 Bourdon de musette (boor-dflnh dflh mii-z6t) 
 Fr. The drone of a bagpipe. 
 
 Boudoir piano (boo dwiir). An upright piano. 
 Bouffe (hoof), Fr. A buffoon. 
 
 % Oimi, & add, a ale, 6 end, e eve, I iU, 1 iile, 6 old, 6 odd, oomoon,iibut,il Fr. sound, kh Ger. ch. uh nasai. 
 
 (61) 
 
BOU 
 
 DICTIONARY OP MUSIC. 
 
 BEI 
 
 Bourree(boor-ra),iiV. A step iu dancing. A 
 lively old French dance in 4-4 or 2-4 time. 
 Tlie second and fourth quarters ol the meas- 
 ure divided. 
 
 Boutade'(boo-tad), Fr. An instrumental piece 
 like a 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 horsehkirs 
 stretched from the bent head to the movable 
 nut. It is used iu playing on the violin and 
 many other strluged instruments which are 
 made to sound by friction, the bow being 
 drawn over the strings and setting them iu 
 vibration. Its present length is from tweuty- 
 s<iven to thirty inches, hut 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 (bO-yo-dl-a'), Fr. A maker of vio- 
 lin-strlugs. 
 
 Boy choir. A choir of boys, from eight to 
 fourteen years of age. Such organizations 
 are confined mostly to Episcopal and Catho- 
 lic churches. 
 
 B q uadratum ( ba kwa-d ra'toom) , j , 1 An old 
 
 B quadrum (ba kwa'droom), J name 
 
 for the natural (fl); formerly this was ap- 
 plied to the note b. 
 
 Brace. A character, curved or straight, used 
 to connect the different staves. 
 
 Bracliyg;raphy, musical. The art of writing 
 music in shorthand, by means of signs, char- 
 acters, etc. 
 
 Braccio (bra'tsM-6), It. A term applied to the 
 violin and other instruments of a similar 
 character that are held up to the neck with 
 the left baud and played with a bow. 
 
 Brandies. Those parts of a trumpet that con- 
 duct the wiud. 
 
 Bran ds Inglaterra (bran dS en-gla-tgr'ra), Sp. 
 An old Spanish dance. Evidently the Eng- 
 lish Jirawl. 
 
 Branle (branhl) , Fr. A lively old dance, per- 
 formed in a circle. 
 
 Bransla (branhsl), Fr. An old dance, slow, 
 and resembling the Alman. 
 
 Brass band. A number o£ performers whose 
 iiibtrumeuts are exclusively brass. 
 
 Brass instrument. Wind instruments made 
 of brass, and used chiefly for field service. 
 
 Eratsche (brii'tshC), Oer. The viola, or tenor 
 violin. 
 
 Bratschen (bra'tsh«n), Ger. Violas. 
 
 Bratschenspieler (bra'tshgn-spe'lSr), Ger. Vi- 
 olist ; one who plays on the viola. 
 
 Bratsclienstimme (bra'tshSi-stlm'mS), Ger. 
 The viol part of any composition. 
 
 Brautlied (brout'led), Ger. A bridal hymn, a 
 
 wedding-song. 
 Brautmesse (brout'm&-sS), Ger. Music before 
 
 the wedding ceremony ; the ceremony itself. 
 
 Brava (brS,'va), fem. j An exclamation 
 
 Bravi (bra've), pi. It. > of approval, often 
 
 Bravo bra' v6), mas. ) used in theaters; 
 excellent, very good, etc 
 
 Bravisslma (bra-vls'si-ma), fem. ) Exceed- 
 
 Bravissimi (bra-vls'si-me), pi. It. > ingly 
 
 Bravlsslmo (bra-vls'sl-mo), mas. ) good, 
 exceedingly well done. 
 
 Bravour-arie (bra-voor'a'rl-S), Ger. An aria di 
 bravura. 
 
 Bravura (bra-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'ramet-sa), It. Asong 
 requiring a moderate degree ot skill. 
 
 Brawl. 1 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 (brg-lok'), Fr. In military service, 
 the call of a drum for breakfast or dinner. 
 
 Bretador (bra-ta-dor), >Sp. A bird-call. 
 
 Brettgeige (brSt'ghl-ghS), 6ei-. A small pocket 
 fiddle. 
 
 Breve (bra'vg), /(. 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 ftreue, to the breve, i. c. , a half- 
 note to each beat. A rather quick move- 
 meut, formerly much used in church music. 
 
 Breve rest. A rest equal in duration to a 
 breve, or double note. 
 
 Breviario (br6-vI-a'ri-o), 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 strings 
 of stringed instruments rest, and which it- 
 self rests on the resonance-box or resonance- 
 board (soundbox or soundboard), to which 
 it transmits the vibrations of the strings. 
 
 Brief. An upright pieeeof wood, over which 
 the strings of a bass viol are drawn. 
 
 Brill. An abbreviation ot Brillante. 
 
 a arm, li,add,a,ale,6end,eeve,lUt,i isle, oold,6 odd, oo moon, a but, ii Fr. sound, kh Ger. eh, nh rtxisal, 
 
 (62) 
 
BJlil 
 
 DICTIONARY OF MUSIC. 
 
 BUZ 
 
 Brillante rDnl-lan't6), It. \ Bright, spark- 
 Brillante (trg-ySaht'), Ft. J liug, brilliant. 
 
 Brlllare (bril-la'rS), Jt. To play or siag in a 
 brilliant style. 
 
 BrlllenbiLsse (bril-l'n bas-se),Ger. Lit , " spec- 
 tacle basses." Akiuii iVy f ^ r "> I I 
 of bass called thus on 'Sz-T, •'^ J ° J J 
 
 account of its resem- ^ ^ — 
 
 blance to a pair of spectacles. 
 
 Brimbaler [hranh-ba-la'), Fr. To ring. 
 
 Brindlsl (brin-de'sl), /(. A drinking-song. 
 
 Brio (bre'6), It. Vigor, animation, spirit. 
 
 Brioso (brl-o'zo), It. Lively, vigorously, with 
 spirit. 
 
 Brise (bri-za'), i^. Split; broken into an ar- 
 peggio. 
 
 Broach. An old musical instrument, played 
 by turning a handle. 
 
 Broderies (bro-dfi-re'), Fr. Ornaments, em- 
 bellishments. 
 
 Broken cadence. See Interrupted cadence. 
 
 Broken chords. Chords whose notes are not 
 taken simultaneously, but in a broken and 
 interrupted manner. 
 
 Brokking. An old term, signifying quaver- 
 ing. 
 
 B rotundum (ba ro-toon'doom),La<. Tliechar- 
 acter called a flat (b) ; formerly this was up- 
 plied only to the note b. 
 
 Bruit (brii-e'), Fr. Noise, rattle, clatter. 
 
 Brummeisen (broom'mi-z'n), Oer. A jew's- 
 harp. 
 
 Brummen (broom'mfin), Gr. To hum, todrum. 
 
 Brummton (broom'tou), Ger. A humming 
 sound. 
 
 Brusquement (brusk-mOuh), Fr. Brusque, 
 rough, ruiie. 
 
 B-sharp. The sharp seventh of the diatonic 
 scale of G ; in keyed instruments the tame 
 as C-natural. 
 
 Buccina Iboot'tshl-na), /(. An nnctent wind 
 instrument of the trumpet species. 
 
 Buccinal (book'sl-nal),' Xat. Sounding like a 
 
 horn or trumpet. 
 Buccinateur ( buk-si-nii-tQr'), ii'r. A trumpeter. 
 Buccino (book'si-n6;,iaJ. To sound a trumpet. 
 Buccinum (book'sl-noom), tat. A trumpet. 
 
 Buccolica (book-ko'H-ka), //.) p-gtoral soiib-<! 
 •Bucolic (boo-ko'lik), Lat. \ .f *1™' ^°°S^ 
 Bucolique (bii-kO-lek'), Fr. J °' ^^f^^^' 
 
 Buffa (boof'fa), t. 1 Comic, humorous, in the 
 Buffo (boof'fo), J comic style ; also a singer 
 who takes comic parts in the opera. 
 
 Buffa caricata C^ooffa kii-ri-ka'ta), „ 1 . 
 Buffo cartcato(boof'i6kii-rl-ka,'to,'' J ^ 
 comic character in Italian opera. 
 
 Buffet organ. A very small organ. 
 
 Buffo burlesco (boof'i'o boor-lfis'ko). It. A buf- 
 fo-singer and caricaturist. 
 
 Buffone (boof-fo-nfi), It. Comic singer in an 
 opera. 
 
 Buffonescamente (boof-fo-nSs-kii-mSn'tS), It. 
 In a burlesque and comical manner. 
 
 Buffo opera {booflo 6'pe-rsi), /(. A comic 
 opera, a burletta. 
 
 Bugle. A hunting-horn. (2) An instrument 
 oi copper or brass, similar to the French 
 horn, but higherand more piercing. There 
 aredifterent kinds, one furnished with keys, 
 and another kind with pistons or cylinders. 
 
 Bugle horn. A hunting-horn. 
 
 Bunge (boon'ghfi), Oer. A drum ; a kettle- 
 drum. 
 
 Bungen (boou'ghSu), Qer. To drum. 
 
 Buon (boo-on), It. Good. 
 
 Buonaccordo <boo-o-nak'k6r'do), /(. An in- 
 strument resembling a pianoforte, but small- 
 er, to accommodate children. 
 
 Buona nota (boo-6-nii no'ta), It. Accented 
 note. 
 
 Buona mano (boo-o'nii ma'no), It. A good 
 hand, a brilliant performer. 
 
 Buon gusto (boo:6n goos'to), /(. Good taste; 
 reflnemeiit of style. 
 
 Burden. A regular return of the theme In a 
 song at the close of each verse ; the chorus. 
 
 Buria (boor'la), 
 
 Burlando (boor-lan'do), 
 
 Burlesco (booF-16s-ko), 
 
 Burlescamente (boor-l€s-ka-m€n-t6), 
 I'acetious, droll, comical ; in a playful mau- 
 uer. 
 
 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-16t'ta). It. A cnmic operetta; 
 a light musical and dramatic piece, some- 
 what in the nature of the English farce. 
 
 Burasca (boor-ras'ka), It. 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. 
 
 S), ) 
 
 a arm, a odd, a ofe, 6 end, e euc, 1 iU, lisk, 6 oM, 6 odd, 00 moore, tl 6ui, ii iiV. soumi, kh Oer. eft, nhnascK. 
 
 (63) 
 
DICTIONAEY OF MUSIC. 
 
 CAD 
 
 C 
 
 ^ 
 
 C. The first note of the modern scale, called 
 by the French ut, and by the Italians do. 
 The infijitr scale of C is called the natural 
 scale, because it has no fiats or sharps. 
 
 C C. i-ij,'); -I The lowest note on the man- 
 ''C' , I nals ot an orgau, and is called 
 an 8-feet note, that being the 
 leugth of the open pipeiequired 
 to produce it. 
 
 C C C. This note is an octave belovf C C, and 
 requires a 16-feet pipe. 
 
 C C C C. A note an octave below C C C ; it 
 requires a 32-feet pipe. 
 
 C with one stroke ; 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 ocU ■• e above C with 
 two strokes. 
 
 C with four strokes; an octave above C with 
 three strokes. 
 
 ZT Indicates common time ot four crotchets, 
 or quarter notes, in a bar. 
 
 A This character indicates alia breve or alia 
 
 ^ capella time. 
 
 C. A. The initials of Col arco; sometimes 
 used in abbreviation. 
 
 Cabaletta (ka-bSrl6t'ta), It. A simple melody 
 of a pleasing and attractive character; an 
 operatic air.like the rondo in form; acavalet- 
 ta. Literally, " a little horse," a descriptive 
 term based on the cbaracteristic movement 
 of the accompaniment, which is generally 
 In triplets, like a horse cantering. 
 
 Cabinet d'orgue (k&b-l-na d'org), Fr. The 
 case, or cabinet, in which the keys of an or- 
 gau are sumetimes placed. 
 
 Cabinet pianoforte. An upright pianoforte. 
 
 Caccia (kat'tsha), It. A hunt. AUa cnccia, in 
 hunting ilyle ; i.e., hearty, free, offhand. 
 
 Caccia, aila (kat'tsha al'la). It. In the hunt- 
 ing style. 
 
 Cachucha {ka-tchoo'tcha),Sp. A popular Span- 
 ' iah dauco, in triple time. 
 
 Cacofonia (ka-ko-fo-ni'a), jR. 1 Want of hg,r- 
 
 Cacophonie (kak-6-fo-ne), J^. J mony, cacoph- 
 ony. 
 
 Cacofonico <ka-ko-fo'ni-ko), Zi!. Cacophonous, 
 discordant. 
 
 Cacophony {ka-kOf'6-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; (ij 
 to the last melodic step of a strain (not nec- 
 essarily a "fall" as regards pitch, but al- 
 ways a subsidence of motion into relative 
 rest), and to a shake or brilliant passage ol 
 more or lessexteut, which leads up to the 
 close of a piece, or part of a piece {v. Carien- 
 za) ; (2) to two chords whicu form a close, 
 mark a point ot rest, complete or incom 
 plete. 
 
 The harmonic cadences may be divided into 
 four classes. (1) The chords of tne domi- 
 nant and tonic form a ./mH, or authentic, c&- 
 deilce, which is per/eet when the bass has 
 the fundamental note of the first and of the 
 second chord, and the highest part tlie oc- 
 tave of the fundamental note of the second 
 chord (a), but otherwise is imperfect (aa). (2) 
 The chords of the subdomiuant (major or 
 minor) and tonic form the plagal oadeupe. 
 According to some theorists it is, like tlie 
 authentic, a full close; according to others 
 it is not (b). (3) The chord of the tonic (e), 
 or any other chord (cc), and thatof thedom- 
 inaut form a half close, or semicadence. Some 
 writers, however, call this cadence imper- 
 fect. Indeed, the nomenclature is very un- 
 settled. (4) An interr^'ptedf deceptive, or false 
 cadence occurs where the chord of the dom- 
 inant is followed by any chord except that 
 of the tonic (d). 
 (a) 
 
 P 
 
 m 
 
 i 
 
 {aa) 
 
 ^F=^ 
 
 =S= 
 
 s 
 
 ^ 
 
 I 
 
 (6) 
 
 ^ 
 
 =s= 
 
 ii arm, a add, a ole, 6 end, e eve, I ill, i isle, o old, 6 odd, oo moon, a but, ii Fr. sound, kh Oer. eft, nh nasai. 
 
 (64) 
 
CAD 
 
 DICTIONAEY OF MUSIC. 
 
 CAL 
 
 m 
 
 (M) 
 
 :^= 
 
 m 
 
 m 
 
 id) 
 
 :g= 
 
 :«= 
 
 S 
 
 Cadence, authentic. A perfect, or final, ca- 
 dence; the harmony of the dominant, fol- 
 lowed by that o! the tonic, or the progres- 
 sion of the dominant to the. tonic. 
 
 Cadence brisee (ca-dens hre-sal, Fr. An ab- 
 rupt shake, beginning with the auxiliary 
 tone. 
 
 Cadence, church. The plagal cadence. 
 
 Cadence evitee (6v-6-ta), Fr. " Avoided ca- 
 dence." A dominant chordfoUowed by an- 
 other dissonance, or by an uiiexpected reso- 
 lution. 
 
 Cadence, half. A cadence that is imperfect ; 
 a close on the dominant. 
 
 Cadence imperfaite (&nh-pgr-fa), Fr. An im- 
 perfect cadence. 
 
 Cadence, imperfect. Half cadence. 
 
 Cadence interrompue (anh-t6r-r6nh-p(i), 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 (pSr-la), Fr. A brilliant ca- 
 dence. 
 
 Cadence rompue (r5nh-pii), Fr. A broken, or 
 interrupted, cadence. 
 
 Cadence, suspended. Where the cadence 
 passes through several modulations from 
 the dominant to the tonic chord. 
 
 Cadenda (ka-dSn'thi a), Sp.\n., 
 
 Cadens (ka'dfins), Lat. J cadence. 
 
 Cadenz (Ita-dSnts), Oer. 1 A cadence ; an or- 
 Cadenza (ka-dSn'tsa), It. J namental passage 
 introduced near the close of a song or solo, 
 either by the composer or extemporaneously 
 by the performer. A cadence (<?. ■».). In Eng- 
 lish the word cadenza is used in the sense of 
 a short, or a more or less extended flourish, 
 which does not form part of the rhythmical 
 structure of a composition, but is a mere 
 intercalation. Such flourishes may be met 
 with anywhere in the course of vocal and 
 instrumental compositions,more especially, 
 
 however, at the end of the last solo of pieces 
 for solo voices or instruments. In the aria 
 and kindred forms the cadenza was a prom- 
 inent feature. It assumed, however, the 
 greatest importance in the concerto ; there 
 the flourish expands often into a brilliant 
 fantasia on themes of the composition into 
 which it is introduced— a fantasia either 
 improvised by the performer or written out 
 in full by the composer. These long con- 
 certo cadenzas occur In the first and last 
 movements, at the end of the last solo, and 
 begin nsually on the chord of the fourth and 
 sixth, preceding the full close (dominant, 
 tonic). 
 
 Cadenza d' ineranno (ka-dSn'tsa den-gan-no). 
 It. An interrupted, or .deceptive, cadence. 
 
 Cadenza fiorita (ka-dfin'tsa fe-o-re'til). It. An 
 ornate, florid cadence, with graces and em- 
 bellishments. 
 
 Cadenza sfuggita (kardSn-tsEl sfoog-ghe'ta). It. 
 An avoided, or broken, cadence. 
 
 Cadenza sospesa (ka-dSn'tea sos-pa'zii), It. A 
 suspended cadence. 
 
 Caesure (sfi-sur), Fr. ") (1) A pause in 
 
 Caesura (tshg'soo-ra), It. >- verse, so introduced 
 
 Caesura (tsa-soo'ra), Lot.) as to aid the recital 
 and make the versification more melodious. 
 f2i A cut. The break at the end of a plirase. 
 (3) The rhythmic termination of any pas- 
 sage consisting of more than one musical 
 foot. (4) The last accented note of a phrase, 
 section, or period. 
 
 Cfesurai (tsa-soo'ral), Lat. Relating to the 
 
 csesura, or to the pause, in the voice. 
 Calsse (kass), Fr. A drum. 
 Caisse rouiante (kass roo-Bnht), Fr. The side 
 
 drum, the body being of wood and ratlier 
 
 long. 
 Caisses claires (kass klS.r), Fr. The drums. 
 Cal. An abbreviation of Calando. 
 Calumus (ka-larmoqs) or, Calamus pastoraiis 
 
 (ka-la'moos pas-to-ra'lis), Lat. A reed, or 
 
 pipe, used by shepherds. 
 
 Caland (karliind'). 
 
 k^ It. 
 
 1 Gradually dimin- 
 
 Calando(ka-la,n'd6), ■"■ J ishing the tone and 
 retarding the time ; becoming softer and 
 slower by degrees. 
 
 Calascione (ka-la-shl-o'nS), It. A species of 
 guitar. 
 
 Calathumpian music. A discordant combi- 
 nation of sounds. A low and grotesque per- 
 formance upon instruments, unmusical and 
 out of tune. 
 
 Calata (ka-la'ta),V<. An Italian dance in 2-4 
 time. 
 
 Calcando' (kal-kan'd6), It. Pressing forward 
 and hurrying the time. 
 
 Calcant (kal-kant), Oer. The bellows-treader 
 in old German organs. 
 
 Call. The beat of a drum. 
 
 Call, adjutant's. A drumbeat directing the 
 band and field music to take the right of the 
 line. 
 
 S arm, & add, a ale, 6 end, 5 eve, I ill, I isle, o old, 6 odd, oo moon, a but, fl Fr. sound, kh Qer. ch, lih nasal. 
 S (65) 
 
CAL 
 
 DICTIONARY OF MUSIC. 
 
 CAN 
 
 Calliope (kU-le'S-pS). In pagan mythology 
 the muse that presided over eloquence ana 
 heroic poetry. (2) Au instrument formed of 
 metal pipes, with keys like an organ ; they 
 are placed on steam engines sometimes, ana 
 the tones are produced t)y currents of steam 
 Instead of air. 
 
 I'tSI, It. \ , 
 /to), ) 
 
 Calmness, tran- 
 
 Lat. 
 
 Calma (kal'ma), 
 
 Calmate (kal-ma lei, jc / n,,iiii,v n-nnip 
 
 Calmato(kal-ma't6), ) qu"l"y. rePose. 
 
 Calo. An abbreviation of Calando. 
 
 Colore (ka-lo'rC), It. Warmth, animation. 
 
 Caloroso (ka-lo-ro'zo), It. Very much anima- 
 tiuu and vvarmih. 
 
 Caluineau (kal'a-mo). A reed, or pipe. 
 
 Camblare (kam-bi-a'r£), It. To change, to al- 
 ter. 
 
 Camera (ka'me-ra), Ji!. Chamber; aterm ap- 
 plieil to music composed for private per- 
 formance or small concerts. 
 
 Camera musica (ka-mfi-ra moo'zl-ka), K. Cham- 
 ber music. 
 
 Caminando (ka-mi-nan'do). It. Flowing, with 
 easy and gentle progression. 
 
 Campana (kain-pa'na). It. A bell. 
 
 Campanada (kam-pa-na'dii). It. Sound of a 
 bell. 
 
 Campanarum concentus (kam-pa-na'- ^ 
 
 room kon-s€n'ioos), 
 
 Campanarum modulatlo (kam-pa-na'- 
 room mo-doo-la'tsI-6), J 
 
 Hinging of bells or chimes ;chimingof bells. 
 
 Campanarum pulsator (kam-pa-na'room pool- 
 siL'ior), Lot. A ringer of bells. 
 
 Campanella (kam-pa-n^lHa), j, \ A little 
 
 Campanello (kam-parnei'lo), ) bell. 
 
 Campanetta (kam-pa-nSt'ta) ,It. A set of bells 
 tuned diatonlcally, and played with keys 
 like a pianoforte. 
 
 Campanile (kiim-pa-ne'lS), It. A belfry. 
 
 Campanology (k£lm-pa-n01'o-gy). The art of 
 ringing bells. 
 
 Campanone (kam-pa-no'nS), It. A great bell. 
 
 Canarder (ka-nar-da'), JV. To imitate the tones 
 of a duck. 
 
 Canarie (ka-na-reO, JF>'. ) An old dance, iij 
 
 Canaries (karna'rgs), £».> lively3-8or6-8,and 
 
 Canario (ka-na'rI-6), It. ) s o m e I i m e s 12 8, 
 time of two strains. It derives its name 
 from the Canary Islands, froni whence it is 
 supposed to have come. 
 
 Cancan (kan-kfln). A vulgar kind of dance. 
 
 Cancellen (kan'sgl-l'n), Oer. Grooves. The 
 small channels in an organ wiudchest, con- 
 ducting air to the pipes. 
 
 Cancelling sign. A natural (tt) employed to 
 remove the effect of a previous flat or sharp 
 
 Cancrlzans (kan-kre'tsans), „ 1 Eetro- 
 
 Cancrizante (kan-krl-tsan-tS), /grade 
 movement ; going backward. 
 
 Canere (kii'nS-rS), Xai. 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'rS), It. To change, to alter. 
 
 Canna (kan'na). It. A reed, or pipe. 
 
 Cannon. The portion of a bell by which it is 
 suspended. 
 
 Cannon-drum. The tomtom used by the na- 
 tives of the East Indies. 
 
 Canon (kan'On). In ancient music, a rule, or 
 method, for determining the intervals of 
 notes. A musical composition for 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 Sound, 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. Hencesuch names as " 2 in 
 1," meaning that two voices have a single 
 subject; "4lu 2," meaning that four voices 
 have two subjects, etc. 
 
 Canons are further named from the inter- 
 val iu which the second voice begins. For 
 instance, at a) below, the second voice en- 
 ters in the octave of the same phrase as 
 given out by the first voice. It is, therefore, 
 a canon "2inl" at the octave. At b) the 
 second voice enters in the under fifth, and 
 at c) in the over sixth. See, also, Imitation. 
 
 Canone (ka'no-nfi), „ 
 
 Canonico (ka-no-ni-ko), , 
 
 A canon. 
 
 Canone al sospiro (ka'no-n6 al sos-pe'ro), It. 
 A canon whose different parts commence at 
 the distance of a crotchet rest from each 
 other. 
 
 Canone aperto (ka'uo-neiirpar'to). It. Ah open 
 cation ; a canon of which the solution or de- 
 velopment is given. 
 
 Harm, ikad(Xt&aXt,^end,^evetiiU,\i8le,oold, 6 odd, oo moon, -iXbut,n i^r. sound, kh Ger.ch. nh no^aL 
 
 (66) 
 
CAN 
 
 DICTIONARY OF MUSIC. 
 
 CAN 
 
 Canone chiuso (ka'no-nS ke-oo'z6), It. A close 
 or hidden cauou, the solution or develop- 
 ment of which must be discovered ; also an 
 enigmatical canon. 
 
 Canone in corpe (kii'no-n^ in kor'pa), M. A 
 perpetual fugue. 
 
 Canone partite (ka'no-ne par'tl-to), Lat. A 
 perpetual fugue, in which all the parts are 
 written in partitions, or different lines, or in 
 separate parts, with the proper pauses which 
 each is to observe. 
 
 Canone sciolto (ka'u6-n€ she-ol'to), It, A free 
 canon, not in the strict style. 
 
 Canon, free. A canon not in strict conform- 
 ity to the rules, the melody of the first part 
 not being followed throughout. 
 
 Canon, liidden. A close canon. See Canone 
 cMuso. 
 
 Canonical mass. A mass in which the differ- 
 ent parts of the musical service are in strict 
 canonical order. 
 
 Canonical liours. The daily offices of devo- 
 tion prescribed to the Roman Catholic 
 clergy. They are : (1) Matins and Lauds ; 
 (2) Prime; (3) Tierce; (4) Sext; (5) Noire; 
 (6) Vespers ; 17) Compline. Of these. Matins 
 and Lauds, Vespers, and Compline are 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 
 voicfe, and at 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 (ka'uoa p£lr-pa'too-oos), Lat. 
 See 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. 
 
 r":iS::S!i-tn^'''r'fi^^n I Musical, tune- 
 
 Canoro (ka^no'ro), J«. f-, , harmnnioiK! 
 
 Canorus (ka-no'roos), Lat. J '"^' "armomous. 
 
 Cant. An abbreviation of Canto and Cantate. 
 
 Cantab. An abbreviation of Cantabile. 
 
 Cantabile (kan-ta'bl-ie), It. That can be sung ; 
 
 in a melodious, singing, and graceful style, 
 
 full of expression. 
 Cantabile ad libitum (kan-ta'bl-lS ad lib-I- 
 
 toom). It. Iq singing style, at pleasure. 
 
 Cantabile con molto portamento (kan-ta'bi-16 
 kon mol'lo p6r-iam6u'to), /(. In singing 
 style, with a great deal of portamento ; in a 
 melodious style, with embellishments at 
 pleasure, but few and well chosen. 
 Cantajuolo (kan-ta-yoo o'lo), „ 1 A street 
 Cantambanca(kan-tam-han'ka), ' J singer; 
 an Itinerant musician; a contemptuous 
 name for a singer. 
 
 Cantamento (kiin-ta-men'td), II. Tune ; air. 
 
 Cantando (kau-tan'd6), It. In a melodious, 
 singing style. 
 
 Cantans (kau-tans), Lat. Singing. 
 
 Cantante (kan-tan'tS), It. A singer ; also a 
 part intended tor the voice. 
 
 Cantante ariose (kan-tan'tea-rl-6'ze),7i!. A spe- 
 cies of melody which, by its frequent 
 changes of measure and conversational 
 style, first served to mark the distinction be- 
 tween air and recitative. 
 
 Cantar a la almohadilla (kau-tar' a-la al'mo-a- 
 del'ya), Up. To sing alone, and without be- 
 ing accompanied by Instruments. 
 
 Cantare (kan-ta'rg), It. To sing, to celebrate, 
 to praise. 
 
 Cantare manlerata (kan-t^rS'ma-ni-e-ra'ta),/<. 
 To sing with too many embellishments, 
 without tajte or judgment. 
 
 Cantarina (kan-ta-re'na), Sp. A woman who 
 sings in public. 
 
 Cantata (kan-ta'tii), J<. 1 The word orlginal- 
 
 Cantate (kanh-tat), Fr. Vly meant something 
 
 Cantate (kan-ta'te, Ger. ) sung, in contradis- 
 tinction to something played (sonata). So 
 varied are the InnumeraDleexempliflcations 
 of the cantata that it is impossible to define 
 its character. Now this name is given to a 
 vocal composition of some extent, consist- 
 ing 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 of the cantata 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-mo-ro'zS), It. A 
 cantata having love for its subject. 
 
 Cantata moral! o spirituali (kan-ta'ta mo-ra'- 
 le 6 spe-ri-too-a'le), It. A cantata designed 
 for the church. 
 
 Cantatllla (kiin-ta-til'la), It.^ A short canto- 
 
 Cantatille(kanh-ta-tel),iiV. >ta; an air pre- 
 
 Cantatina (kan-tarte'na). It.) ceded by a reci- 
 tative. 
 
 Cantator (kan-ta't6r),£af. A singer, a chanter. 
 
 Cantatore (kanh-ta-to're). It. A male singer. 
 
 Cantatorium (kan-ta-to'ri-oom),Xaf. The book 
 from which the priests in the Roman Cath- 
 olic service chant or recite the responses. 
 
 Cantatrice (kan-ta-tre'tsh€). It. A female 
 singer. 
 
 Cantatrice buffa (kan-ta-tre'tshe boof'fii), It. ) 
 
 Cantatrlx (kan-ta'tilx), Lat. j 
 
 A female singer ; a woman who sings In 
 comic opera. 
 
 Cantazzare (kan-ta-tza'r«), It. To sing badly. 
 
 Cantellerando (kan-t£l-ie-ran'd6), It. Sin^ng 
 with a subdued voice ; murmuring, trimng. 
 
 Canterellare (kan-tS-rSI-l&'r£), It. To chant, 
 or sing. 
 
 a arm, & add, a die, a end, e eve, iitt,l isle, 6 old, 6 odd, oo moon, d buj, <i Fr. sound, kh Qer. cli. nh natal. 
 
 (67) 
 
CAN 
 
 DICTIONARY OF MUSIC. 
 
 CAN 
 
 Canterino (kan-tfi-re'no), 11. A singer; a 
 
 chauter. 
 Cantica (kan'tl-ka), /(. ) Canticles ; the 
 Cantics (kan'ti-tsa), Lat ( ancient kmdi, or 
 Cantici (kan'tl'tslie), i^2'I. (sacrtd songs ol 
 Cantico (k£ln-te'ko), iSjj. ) the Soman Cath- 
 olic Cliurch. 
 Canti carnascialeschi (kan'te car-nas- ) 
 tshi-a-:es-ke), It. > 
 
 Canti charnevali (kan'te kar-nfi-va'le), ) 
 
 bongs ot tUe carnival week. 
 Canticle. A sncred hymn, or song. (2) A 
 
 cauto, a division of a sung. 
 Cantico (kan'tl-ko). It. 1 , „^,,„if, 
 
 Canticum (kau'ti-koom), Ijit. f * <=aflticie. 
 
 Cantillate Ikan'tll-late). To chant, to recite 
 
 with musical tones. 
 Cantillation. A chanting, a recitation with 
 
 musical modulations. 
 Cantillatio (kan-til-l£i-tsl'd), Lat. A singing 
 
 style of declamation. 
 Cantilena (kan-tl-la'na), It. The melody, air, 
 
 or principal part in any composition ; geu- 
 
 jerally the highest vocal part. 
 Cantilena scotica (kan-ti-la'na sko'ti-ka). It. 
 
 A Scotch air or tune. 
 Cantilene (kiin-ti-la'nS), It. A cantilena. 
 
 Cantino (kan-te'no). It. ■ The smallest string of 
 
 the violin, guitar, etc. 
 Cantio (kau'tsi-6), Lat. A song. 
 
 Cantique (aanh-tek'), J^. A canticle, or hymn 
 
 of praise. 
 Cantique des cantiques (kanh-tek' d& kanh- 
 
 tek'), Fr. Solomon's Song. 
 Citnto (kiin'to), It. (1) A song, a melody. (2) 
 
 The art of singing. (3) The highest-part in 
 
 concerted music. (4) The soprano voice. 
 
 (5) The highest string of an instrument. 
 
 (V. Cantino.) 
 Canto a cappella (a kap-p€1'Ia), It. Vocal 
 
 church music without instrumental aficom- 
 
 .paniment. 
 Canto Ambrosiano (am-.bro-zi-a'no). It. Am- 
 
 brosiau chant. 
 Canto armonico (kan'toar-mo'ni-ko), It. A 
 
 part-song for two, three, or more voices. 
 
 Canto clef. The C clef when placed on the 
 
 first line. . , 
 
 Canto concertante (kan'to kon-tsh6r-tan'tS), 
 
 It. Thu treble of the principal concerting 
 
 parts. 
 Canto cromatico (kan'to kro-ma'ti-ko). It. 
 
 Chromatic vocal music. 
 Canto fermo (kiin'to far'mo), //. A chant or 
 
 melody. (2) Clioral singing in unison on a 
 
 plain melody. (3) Any subject consisting 
 
 of a few long, plaia notes, given as a theme 
 
 for counterpoint. 
 Canto figurato (kiin'to le-goo-rii'tO), It. A 
 
 figured melody. 
 Canto fioritto (kiin'to fe-o-ret'to), It. A song 
 
 in which many ornaments are introduced. 
 
 Canto lunebre (kan'to foo-Da'br€), It. A fu- 
 neral song. 
 
 Canto Gregoriano (kan'to grS-go-ri-a'no), It. 
 The Gregorian chant. 
 
 Canto llano (kan'to lya'no), Sp. \ The plain 
 
 Canto piano (kiin'to pla-uo). It. j chant or 
 song. 
 
 Canto necessario (kan'to na-tchSs-sa'iJ-d), It. 
 A term indicating those ^arts that are to 
 sing through the whole piece. 
 
 Canto prime (kan'to pre'mo). It. The first 
 treble or soprano. 
 
 Cantor (kiin-tor'). It. A singer, a chanter. 
 
 Cantor (kan'tor), . . r„/ 1 A 
 
 Lat. 
 
 ^•} 
 
 pre- 
 
 Cantor choralis (kan'tor ko-ra'lis), 
 
 eentor ; a leader of the choir. 
 Cantorate (kiin-to-ra'tfi). It. A leading singer 
 
 of a choir. 
 Cantore (kiin-to'rfi). It. A singer, tt chanter, 
 ' a poet. 
 Canto recitativo (kan-to ra-tshi-ta-te'vo), It. 
 
 Recitative, declamatory singing. 
 Cantorei (ka,n-t6-rl'),ffer. - The dwelling-house 
 
 of the cantor. (2) A class of the choristers 
 
 in the public school. 
 Cantoren (kiin-to'r'n), Ger. Chanters, a choir 
 
 of singers. 
 
 Canto ripieno (kiin'to re-pi-a'naj, II. The 
 treble of the grand chorus; the part that 
 sings or plays only In the grand chorus. 
 
 Cantoris (kiln-to'rls), Lat. A term used in ca- 
 thedral music to indicate the passages in- 
 tended to be sung by those singers who are 
 placed on that side of the choir where the 
 can tor or precentor sits. This is usually on 
 the left-hand side on entering the choir 
 from the nave. 
 
 Canto rivoltato (kan'to re-vol-tii'to). It. The 
 treblo changed. 
 
 Canto secondo (kan'to s€-kon'dd). It. The sec- 
 ond treble. 
 
 Canto simplice (kan'to sim-ple'tshfi). It. A 
 plain song. 
 
 Cantrice (kiin-tre'tshS,' JJ. 1 A female singer 
 
 Cantrix (kan'trix), Lat. J a songstress. 
 
 Cantus (kan'toos), ImI. A song, a melody; 
 also the treble, or soprano part. 
 
 Cantus Ambrosianus (kiin'toos am-bro-si-ii'- 
 noos), Lat. The four chants, or 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 melodies. 
 
 Cantusfi^uratus (kan'tons fe-goo-ra'toos),£a(. 
 Embellished or figurative cnants or melo- 
 dies. 
 
 Cantus firmus (kan'toos flr'moos), Lat. The 
 plain song or chant. See Canto fernw. 
 
 Cantus Qregorianus (kiin'toos grS-go-rl-it'- 
 noos), Lat Those four ctiant«, or melodies, 
 introduced into the Church by St. Gregory, 
 and which, wiih the Ambrosian chants, 
 formed a series of eight modes, or tones, as 
 they were called. 
 
 &arm,&add,a,ale, 6eiid,eeve, iill.iislc, 6old,6odd, oomoon,iXbu( il .fs oounc'. th Gc-. ch, nhnasdl. 
 
 (68| 
 
CAN 
 
 DICTIONARY OF MUSIC. 
 
 CAR 
 
 Cantus mensurabilU (kiin'toos inSn-soo-r£l'bl- 
 lis), Lot. A regular, or measured, melody. 
 
 Cantus mollis (kitn'toos mol'l!s), Lat. A song 
 writieu In the minor key. 
 
 Canum (ka'ntim), Tur. A Turkish musical 
 . iuscrumeut, on which the ladies play. 
 
 Canzona fkau-tsd'na), « \ Song, ballad, can- 
 Canzone (kan-tso'uS), | zonet. (2) A grace- 
 ful aud s imewhat elaborate air, in 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 (kan-ts6-nat'tsh€-£i), It. A low, 
 trivial song, a poor canzone. 
 
 Canzonclna (kan-tson-tshe'na). It. A short 
 canzone, or song. 
 
 Canzone sacra (k£n-ts6'n$ salcra),/!!. A sacred 
 soug. 
 
 Canzonet. A short song, in one, two, or three 
 parts. 
 
 Canzonnetta (kau-tso'net'ta). It. A shortcan- 
 zone. 
 
 Canzonl (kan-tso'ni), It. A sonata ; in con- 
 nection with a passage of music it has the 
 same meaning as allegro. 
 
 Canzoniere (kau-tso-ni-a'i'6), It. A songbook. 
 
 (^anzonina (kiin-tsd-ne'na). It. A canzonet. 
 
 Capelle (ka pgl'ie), Qcr. A chapel, a musical 
 band. 
 
 Capellmeister (ka'pei'mis'tfir), 6er. The di- 
 rector, composer, ur master of the music in 
 a choir. 
 
 Capo (ka'po), It. The head, or beginning ; the 
 top. 
 
 Capodastro (ka po das'tro). It. See Capotasio. 
 
 Capo d' inestrumenti (ka'po din-6s-troo-m6n'- 
 tl), /(. The lender, or director, of the in- 
 strumental performers. 
 
 Capo d' orchestra (ka'po dor-kSs'tra), It. The 
 leader of the orchestra. 
 
 Capona (ka-po'na), Sp. A Spanish dance. 
 
 Capotasto (ka-potas'to), It. The nut. or up- 
 per part, of the fingerboard of aviolm, 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-6-le'no). It. The first 
 violin. 
 
 Cappella (kap-pgl-la), It. A chapel, or church. 
 (2) A band of musicians that sing or play in 
 a church. 
 
 Cappella muslca (k£p-pSl'la moo'zl-kii), It. 
 ijhapel or church music. 
 
 Capriccietto (kHrpret-shl-St'to), It. A short 
 capriccio. 
 
 Capriccio (ka-pret'shl-o). It. A fanciful and 
 irregular species of composition ; a species 
 of fantasia ; in a capricious and free style. 
 
 Caprlcciosamente (k&-pret-shI-o-za-m€n't€),/^ 
 Capriciously. 
 
 Capriccioso (ka-pret-shi o'zo), //. In a fanci- 
 ful aud capricious style. 
 
 Caprice! (ka-pret'shi), /(.l A caprice. See 
 Caprice (kapres), Fr. j Capriccio. 
 
 Caprice. A whimsical, fanciful style of com- 
 position. See Capriccio. 
 
 Capricleusement (k£rpre-stis-mfinh'), Fr. Ca- 
 priciously. 
 
 Caprlcieux (kil-pre-sii), Fr. In a fanciful and 
 capricious style. 
 
 Car. (kar). It. An abbreviation of Carta. 
 
 Caracteres de muslque (kar-^k-tar' dtlh mu- 
 zek') . jPr. A term applied to musical signs ; 
 all the marks or symbols belonging to mu- 
 sical notation. 
 
 Caramillo (ka-ra-mil'yo), Sp. A flageolet, a 
 small flute. 
 
 Caressant (ka-rfis-sanh), Fr. Caressing, ten- 
 derly. 
 
 Carezzando (ka-rSt-tsan'do), n \ In a caress- 
 
 Carezovole (ka-rfit-so-vo'lS), ' J ing and ten- 
 der manner. 
 
 Carlcato (ka-rl-ka'to). It. Exaggerated, cari- 
 cature. 
 
 Caricatura (ka-ii-kii-too'ra). It. A caricature, 
 an exaggerated representation. 
 
 Carillon (ka-ril-yOnh), iiy. Chime. See Caril- 
 lons. 
 
 Carillon a clavier (kSrril-yOnh a kld.-vi-a), Fr. 
 A set of keys and pedals, acting upon the 
 bells. 
 
 Carillonement (k£ lil-yOnh-manh), Fr. Chim- 
 ing. 
 
 Carillonner (ka-iil-yo-na') , Fr. To chime or 
 ring bells. 
 
 Carillonneur (ka-ril-yo-ntlr'), Fr. A player, or 
 ringer, of bells or carillons. 
 
 Carillons (ka-rll-yonh'), Fr. pi. Chimes; a 
 peaj or set of bells, upon which tunes are 
 played by the machinery of a clock, or by 
 means of keys, like those of a piauoforte. 
 (2) Short, simple airs, adapted to such bells. 
 (3)A stop in au organ, to imitate a peal of 
 bells. 
 
 Carita (ka-re'tS), It. Tenderness, feeling. 
 
 Carita, con (ka-re'ta kon). It. With tender- 
 ness. 
 
 Carmagnole (k9.r-man-yol'), Fr. A famous 
 French revolutionary song. It- came into 
 vogue in 1T92, and derives its name from the 
 Piedmontese town Carmagnola. 
 
 Carmen (kiir'men), Oer. \ A tune, a song, a 
 Carmen (kar'men), Lat. J poem. 
 
 Carmen natalltlum (kar'mSn na-ta-le'tsl-oom), 
 Lat. A carol. , 
 
 Carol. A song. (2) A song of joy and exulta- 
 tion, a song of devotion. (3) Old ballads 
 sung at Christmas and Easter. 
 
 &arm, i, add, a ale, iend, e aie, iill, ! wie, o old, 6 odd, oomoon, Q but, ii Ft. 
 
 m 
 
 sound, kh Qer ch. uhnoaaJ. 
 
CAR 
 
 DICTIONARY OF MUSIC. 
 
 CES 
 
 Cu-ola (ka-r6'ia). It. A ballad, a dance witli 
 singing. 
 
 Carolare (ki-ro la'rS), It. To sing In a war- 
 bling manner, to carol. 
 
 Caroletta (ka^ro-iet'ta), It. A little dance. 
 
 Carolle (ka-rol'), Fr. A carol. 
 
 Carrure des phrases {kar-riir dg frilz), Fr. The 
 quadrature, or balancing, of the phrases. 
 
 Cartel (kar-tSl), Fr. The first sketch of a com- 
 position, or of a full score. (Obsolete. ) 
 
 Cartellone (kar-t«l-16'n«), It. A large playbill ; 
 the printed catalogue of operas to be per- 
 formed during the season. 
 
 Cassa (kas'sa), It. The drum. 
 
 Cassa grande {kas'sa griin'de), „ 1 The 
 
 Cassamilitare (kas'sa ml-ll-ta'rfi),-"- / 
 
 ^ . .,.; -. . , great 
 
 drum in military music. 
 
 Cassatio (kas-iia'tBl-d^, J.af. ) Lit, "dis- 
 
 Cassazlone (kas-sa-tsi-o'n6), It.> missal." Ori- 
 
 Cassation (kas-sa'tsl-on), Go-. 5 ginally the 
 coiicluding piece of a musical performance, 
 afterwards a kind of serenade consisting of 
 several instrumental pieces. 
 
 Castagnet. Castanet. 
 
 Castaenetta(kas-tan-ySt'ta), Jt. ) Snappers; 
 
 Castagnettea (kas-tanh-yStQ, Fr. I castanets, 
 
 Castagnole (kas-tan-y6'16), /§>. f used iu 
 
 Castanetas (kiis-tan-yS'tas), Sp. ) dancing. 
 See Castanets. 
 
 Castanets. Snappers used to accompany 
 dancing; an instrument of music formed 
 of small, concave shells of ivory or hard 
 wood, 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 (kas-tiin-a-til). For. \ Casta- 
 
 Castanuelas (kiis-tan-yoo-a'lis), Sp. j nets. 
 
 Castrate (kas-tra'to), It. A eunuch. A male 
 singer with a soprano voice. 
 
 Catch. A humorous composition for three 
 or lour voices, supposed to be of English 
 invention, and dating back to the Tutors. 
 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 dl trilll (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). Lot. Coda. 
 
 Cavalletta (ka-val-lSt'ta), „ 1 . „„i,-i„»* 
 Cavalletto (ka-va-16t't6), -^'- |A cabaletta. 
 
 Cavalquet (kav-al-ka'), Fr. Trumpet signal 
 for the cavalry. 
 
 Cavata (ka-va'tit), ii!. Production of tone ; also 
 a small song, sometimes preceded by a reci- 
 tative; acavatina. 
 
 Cavatina (ka-va-te'na), It. \ An air of one 
 Cavatine (kfiv-^-ten'), Fr. J strain only, of dra- 
 matic style, sometimes preceded by a recita- 
 tive. 
 C. B. The initials of Col basso and Contra 
 basso. 
 
 C barr£ (bar-ra), Fr.\ „. . , *■ 
 
 Charred. J The character g used 
 
 to indicate alia breve or alia capella time. 
 C clef. The tenor clef. ' It is called the C clef 
 because on whatever line it is placed it gives 
 to the notes of that line the name and pitch 
 of middle C. Is used also for Sop. and Alt. 
 
 C=dur (tsa-door), Gcr. The key of C major. 
 
 Cehell. The name of an old air in common 
 time, characterized by a quick and sudden 
 alternation of high and low notes. 
 
 Celebrer (sa-lS-bra'), Fr. To celebrate, to ex- 
 tol, to praise. 
 
 Celeramente (tsha-lg-ra-mSn'tS), It. Quickly 
 fast. ' ' 
 
 Celere (tsha'16-r6), It. Quick, rapid, with ve. 
 locity. 
 
 Celeridad(tha-la-rl-dad'), Sp.) Celerity, ve- 
 
 Celerita (tha-la-rl'ta), J(. }■ locity, rapid 
 
 C^lerite (sa^la-rl-ta), Fr. J ity. 
 
 Celeste (sgrlgsf), Fr. Celestial, heavenly; in 
 some passages it indicates the employment 
 of the pedal which acts on the celestlna, or 
 soft stop. Also a tremolo slop, or a stop 
 consisting of a set of reeds or pipes a very 
 little sharp, giving rise to a moderately 
 quick beat or waving. 
 
 Celestial music. Among the ancients, the 
 harmony of sounds supposed to result from 
 the movements of the heavenly bodies. 
 
 Celestlna (tsha-lSs-te'na), It. An organ-stop 
 of small 4-feet scale, producing a verv deli- 
 cate and subdued tone. Also a tremolo 
 stop in reed organs. 
 
 'Cell! (tshgl'le). An abbreviation of Violon- 
 celli. 
 
 'Cellist (tshgl'lest). An abbreviation of Vi- 
 oloncellist ; one who plays the 'Cello. 
 
 'Cello (tshei'lo). An abbreviation of Violon- 
 cello. 
 
 Cemb. An abbreviation of Cemballo. 
 
 Cembalista (tshSm-balez'ta), It. A player on 
 the harpsichord ; also a player on the cym- 
 bals. 
 
 Cembalo (tshgm'biHo), ,, I A harpsichord ; 
 
 Cembolo (tsh6m'bo-16), /also the name for 
 a cymbal. 
 
 Cenobites. Monks of a religious order, who 
 live in a convent and perform the services 
 of the choir. 
 
 Cento (tsSn-to), Lat. A composition formed 
 by one hundred verses and passages from 
 other authors, and disposed in a new order. 
 
 Centone (tsSn-to'nS), Lat. A cento, or medley 
 of diflferent tunes or melodies. 
 
 Ces (tsSs), Oer. The note CI.. 
 
 » ann, & add, &ale,6 end, e eve, I HI, i isle, o old, 6 odd, oo moon, iXbut,tiFr. sound, kh Qer. cA, nh nasal. 
 
 (70) 
 
CES 
 
 DICTIONARY OF MUSIC. 
 
 CHA, 
 
 Ces-dur (tsSs-door),Ger. The note of C\> major. 
 C. espr. An abbreviation of Con espressione. 
 
 Cesura. 1 A pause in verse introduced toaid 
 Cesure. J the recital and render the versifica- 
 tion more melodious. See Caesura. 
 Cetera (tsha't6-ra), It. A cittern, a guitar. 
 
 Cetera tedesca (tsha'tS-ra t«-des'ka), It. The 
 German zither, a ten-stringed instrument ol 
 the lute class. 
 
 Ch. An abbreviation of Choir and Chorus. 
 
 Cha Chi (ka ke>. A Chinese instrument, simi- 
 lar to the kin, but having the chromatic 
 scale. 
 
 Chacona (tsharkd'na),iSp. \ Achaconne, aslow, 
 Chaconne Csha-k6nh),jFr. ) graceful Spanish 
 movement, in 3-4 time, and composed upon 
 a ground bass. It is usually stated that the 
 chaconne is in the major mode, and that 
 passacaille, which is somewhat similar to it 
 m rhythm, is in the minor. This is not the 
 case, as the following theme, on which 
 Bach's celebrated Ciaccona for violin solo is 
 founded, will show : 
 
 IJ. J I S j,:^g|l j- ^ 
 
 Chacoon. A dance like a saraband. See Cha- 
 
 COTM. 
 
 Chair organ. Found in old organ music. See 
 Choir organ. 
 
 Chal. An abbreviation of Chalumeau. 
 
 Chalil (ka-lel'), Seb. An old Hebrew instru- 
 ment, similar to a pipe or flute. 
 
 Chalmey, See dialumeau. 
 
 Cbalotte. A tube of brass, made to receive 
 the reed of an organ-pipe. 
 
 Chalmeau (shai-mo'), ly 1 An ancient rus- 
 
 Chalumeau (sha-lu-mo), j tic flute, re- 
 sembling the hautboy, and blown through a 
 calamus, or reed. The term is also applied 
 to some of the low notes of the clarinet. 
 
 Chamber music. Music 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 m the major or minor 
 mode of the key or tonic in which they are 
 written. 
 
 Changer de jeu (shilnh-zha dOh zhii), Fr. To 
 change the stops or registers in an organ. 
 
 Changes. The various alternations and differ- 
 ent passages produced by a peal of bells. 
 
 Changlngnotes. German," wechseln Tonea," 
 dissonant. tones occurring upon the unac- 
 cented part of the beat. Clianging tones dif- 
 fer from passing tones in this, that whereas 
 passing tones lead across from one consonant 
 tone to another , changing tones 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 (shanh-sOnh), Fr. A song. 
 
 Chanson bachique (shanh-sOnh bak-ek'), JV. A 
 
 drinking-song. 
 Chanson des rues (shiinn-sSnh de rii'), Fr. A 
 
 street song ; a vaudeville. 
 Chansonner (shanh-sOnh-nS.'), Fr. To make 
 
 suugs. 
 
 ChansonneUe (shanh-sdnh-ngt'), Fr. A little 
 or short song, or canzonet. 
 
 Chansonniere (shanh-sOnh-nl-ar'), Fr. A fe- 
 male song-writer. 
 
 Chansons de geste (sb&nh-sOnh dAh zhSst), 
 Fr. The romances formerly sung by the 
 wandering minstrels of the middle ages. 
 Literally, "yongs of Deeds." These were 
 great national epics of France, which had 
 their origin from about A. D. 800 to 130O. 
 Among the most famous were " The Song of 
 Eoland"audthe"Songof Antioch." These 
 epics appear to have grown up out of the de- 
 tached labors of several generations of min- 
 strels, each adding something of his own to 
 the store, as he Cad 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 and part sung. 
 A "single" chant consists of only two 
 strains. A " double " chant consists of 
 four. (2) To recite musically, to sing. 
 
 Chant (shanh), JV. The voice part ; a song or 
 
 melody, singing. 
 Chant amoureux (shanh-ta-moo-riib), Fr. A 
 
 love-sung, an amorous ditty. 
 
 Chantant (shanh-tiinh), Fr. Adapted to sing- 
 ing ; in a melodious and singing style. 
 
 Chantante (shanh-tanht), Fr. Singing. 
 
 Chantante bass (shanh-t^nhtbass), Fr. Vocal 
 bass. 
 
 Chant d' eglise (shanh d'S-glez'), Fr. Church 
 singiug. 
 
 Chant de Noel (shanh dflh n6-(:\%Fr. A Christ- 
 mas carol. 
 
 Chant des oiseaux (shanh d€ swa-zo^ ,.Fr. Sing- 
 ing of the birds. 
 
 Chant de triomphe (shanh da tre-&nhf), Fr. 
 A triumphal song, a sung of victory. 
 
 Chant du solr (shanh dti swar), Fr. Evening 
 
 chaut. 
 Chantie (sban-ta), Fr. Sung. 
 
 Chanter. One who chants. (2) The pipe that 
 sounds the treble or tenor iu a bagpipe. 
 
 Chanter (shiinh-ta'), Fr. To sing, to celebrate, 
 to praise. 
 
 a arm, a add, a ofc, 6 «»Ki, e eiie, I iB, i isfe, 6 old, odd, 00 moon, ti 6u*, ii JV. souTid, kh Ger. cA, nh noBoJ. 
 
 (71) 
 
CHA 
 
 DICTIONARY OF MUSIC. 
 
 CHI 
 
 Chanter k Ilvre ouvert (shauh-ta' & levi oo- 
 var*), Fr. To slug at eight. 
 
 Chanter k pleine volx (shanh-ta' a plan Twa), 
 Fr. To be in lull voice. 
 
 Chanter, arch. The chief chanter, the leader 
 of the chants. 
 
 Chanterelle (shanh-tS-rgl), Fr. Treble string; 
 the smallest string of the violin. 
 
 Chanterres (shanh-t6-re), Fr. The singers of 
 songs and ballads in the tenth and follow- 
 ing centuries. 
 
 Chanteur (shauh-ttir'), Fr. A singer. 
 
 ^ Chanteur des rues (shanh-ttir d6 rii'), Fr. A 
 I street singer. 
 
 Chanterie(shanh-tre'),.Fr. 1 Institutions cs- 
 
 Chantry. J tablished and en- 
 
 dowed for the purpose of singing the souls 
 of the founders out of purgatory. A church 
 or chapel endowed with revenue for the 
 purpose of saying mass daily for the souls 
 of the donors. 
 
 Chant pastorale (shanht pas-to-ral'), Fr. A 
 pastoral song. 
 
 Chantry priests. Priests selected to sing In 
 the chantry. 
 
 Chanteuse(shanh-tiis'), Fr. A female vocalist. 
 
 Chant funebre (shanh fii-nabr), Fr. Dirge, a 
 funeral song. 
 
 Chant sur le Ilvre (shanh soor Itih levr), Fr. 
 A barbarous kind of counterpoint, or des- 
 cant, as it was termed, performed by several 
 voices, each singing ex tempore. An extem- 
 poraneous counterpoint added by one or 
 more singers to the canto fermo sung by 
 others. It is Identical with contrapunto aUa 
 mente. 
 
 Chant, Phrygian. A chant intended to ex- 
 cite the hearers to fury and rage. 
 
 Chant, Roman. The Gregorian chant. 
 
 Chant sacre (shanh tsalsr), Fr. Sacred music. 
 
 Chantor. A singer in a cathedral choir. 
 
 Chantre (shantr), Fr. A chorister, a chanter, 
 a singing boy. 
 
 Chapeau chinols (sh&-po' she-nwa'). Fr. A 
 crescent, or set of small bells, used in mili- 
 tary music. 
 
 Chapelle (shap-61'), Fr. A chapel. See Cap- 
 pella. 
 
 Characteristic chord. The leading, or prin- 
 cipal, chord. 
 
 Characteristic note. A leading note. The 
 fourth and seventh from the tonic. 
 
 Characters. A general name for musical 
 signs. 
 
 Charakterstiicke(ka-rac-t'r-stiilc'S),G'n-. Char- 
 acteristic pieces. Pieces descriptive of 
 moods, impressions, and events. 
 
 Charivari (sha-rl-va'rl), Fr. Noisy music, 
 made with tin dishes, horns, bells, etc.; 
 clatter ; a mock serenade. 
 
 Charlatan (shar-lfrtanh'), Fr. A quack ; an 
 imposter; a superflcial artist who makes 
 great pretensions, which are not justified in 
 performance. 
 
 Chasse (shass), Fr. Hunting ; in the hunting 
 style. 
 
 Chatsoteroth (kat-s6't6-r8th), „v IThe 
 
 Catzozerath (kat-zo-ze'rath), J silver 
 
 trumpet of the ancient Hebrews. 
 
 Che (ka). It. Than, that, which. 
 
 Che chl (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-dat-tak), Fr. The leader, 
 or principal iirst-violin performer ; also the 
 leader of the chorus. 
 
 Chef-d'oeuvre (sha-doovr), Fr. A master- 
 piece, a capital performance ; the principal, 
 or mostimportant.composition of an author. 
 
 Chef-d'orchestre (sha-dOr-kfistr), Fr. The 
 
 leader of an orchestra. 
 Chelpour, Per. A Persian trumpet used in 
 
 military service. 
 
 Chelys (ka-lls), Gr. A species of lute, or viol. 
 
 Cheng chi (kgng ke). One of the eight spe- 
 cies into which the Chinese divide their 
 musical sounds. 
 
 Cherublcal hymn. A hymn of great impor- 
 tance in theserviceof the Holy Communion. 
 " Holy, holy, holy," etc. 
 
 Chest of viols. An old expression applied to 
 a set of viols, two of which were basses, two 
 tenors, and two trebles,each with six strings. 
 These instruments were particularly adapt- 
 ed to those compositions called fantasias. 
 
 Chest IoIm. } '^'■^ lowest register of the voice, 
 
 Chest, wind. A reservoir in an organ for 
 holding the air, which is conveyed from 
 thence into the pipes by means of the wind 
 trunks and channels. 
 
 Chevalet (shav-a-la'), Fr. The bridge of a vi- 
 olin, viola, etc. 
 
 Chevllle (shS-vel'), Fr. The peg of a violin, 
 viola, etc. 
 
 Chevrotement (8hS-vr6t-m6nh), Fr. A tre- 
 mor or shake in singing. 
 
 Chevroter (sh8-vr6-ta'), Fr. To sing with a 
 trembling voice; to make a bad or false 
 shake. 
 
 Chlara (ke-a'ra), 
 
 Chlaro (ke-a'ro), 
 
 Chlaramente (kea-ra-mSn't6), It. Clearly, 
 brightly, purely. 
 
 Chlarentana (ke-a-rgn-ta'na). It. An Italian 
 country dance. 
 
 Chiarezza (ke-a-rSt'sa), It. Clearness, neat- 
 ness, purity. 
 
 Chiarlna (ke-a-re'na), It. A clarion. 
 
 „ 1 Clear, brilliant, pure 
 ■"■ J as to tone. 
 
 a arm, S. add, a ale, 6 end, e eve, iiU,! iale, 6 old, 6 odd, oo moon, H bvi, ii Fr. sound, ILh Ber. ch. nh natal. 
 
 (72) 
 
CHI 
 
 DICTION AEY OF MUSIC. 
 
 CHO 
 
 Chiaroscuro (ke-ii-ros'koo-rd), It. Light and 
 shade ; the modifications of piano and forte. 
 
 Chiave (ke-a'vfi) , /(. A clef, or key. 
 
 Chiave maestro (ke-a'v6 ma-as'tro), It. The 
 
 fundamental key or note. 
 ChickeraCkeTcS-ra), Ilin. An instrument used 
 
 iu India, having four or five strings and 
 
 played with a bow. 
 Chiesa (ke-a'za). It. A church. 
 
 Chiffres (shefr), Pr. Figures used in har- 
 mony and thorough bass. 
 Chifia (tshe'flftl, „ \ , ^j,i.t,„ 
 
 Chifladera (tshe-fla'd6-ra), ''P- 1 A whistle. 
 
 Chifladura (tshe-fia-doo'ra), Sp. Whistling. 
 Chlflar (tshe-flar'), Sp. To whistle. 
 
 Chime. A set of bells tuned to a musical 
 scale ; thesound of bells in harmony ; a cor- 
 respondence of sound. 
 
 Chime-barrel. The cylindrical portion of the 
 mechanism sometimes used for ringing a 
 chime of bells. 
 
 Chimney. In an organ, a small tube passing 
 through the cap of a stopped pipe. 
 
 Chinese fiute. An instrument used by the 
 Chinese, made of bamboo. 
 
 Chinese musical scale. A scale consisting of 
 five notes without semitones, the music oe- 
 ing written on five lines in perpendicular 
 columns, and the elevation and depression 
 of tones indicated by distinctive names. 
 
 Chinnor (also Kinnor) (ken-nor), qv,. 1 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-a), Sp. The hautboy. 
 
 Chirogymnast (ke'ro-ghlm'nast), Gr. 1 A 
 Chirogymnaste (ke'ro-gim-naa'te). It. J square 
 board, on which are placed various mechan- 
 ical contrivances for exercising the fingers 
 of a pianist. 
 Chiroplast(ke'rd-plast), Or. A small machine 
 Invented by Logier, to keep the hands and 
 fingers of young pianoforte-players in the 
 right position. 
 
 Chitarone (ke-tSrro'nS), /(. A large, or double, 
 
 guitar. 
 Chitarra (ke-tar'ra). It. A guitar, a cithara. 
 
 Chitarrista fke-tar-res'ta), It. 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. 
 Chittarrina (ket-tar-re'na), » \ The small 
 ChUtarrino (ket-tar-re'no), J Neapolitan 
 
 guitar. 
 Chiuso (ke-oo'zo). It. Close. 
 Cho. Abbreviation of Chorus. 
 Choeur (kdr), 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 singers. (2) The singers them- 
 selves, taken collectively. 
 
 Choir, boy. A choir formed of boys from 
 eight to fourteen years of age. These choirs 
 are confined mostly to the Episcopal Church. 
 
 Choir, grand. In organ-playing, the union 
 jof all the reed stops. 
 
 Choir organ. In a large organ, the lowest 
 row of keys is called the choir organ, which 
 contains some of the softer and more deli- 
 cate stops, and is used for accompanying 
 solos, duets, etc. 
 
 Chor (kor), Ger. (pi. Chore.) Choir, chorus 
 choir of a church. 
 
 Choragus (ko-ra'goosl, Lai. The leader of the 
 chorus in the Greek and Roman drama. 
 
 Choral. Belonging to the choir; full, or for 
 many voices. 
 
 Choral (ko-ral'), Ger. Psalm or hymn tune ; 
 choral song or tune. 
 
 Choral anthem. An anihem in a simple, 
 measured style, in the manner of a choral. 
 
 Choral-book. A collection of choral melodies 
 either with or without a prescribed har- 
 monic accompaniment. 
 
 Choralbuch (ko-ranjookh), ffcr. 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. 
 
 Choraiiter (ko-rall-tfirl, „ ) In the 
 
 Choralmassig (ko-ral'mas-sig), jstyleor 
 
 measure of a psalm tune or choral. 
 Choral service. A form of religious service 
 
 in which the priest sings iu response to the 
 
 choir, and the entire liturgy is intoned or 
 
 chanted instead of beiug read. 
 Choraltar (kor'al-tar'), (?«r. The high, orgreat, 
 
 altar. 
 
 Choramt (kor'amt), Ger. Cathedral service, 
 choral service. 
 
 Chorautus (ko-rou'toos). Lot. 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 divided into har- 
 mony, or natural chords (all the tones of 
 which are partials of thef undamental), and 
 coinbinalion chords (imitations of the former 
 but composed of elements belonging to dif- 
 ferent fundamentals). To theformi-r belong 
 the major triad and the chord of the domi- 
 nant seventh. Iu the key of C, these: 
 
 Combination chords are of every kind. 
 
 a jrm, S, add, a ate, 6 end, e eve, iiU,lisle,6 old, 6 odd, oo moon, H but, uFr. sound, kh Ger. ch. ahnaaal, 
 
 (73) 
 
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). And all 
 are derived from forms lilce the following : 
 
 Chorda (kor'da), Lai. A string of a musical 
 instrument. 
 
 Chord, accidental. A chord produced eithet 
 by anticipation or suspension. 
 
 Chorda characteristica (kor'da ka'rak-te-rla'ti- 
 ka), Lat. The leading, or characteristic, note 
 or tone. 
 
 Chorda, dominant septima. The dominant 
 cHord of the seventh. 
 
 Chords essentiales (kor'da 6s-sfin'tsi-a'lfis), 
 Lat. These are the tonic, third and fifth of 
 each diatonic mode or scale. 
 
 Chordae vocales (kor'da vo-ka'lSs), Lat. Vocal 
 chords. 
 
 Chord, anomalous. A chord in which one or 
 more of the intervals are greater or less tlian 
 of those of the fundamental chord. 
 
 Chordaulodian. 1 The name given to a mu- 
 
 Chordomelodion. J sical instrument resem- 
 bling a large barrel organ, self-acting. It 
 was invented by Kaufmanu, of Dresden. 
 
 Chord a vido (kord a ve do), It. A name for- 
 merly given to a sound drawn from the open 
 string of 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 consistiugof a fun- 
 damental note, together with its third and 
 filth. 
 
 Chord, dominant. A chord that is found on 
 the dominant of the key in which the music 
 is written. (2) The leading, or characteris- 
 tic chord. 
 
 Chord, equivocal. A name sometimes given 
 to the diminished seventh. 
 
 Chordienst (kor'denst), Ger. Choir or choral 
 service. 
 
 Chord, imperfect common. A chord found- 
 ed on the leading tone. It has a minor 
 third and diminished fifth. 
 
 Chord, inverted. A chord whose lowest tone 
 is uiit the fundamental but the third, fifth, 
 or seventh from the true fundamental. 
 
 Chordirector (kor'di-rfc-tor'), Ger. T^he direc- 
 tor who trains 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 I he ninth by adding the Inter- 
 val of the eleventh. 
 
 Chord of the fifth and sixth. (5) 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. (|) Chord 
 of the eleventh, with the seventh and ninth 
 omitted. 
 
 Chord of the fourth and sixth. (|) The 
 second inversion of the common chord. 
 
 Chord of the ninth. (9) A chord consisting 
 of a third, fifth, seventh, and ninth with its 
 root. 
 
 Chord of the second and fourth, (i) 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 
 of the common chord. 
 
 Chord of the third, fourth, and sixth. (f\ 
 The second 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 tritone. Third inversion of 
 the dominant seventh containing a super- 
 fluous fourth. 
 
 Chordometer. An instrument for measuring 
 
 strings. 
 Chords, derivative. Chords derived from the 
 
 fundamental chords. 
 
 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, transient. A chord in which, in order 
 to smooth the transition from one chord to 
 another, notes are introduced which do not 
 form any component part of the funda- 
 mental harmony. 
 
 Chore (kfi'rg), Ger.pl. Choirs, choruses. 
 
 Chorea (kd'r6-a), Lat. A dance in u ring ; a 
 dance. 
 
 Choree (ko'ra), Gr. In ancient poetry a foot 
 
 • of two syllables, the first long, the second 
 short; the trochee. 
 
 Choreus (ko'rfi-oos), Lat. The choree, or tro- 
 chee. 
 
 Choriambus. A musical foot, accented thus ; 
 
 Chorion (ko'rl-6n), Gr. A hymn in praise ol 
 Cybele. 
 
 Chori prsfectus (ko're prgrfSk'toos), Lat. A 
 chanter. ' 
 
 'i,arm,& add, a ale, 6 end, eeve,\ iU, I isle, o old,6 odd, 00 moon, iibut,Vi Fr. sownd, kh Ger. ch, nh nasal, 
 
 (74) 
 
CHO 
 
 DICTIONARY OF MUSIC. 
 
 CIA 
 
 Chorist (ko-rlsf). Ger. 1 A chorister, a choral- 
 Cnorlste (ko-rest), Ft. j sloger. 
 
 Chorister. A leader of a choir ; a singer. 
 
 Chorknabe (k6r'kna-b6), Ger. Singing-boy. 
 
 Chorocitharists (ko-ro-tsl-tii-rls'ta), Lat. A 
 concert of instruments and voices; those 
 who play to dancing. 
 
 ChorsSnger (k6r'saiig-6r), „„. 1 A chorister, 
 
 Chorschiiler (kor-shil'Ifir), "'^- J a choral- 
 singer ; a member of the choir. 
 
 Chorton(k6r'idn),6er. 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 snng by a number of 
 voices. (2) Among the ancient Greeks the 
 chorus was a band of singers and dancers 
 who assisted at the performance of their 
 dramas, and occupied that part of the thea- 
 ter answering to the present parquet. 
 
 Chorus, cyclic (seOclIk). 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 warlike deeds. 
 
 £horus-tone. See Chorton. 
 
 Chrlste eleison (kris-tS a-li'sfin),G'r. O Christ, 
 
 have mercy; a part of the Kyrie, or first 
 
 movement, in a mass. 
 Christmas carols. Light songs, or ballads, 
 
 commemorating the birth of Christ, sung 
 
 during the Christmas holidays. 
 Christmesse (krist'm&sSl, « 1 Christmas 
 Christmette (krIst'mSt-t6), '^'^- J matins. 
 
 Chroma (kro'ma),(?r. The chromatic signs ; a 
 sharp (it) or flat (b). 
 
 Chroma diesis (kro'ma di-a'sis), 6r. A semi- 
 tone, or half tone. 
 
 Chroma duplex. The double sharp, marked 
 by the sigu X or ##. 
 
 Chromameter (kro-ma-mS'tSr). A tuning-fork. 
 
 Chromatic. This word, derived from the 
 Greek chroma, color, hasa twofold meaning. 
 (1) In modern music, progressing by semi- 
 tones, chromatic in distinction from dia- 
 tonic (g. v.). Chromatic notes are notes of 
 the diatonic scale altered by sharps, flats, or 
 naturals. A chromatic scale is one which 
 proceeds throughout by semitones. (V. Dia- 
 tnnic eeale.) A chromatically altered chord 
 is a chord which contains one or more not es 
 foreign to the key to which it belongs, one 
 or more notes proper to the key beingsharp- 
 ened or flattened a semitone. (2) In the 
 musical genus called by the ancient Greeks 
 chromatic, the tetracbord (a series of four 
 notes, a division of the scale) ascended by 
 two semitones and a tone and semitone ; for 
 instance, b c d|> e. 
 
 Chromatic depression. The lowering a note 
 by a semitone. 
 
 Chromatic elevation. The elevation of a note 
 
 by a semitone. 
 Chromatic instruments. All instruments 
 
 upon which chromatic tones and melodies 
 
 can be produced. 
 
 Chromatic keyboard. An attachment ap- 
 plied to the ordinary keys of a piano, for the 
 purpose of enabling players of moderate 
 skill to execute with greater facility the 
 simple chromatic scale, chromatic runs, ca- 
 denzas, etc. 
 
 Chromatic keys. The black keys of a pinnn- 
 forte. (2) Every key in the scale of which 
 one or more chromatic tones occur. Not 
 sanctioned by good usage. 
 
 Chromatic melody. A melody the tones of 
 which move by chromatic intervals. 
 
 Chromatic scale. A scale which consists of 
 twelve semitones, or half steps, iu an octave. 
 
 Chromatic signs. Accidentals; sharps, flats, 
 and naturals. 
 
 Chromatictuning-fork. A tuning-fork sound- 
 ing all the luues and semitones of the octave. 
 
 Chromatid suoni (kro-ma'ti-tshe soo-6'nl). It. 
 Chromatic sounds. 
 
 Chromatics, accidental. Chromatics emplo^r- 
 ed in preparing the leading note of the mi- 
 nor scale; chromatics incidentally em- 
 ployed. 
 
 Chromatique (kro-mft'tek), Fr. \ Chromatic, 
 
 Chromatisch (kro-mat'ish), Ger. j moving by 
 semitones. 
 
 Chromatiquement (kro-mfl-tek'monh), Fr. 
 Chromatically. 
 
 Chromatisches Klanggeschlecht (kro-ma-tl'- 
 shSs klaug-ghe-shlekht'), Ger. The chro- 
 matic genus or mode. 
 
 Chromatische Tonleiter (krd-ma'tl-sh€ ton'li'- 
 iir), Ger. The chromatic scale. 
 
 Chronometer (kr6-n6-ma't6r), Gr, The name 
 given to any machinefor measuring time. 
 
 Chronometer, Weber. An invention of God- 
 frey Weber, similar to a metronome, but 
 simpler iu construction, consisting of a 
 chord marked with fifty-five inch spaces, 
 and having a weight attached to its lower 
 end. The rate of motion is varied by the 
 length of the cord. 
 
 Chrotta (krot'ta). It. The primitive fiddle, 
 differing from the modem in the absence of 
 a neck; theerowle. 
 
 Church cadence. Another name for the pla- 
 gai cadence. 
 
 Church modes. See Gregorian modes. 
 Chute (shiit), Fr. Obsolete mark of embel- 
 lishment, equivalent to a long appoggiatura. 
 
 Ciaccona (tshe-ak-ko'na), n 1 A slow Span- 
 Clacconne (tshe-ak-kdn'nS), ' J ish dance, 
 
 fenerally constructed on a ground bass, 
 ee Chacorme. 
 
 Ciaramella (tshe-a-ra-mgl'la), It. A bagpipe. 
 
 aarm, & add, a cile, 6 end, e eve, liU,l iele, 6 old, 6 odd, oo moon, ti imf , ii i^. sound, kh Oer. eh, nh nasoX. 
 
 i(W) 
 
CIC» 
 
 DICTIONARY OF MUSIC. 
 
 CLA 
 
 Cicuta (tse-koo'tS.), Lat. A pipe or flute made 
 
 from the hollow stalks oJ the hemlock ; a 
 
 shepherd's pipe. 
 Cicutrenna (tshe-koo-tr6u'na), It. A musical 
 
 pipe. 
 Cimbale. See Cinibel. 
 
 Cimball (tshem-ba'le), J(. ;>!. 1 Cymbals ; mili- 
 Cimballes (Klm-bal), i^r. pi. J tary instru- 
 
 meuts used to mark the time. 
 Cimbalello (them-ba-la'yo), Sp. A small bell. 
 
 Cimbel (tslm'bfil), Oer. A mixture stop of 
 acute toiie. 
 
 Cimbelstern (tsim'b§l-starn), Ger. Cymbal 
 star. All organ-stop consisting of five bells, 
 and composed of circular pieQes. of metal 
 cut in the form of a star, and placed at the 
 top of the instrument in front. 
 
 C in alt. The eleventh above the G, or treble, 
 c.ef note ; the fourth note in alt. 
 
 C in altissimo. The octave above C in alt; 
 the fourth note in altissimo. 
 
 Cinelle, ,p \ A cymbal ; a Turkish mu- 
 
 Cineilen, J sical instrument, more noisy 
 
 than musical. 
 
 Cinic (tsink), Ger. A small reed-stop in an or- 
 gan. See Kinkhtym. 
 
 Cinnara (tshen'na-ra), It. The harp of the 
 Komans. 
 
 Cinq (sankh), J'r. \ Five; the fifth voice 
 
 Cinque (tshen'kwS), It. J or part in a quiutet. 
 
 Cinyra (sm'6-ra). An old name for the harp. 
 
 Ciphering (si'fer-ing). The sounding of the 
 pipes of the organ -when the keys are not 
 touched ; due to leakageln the valves. 
 
 Circular canon. A canon which goes through 
 the twehe 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-tsis), Ger. The note C-double- 
 sharp, CS#, CX. 
 
 Cis-dur (Isis-door'), Ger. The key of Gft major. 
 
 CiS'-moll (tsis-moU), ffer. The key of C# minor. 
 
 Cistella(tsls-f61'la), Lat. A small chest or box, 
 triangular in shape, and strung with wires, 
 whicli are struck with little rods. See Dul- 
 cimer. 
 
 Cistre (sestr), Fr. A cithern, a small harp. 
 
 Cistrum. See Cittern. 
 
 Citara (tshe'ta-ra). It. A cittern, a guitar. 
 
 Citaredo (tshe-ta-ra'do), „ 1 A minstrel, a 
 
 Citarista (tshe-ta-res'ta), "■ J player upon the 
 harp or cittern. 
 
 Cithar (tsith'ar), Dan. A cittern. 
 
 Cithara (tse'ta-ra), Lai. 1 The lute, an old In- 
 
 Cithara (thet'a-ra), Sp. J strument of the gui- 
 tar kind. 
 
 Cithara bijuga (tse'ta-ra bi-yoo'ga), Lnt. A 
 cithnra, so called from its having two necks 
 which determine the length of the strings. 
 
 Cithara hispanica (thet'a-ra his-pan'l-ka), Sp. 
 The Spanish guitar. 
 
 Cithara, keyed. The clavicitherlum. 
 
 Citharodia (tsl-tha-ro'dia), Gr. The art o; 
 
 singing to the lyie or cithara. 
 Citharoedus (tRi-ta-r6'doos),Ziai. Hewhoplayi. 
 
 upon a harp or cithara. 
 Cither. \ An old instrument of the lute oi 
 Cithera. ( guitar species ; the oldest on rec- 
 Cithern . f 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 
 
 century. The cittern and guitar seem to he 
 
 di;rived from the same Greek word. 
 CItole (t'l-to'lS), Lat. An old instrument ol 
 
 the dulcimer species, and probably synony- 
 mous with it. 
 Cittam. The ancient English name of tb.e 
 
 guitar. Y 
 
 Civetteria (tshe-v6t-ta'rl-a), It. Coquetry; ia 
 
 a coquettish manner. 
 Clair (klar), Fr. Clear, shrill, loud. 
 Claircylindre (klar-sl-ianhdr). An Instm 
 
 meiit invented byChladni in 1787, for the 
 
 purpose of experimenting in acoustics. 
 Clairon (kla-rOnh), Fr. Trumpet ; also the 
 
 name of a reed-stop in the organ. 
 Clamor. In bell-ringing, a rapid multiplicf.- 
 
 tiun of strokes. 
 Clang. A sharp, shrill noise. See KUmg. 
 Clango (klan'go), Lat. To clang, to sound. 
 Clangor (klan'gor), iai. A sound, noise; the 
 
 clang of the trumpet when blown power- 
 fully. 
 Clapper. The tongue of a hell. 
 Claquebois (kiak-bwa), Fr. A three-stringed 
 
 viol. 
 Clar. An abbreviation of Clarinet. 
 Clara voce (kla'nl vo'tsS), Lat. Acle&r. loud 
 
 voice. 
 Clarabella (kla'ra-hSl'Ia) r „, 1 An organ-stop 
 Claribella (kla'ri-bgl'la), -^^^ ( of eight-feet 
 
 scale, with a powerful, fluty tone ; the pipes 
 
 are of wood and not stopped. 
 Claribel flute. An organ-stop of the flute 
 
 species. 
 Clarichord. See ClavidMrd. 
 Clarlchorde (kiai-i-kord), Fr. The clarichord, 
 
 or clavichord. 
 Clarin (kla'ren), Ger. A clarion; also the 
 
 name of a four-feet reed-stop m German 
 
 organs. 
 Clarinblasen (kia-ren'bia-zSn),(?er. Softnotas 
 
 or tones upon the trumpet. 
 
 a arm, a add, a ale, S end, e eve, I ill, I iele, 6 old, 6 odd, oo moon, tl but, ii Fr, sound, kh Ger. eft, nh najcsi 
 
 (76) 
 
CLA 
 
 DICTIONARY OP MXJSlC. 
 
 CLA 
 
 Clarinet. One of the most imporlant wood 
 wiud instruments. It is said to have been in- 
 vented about 1700 by J. C. Denner, of Nu- 
 remberg. It consists of a cylindrical tube, 
 with fiuger-holes and keys, which termi- 
 nates in a bell, and has a beak-like mouth- 
 piece with a single beating reed. Its ex- 
 treme compass extends f rum e to a'". There 
 are clarinets of diifereut pitch : those com- 
 monly used iu the orchestra are theclarinets 
 In C, in Bl>, and in A. The clarinets in D, 
 Eb, F, Ati, etc., are rarely used except in 
 military bands. All clarinets, the one in C 
 excepted, are transposing instruments ; that 
 is to say, they do nut sound the notes which 
 are written. For instance, the Bl> clarinet 
 sounds thum a tone lower, and the A clari- 
 net a minor third lower. Music for the clar- 
 inet is written in the G clef. ( V. Chalumcau.) 
 Besides the above-mentioned clarinets, 
 there are a bass clarinet and a baritone clar- 
 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 au 
 octave deeper than those of the C or B\> clar- 
 inet. 
 
 ClarinettisU (klarrl-nfit-tes'ta). It.) A per- 
 
 Clarlnettiste (kl9,r-I-ne^test), Fr. j farmer 
 upon the clarinet. 
 
 Clarinetto (klarii-n€t'to), It. A clarinet. 
 
 Clarinetto d'amore (kla-i^-nSt'to da-mo'rS), It. 
 A species of clarinet a fifth lower than the 
 G clarinet. An alto clarinet. 
 
 Clarinetto doice (kliirrl-net'td dol'tshe). It. A 
 species of clarinet a fifth lower than the C 
 clarinet. 
 
 £larinetto secondo (kla-rl-net'to sS-kou'do), It. 
 The second clarinet. 
 
 Xlarino (klSpre'no), It. \ A small, or octave, 
 
 Clarion. /trumpet; also the 
 
 nameo{a4-feet organ-reed stop, tuned an 
 octave above the trumpet-stop. The term 
 is also used to indicate the trumpet parts in 
 a full score. 
 
 Clarion harmonique (kla-rl-6nh hilr-mOnh- 
 nek'), Fr. An organ-reed ttop. See Har- 
 itwnique. 
 
 Clarionet-flute. Au organ-stop of a similar 
 kind to the stopped diapason. 
 
 Clarone (kla-ro'n§), It. A clarinet. 
 
 Clarus (kla'roos), Lat. Loud, clear, bright. 
 
 Clarte de voix (klar-ta dflh vwa), Fr. Clear- 
 ness of voice. 
 
 Classic, or. Classical. These words are used 
 iu music, as in the other arts and in litera- 
 ture, in various senses, which often more or 
 less overlap. (1) "Of the first class, of the 
 first rank j " more especially applied to the 
 older, universally acknowledged, masters 
 and their works, those of the best epoch of 
 theart. (2) Having, or resembling, tuestyle 
 
 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" 
 (g. v.). Also in popular use to designate 
 serious music iu general, as distinguisued 
 from the merely ad captandum an J eijheui- 
 eral. 
 
 Classical music. Standard music ; music of 
 first rank, written by composers of tne higU- 
 t-st order. 
 
 Clause. A phrase. 
 
 Clausel (klou'z'l), Oer. \ A close, a ca- 
 
 Clausula (klou'sfl-la), Lat. jdenoe, a conclud- 
 ing musical phrase. 
 
 Clav. An abbreviation of Clavecembalo, Clav- 
 ichord, aud Clavecin. 
 
 Clavecin (kl3Lv-S-sSnh), Fr. The harpsichord. 
 
 Clavecin acoustique (klftv-6-sanh a-kooz-Iek), 
 Fr. An instrument of the harpsichord or 
 pianoforte class, now obsolete. 
 
 Clavlcymbalum (kla-vl-tsim'ba-loom). Lat. 
 The harpsichord ; spinet. 
 
 Ciavicymbel (kla-vl-tslm'b'l), Ger. A clavi- 
 chord'. 
 
 Claveciniste (kla-vS-sinh-est'), Fr. A harpsi- 
 chord-player, or maker. 
 
 Clavessln (kl&v-S-s&nh'), Fr. The harpsichord. 
 
 See CUivtcin. 
 Claviatur (kla-vl-a^toor'), Ger. The keys of a 
 
 harpsichord, piano, etc. 
 Clavicembalo (kla-vi-tshSm'bii-Id), It. \ 
 Clavlcembalum (kla'-vl-tsem-bsi'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 strong. The 
 strings were made to vibrate by means of a 
 small brass upright, called a tangent, fixed 
 in the key. The tangent " stopped " the 
 string (like a violinist's finger) and caused 
 it to sound at the same time. 
 Clavicytherium (kla-vi-tal-ta'ri-oom). Lot. A 
 species of upright harpsichord, said to have 
 been originally in the form of a harp or 
 lyre. It was Invented in the thirteenth 
 century, and was the earliest ^approach to 
 the modem pianoforte. 
 Clavicyllnder. An instrument exhibited in 
 Paris iu 1806. It was supposed to consist of 
 a series of cylinders, which were operated 
 upon by bows set in motion by a crauk and 
 brought in contact with the cylinders by 
 means of the keys of a fingerboard. 
 Clavier (kiarver), Fr. ) The keys or key- 
 Clavier (kla-fer'), Oer. j board of a pianoforte, 
 organ, etc. Also an old name for the clavi- 
 chord. 
 Clavierauszug(kla-fer'ou8'tsoog),(ier. An ar- 
 rangement of a full score for the use of piano- 
 players. 
 Clavieren (kla-fe'r£n),0er. pi. The keys. See 
 Clavier. 
 
 Si arm, & add, adle,6 end, e eve, iiU,iieU,6 old, 6 add, oo moon, 6u(, il Fr. sound, kh Ger. ch, nh nasal. 
 
 (77) 
 
CLA 
 
 DICTIONARY OP MUSIC. 
 
 COL 
 
 Clavierlebrer (kla-ferla'r6r), Ger. A pjano- 
 lurtc-teacher. 
 
 Clavierschule (kUl-fer-shoo'IS), Ger. A piano- 
 forte instruction book. 
 
 Clavierspieler (kia-fer'spe'lSr), Ger. A piano- 
 lurLu-player. 
 
 Clavierstimmer (kla-fer'stim'mSr), Ger. X 
 ijittUulurie-tuner. 
 
 Clavierubung (kla-fer'ii'boong), Ger. Exer- 
 cises fur tlie ciayicbord. 
 
 Clavierunterricht (kla-fer'oon'ter-rtkht), Ger. 
 Lessons or instruction on tlie pianoforte. 
 
 Clavls (kla'vis), Lnt. \ . . „„ 
 
 Clavis (kla'vis), Ger. ;*■ "^^ 
 
 Clear flute. An organ-stop of 4-feet scale, the 
 tone of whicli is very clear and full. 
 
 CI4 (klii). ri ). A key ; a character used 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 on the third line 
 of the staff. 
 
 a clef. 
 
 s= 
 
 r 
 
 Clef, baritone. The F clef when placed zssz 
 
 on the third line. Hfcg- 
 
 Clef, bass. The character at the beginninfr 
 
 of the staff, where the lower or base | Uy . 
 notes are written, and serving to indi- Ssz 
 
 cate the pitch and name of those notes. 
 
 The F clef. 
 
 Clef, C. So called because'lt gives its name 
 to the notes placed on the same line with it- 
 self. 
 
 Clef, counter tenor. The C clef when placed 
 on the third line in order to accommodate 
 the counter tenor voice. 
 
 Clef d'accordeur (kla d&k-kfir-dtir), Fr. A 
 tuning-hammer. 
 
 Clef de fay (kla ddh fa], Fr. The F, or base, 
 clef. 
 
 Clef descant. The treble, or soprano, clef. 
 
 Clef d'ut (kla doot), Fir. The C clef. 
 
 Clef, P. The base clef. 
 
 Clef, French treble. The G clef on the bnt- 
 tom line of the staff; formerly much used 
 in French music for the violin, flute, etc. 
 
 Clef, Qerman soprano. The C clef placed Ejz^p 
 on the first line of the staff for soprano I |H| 
 
 Clef, mean. The tenor clef \M-Z or 
 
 Clef, mezzo-soprano. The C clef when placed 
 
 uu me second Hue of the staff. 
 Clef note. The note indicated by the clef. 
 
 Clef sol (kla sol), Fr. The G, or treble, V- jf- 
 
 cief. rar 
 
 Clef, soprano. The C clef placed on the first 
 
 line. (Obsolete.) 
 Clef, tenor. See Mean clef. 
 Clef, treble. The G clef; soprano clef. 
 
 Cloche (klosh), Fr. A bell. 
 
 Clochette (klo-shef), Fr. A little bell; a hand 
 beJl. 
 
 Clocks, musical. Clocks containing an ar- 
 rangement similar lo a barrel organ, movid 
 by weights and springs, and producing vari- 
 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 or pttrio are kept as close together as 
 possible. 
 
 C major. The diatonic scaleorkeyof C with- 
 out fiats or sharps. 
 
 C minor. The diatonic scale or key of C witk 
 miuor third and sixth. 
 
 C-moll (tsa-moll), Ger. The key of C minor. 
 
 C natural. C without flat or sharp. 
 
 C. O. An abbreviation of Choir organ^ 
 
 Co (ko), ) 
 
 Col (ko-e). It. \ With; with the. 
 
 Col (kol, J 
 
 Coalottino (ko-ii-lot-te'no), It. See Concertino. 
 
 Cocchina (ko-ko'-na), /(. An Italian country 
 duuce. 
 
 Coda (ko'dii), JH. The end; a few mensure.s 
 added to the end of a piece of music to 
 make a more eft'ective termination. 
 
 Coda brillante (ko'da bril-lan'tg), It. A bril- 
 liant termination. 
 
 Codetta (ko-dSt'ta), It. A short coda or jms- 
 sage added to a piece, or serving to connect 
 one movemeut with another. 
 
 Coffre (kofr), Fr. The frame of a lute, guitar, 
 etc. 
 
 Cogli kol'ye), It. With the. 
 
 Cogli stromenti (kol'ye stro-niBn'te), It. pi. 
 With the instruments. 
 
 Cognoscente (kon-y6-shSn't6), It. One well 
 versed in music ; a connoisseur. 
 
 Col bassl (ko'e bits' s^. It. With the basses. 
 
 Coi fagotti (ko-e fii-got-te). It. With the bas- 
 soons. 
 
 Coi violini (kor ve-o-le'ne). It. With the vio- 
 lins. 
 
 Colachon (ko-la-shdnh), Fr. An Italian in- 
 strument, much like a lute, but with u 
 longer neck. 
 
 Col arco (kol arTto), It. With the bow. See 
 CuW arco. 
 
 Colascione (ko-las-shi-o'nS), It. An instru- 
 ment like the guitar, with two strings only. 
 
 Col basso (kol biis-so). It. With the bass. 
 
 Col C. An abbreviation of Col canto. 
 
 Col canto (kol kan'to), It. With the melody, 
 or voice. See CoUa voce. 
 
 Coll (kol), I 
 
 Colla (kol'la), /(. ^With the. 
 
 Collo (kol'lo), ( 
 
 Bonn, a add, a aU, e end, eeve,liV,,\ UU, old, i odd, oo nvoon, a &u^ il f r. sound, kh Ger. ch. nb natai. 
 
:)0L 
 
 DICTIONARY OF MUSIC. 
 
 COM 
 
 Colla destra (kol'ladas'tra), It. With the right 
 hand. 
 
 Colla massima dlscrezione (kol'la mas'sl-ma 
 dis-krfrtsI-d'nS), /(. With the greatest dis- 
 cretion. 
 
 Colla parte (kol'la par'tfi), It. With the part ; 
 indicating that the time is to be accommo- 
 dated to the solo singer or player. 
 
 Colla piu gran forza e prestezza (kSl'lii pe'oo 
 gra 1 for'za a pres-t£l'z&), if. As loud and as 
 quickly as possible. 
 
 Colla punta d'arco (kol'la poon'ta darOco), It. 
 With the pojnt, or tip, of the bow. 
 
 Colla sinistra (kol'la sl-nls'tra), It. With the 
 left baud. 
 
 Colla voce (kol'la vo'tshfi), It. With the voice, 
 implying that the accompanist must accom- 
 modate and take the time from the singer. 
 
 CoH'arco (kol lar'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, college students; usually of a convivial 
 and spirited character. 
 
 Col legno (kol lan'y 6) , It. With the bow-stick. 
 
 Col legno deir arco (kol Ian* yo dSl lar'ko). It. 
 With the bow-stick ; strike the strings with 
 the wooden side of the bow. 
 
 Colic parti (kol'lS par'te), It. With the prin- 
 cipal parts. 
 
 Colle trombe (kol'lS trom'b6). It. With the 
 trumpets. 
 
 Coir ottava(kollot-ta-va),Ji!. With the octave. 
 
 Colofane (kSl-d-fane), Fr. 
 
 Colofonia (ko-lo-fo'ni-a). It. 
 
 Colophane (kOl-6-fane), Fr. 
 
 Colophon (keiofOnh). Fr. 
 
 Colophonium (ko-lo-fo'ni-oom),6er. 
 
 Colophony, Eng. 
 Uesin ; 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 (ko 16-rartoo'ra), It. ") O r n a- 
 
 Colorature (k6-16-ra-too'r«). It. [-mental 
 
 Coloraturen (ko-Io-ra-too'rSn), Ger.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, used also in connec- 
 tion with instrumental music. 
 
 Combination, or, Combinational tones. See 
 HestUtant tones. 
 
 Combination pedals. See Composition pedals. 
 
 Come (ko'mS), It. As, like, the same as. 
 
 Comedle (kOm-a-de), Fr. Comedy, play. 
 
 Comidlen (kOm-a-di-ftnh'l, Fr. 1 A come- 
 Comedlante (kd-ma-di-an't€), Sp. J d i a n, an 
 
 actor. 
 Comedienne (kOm-a^dl-^nh'), Fr. An actress. 
 
 Comedy, lyric. A comedy specially adapted 
 for singing. 
 
 Come ll^lmo tempo (kS'mSel pre'mo I6m'p6), 
 It. In the same time as the first. 
 
 Come prima (ko'mg pre'mil). It. As before, as 
 at first. 
 
 Comes (ko'mSs). Lot. The companion, or an- 
 swer, to the dux (guide), or subject, of a 
 fugue. 
 
 Come sopra (ko'mfi so'pra). It. As abov ; as 
 before ; indicating the repetition of a previ- 
 ous, or similar, passage. 
 
 Come sta (ko'mfi sta), It. As it stands ; per- 
 form exactly as written. 
 
 Come tempo del tema (ko'mS tgm'po del ta'- 
 ma). It. In the same time as the theme. 
 
 Comico (ko'mi-ko). It. \ Comic ; also a 
 Comlque(k6-mek'), Ji'r. Jcomic actor, and a 
 
 writer of comedies. 
 Comic opera. Burlesque opera ; an opera in- 
 terspersed with light songs, dances and jests. 
 
 Comic song. A song set to comical, humor- 
 ous words. 
 
 Comiquement (kO-mek'maub),J'r. Comically, 
 jocosely. 
 
 Comlnclante (ko-mIn-tshi-a.n'tS), It. A begin- 
 ner in music, etc. 
 
 Comindata (ko min-tshi-a'ta). It. The begin- 
 ning, the commencement. 
 
 Comma (kom'ma). 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 : (1) The comma sjinto- 
 num, or the comma of Didymus, which is 
 the difference between a major and a minor 
 tone, equal to the ratio 80:81. (2) The comma 
 ditonicum, orcommaof Pythagoras, which is 
 the difference between the twelfth fifth 
 (just intonation, not tempered) and the 
 seventh octave above a given note. 
 
 Commedla (kom-ma'di-a), It. A play, a com- 
 edy ; also a theater. 
 
 Comme il faut (kfim el id), Fr. As it should 
 be. 
 
 Commencant (kOm-manh-sanh), Fr. A begin- 
 ner in music, etc. 
 
 Commencer (kOm-msinh-sa), Fr. To begin, to 
 commence. 
 
 Commodamente (k^m-m^-da^meu'te),i^ With 
 ease and quietude. 
 
 Commodo (kom-md'do), It. Quietly, compos- 
 edly. 
 
 Common chord. A chord consisting of a bass 
 note with its third and fifth, to which its 
 octave is usually added. 
 
 Common chord, imperfect. A chord consist- 
 ing of a bass,aceompanied by its minor third 
 and imperfect fifth. 
 
 Common hallelujah meter. A stanza nf six 
 lines of iambic measure, the syllables r>f 
 each being in number and order as follows: 
 8, 6, 8, 6, 8, 8. 
 
 Common measure. Four-pulse measure. 
 
 a arm, & add, a ale, 6 end, e eve, iill,l isle,6 old, 6 odd, oo moon, tl buf , ii Fr.sound, kh Oer. ch. nh nasai, 
 
 (79) 
 
COM 
 
 DICTIONARY OF MUSIC. 
 
 CON 
 
 Common meter. A verse, or stanza, of four 
 lines ill 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 measure, the number and 
 Older of syllables as follows : 8, 8, 6, 8, 8, 6. 
 
 Common time. Common meaanre. 
 
 Common turn. A turn consisting of the prin- 
 cipal note, the note above it, and the note 
 below it. 
 
 Comodamente (ko-mo-da-mSn'tS), n \ Con- 
 
 Comodo(l<6'mo-do), ') ven- 
 
 ieuily, easily, quietly, with composure. 
 
 Compass. The range of notes or sounds of 
 which any voice or instrument is capable. 
 
 Compiacevole (kom-pl-a-tsha'v6-16), „ 1 
 
 Compiaclmento (kom-pi-a-tshi-mfin'to), ' J 
 Agreeable, pleasing, attractive. 
 
 Compiacevolmente (kom - pl-artsh6-v61-mSn'- 
 t6). It. In a jileasant and agreeable style. 
 
 Complalnte (kOm-planhf), Fr. A religious 
 ballad. 
 
 Complement. That quantity which is want- 
 ing to any Interval to fill 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'n), Oer. To com- 
 pose mu;ic. 
 
 Componlsta (kom-po-nes'ta). It. A composer, 
 an author. 
 
 Composer (kOnh-po-za), Fr. To compose mu- 
 sic. 
 
 Composer. One who composes ; one who 
 writes an original work. 
 
 Compositeur (kSm-pO-si-tttrO, Ji'r.') A com- 
 
 Composltore (kom-po-si-to're). It. J-poser of 
 
 Componist (kom-po-ulst'J, Gcr. ) music. 
 
 Compositeur de fugues (kSm-pOs-I-ttlr' dtih 
 fug), Fr. A composer of fugues. 
 
 Composition. Any musical production ; the 
 art of inventing or composing muisic ticcord- 
 ing to the rules of harmony. 
 
 Composition, free. That which deviates 
 somewhat 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 ol mechanism for arranging the 
 stops of an organ Invented by J. C. Bishop. 
 
 Compositor, music. A person who sets mu- 
 sic type. 
 Compositura (kom-p5-sI-too'ra), n \ ^ 
 Composlzione (kom-po-sl-tsi-o'nS), ' j com- 
 position, or musical work. 
 
 Composlzione dl tavoHno (kom-po-sl-tsl o'liC 
 deta-vo le'uo. It. Table music, music sung 
 at tabic, a< glees, catches, rounds. 
 
 Composso (kom-pos'sd), r, \ Composed, set 
 
 Composto-<kom-p6s't6), J to music. 
 
 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, bs, 6-i, 
 6-8, 9-4, 9-8, 12-8, etc. 
 
 Con (kon), J<. With. 
 
 Con abbandono (koh ab-ban-do'nd). It. With 
 passion, with ardent feeling. 
 
 Con abbandono ed espressione (kon ab-bah- 
 do'-uo 6 1 es-pras-Bl-6'n8), It. With passion- 
 ate feeling and self-abandon. 
 
 Conaffetto(k6n af-fSt'to), „ lln an 
 
 Con affeiione (kon af-iet'tsi-o'nfi), -"'• /affect- 
 ing mauner, with warmth 
 
 Con afflizione (kon af-fle-tsl-o'ne). It. With af- 
 fllction, mournfully. 
 
 Con agilita (koa a-jll-i-ta'). It. With agility, 
 neatly. 
 
 Con agitazione (kon a-ji-ta-tsl-o'ng). It. With 
 agitation, hurriedly. 
 
 Con alcuna Ilcenza (kon al-koo'na le-tsh€n- 
 tsa). It. Willi a certain degree of license as 
 regards time and expression. 
 
 Con allegrezza (kon al-16-gret'tsa). It. With 
 lightuCiS, cheerfully. 
 
 Con alterezza (kon al-tfi-rSt'tsa), II. With an 
 elevated and sublime expression. 
 
 Con amnbillta (kon a-mi^Wl'i-ta), It. With 
 gentleness and grace. 
 
 Con amarcKZa (kon a-ma r^t'tsa). It. With af- 
 fliction, with a sense of grief. 
 
 Con amore (kon a-mo'rg), It. With tenderness 
 and affection. 
 
 Con anima (kon ^'ni-ma), » 1 Withanima- 
 
 Con animo (kon a'ni-mo), ^ ' J tion and bold 
 ness. 
 
 Con animazione (kon a-ni-ma-t8l-d'n€). It 
 With animation, decision, boldness. 
 
 Con audace (kon a-oo-da'tsh6). It. Witt bold 
 nuss, audacity. 
 
 Con bellezza (kon b81-16t'tsa), J*. With boaV't> 
 of tone and exprestion. 
 
 Con blzarrla (kon be-tsar'rl-a). It. Capricious 
 ly, at the fancy of the player or composer. 
 
 Con bravura (kon bra-voo'ra). It. With brav 
 ery, with boldness. 
 
 Con brio (kon bre'o), /(. With life, spirit, 
 brilliancy. 
 
 Con brio ed animato(kou bre'o M ii-nl-mii'to), 
 
 /(. With brilliancy and animation. 
 Con calma (kon kal'ma), li. With calmness 
 and tranquillity. 
 
 aarm, & add, a ale, 6 end, e eve, lUl.l isle, 6 old, i odd, oo moon, H but, (i Fr, sound, kh Oer. eft, nh natal 
 
 m 
 
CON 
 
 DICTIONARY OF MUSIC. 
 
 CON 
 
 Con calore (kon ka-lo'rS), It. With warmth, 
 with fire. 
 
 Con carita (kon ka-re'ta), II. With tenderness. 
 
 Con celerlta (kon tsha-16-ri-ta'), It. With cel- 
 erity, with rapidity. 
 
 Concento (kon-tshgn'to). It. Concord, agree- 
 ment, harmony of voices and instruments. 
 
 Concentrare (kon-tshen-tra'rS), It. To concen- 
 trate the sounds. It also means to veil the 
 sounds in mystery. 
 
 Concentus (kon-tsSn'toos), Lot. Harmonious 
 blending 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-tshgr-tan'do), It. A concer- 
 taute. 
 
 Concertant (k<Jnh-sSr-tanh'), Fr. Performer 
 in a concert, a musician. 
 
 Concertante (kon-tshfir-tan'tS), It. A piece in 
 which each part is alternately principal and' 
 subordinate, as in a'duo concertante. (2) A 
 concerto for two or more instruments, with 
 accompaniments for a full band. ~ (3) A fe- 
 male concert singer. 
 
 Concertato (kon-tshCr-tit'to), It. In an irregu- 
 lar and extemporaneous manner. See, also, 
 Coruieriante. 
 
 Concerted music.. Music in which several 
 voices or instruments are heard at the same 
 time ; la opposition to solo music. 
 
 Concertgeber (k6n-ts6rt'ga'bSr), Ger. One who 
 gives a concert. 
 
 Concertina (kon-tshSr-te'na), It. A small mu- 
 sical Instrument, hexagonal in form, which, 
 as regards construction, is somewhat simi- 
 lar to the accordion (9. v.). The English 
 treble concertina has a compass of about 
 three and a half or four octaves (from g to 
 g"") with all the intermediate semitones, 
 and is a double-action instrument— that is, 
 on expanding and compressing the hellows 
 the same note is prodaced. The tenor, bass, 
 and double-bass 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 perfect instrument 
 than the English concertina ; it is a single- 
 adtion 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 compass of the violin. 
 
 Concertino (kon-tshfir-te'no). It. A small con- 
 certo. (2) The opposite of ripieiso — namely;, 
 principal, or concertante; for instance, irir 
 oUno concertino, principal violin. (3) The 
 
 name concertino is sometimes applied to a 
 first-violiu part in which are entered the 
 obligato passages of the other parts. ( V. Con- 
 certo groseo.) 
 
 Concertlren (k6n-ts6r-te'r'n), Oer. To accord, 
 to agree in sound ; also a soli movement 
 where each instrument or voice has in its 
 turn the principal part. 
 
 Concertmelster (kon-tsSrt' mis'ter), Oer. The 
 leader of the orchestra, the first of the first 
 violins. 
 
 Concerto (kon-tahSr'to), It. (1) A concert. (2) 
 A composition consisting generally of tbrep, 
 rarely of four, movements, for one or more 
 solo instruments, with orchestral accom- 
 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 i^teu- 
 tiou 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 Of the solo part just 
 before the concluding tutti of the first and 
 the last movement. ( V. Soreataand 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 instrumental. Giuseppe Torelll, who 
 died in 1708, in 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-tsbgr'td da ka'mS- 
 rii). It. Chamber concerto. Contra to Con- 
 certo grosso. 
 
 Concerto di chlesa (kon-tshgr'to de ke-a'za), 
 It. A concerto for church use. 
 
 Concerto dopplo (kdn-tshSr'td dop'pl-o), It. A 
 concerto for two or more instruments. 
 
 Concerto grande (kon-tshSr'to grand), Fr. 1 
 
 Concerto grosso (k6n-tshSr'td|;r6s-sd). It. ( 
 A grand orchestral composition for many 
 instruments; a grand concert. 
 
 & arm, &add, a ale, 6 end, e eve, i ill, I isle,6 old,6 odd, 00 moon, H but, ii Fr-sound, kh Oer. ch, nh nasal. 
 6 (81) 
 
CON 
 
 DICTIONARY OF MUSIC. 
 
 CON 
 
 Concerto splrituale (kon-tshfir'to spe-re-too- 
 it'ie), /(. A miscellaneous concert, consist- 
 iug chiefly of sacred or classical music. 
 
 Concert, operatic, A performance of music 
 selected from operas. 
 
 Concertsaal (kon-tsSrt'sal),6er. Concert-hall. 
 
 Concertspleler (k6n-ts6rt'spe-lSr), Ger. A solo 
 player, concerto player. 
 
 Concert splrituel (kon-tsert'spe-re-too-al'), Fr. 
 Hen Concerto ipirituale. 
 
 Concertstiick (kon-ts6rt'st(ik),Gier. 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, computed from A— 435 
 vibrations persccond. This is nearly a half 
 step lower than the concert pitch in use by 
 American piano-makers previous to about 
 1885. 
 
 Concitato (kou-tshl-ta'to), It. Agitated, per- 
 turbed. 
 
 Conclusione (kon-kloo-zI-o'nS), It. The con- 
 clusion, or winding up. 
 
 Con comedo (kon k^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 con- 
 cord. Hence the most agreeable concord is 
 that of the octave, of which the ratio is 1:2, 
 a coincidence occurring with every vibra- 
 tion of tbe 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-kor-dan'tsa),Ji!.") p„„„__j 
 Concorde (kOn-kOrd). Fr. kamonv 
 
 Concordia (kon-kor-di-a). It. J "harmony- 
 
 Con delicatezza (kon dSl-I-ka-tet'sa), It. With 
 delicacy and sweetness. 
 
 Con desiderio (ton da-zi-da'ri-6). It. With de- 
 sire and ardent longing. 
 
 Con devozione (kon da-vo-tsl-6'n6), It. With 
 
 deviiti.m, devoutly. 
 Con dillgenza (kon dl-lI-jSn'tsa),Jt. With care 
 
 and diligence. 
 
 Con discrezione (k5n dls-kra-tsi-o'ne). It. 
 
 With discretion ; at the discretion of the 
 
 performer. 
 Con disperazione (k5n dis-p6-ra-tsi-o'n6), It. 
 
 With despair, violence of expression. 
 
 Con divozione (kon de-vo-tsl-6'ne). It. With 
 religious feeling ; in a devotional manner. 
 
 Con dolce maniera (kon dOl'tshS miirnl- ) 
 a'ra). It. y 
 
 Con dolcezza (kon dol-tsSt'tsii), I 
 
 In a simple, delicate manner ; with softness, 
 sweetness, delicacy. 
 
 Con dolore (kon do-lo'rfi), 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'tooE), Lat. A very old 
 species of descant, which, instead of being 
 founded upon some popular melody, was 
 entirely original, botu descant and har- 
 mony, and entirely independent of every- 
 thing but the imagination of the composer. 
 
 Con duolo (kon dooolo). It. Mournfully, 
 
 with grief. 
 Conduttore (kon-doot-to'rS), It. A conductor. 
 
 Con eleganza (kon a-l£-gan'tsa), It. With ele- 
 gance. 
 Con elevatezza (kon a-lS-va-tet-tsa), „ I 
 Con elevazlone (kon a-16-vatei-o'nS), J 
 With elevation of style ; with dignity. 
 
 Con energia (kon a-n«r-je'a), „ 1 With en- 
 Con energtpo (kon a-nfir'jS-Ko), -"■ J ergy and 
 
 emphasis. 
 Con entuslasmo (kon Sn-too-zi-as'mo),i2. With 
 
 enthusiasm. 
 Con equallanza (kon a-kwa-l!-an'tsa), It. With 
 
 smoothness and equality. 
 Con e senza stromenti (kon a s€h-tsa stro- 
 
 mfin'te), Jt. With and without instruments. 
 
 Con esp. \ An abbreviation of Con espres- 
 
 Con espres. ) sione. 
 
 Con espressione (kon as-prSs-si-o'ng), It. With 
 expression. 
 
 Con facilita (kon fa-tshe-li-ta') , It. With facil- 
 ity and ease. 
 
 Con espresslone dolorosa (kon as^pr6s-si-o'n6 
 do-lo-ro'za), /(. With a sad expression. 
 
 Con estro poetico (kon as'tro po-a'tl-ko). It- 
 With poetic fervor. 
 
 Con fermezza (kon f£r-met'tsa), It. With firm- 
 ness. 
 
 Con festlvita (kon fSs-te'vl-ta), It. With fes- 
 tive gayety. 
 
 Con fiducia (kon fe-doo'tshl-a). It. With hope, 
 with confidence. 
 
 Con fierezza (kon fe-6-r6t'tsa). It. With fire, 
 fiercely. 
 
 Con flessiblllta (kon flgs-sl-be'li-ta), It. With 
 freedom, flexible. 
 
 Con forza (kon for'tsa). It. With force ; with 
 vehemence. 
 
 Con freddezza (kon frSd-d6t'tsa), /(. With cold- 
 ness and apathy. 
 
 Confr^rie de St. Juiien (kon-fra're dtih sarh 
 ju-ll-anh'), Fr. An ancient French associa- 
 tion, or club, of ballad-singers and itinerant 
 fiddlers. 
 
 &arm,&add,aiale,6eml,eeve,liU,lisU,6old,6odd,oorrwon,ilbut,^Fr.e(mnd,khOer.ch,Bhnaial. 
 
CON 
 
 DICTIONARY OF MUSIC. 
 
 CON 
 
 Con fretta (k6n frSt'ta), It. Hurriedly, wUh 
 
 au iuurease of time. 
 Con fuoco (kou foo-o'ko), It. With fire and 
 
 passiou. 
 Confurla(k6n foo'ri-a), t, 1 With fury, 
 Con furore (kon foo-ro'rS), ' ) rage, vehe- 
 
 mcuoe. 
 Con garbo (k6n garH>o), It. With' simplicity 
 
 and elegance. 
 Con gentllezza (kon j$n-Q-lSt'tea), It. With 
 
 grace and elegance. 
 Con glustezza (k6n joos-t€t'ts&). It. With 
 
 justness and precision. 
 Con glustezza dell' Intonazlone (kon joos- 
 
 tet'tsa del len-to-na-tiS-S'nS), It. With just 
 
 and correct intonation. 
 ConEH(kongle), J(.p!. With the. 
 Con gli stromenti (kon gle stro-mSn'te), It. 
 
 With ,th'e instruments. 
 Con gradazione (kon gra-da-tsi-o'nS), It. With 
 
 gr^ual increase and decrease. 
 Con grartde espressione (kon gran'dS 6s-pr6s- 
 
 sl-o'ue), It. With much expression. 
 Con grandezza (kon gran-dSt'tsa), /(. With 
 
 dignity and grandeur. 
 Con gravita (kon gra^vi-ta'). It. With gravity. 
 Con grazla (kon gra'tsl-a). It. With grace and 
 
 elegance. 
 Con gusto (kon goos'to). It. With taste. 
 Con impeto (kon em'p$-td), „ \ 
 
 Con Impetuosita (konem-pS-too-o-sI-ta'), "• / 
 
 With impetuosity and vehemence. 
 Con impeto doloroso (kon em'p«-t6 do-lo-ro'- 
 
 zo). It. With pathetic force and energy. 
 Con indlfferenza (kon in-dlf-fS-rSn'tsa), It. In 
 
 an easy and Indifferent manner. 
 Con innocenza (kon in-nd-tshgn'tsa). It. In a 
 
 simple, artless style. 
 Con intlmissimo sentlmento (kon In-tl-mls'- 
 
 sl-mo 66n-tI-mSn't6), It. With very much 
 
 feeling ; with great expression. 
 Con intrepidezza (kon in-trS-pI-d^t'lsa), It. 
 
 With Intrepidity, boldly. 
 Con ira (kon e'ra). It. With anger. 
 Con Isdegno (kon es-dan'yo), It. With anger, 
 
 angrily. 
 Con jsmania (kon es-ma'ni-a). It. In a fren- 
 zied style. 
 Con istreplto (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 (kda-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. 
 
 Con Ieggerezza(k5iil£d-je-ret'ts£), j, 1 
 
 Con Ieggierezza(k6nied'jI-e-rSt'lsa), ' J 
 With lightness and delicacy. 
 
 Con lenezza (kon Ig-nSt'tsa), It. With mild- 
 ness, swuttness. 
 
 Con lentezza (kon ISn-tet'tsii), It. With slow- 
 ness, liugeriug. 
 
 Con niaesta(kdn ma'fis-t4'). It. With majesty 
 and grandeur. 
 
 Con maianconia (kon ma-lan-ko-ne'a), \ 
 
 Con malenconia (kon m3.-1€n-ko-iie'a), It. > 
 
 Con mallnconia (kou ma-liu-ko-ue'a), ) 
 With an expression of melancholy and sad- 
 ness. 
 
 Con mano destra (kon ma'no des'trii). j. ) 
 
 Con mano dritta (kon ma'no dret'ta), J , 
 With the right hand. 
 
 Con mano sinistra (kou ma'no se-nl«'tra). It. 
 With the left haud. 
 
 Con mlsterio (koi miz-ta'rl-o), It. With mys- 
 tery, with au air of mystery. 
 
 Con moderazione (kon in6-dS-ra-tsi-6'nS>, It. 
 Witu a moderate degree of quickness. 
 
 Con molto espressione (kon mol'to €s-pr6s-sl- 
 o'n€), /£. With much expression. 
 
 Con molto carattere (kon mol'to ka-rat'tS-rS), 
 It. With much character and emphasis. 
 
 Con molto passione (kon mol'to pas-si-o'ng). 
 It. With much passion and feeling. 
 
 Con molto sentlmento (kon mol'to sSn-ti[- 
 mgn'to). It. With much feeling or senti- 
 ment. 
 
 Con morbidezza (kon mor-M-det'tsa),7<. With 
 exce.ss of feeling or delicacy. 
 
 Con moto (kon mo'to). It. With motion ; not 
 dragging. 
 
 Connecting note. A note held in common by 
 two successive chords. 
 
 Con negligenza (kon nal-yl-jSn'tsa), It. In a 
 negligent manner, witl^out restraint. 
 
 Con nobilita (k6n u6-be-ll-ta'), It. With no- 
 bility. 
 
 Connaisseur (kon-na^silT), ri- \ One skilled 
 
 Connoisseur (kdn-warsiir), J in music; a 
 good judge and critic of musical composi- 
 tion and performance. 
 
 Con ottava (kon ot-ta'va), „ 1 With the oc- 
 
 ConSva. jtave; to be 
 
 played in octaves. 
 
 Con passione (kon pSs-sI-o'nS), It. In an im- 
 passioned manner, with great emotion. 
 
 Con piacevolezza (k6n pe-a-tshS-vo-iet'tsii), It. 
 With pleasing and graceful expression. 
 
 Con piu moto (kon pe'oo mo'to), It. With in- 
 creased motion. 
 
 Con preclpltazione (kon prS-tsM-pI-ta-tsI-o'- 
 D.S), It. With precipitation; In a hurried 
 manner. 
 
 Con preclsione (kon prfi-tshe-zi-o'nS), It. With 
 exactness and precision. 
 
 Conprestezza (kon pr8s-tSt'tsa), It. With pre- 
 cision and exactness. 
 
 i. arm, i add, a ale, S end, eeve,liU,i iile, o old, 6 odd, oo moon, H but, iX Fr. lounH, kh Qer.ch, nh natal. 
 
CON 
 
 DICTIONARY OP MUSIC. 
 
 CON 
 
 Con rabbia (kon rab'bi-a), It. With rage, with 
 
 Jury. 
 Con rapidita (kon ra-pe-di'ta')i H- With rapid- 
 ity. 
 Con replica (kou ra'pll-ka), It, With repeti- 
 
 tiuu. 
 Con risoluzione (kon re-z6-loo-tsi-6'n6), It. 
 \^'itll firmness and resolution. 
 
 Con scioltezza (kol she-61-t6t'tsa), It. Freely, 
 discouuecttdly. 
 
 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 
 ofl'end are extreme parts. Consecutive uni- 
 sons are likewise prohibited. But the pro- 
 hibition of consecutive octaves and unisons 
 applips only to individual parts, not to the 
 doubling, reinforcing, of one part by an- 
 other. Hidden consecutivea are discussed 
 in the article Hidden Fifths and Hidden Oc- 
 taves. 
 
 Consecutivefifths. Two or more perfect fifths, 
 immediately following one another in simi- 
 lar motion. Consecutive fifths are disagree- 
 able to the ear, and forbidden by the laws of 
 harmony. 
 
 Consecutive octaves. Two parts moving in 
 unison or octaves with each other. 
 
 Con senipllcita(kons?m-ple-tshi-ta'), Ji. With 
 simplicity. 
 
 Con sensibilita (kon sgn-sl-be-li-ta'), It. With 
 sensibility and feeling. 
 
 Con sentimento (kon s6n-ti-mSn't6), It. With 
 feeling and sentimeut. 
 
 Consequent (k6n-s6-kw6nt), Lot. \ An old 
 
 Consequente (k6n-se-kw6n't6). It. J term, 
 meaning the answer in a fugue, or of a point, 
 of imitation. 
 
 Conservatoire (kon-s6r-va-twar'), Fr. 
 
 Conservatoria (kon-s8r-va-t6'rl-a). It. 
 
 Conservatorio (kon-sSr-va-to'rio)), It. 
 
 Conservatorium (kon-sSr-fa-to'ri-oom) Ger. 
 
 Conservatory. 
 A school or academy of music in which ev- 
 ery branch of musical arc is taught and an 
 art-standard maintained. 
 
 Con severita (kou sS-va'ri-tS), It. With strict 
 aud severe style. 
 
 Consolante (kon solan'tfi). It. In a cheering 
 and cousoling manner. 
 
 Consolatamente (kon-so-la-ta-mgn'tfi), It. Qui- 
 etly, cheerfully. 
 
 Con solennita (kon s6-len-nl-ta'). It. With 
 solemnity. 
 
 Con somma espressione (kon som'ma Ss-prfis- 
 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. 
 
 }\ 
 
 oonso 
 nauce, p. 
 
 Consonantamente (kon-s6-niln-ta-men'tS), It, 
 Accordautly. 
 
 Consonantia (kon-sd-nan'tsi-ii). Lot. Accord, 
 agreemeut 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'tsii). It. 
 concord. 
 
 Consoniren (kon so-ne'r'n), Ger. To harmo 
 nize ; to agree in sound. 
 
 Con sonofita (kon so-no-ri-ta'), It. With a so 
 norous, vibrating kind of tone. 
 
 Con sordini (kon sor-de'ni), /(. jH. With th*. 
 mutes. This indicates : (1) In pianoforte 
 playing that tlie soft pedal-has to be used 
 (2) in violin, viola, etc , playing, that i. 
 mute has to be placed on the bridge ; (3) ii. 
 horn, trumpet, etc., playing, that a mute 
 has to be inserted into the bell. Sordini is 
 the plural of Sordino. ( V. Sordino.) 
 
 Con spirito(k6nspe'ri-to). It. With spirit, lite, 
 energy. 
 
 Con strepito (kon stra'pi-to), It. In a boister- 
 ous manner, with impetuosity. 
 
 Con stromenti (kon stro-mSn'tl), It. pi. \ 
 
 Con strumenti (kon stroo-mgn'tl). It. pi. j 
 With the iustrumeuts ; meauing that the or- 
 chestra and voices are togeiher. 
 
 Consuavezza(lfO'isoo-a-v8t'tsa), « I With 
 
 Con suavita(k6ii soo-a'vl-ta), J sweet- 
 
 uess aud delicacy. 
 
 Cont. An abbreviation of Contano. 
 
 Contadina (kon-ta-de'na)./i5. A country dance. 
 
 Contadinesco (kon-ta-di-nSs'ko), It. Bustle, 
 iu a rural style. 
 
 Contano (kon-ta'no), If. To count, or rest; a 
 term applied to certain parts not played for 
 the time being, while the other parts move 
 on. 
 
 Con tenerezza (k5n t6-nS-r6t'tsa), It. With ten- 
 derness. 
 
 Con timedezza (kon te-me-det'tsa). It. With 
 timidity. 
 
 Con tinto (kon ten'to), It. With various shades 
 of expression. 
 
 Continuato (kon-te-nooa'to). It. Continued, 
 held on, sustained. 
 
 Continued bass. See Basso corUinuo. 
 
 Continued harmony. A harmony that does 
 not change, though the bass varies. 
 
 Continued rest. A rest continuing through 
 
 Be vei 5 J23 223 323 423 523 
 
 al sue 
 
 cessive 
 meas- 
 ures, the number of measures being indi- 
 cated Ijy a figure over a whole rest. 
 Continue (kon-te'noo-o), II. Without cessa- 
 tion. 
 
 a arm, & cuid, a ale, 6 end, e eve, I iH, i isle, 6 old, 6 odd, oo moon, U but, ii Fr. sound, kh Oer. eh, nh naml, 
 
 (81) 
 
CON 
 
 DICTIONARY OF MUSIC- 
 
 CON 
 
 Continuous horizontal line. A line Indicat- 
 ing that the passages are to be played as uni- 
 sons. 
 
 Contra (kon'trft), It. Low, under. 
 
 Contrabassist, A double-bass player. 
 
 Contrabass (kon'tra-bas), It. 1 The 
 
 Contrabbasso (kon'trabbas-so), It. y double 
 
 Contrabass viol. ) bass. 
 
 Contraddanza (kon-trad-dan'tsa), It. A coun- 
 try dance. 
 
 Contra-faeotto (kon'tra-fag-got'to), It. The 
 double bassoon ; also the name of au organ- 
 stop of 16- or 32-feet scale. 
 
 Contr' altl (kon-tral'te). The higher male 
 voices, usuaUy called counter tones. 
 
 Contralto (kon-tral'to) It. The deepest species 
 of female voice. 
 
 Contranquillezza(kontran-k^I'iet-tsa), „ \ 
 
 Con tranquillita (kon tian-kwil-Ut-ta') ^ ■ j 
 With tranquillity ; with calmness. 
 
 Contraposaune(k6n'tra-p6-zou'ne), Oer. Dou- 
 ble trombone ; a 16- or 32-reed stop in an 
 organ. 
 
 Contrappuntista (kou-tiap-poou-tez'ta), It. 
 Une skilled in counterpoint. 
 
 Contrappunto.(kon-trap-poon't6), It. Coun- 
 terpoint. 
 
 Contrappunto alia decima (kon-trap-poon'to 
 al'la da'ishi-ma), /(. A species of double 
 counterpoint, where the principal counter- 
 point may rise a tenth abore, or fall as much 
 below, the subject. 
 
 Contrappunto alia mente <kdn-trap-poon'to 
 al'la mSu'tfi), It. See Chant sur le livre. 
 
 Contrappunto dopplo (kon-trap-poon'to dop'- 
 pi-o), /(. Double counterpoint. 
 
 Contrappunto dopplo alia duo decima (kon- 
 trap-poon'to dop'pi-o al'la doo-6 da'tshi ma). 
 It. Double counterpoint in the twelfth. 
 
 Contrappunto sciolto (kon-trap-poon'to she- 
 ol'to), /t. A free counterpoint. 
 
 Contrappunto sopra 11 soggetto (kon-trap- 
 poon'to so'pril el sod-jSt to). It. Counter- 
 point above the subject. 
 
 Contrappunto sotto 11 sogeetto (kon-trap- 
 poon'tosot'toelsod'jet-to), It. Uouuierpomt 
 below the subject. 
 
 Contrappunto syncopato (kon-trap-poon'to 
 sen-ko-pa'to). It. The syncopation of ouc 
 part for the purpose of producing discjrd. 
 
 Contrapunkt (kon'tra-pooukf), Ger. Counter- 
 point. 
 
 Contrapunctnm florldum (kon-tra-poonk'- 
 toom flo'ri-doom), Lot. Ornamental coun- 
 terpoint. 
 
 Contrapunctum In decima gravi (kon-tra- 
 poont'toom in da'tsi-ma gra've), ImI. A 
 term given to double counterpoint wheu 
 the parts move in tenths or thirds below 
 the subject. 
 
 Contrapuntal. Belating to counterpoint. 
 
 Contrapuntist. \ 
 
 Contrappuntista (kon-tr^p-poon-tez'ta), /{. / 
 Une skilled in counterpoint. 
 
 Tl.i 
 
 Contrapuntus simplex (kon-trapoon' toos 
 sim'piex). Lot. Simple counterpoint. 
 
 Contr' arco (kou-trar'ko). It. Bowing an In- 
 strumeut in a manner contrary to rule. 
 
 Contrario (kon-trii'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 us the 
 other falls. 
 
 Contrassoggetto (kon-tras-sod-jgt'to). It. The 
 couuter subject of a fugue. . 
 
 Con trasporto (kon tras-por'to), It. With au- ^ 
 ger, excitement, passion. 
 
 Contra tempo (kon-tra tfim'po), It. Against 
 the time ; syncopation, one part moving iu 
 a slower progression than the other parts. 
 
 Contra tenor. See Counter tenor. 
 
 Contratiine (kon'tra-to-nS), Oer. A term ap- 
 plied to the deeper ^ones of the bass voice. 
 
 Contra violone (kon-tra v§-6-lo'n6), U. 1 
 
 Contre-basse (kOntr-bass), Fr. J 
 
 double bass. 
 
 Contredance (kOntr-dSnhs), Fr. A country 
 dauce, a dance in which the parties engaged 
 stand iu two opposite ranks. 
 
 Centre partie (kSutr par-te), Fr. The second 
 part. 
 
 Contrepoint (kftntr-pwauh), Fr. Counter- 
 point. 
 
 Contre-sujet (k&ntr-su-zha). Fr. The counter 
 subject, or second subject iu a fugue. 
 
 Contre-temps (k6ntr-tanh), Fr. Syncopation, 
 driving notes, notes tied and accented con- 
 trary to the natural ihythmic flow of the 
 measure. 
 
 Contretenour (kOntr-tS-noor'), Fr. Counter 
 tenor. 
 
 Con tristezza (kon trez-tet'tsa). It. With sad- 
 ness, with heaviness. 
 
 Contro (kon-tro), It. Counter, low. 
 
 Contuttaforza(k6n toot-tiifor't.'ia), „ ) 
 
 Con tutta la forza (kon tuol-ta la for'tsa), " ( 
 With all possible force, with the whole 
 power, as loud as possible. 
 
 Con variazone (koa va-ri-a-tsio'nS), It. With 
 variations. 
 
 Con veemenza (kon va-a-m6n'tsa), It. With 
 vehemence, force. 
 
 Con velocita (kon vS-Io-tshl-tit'), It. With ve- 
 locity. 
 
 Conversio (kon-v6r'si-6), Lat. Inversion in 
 counterpoint. 
 
 Con vigore (kon ve-go'rS), It. With vigor, 
 sprightliness, strength. 
 
 Con violenza (kon ve-o-lfin'tsii), It. With vi- 
 olence. 
 
 Con vivacita(kon ve-vii-tsM-ta'), r. 1 With 
 
 Con vivezza (kon ve-v6t'tsa), ■ / liveli- 
 
 ness, vivacity, animation. 
 
 Con voce rauca (kon vo'tshe ra'oo-ka). It. 
 With a hoarse or rough voice. 
 
 &arm, & odd, a ale,&end, e eve, I ill, I isle, 6 old, 6 odd, oo moon, H but, il Fr. sound, kh tier, clu nh tiosoJ. 
 
CON 
 
 DICTIONARY OF MUSIC. 
 
 COR 
 
 Con volubillta (kon v6 loo-be-ll-ta'), /(. With 
 volubility, with fluency and Ireedom of 
 performance. 
 
 Con zelo (koa taa'16), II. With zeal. 
 
 Con 8va. An abbreviation of Con ottava. 
 
 Con 8va ad libitum. With octaves at pleas- 
 ure. 
 
 Coperto (ko-p€r't6), /(. Covered, muffled. 
 
 Coppelflote (kop'p'l-flo-tg), Ger. Coupling- 
 iiutt; an organ-stop of the clarabella or 
 stopped diapason species, intended to be 
 used iu com binatiou with some other stop. 
 
 Copula (ko'poo-la), It. \ A coupler. An ar- 
 
 Copule (k6-piil'), Fr. / rangement by which 
 two rows of keys can be connected together, 
 or the keys connected i^th 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 (kOr), Fr. A bom, commonly called the 
 French horn. 
 
 Corale (ko-ra'lS), It, Choral ; the plain chant. 
 
 Cor anglais (kar anh-glas), Fr. "English 
 horn." This instrument is a large-sized 
 oboe, with a compass from e to a". But 
 as the cor 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"'. 
 
 Corante (ko-ran'tS), « 1 A slow dance in 
 
 Coranto (ko-rau'to), / 3-2 or 3-4 time. 
 
 Corda (kor'da). It. A string ; una corda, one 
 string. Used to denote the soft pedal on 
 the piano, as against treenrde, three strings, 
 or the full power of the instrument. 
 
 Cordatura (kor-da-too'ra), It. The scale or 
 series of notes by which the strings of any 
 instrument are tuned. 
 
 Corde (kard), Fr. A string. 
 
 Corde A boyau (kard a bwa-yo), Fr. Catgut; 
 strings for the violin, harp, etc. 
 
 Corde fk Jour (kBrQ a zhoor), p 1 An open 
 
 Corde k vide (kttrd a ved), J string on 
 
 the violin, viola, etc. 
 
 Cor de chasse (kardQh sbass), Fr. The hunt- 
 ing horn ; the French horn. 
 
 Corde de luth (kdrd dah loot), J^. A lute- 
 string. 
 
 Corde fausse (kard foss), Fr.' A false or dis- 
 sonant string. 
 
 Cor de postilion (kar dtih p5s-tel-yonh), Fr. 
 1'osi.illiou's horn. 
 
 Cordes de Naples (kdrd dfih Na-pl), Fr. The 
 strings imported from Naples for the vio- 
 lin, harp, etc. 
 
 Cor de signal (kar dtih sen-yU), Fr. A buj:le. 
 
 Cor de vaches (kar dd va-sha), Fr. The cow- 
 boy's horn. 
 
 Corde vuide (kard vwed), Fr. An open string 
 on the violin, viola, etc. 
 
 Cordiera (kar-dl-a'ra), It. The tailpiece of a 
 violin, viola, etc. 
 
 Cordon de sonnette (kar-danh dilh sdn-nat), 
 Fr. A belirupe. 
 
 Coreograf ia (ko-rg-o-gra-fe'a). It. The method 
 of describing the figures of a dance. 
 
 Corlambus (ko-ri-am'boos), <ir. In ancient 
 poetry, a foot consisting of four syllables, 
 the first and last long and the others short. 
 
 Corlfeo (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 iu English organs. See Cremona. 
 
 Corn (korn), Wcl. A horn. 
 
 Cornamusa (kor-na-moo'za), It. A species of 
 bagpipe. 
 
 Cornamute. A wind instrument, a species of 
 bagpipe. 
 
 Cornare (kor-na'rS), /(. To sound a horn or 
 cornet. 
 
 Come (karn), Fr. A horn. 
 
 Corne de chasse (karn dah shass), Fr. See 
 Cm" de chasse. 
 
 Cornemuse (kdr-ntih-miiz), Fr. Bagpipes. 
 
 Cornet. (1) An obsolete wind instrument, 
 generally made of wood, of which there 
 were several kinds, of different sizes. ( V. 
 Cometto.) (2) The name of several organ- 
 stops, generally mixtures of 3 to 5 ranks. (3) 
 A brass instrument of the trumpet family. 
 {V. Comet d pistons.) 
 
 Corneta. "I A name sometimes applied to a 
 
 Cornetto. J reed,-Btop iu an organ of 16-feet 
 scale. 
 
 Cornet k bouquin (kar-nSt a boo'k^nh), Fr. 
 Cornet; bugle horn. 
 
 Cornet k pistons (kar-n6t a pes-tanh), Fr. A 
 brass instrument of the trumpet family with 
 valves (g. v.), by means of which a chromatic 
 scale can be produced. It is usually iu the 
 key of lib, and has one or more crooks ( A , 
 A[>, G), and, therefore, the notes written for 
 it (from fJt toe"') sound a tone, minor third, 
 major third, or perfect fourth lower. 'The 
 soprano cornet is in the key of Eb. Cornels 
 In other keys are also to be met with, but 
 are less common than those above men- 
 tioned. 
 
 Cornet dreifach (kor-ngf dri'fakh), Ger. Cor- 
 net with three ranks, in German organs. 
 
 Cornett (kor-nStl, Ger. \ . .„._pt 
 
 Cornetta (kor-ngt'ta), It. / ■*■ comet. 
 
 Cornetica(kor-na'tl-ka), .'p. \ A small cor- 
 
 Curnettino (kor-uec-te'no), Jf. J net. 
 
 Cornetto (k6r-n6t'to), It. A cornet. 
 
 Cornl (kor'ne). It. pi. The horns. 
 
 Cornist. 1 A performer on the comet or 
 
 Corneter. J horn. 
 
 Corniste (kar-uesf), Fr. A player upon the 
 horn. 
 
 Corno (kor'no). It. A horn. 
 
 a arm, (. add, a ale, 6 end, e eve, iiU,l isle, 6 old, 6 odd, oo moon, H but, u Fr. sound, kh Oer. ch, nh /i asal, 
 
 (86) 
 
COR 
 
 DICTION AEY OF MUSIC. 
 
 COU 
 
 COrno alto (kor'nd al'td), B. A horn of a high 
 pilch. See Horn. 
 
 Corno basso (kor'no bas'sS), It. A bass horn, 
 a hora of a low pitch. 
 
 Corno cromatlco (kor'no krd-ma-tl-ko), Jf, The 
 chromatic hora. 
 
 Corno dl bassetto (kSr'nd dg bas-set'lol, It. 
 The basset horn. A species of clarinet a 
 fifth lower than the C clarinet. (2) A deli- 
 cate-toned reed-organ stop ol 8-feet scale. 
 
 Corno dl caccia (kor'no de kat'tshi-a), It. The 
 banting, or French horn. 
 
 Corno dolce (kor'no dol'tshe), B. Soft horn ; 
 an organ-stop, occurring both in the man- 
 uals and pedals. 
 
 Corno in B basso. It. A low B horn. 
 
 Corno Inglese (kor'no eu-gla'zS), /(. The Eng- 
 lish horn, an alto oboe. 
 
 Cornopean. An organ-reed stop of 8-feet pitch 
 aud broad scale ; also a wind instrument of 
 the trumpet species. See Comet d pistons. 
 
 Corno prlmo (kOr'nd pre'mo), It. The first 
 
 horn. 
 Corno quarto (kor'no kwar'to). It. The fourth 
 
 horn. 
 Corno quinto (kor'no kwln'to), It. The fifth 
 
 horn. 
 Corno secondo (kor'no sS-kdn'dd), It. Thesec- 
 
 oud horn. 
 Corno sordo (kor'no sor'dd), It. A hqru with 
 
 dampers. 
 Corno ventiie (kor'no vSn-te'l£), B. 1 
 
 Cor omnitonique (kOr Onh-ni-to-nek), Fr. f 
 
 Chromatic horn, with valves or keys for pro- 
 ducing the semitones. 
 Coro (to'ro), It. \ A choir, a chorus, a piece 
 Coro (ko'ro), Sp. j for many voices. 
 Corona (ko-ro'na), „ ) A pause or 
 
 Coronata (ko-ro-na'ta), ■"• /hold (/s\). 
 Coro primo (ko-ro pre'mo), Jt. The first chorus. 
 
 Corps (kor), J^V. The body of a musical in- 
 strument. (2) A band of musicians. 
 
 Corps de ballet (kor dtlh bU-la), Fr. A gen- 
 eral name for the performers in a ballet. 
 
 Corps de voix (kor dfih vwa), Fr. Body or 
 fullness of tone. 
 
 COrrente (kor-rgn't€). It. An old dance tune 
 ia sloiv triple time. See Coranto. 
 
 Correpetiteur (kflr-ra-pa-ti-tur'), Fr. 1 A mu- 
 
 Corripetitore (kor-ri-p6-ti-to'r6), It. j slclan 
 who instructs the chorus singers of the 
 opera. 
 
 Coryphaeus (ko-rl-fa'oos), Or. The conductor 
 of the chorus. See Coiyeo. 
 
 Coryphee (ko-rl-fa), Fr. The leader or chief 
 of the group of dancers in a ballet. 
 
 Cosaque (ko-s£lk), Fr. The Cossack dance. 
 
 Cotil. An abbreviation of Cotillon. 
 
 Cotillon (k6-tel-y6nh), Fr. Lit., " petticoat." 
 " A social game ia form of a dance." The 
 
 cotillon has no characteristic music. A 
 waltz, galop, or auy other dance tune is 
 used for the purpose. 
 
 Couac (kwilk), JiV. The " quack " of the clar- 
 inet, oboe, and bassoon, caused by a bad 
 reed or reeds, deranged keys, wearied lips, 
 etc., which in English is also called the 
 " goose." 
 
 Coul6 (koo-la'), Fr. (1) Slurred, legato. (2) 
 A grace consisting oi two or three ascending 
 or descending notes, forming, as it were, a 
 double or triple appoggiatura. 
 
 Counter. A name given to an under part, as, 
 counter tenor. 
 
 Counter bass. A second bass. 
 
 Counter dance. See Contredame. 
 
 Counterpart. The part to be applied to an- 
 other, as, the bass is the counterpart of the 
 treble. 
 
 Counterpttint. Point against point. (1) The 
 art of adding one or more parts to a given 
 part. (2; A part or parts added to a given 
 part. 
 
 The contrapuntal style is distinguished 
 from the harmonic in this, that whilst the 
 latter consists of a melody accompanied by 
 chords, the former is a simultaneous com- 
 bination of several melodies, or melodic 
 parts. The supreme contrapuntal formsAre 
 Canon and Fugue. 
 
 In teaching counterpoint, theorists assume 
 generally five species; (a) Note against note 
 — a semibreve against a semibreve ; (I>) two 
 notes against one— two minims against a 
 semibreve ; (e) four notes against one— four 
 crotchets against a semibreve; id) 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, counterpoint is divisible into 
 simple and double couuterpoint. The lat- 
 ter differs from the former in this, that its 
 parts are invertible, i. e., maybe transposed 
 an octave, or ninth, tenth, twelfth, etc., 
 above or below one another. Counterpoint 
 is called triple ^hen three, and quadruple 
 when four parts are mutually invertible. 
 
 Counterpoint, double. A counterpoint that 
 admits ut' an inversion of the parts. 
 
 Counterpoint, equal. Where the notes are of 
 equal duration. 
 
 Counter subject. (1) The second theme in 
 double fugues and fugues with two subjects 
 in distinction fiom the principfll subjt^ct. 
 (2) The Eubject accompanying the ans*er 
 (the resumption by one part of the subject 
 proposed by another) of a fugue. But the 
 accompaniment of the answer gets this uanle 
 only when it is retained throughout the 
 fugue. (3) A melody forming a counter- 
 point against a cantus firmus. 
 Counter tenOr. Male alto voice. ( V. Alio.) 
 Counter tenor. High tenor ; the highest male 
 voice. It is generally a falsetto. 
 
 aarm, & add, a die, 6 end, e eve, HU,i Me, 6 old, 6 odd, oo moon, Q but, (i Fr. sound, kh 6er. ch, nh natal. 
 
 (87) 
 
cou 
 
 DICTIONARY OP MUSIC. 
 
 CRO 
 
 Counter tenor clef. The C clef, when placed 
 on the third line. 
 
 Counter theme. See Counter subject. 
 
 Country dance. Whether " country " means 
 here simply " rustic," or has to be regarded 
 as acorruption of " contra," is still a laatter 
 ol controversy. But whatever the right in- 
 terpretation 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 ladles on the other, proceeds thus in 
 his description ol the dance: "In its fig- 
 ures the (lancers 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 ddb bil-gwSt), Fr. Beat 
 of the drum. 
 
 Coupdecloche (koo dab klosh), Fr. Stroke of 
 the clock. 
 
 Couper le sujet (koo-pa Iflh soo-ja), Fr. To 
 curtail or contract the subject or theme. 
 
 Coupler. See Copula. 
 
 Couplet (koo-pla), Fr. 1 A stanza, or verse; 
 
 Couplet. J two verses or lines of 
 
 poetry forming complete sense. 
 
 coups d'archet (koo dar-sha), Fr. Strokes of 
 the bow ; ways or methods of bowing. 
 
 Courante (koo-ranht), Fr. Running; an old 
 dance in triple time. The second part of 
 a suite, usually in passage work. 
 
 Courtal (konrlal), i An old instrument; 
 
 Courtaud (koor-to), Fr. > a species of short 
 
 Courtaut (kour-to), ) bassoon. 
 
 Covered consecutlves. Implied consecu- 
 tives. 
 
 Covered octaves. Cnnsecutive octaves that 
 aie implietl in the movement of the voices. 
 
 C. P. Abbreviation of CoUa parte. 
 
 Cr. ) 
 
 Cres. r Abbreviations of Crescendo. 
 
 Cresc. ) 
 
 Cracovienne (kra-ko've-Snn'), -Pi'. A Polish 
 dance iu 3-1 time. Similar to the mazurka. 
 
 Cravicembalo (kra-vl-tshgm-ba'lo). It. A gen- 
 eriil rame Iiir all instruments of the harp- 
 sichord species. 
 
 Credo (kra'do), Lat. I believe. Third part of 
 . the Catholic mass. 
 
 Crembalum (kr6in-ba-loom), Lat. A jew's- 
 harp. 
 
 Cremona (kri5-m5'na), It. An organ-stop ; the 
 name of a superior make of violins from 
 
 the place where tha violin was perfected — 
 Cremona, in Italy. 
 Cremorn. 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 (krS-shSn'do), It. A word denot- 
 ing a gradually increasing power of tone 
 it IS often indicated by the sign —=:. 
 
 Crescendo al fortissimo (kr€-sljSn'do al for 
 tes'si-mo). It. Increase the tone tintil the 
 greatest degree of power is obtained. 
 
 Crescendo al diminuendo (krS-sben'do al > 
 
 de-me-noo-Sndo), /(. 
 Crescendo e diminuendo (kr€-sbSn'do a I 
 
 de-me-noo-6n-d6), Jt. t 
 
 Crescendo gol diminuendo (krS-shen'do I 
 
 po-e de-me-noo-6u-do). It. ) 
 
 Increase and then diminish the tone ; in 
 
 dicated often by the sign -=- 
 Crescendo e incalcando pnco a poco (krS. 
 
 shgn'do a en-kal-kan-do po'ko a po'ko), Jt 
 
 Increasing the tone and hurrying the time 
 
 by degrees. 
 Crescendo II tempo (krS-ahgn'do el tfim'po). It, 
 
 Increase the time of the movement. 
 Crescendo nel tempo e nella forza (krS shSn'- 
 
 do n61 tSm'po a nSl'la fOr'tsa), It. Increase 
 
 in time and power. 
 Crescendo poco a poco (kr&sh€n-do po'ko i 
 
 Ipo'ko), /(. Increasing the tone by little and 
 ittle. 
 Crescent. A Turkish instrument made ol 
 
 small bells hnug on an inverted crescent. 
 Cres. dim. An abbreviation of Crescendo e 
 
 diminuendo. 
 Cres. e legato (krSs. a Ifi-gii'to), It. Crescendo 
 
 and legato. 
 C, reversed. A sign in old music of a dimi' 
 
 nution of one half the value of the notes. 
 
 Croche (krosh), Fr. A quaver, or eighth jn 
 note. ' ifr 
 
 Croche double (krosh doo-b'l), Fr. A 3C 
 semiquaver, or sixteenth note. -jjj- 
 
 Croche polntee (krosh pwiin-ta), Fr. A jgzr 
 dotted quaver. ^fizz 
 
 Croche quadruple (krosh kwa-drii-pl), Fr. -r 
 A hemidemlsemlquaver, or sixty-fourth iSE 
 note. -p- 
 
 Croche triple (krosh tre-pl), Fr. A demi- JE 
 semiquaver, or thirty-second note. ^t 
 
 Crochet (kro-sha), Fr. The hook of a quaver, 
 semiquaver, etc. 
 
 Croma (krO'ma), It. A quaver, or eighth note. 
 
 Cromatica fkro-ma'tl-ka n \. Chromatic, re- 
 Cromatico (kro-ma'tl-ko ' / ferrlng to inter- 
 vals and scales. 
 Crome (kro'mS), It. pi. Quavers ; when writ- 
 ten undercrotehets or minims, it shows 1 hat 
 those notes are to be divided into quavers. 
 
 aarffi, S,add, a ale, 6 end, e eve, i ill, I Ule,6 old, 6 odd, oo moon, IXbut, ii Fr.aound, kh Oer, ch. nh nasal, 
 
 (88) 
 
CRO 
 
 DICTIONARY OP MTJSIO. 
 
 CYPJ 
 
 Cromhorn (krom'liorn), Qer. A reed-stop in 
 an organ. 
 
 Crommo (krom'mo), It. A choral dirge or 
 lamentation. 
 
 Cromorne (kro-morn), Fr. The name of a 
 family of obsolete reed wind instruments. 
 In Germany it was called Krummkom 
 (crooked horn). Cromorne is said to be a 
 corruption of cormorne (cor, horn ; mome, 
 dim, gloomy). 
 
 Crooked flute. An Egyptian instrument in 
 
 the bbupe ut a bull's horn. 
 Crooked horn. 1 The buccina; a wind 
 Crooked trumpet. I instrument uf tbe 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 ibe tube of an instrument in Bb 
 longer, makes its pitch also a semitone 
 lower. 
 
 Cross. Tbe head of p lute ; a mark for the 
 thumb, placed over a note. 
 
 Cross flute. A transverse flute, a German 
 flute, so called iu distinction from the flag- 
 eolet, played from the end, like a clarinet. 
 Crotale (kro-taV). i^'r. | An ancient mn- 
 
 Crotalo (kro' a-lo), /(. )-sicalinstrun>ent, 
 
 Crotalum(kr6 ta'loom),Gr. ) use d by the 
 pneslsof Cybele. From the reference made 
 lo 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 71 
 minim. izi 
 
 Crotchet rest. A rest equal in duration rg: 
 to a croichLt. ^ 
 
 Crowd, Eng., Crwth (krooth), Wtl. A more 
 or less lyre-shaped instrumeut, the strings 
 of which were originally twfir.ged ; after- 
 wards it wrts also played upvn with a bow, 
 modifications of strncturi: being conse- 
 quently introduced. 
 
 Crowle. An old English fl/\d instrument of 
 Ibe bassoon species. 
 
 Crowther. See Crowder. 
 
 Crucifixus (kroo-t'si fix'oo.j), Lat. Part of the 
 Credo iu a mass. 
 
 Cruit (krn-It), Tri. An ancient musical in- 
 strument of the Irish. See Crwth. 
 
 Crcpezia (kroo-pa'zi-a), Gr. Wooden 
 
 worn by the Greek musicians in beating 
 time. 
 
 Crutchetam. Name originally given to the 
 crotchet. 
 
 Crwth (krooth), Wei. An old Welsh instru- 
 ment, having six strings, resembling the\< 
 olin. 
 
 C. S. The initials of Con sordino. 
 
 Cs&rdAs (tsar-das), Magyar. A Hungarian 
 (Magjfar) dance in 2-4 or 4-4 time. Triple 
 time is very exceptional, an(i nut trne to 
 the national character. Ttie Cs^rdAs (from 
 Csdrda, inn on the heath) is ofieu preced- 
 ed by a moderate movement called Lansu 
 (from Las8a», slow). The quick movement 
 IS called i*'ria (from the German Friech, 
 fresh, brisk, lively). 
 
 C-Schliissel (tsa'shliis-s'l), Oer. The C clef. 
 
 Cto. Abbreviation of Concerto. 
 
 Cuclear (koo-klariir'), 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 kiin'too), Lat. With song, 
 
 with singing. 
 Cum Sancto Spiritu (koom sank'to spe'ri-too), 
 
 Lat. Fart of tbe Gloria iu a mass. 
 Currendaner (koor-rgn-dil'nSr), „ ISchool- 
 Currende (koor-rSu'dfi), '"^- j boys, 
 
 or young choristers, chanting in procession 
 
 through the streets. 
 Custo(koos-t6', J(. \A direct AV. A 
 Custos (Koos'tos), ia«. J mark sometimes 
 
 placed at the end uf a stall' to indicate tbe 
 
 note next following. 
 Cylinder. Part of the horn. (Ventil, piston.) 
 
 Cymbales (sanhbal), Fr. I Circular metal 
 Cymbals. j plates u.sed in 
 
 bauds, usually in combination with the 
 great drum ; they are clashed together, pro- 
 ducing a ringing, brilliant eflect. 
 Cymbalum (tsim-bii-loom), or,Cimbalum. Lat. 
 Instrument of the dulcimer kind, used by 
 tlie gypsies. 
 Cymbale (sanh-biil), Fr. \ A mixture organ- 
 Cymbel (tslm'b'l), Ger. J stop of a very acute 
 
 quality of tone. 
 Cypher system. An old system of musical 
 notation, in which tue notes were repre- 
 sented by numerals. 
 
 a 0) ■», & add, a ale, &eiid,e eve, 1 ill, i isle, 6 old, 6 odd, 00 moon, a but, (i Fr, sound, kh Oer. c/i nh ^uual. 
 
DICTIONARY OP MUSIC. 
 
 DAa 
 
 I> 
 
 D . The second note in the diatonic scale of C. 
 
 Da (da), It. By, from, for, through, etc. 
 
 Dabbuda (dab-boo-dii'), It. A psaltery, a spe- 
 cies of harp. 
 
 Da capo (da ka'po), It. From the beginning ; 
 an expression placed at the end of a move- 
 ment to indicate that the performer must re- 
 turn to the first strain. 
 
 Da cap6 al fine (da ka'po ill fe'nfi). It. Return 
 [o tiie beginning and conclude with the 
 word Fine. 
 
 Da capd al segnO (d& kS,'po al san'yo), It. He- 
 peat from the sign .g:. 
 
 Da capo fin al seeno (da ka'po fen al san'yo). 
 It. Return to tne beginning and end at the 
 sign -S:. 
 
 Da capo e p6i la coda (da ka'po a po'e la ko'da). 
 It, Begin again and then play to the coda. 
 
 Da capd senza repetizione, e pol la coda (da 
 
 ka'po san-tsii ra-pa-ti-tsi-o'n6, a po'e lako'diii. 
 It. Begin again, but without repetition, and 
 -theu proceed to the coda. 
 
 Da capo sin' al isegne (da ka'po sen U san'yo). 
 It. Return to the beginning and conclude 
 at the sign %. 
 
 D' accdrd (dak-kOrd'), Fr. 1 In tune, in 
 D' accordo (dak-kor-do), 72. /concord, in har- 
 mony. 
 
 Dach (dakh), Qtr. 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'zii). It. For the church. 
 
 Dactyl (dak'til), Lat. A metrical font, consist- 
 ing of one long syllable, followed by two 
 short ones, marked thus, — .— .-.. 
 
 bactylion (dak-till-Sn), Or. An instrument 
 invented by H. Herz, with a view to assist 
 pianists in making their fingers independei 1 1 
 and of equal strength and suppleness. It 
 consists or ten rings that bang above the 
 keyboard and are fastened to bteel springs. 
 
 ir?artylus (dak'ti-loos), Lat. See Dactyl. 
 
 uvIh. a term used in drum music to indi- 
 cate the left hand. 
 
 Dalna (da-?na). 1 A kind of liitbnanian 
 Dainos (da-e'uds). J folksong that has love and 
 
 friendship for its subject. Dainos is the 
 
 plural of daina. 
 
 Daire. The tambourine, or hand drum. 
 Daktylus (dak'ti-loos), Qr. A dactyl. 
 
 Dagli (dal'yl), 
 Dafcdal), 
 Dair (dall'), 
 Dalla (dal'la). 
 Dalle (dal'ie), 
 Dallo (diil'ld), 
 sing.), i, gti 
 
 It. 
 
 Contractions of the 
 preposition da, and the 
 masculine and femi- 
 nine, singularnnd plu- 
 ral, forms of the defi- 
 nite article it. In (m. 
 plur.), la (f. sing.), le (f. 
 
 plnr.). From the, by the, of the, etc. 
 
 Da lontano (da lon-ta'no), It. At a distance; 
 the music is to sound as if far away. 
 
 Dal segno (dal san'yo). It. From the sign ^. 
 A mark directing a repetition from the sign . 
 
 Dal segno alia fine (dal san'yo al-la fe'nS), 7/ . 
 From the sign to the end. 
 
 Dal segno fin al segno (dal san'yo fen al sau' 
 yo). It. From sign to sign, 
 
 Dal teatro (dal ta-a'tro). It. In the style of 
 theater music. 
 
 Damenisatlon. The syllables da, me, ni, po, 
 tu. la. be, which Uraun 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 kev is depressed, it 
 permits the string to vitirate. When 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 
 which raises the dampers from the strings 
 and allows them to vibrate freely. Its usfi 
 is indicated by the abbreviation ped. 
 
 Dampfen (dam'pfSn),Ger. To muffle, or dead- 
 en, the tone of an iiistrnmeiit. 
 
 Dampfer (dam'pfgr), Ger. A mute, or damper. 
 
 Dance, morrice. ") A dance in imitation of 
 
 Dance, morris. [-the Moors, usually per- 
 
 Dance,morriske. J formed by young men 
 
 dresspd in loose frocks, adorned with bells 
 
 and ribbons, and accompanied by castanets, 
 
 tambours, etc. 
 
 Dances. Certain tunes composed especially 
 lur dancing. 
 
 Danklied (dank'led), Ger. A thanksgiving 
 song. 
 
 Danse (danhs), Fr. A dance tune. 
 
 J)anse centre (danhs kOntr), Fr. A country 
 
 dnuce, a quadrille. 
 Danse de matelot (d&nhs dflh mM-a-lo), TV, 
 
 A aance resembling the hornpipe. 
 Danza (dan'tea), It. A dance. 
 
 a.arm, i.add,a,ale, 6end,eeve, IiI2, 1 isle, ooId.O odd, oomoon, a but, u Fr. sound, kh Ger. ch, nh naeoL 
 
 (90) 
 
I>A.N 
 
 DICTIONARY OF MUSIC. 
 
 DEM 
 
 Canzetta (dan-tsSt'tfi), It. A little dance, a 
 short dance. 
 
 Da prima (da pre'ma), It. At first ; from the 
 begluaing. 
 
 Darabulckeh (da-ia-boo'kSh). A small Ara- 
 bian drum, made in various forms. 
 
 Dar la voce (dar la vo'tsh?), It. To strike, or 
 
 give, the keynote. 
 Darmsaite {darm'6i-tS), „ \ Gut strings 
 Darmsaiten (darm'sl-t'n), J used for 
 
 the harp, violin, guitar, etc. 
 
 Darsteller (dar'stfil-lfir), Ger. A performer. 
 
 Da scherzo (dii skart'so), It. In a lively, play- 
 ful manner. 
 
 Das (das), Ger. The ; neuter form of definite 
 article. 
 
 Dasselbe (das-sSl'be), Ger. The same. 
 
 Dauer (dou'Sr), Qer. The length, or duration, 
 
 of notes. 
 Daum (doum), Ger. The thumb. 
 
 Daumenklapper (dou'mSn-klap-per),Ger. Cas- 
 tanet, snapper. 
 
 D. C. The initials of Da capo. 
 
 D-dur (da'door), fier. D major; the key of D 
 
 major. 
 Debut (da'bii), Fr. First appearance ; the first 
 
 public performance. 
 Debutant (daTau-tanh), p \ A singer or 
 Debutante (da'bu-tanht), • -J performer who 
 
 appears for the first time before the public. 
 
 Decachord (dfik'a-kSrd), 1 Aiian- 
 
 Decachordon (d€k a-kor'don). Lot. }-cientmu- 
 Decacdrdo (dgk-a-kor'do), It. ) sical i n- 
 
 strument of the harp or guitar species, with 
 
 ten strings. It was called by the Hebrews 
 
 Hasfur. 
 Oecamerbne (dfk-a-mg-ro'ne). It. A period of 
 
 ten days ; a collection of ten musical pieces. 
 
 Decani (dS-ka'nl), Lot. pi. In cathedral music 
 this term implies that the passages thus 
 marked must be taken by the singers on the 
 side of the choir where the dean usually sits. 
 
 Decide (dS-se-da), j^. 1 With de- 
 
 Decidement (d€-se-da-manb), J cision, 
 with resolution. 
 
 Declma (da'tsl-ma), Lai. A tenth ; an inter- 
 val of ten degrees in the scale, also the name 
 of an organ-stop sounding the tenth. 
 
 Dtelme (da-sem), Fr. A tenth See Oectma. 
 
 Declmole. A musical figure formed out of 
 the division of any note or chord iato ten 
 parts, or notes, of equal value. 
 
 Decisif (da-ae-slf), Fr. Decisive, clear, flTm. 
 
 Decisione (da-tshe-zI-o'nS), It. Decision, firm- 
 ness. 
 
 Declsivement (da-se-zev-monh), Fr. Deci- 
 sively. 
 
 Decislvo (da-tshl-ze'vo), ^^ 1 In a bold and 
 
 Deciso (da-tshe'zo), J decided manner. 
 
 Decke (dSk'S), Oer. The soundboard of a vi- 
 olin, violoncello, etc.; also the cover or top 
 in those organ-stops which are covered or 
 stopped. 
 
 Declamando (dSk la-miin'dd), It. With de- 
 clamatory expression. 
 
 Declamatio (dSk-la-ma'tl-d), It. Declamation, 
 recitative. 
 
 Declamation. Dramatic singing. The art of 
 rendering words with the proper pronunci- 
 ation, accentuation, and expressiou. Tlie 
 mastery of this art is as necessary to the 
 siuger as to the speaker. 
 
 Declamazione (dek-lii-ma-tsi-o'u6), //. Decla- 
 mation. 
 
 Decorative notes. Notes of embellishment, 
 appoggiaturas, etc. 
 
 Decres f ■^''>l"'6'^i*''<"is of Decrcscendo. 
 
 Decrescendo (da-kre-shen'do), It. Gradually 
 diminishing in power of lone :=^. 
 
 Decuplet. A group of ten equal notes, to be 
 played in an aliquot part of a measure. 
 
 Dedicate (d6d-I-ka't6), /<■ I Dedicated 
 D&aie (da^di-a), Fr. / i^eaicatea. 
 
 DeflclendO (da-fe-tshi-6n'do), /(. Dyiug away. 
 
 Degli (dal'ye). It. Of the. 
 
 Deere (dSgra'), Fr. A degree of the statf. 
 
 Degree. A line or space of the staff. 
 
 Del (del), It. Of the. 
 
 D6lassement(da-lEiss-manh'), ^. An easy and 
 agreeable composition. 
 
 Deliberatamente (dS-le-b8-ra-ta-m6n't6), „ \ 
 
 Dellberato (d€-le-b6-ra'to), ■"• / 
 
 Deliberately. 
 
 Delicatamente (dSI-i-ka-ta-men'tS), It. Deli- 
 cately, smoothly. 
 
 Delicatesse (da-li-ka-t6ss), Fr. \ Delicacy, 
 
 Dellcatezza (dei-I-ka-tet'zil), Ii!. J refined exe- 
 cution. 
 
 Dellcatlssimamente (dSl-i-kiUtes-sI-mii- ' ) 
 mfiu'tS), It. > 
 
 DelicatlsBimb (dei-l-ka-tis'cl-mo), ^ 
 
 With extreme delicacy. 
 
 Delicate (d61-i-ka'to), Jf. Delicately, smoothly. 
 
 Delle (dS-le), Fr. Loose, light, easy. 
 
 DeliriO (d6-le'rI-o), It. Frenzy, excitcmen.. 
 
 Dellzlosamente (dS-lit-si-d-za-men'te), It. De- 
 
 liciously, sweetly. 
 Deir (deU), ) 
 
 BlueSS^'- Of the, by the, etc 
 
 Dello(d61'lo), ) 
 
 Dem (dgm), <?«•. To the. Dative form of the 
 definite article. 
 
 Demancher (da-m£nh-sha), Fr. To change or 
 alier the position of the hand ; to t^hif 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, & add, a aU, S end, e eve, I ill, i isle, o old, 6 odd, oo moon, tl but, ix Fr. sound, kb Ger. ch, nh ruiaal, 
 
 (91) 
 
BEM 
 
 DICTIONARY OF MUSIC. 
 
 BliL 
 
 Semaniii: (dg-manhd'), Fr. The question, or 
 proposition, of a fugue ; called eiiso dux, or 
 leading subject. 
 
 Demi (dfi-me'), Fr. Half. 
 
 Demi-baton (d6-me'bsi'tOnh),J'r. A breve rest. 
 
 Demi-cadence (d«-me'ka-diinhs'), Fr. A. half 
 ciideiicf, or cadence on the dominant. 
 
 Demi-staccato (da-me'stiik-ka'to), Fr. Half 
 btaccatii. The tones slightly separated, but 
 not so much as In staccato. Demi-staccato 
 differs from nf)U legato in that the former 
 is jiot-itivc and the latter is merely nega- 
 tive, the tones failing to connect, but not 
 being purposely separated. 
 Demi-mesure (dg-me'mf-ziir'), p 1 A min- 
 Demi-pause (dfi-me'poz), J im or 
 
 half rest. 
 
 Demi-quart de soupir (d^-me'kar dQh 
 
 soo-per), Fr. A demisemiquaver rest. 
 Demisemiquaver. A short note, equal in 
 
 duration to one half the fc S 
 
 semiquaver, made thus, B or thus, g 
 
 Demisemiquaver rest. A mark of silence, ^ 
 
 equal in duration to a demisemiquaver, a 
 
 made thus, ^ 
 
 Demi-soupir (dS-me'sooper, Fr. A quaver 
 
 rest. 
 Demi-ton (dg-me tOnh), Fr.\ An interval of a 
 Demltone (de-me'ton). j half-tone. 
 Denoument (da-noo manh), Fr. Conclusion, 
 
 the catastrophe of an opera, play, etc. 
 De plus en plus vlte (dflh plii zanh plu vet), 
 
 Fr. Mure and more quickly. 
 Depressio (d6-pr6s'si-6), It. The fall of the 
 
 hand la beating time. 
 Depression, chromatic. Depression by a 
 
 cnromatlc sign. 
 De profundis (dS profoon'dis), Lat. " Out 
 
 of the depths. O Lord." One of the seven 
 
 penitential psalms. 
 Der (dar), Ger. The singular mnsculine form 
 
 of thd definite article, and genitive feminine 
 
 form of same. 2) Of the. 
 Dergleichen (dfir-gll'kh'n), G(r. The like. 
 Derive (dfi-re-va), Fr. Derivative. 
 
 Derivative chords. Chords derived from oth- 
 
 cis by inversion. 
 Des (rtSs), Ger. The note Dt>. Also genitive 
 
 form of definite article. From the, of the. 
 
 Desaccorde (daZ'ilk-kOr-da),Fr. Untuned; put 
 
 out of tune. 
 Desaccorder (daJ-ak-kflr-da), Fr. To untune, 
 
 to put out of tune. 
 Descant. Harmony.extemporaneous or r.ther- 
 
 wise, suns or blayed to a given melody or 
 
 Ihenxe. See Dlscant. 
 Descant clef. The treble, or soprano, clef. 
 
 Descend. To pass from a higher to a lower 
 
 tone. 
 Descendant (d6-sanh-danh), Fr. Descending. 
 
 Deschant (dS-sh&nb), Fr. Discaut. 
 Des-dur {d&'door), Ger. Dl? major. 
 
 Design. A design, or plan. Sometimes used 
 in place of motive, but more generally to in- 
 dicate the plan of a larger part of a compo- 
 sition. 
 
 Des-moll (d«s-m611), Ger. The key of Db mi- 
 nor. , 
 
 Oesperazione (dSs-p6-ra-tsi-6'nS), It. See Dts- 
 perazione. 
 
 Dessauer JVlarsch (d&'sou-Sr marsh), Ger. A 
 famous instrumental march, oue of the na- 
 tional airs of Germany. 
 
 Dessin (d6s-sanh), Fr. The design, or sketch, 
 of a composition. 
 
 Dessus (dSs-sQs), J*-. The treble, or upper, 
 part. 
 
 Desto (dgs'to), It. Bribk, sprightly. 
 
 Destra (dSs'tra), It. Hight; dcstra mano, the 
 
 right hand. 
 Detache (da-ta-sha), Fr. Detached, staccato. 
 
 Determinatissimo (da-tSr-mi-na-les'si-mo), It. 
 Very determined, very resolutely. 
 
 Determinate (da-t6r-mi-na't6),J/. Determined, 
 resolute. 
 
 Determinazione (da-tSr ml-na-tsi-d'ne),//. De- 
 termination, resolution. , 
 
 Detto (det'to), It. The same. 
 
 Deutlich (doit'llkh), Ger. Distinctly. 
 
 Deutsche Flote (doit'she flo'te), Ger. A Ger- 
 man flute. 
 Deux (dii), Fr. Two. 
 Deuxieme (dii-zi-am'), Fr. Second. 
 
 Deuxieme position (diizl-am' p6-ze'sI-onh), 
 Fr. The second position of the baud or fin- 
 gers in playing the violin, etc. 
 
 Devote (da-vo'io), //. Devout, religious. 
 
 Deveziene (da-vo-tsi-o'nfi), It. Devotion, re- 
 ligious feeling. 
 Dextra (d6x-tra), Lat. \ .^j^ ■ -^^ -^ ^ 
 Dextre (dSxtr), Fr. ] ^'^^ "S"' "''""• 
 Di (de), It. Of, with, for, etc. 
 
 Dialogue. A composition in which two parts, 
 or voices, respond alternately to each other. 
 Dialogo (de-a-16'go), It. \ . Ji.,._,,. 
 Dialogue (de-a-log'), jy. | A dialogue. 
 
 Diana (de-a'nSl), It. \ The reveille ; the beat 
 Diane (dl-iin-tih), Fr. I of drums at daybreak. 
 
 Diap. An abbreviation of Diapason. 
 Diapason (de-a-pa's6n). Or. 1 The whole or- 
 Diapason(di-fi-pa's6n),£}>9. jtave. (1) Au oc- 
 tave. (2) The compass of a voice or instru- 
 ment. (3) Pitch ; as che diapason normal 
 of the French. (4) The English name of th e 
 organ-stops which the Italians and Germans 
 call characteristically "principal" (Princi- 
 pale, Principal). The diapasons are the 
 most important foundation stops of the 
 organ. 
 
 ^arm, d.add, aaZ£, 6e7id, eeve, ii 
 
 , i isle, 6 old, 6 odd, oo moon, tl but, ij Fr, sound, kh Ger. eft, uh nami. 
 
DIA 
 
 DICTIONARY OF MUSIC. 
 
 DIM 
 
 Diapason, open. An organ-stop tho pipos ot 
 wnich are opeirat the top, and made oi 
 ultjtal. 
 
 Diapason, stopped. An organ-stop, generally 
 ot wnod, haviui its pipes closed at tlieir up- 
 per end with a wooden plug by which it is 
 tuned. 
 
 Diapente (de-a-p6n'tS), Gr. A perfect fifth; 
 also an organ-stop. 
 
 Diapente col ditono (de-a-piSn'te kol di-to'uo), 
 Gr. A major seventh. 
 
 Diaplionie (de-a-fo'uej. \ ,1) Clear, trauspar- 
 
 tiiapliony (de-af-o-ny). J ent; twoi-onnds 
 
 heard together. (2) Jn Greek music it meant 
 dissonance, as symphony meant conso- 
 uaace. (3) One of the earliest attempts at 
 simultaneous combination of notes i i t!ie 
 middle ages. It preoe led discant, which in 
 its turn wa;s followed by counterpoint. 
 
 Oiaphonlcs (de-a-fon'iks). The science of 
 refracted sounds. 
 
 Diaschisma (de-a-skls'mji), Gr. This term is 
 to be met with in mathematioalcalculHtinns 
 hi the ratios of intervals. It is the name iff 
 various small intervals not used in practical 
 music. 
 
 Diastema (de-fi.s't6-ma), Gr. An interval. 
 
 Diatonic (di-a-tOnIk). (1) Through the tones. 
 In modern music,asdistinguished from chro- 
 maiic. A diatonic scale is one consisting of 
 the tones belonging to tke three principal 
 harmonies of the key, and of nootheis; that 
 is to say, of tonic, subdominant, ami domi- 
 nant, whether the mode be major or minor. 
 (2) The Greeks distinguished their modes as 
 diatonic, enharmonic, and chromai.icwlilch 
 diiferedfrom each other in the nature of in- 
 tervals composing tbem. See Keg, mode. 
 
 Diatonic flute. A flute capable of producing 
 tne various sbadeti or ditftrrences of pitch uf 
 the major and minor ?.. es. 
 
 Diatonic melody. A me* y in which no tones 
 foreign to the key are l. j 1. 
 
 Diatonico (de-a-tS'nl-ko), It. 1 
 
 Diatoniqus(de-a-tOuh-Mek'), Fr. >■ Diatonic. 
 
 Diatonisch (de-S-tonlsh), Ger. ) 
 
 Dtatoniquement (de-ii-tOnh-nek'manh), Fr. 
 Diatouicaily, 
 
 Di bravura (de bra-voo'ra), It. In a brilliant, 
 florid style, 
 
 Di chiaro (de ke-a'ro). It. Clearly. 
 
 Dichord (dik6rd), Gr. (1) A two-stringed in- 
 strument. (2) An instrument the strings of 
 which are tuiied in pairs. 
 
 Qichten (dlhk't'u), Gcr. To compose metric- 
 ally. 
 
 Oichter (dihk't6r), 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 tho definite 
 article. Also feminine singular. 
 
 Diesare (de-a-za'rfi). It. \ To raise the pitch 
 Diiser (dl-a-za), J'r. /of a note, either at 
 
 the signature or in the course of a oomposl- 
 
 ti jn, by means of a sharp. 
 
 Dieoo (dl-az), Fr. A sharp (#). 
 
 Dies irseCdl'Sze'ra), Lat. " Dayof vengeance," 
 a venerable hymn of the Church, aecond 
 lujvement of the Requiem. 
 
 Diesis (de-a'sis), Gr. and It. \ A quarter of a 
 
 Diesis (di-a'sis), J^r. j lone; half a 
 
 (■emitone. A term which has been applied 
 to various small intervals, mostly to inter- 
 vals smaller than a semitone. (2) The name 
 given to the sharp iu Italy, and also in 
 France. 
 
 Dies, music. Steel punches for the purpose 
 of stumping music-plates. 
 
 Diese, double. A doub'e sharp (##). 
 
 Die zeugmenon (de tslg'm6-n6n), •Gr. The 
 third tretachord disjuinud from the second. 
 
 Difference tonss. See Resultant tones. 
 
 D:f$jcile (del'-fe'tshi Ifi), It. Difficult. 
 
 Digfitorium. A small, portable, dumb instru- 
 
 luuDt, with five keys, for tiXurcisiug the tiu- 
 
 g rs. 
 Digital exercises. Exercises for strengthen- 
 
 iii.< the fingers and rendering them inde- 
 
 pu-idout of each other. 
 Dlgr^ita (den-yl-la'), 'i Dignity, grand- 
 
 Dignitade (deii-yi'ta'dS), /(. y eur, great- 
 Dig.nitate (den-yl-ta'tfi), J iiess. 
 Di grade (de gra'do). It. By degrees ; step by 
 
 M p ; iu opposition to di salto. 
 Digressione (degr6s-si-d'n6), 7(. A deviation 
 
 from the regular course of a piece. 
 
 Diierant (ae-16-tanh'), Ger. . \ A lover of 
 
 Dilettante (de-iet-tiiuh'tfi), Jil. J art ; an ama- 
 teur who composes or performs without 
 making music a profession. 
 
 DiJettosamente (de-iet-t6-zii-m5.,'tS),/<. Pleas- 
 antly, a^^reeably. 
 
 Diiicatamente (de-li-kii-ta-Tn6n't6), It. Deli- 
 CJ.tely, Softly. See Beticatamcnte. 
 
 Dilicatezza(de-]i-kS-tSt'sa), //. Delicatencss, 
 boftiies;^, neatness. 
 
 Dilicatissimamente (de-li ka-tes-si-ma-m6ii'- 
 t&l, It. With extreme softness and delicacy. 
 
 Dilicatissimo (de-ll-ka-tes'si-mo), It, With ex- 
 treme softness and delicacy. 
 
 Dilicato (de-li-^a'to). It. So.'t, delicate. 
 
 Diligenza (de-11-jSn'tsa), It. Diligence. 
 
 Diligenza, con (de-li-jSn'tsakon), J(. In adil- 
 igeut and careful manner. 
 
 Diludium (dMoo'di-oom), Lat. An interlude. 
 
 Diluendo (di-loo-c5n'd6). It. Diminishing; a 
 gradual dying away of the tone until it is 
 extinct. 
 
 Dim. 
 Dimin. 
 
 Abbreviations of Diminuendo. 
 
 a arm, & add, a ale, &end,e eve, iiU,i isle, o old, odd, oo moon,iXbvJ,,ix Fr. sound, kh Ger, ch. nb waaH,, 
 
DIM 
 
 DICTIONARY OF MUSIC. 
 
 DIS 
 
 Diminished. This word is applied to inter- 
 vals or chords which are leas than minor or 
 perfect intervals. 
 
 Oiminislied chords. Chords that contain 
 dimiuished iuiervals. 
 
 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 thfi nnswer is siveu in notes of 'less 
 value than that of the subject. 
 
 Diminished intervals. Those which are one 
 cliromalic semitone less than minor or per- 
 fect intervals. 
 
 Diminished octave. One chromatic semitone 
 less than a full octavi;. 
 
 Diminished seventh. One chromatic semi- 
 luue less than a minor b.vcuih. 
 
 Diminished sixth. One chromatic semitone 
 less than a minor six h. 
 
 Diminished third. One chromatic semitone 
 less than a miuor third. 
 
 Diminished triad. A chord composed of the 
 minor third aud the diminished or imper- 
 fect fifth. 
 
 Diminue (dlmen-no-a'), Fr. Diminished. 
 
 Diminuendo (de-me-noo-an'do). It. Diminish- 
 ing gradually the intensity or power of the 
 tone. 
 
 Diminuer (di-me-nooa'), Fr. To diminish. 
 
 Diminution. In counterpoint this mf^ans the 
 Imitation of a given subject, or theme, in 
 notes of shorter length or duration ; in op- 
 position to liugmeiuatiou. 
 
 Diminuzione (de-mi-noo-tsl-6'n6), //. 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. 
 
 Dinalt, J<. Thefifthnotein alt ; the twelfth 
 above the G, or treble-clef note. 
 
 D in altissimo. It. The fifth note in nltissimo ; 
 the twelfth above G in alt. 
 
 D'inganno (den-gan'no), It. An unexpected 
 endiug. 
 
 Di nuovb (de noo-6'v6), /(. Anew, once more, 
 again. 
 
 Dioxia. A perfect fifth ; the fifth tone, or 
 sound. 
 
 Di peso (de pa'zo), //. At once. 
 
 Diphonium. A vocal duet. 
 
 Di posta (de pos'ta). It. At once. 
 
 Di quieto (de kwe-a'to), /(. Quietly. 
 
 Direct. A marlc pometimes placed at the end 
 of a stair to indicate the note next follow- 
 iuR ('W). To beat time for a musical per- 
 formance, and to direct the interpretation. 
 
 Directeur (di-rek-tflr'), 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 w,iii.,,. v\.m. 
 that over which the 
 
 ^^^ 
 
 sign i& placed, the prin- 
 cipal note, the note 
 below it,and ending with the principal note 
 
 Direttor^ (de-ret-to'rfi). It. A director. See 
 JHrecttur. 
 
 Dirge. A musical composition, either vocal 
 or Instrumental, designed to be performed 
 at a funeral, or in commemoration of the 
 dead. 
 
 Diritta (de-ret'ta), It. Direct ; straight on, in 
 ascending or descending intervals. 
 
 Dis (dez), Oer. The note Dif. 
 
 Di salto (de sal'to), It. By leaps or by skips ; 
 in opposition to di grado. 
 
 Disarmonia (dez-ar-mo'ni-a),/<. Discord, want 
 of harmony. 
 
 Discant. Lit., " diverse song." (1) One ol 
 the early phases of coun terpoint. The term 
 signified at first the addition of a melody to 
 a melody. Afterwards, however, the num 
 berof the parts was not limited. According 
 to the number of pans employed the discant 
 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. 
 
 Discantschliissel (diz-kant'shlti-s'l), Get. The 
 soprano ; the C clef placed upon the first 
 line, the note upon that line being called C. 
 It is seldom used now. 
 
 Discantstimmen (6 >; -Kant-stlm'm'n), or', Dis- 
 cantregister (diz-l.. nt'ra-ghis't6r),Ger. The 
 organ-stops which comprise only the treble, 
 not the bass notes. They are also called 
 Halbe Slimmen, half-stops. 
 
 Discantgeige (dis'kant-ghl'ghfi), Ger. An ob' 
 solete term for the violin. 
 
 Discantist (dis-kan-tlsf), Gar. Treble, or so 
 prano singer. 
 
 Discantsaite(dis-kant'si'tfi), Ger. Treble string, 
 
 Discantsanger (dis-kaiit'sang'fir), Ger. Treble 
 
 or soprano singer. 
 Discantus (dis-kiin'toos), Lot. Discant. 
 Discendere (de-shan'da-re). It. To descend. 
 Discepola (dS-sha'po-la), It. A female pupil. 
 
 Discepolo (de-sha'p6-16), It. Disciple, pupil, 
 
 scholar. 
 Disciolto (de-she.-ol'to), JiE. Skillful, dexterous. 
 
 Discord. A dissonant interval, an interval 
 that does not satisfy the ear, but causes un- 
 
 - rest. The opposite of a discord is a concord, 
 (2) A chord which contains one or more dis, 
 
 S, arm, 6, add, a,ale,&eiul,eeve,Hll,i isle, 6 old, 6 odd, oo moon, iXbut,uFr. sound, kh Ger. eh, nh noaoj. 
 
DIS 
 
 DICTIONARY OF MUSIC. 
 
 DIT 
 
 souant intervals, and which, on account of 
 lis unsatisfying and disquieting effect, re- 
 
 ?uires to be resolved into acousonautchord. 
 V. Introduction.) The foregoing are the uses 
 of this term, as popularly employed. Prop- 
 erly speaking, however, discord isan unmu- 
 sical, mharmon ious effect, which may go far 
 beyond the limits of the permissible. Any 
 inharmonious combiuatiou. 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 And 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. 
 
 Dlscordante (dls-k6r-diin't6). It. Discordant. 
 
 Discordantemente (dis-kor-dan-t6-m«n'te). It. 
 Discordantly. 
 
 Dlscordare (dls-kor-da'rS), It. I To be out of 
 
 Discorder (Ms-kor-da.', Fr. j tune. 
 
 Discorde (dls-kfird), Fr. > Discord 
 
 Uiscordia (dis-kor'dl-a), Xa(. J^'^™'"- 
 
 Discrete (dis-kra'to). It. Discreetly. 
 
 Discrezione (dis-krat-tsl-ffne), It. Discretion, 
 judgment, moderation. 
 
 Dis^'dur (dis-door),ffer. The key of D# major. 
 
 Disharmonie (dis-har-mo-ne'), Ger. Dishar- 
 mony. 
 
 Disharmonisch (dis-har-mo'nish), Qer. Uu- 
 harmonious. 
 
 Disharmony. Discord, want of harmony. 
 
 Disinvolto (dis-in-vol'to), „ 1 
 
 DIsinvolturato (dis-Iu-vOl-too-ra'to), ■* • J 
 Off-hand, bold, not forced, naturally. 
 
 DIsis (des'es), Ger. D-double-sharp. 
 
 Disjunct. Disjoined. A terra 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-moII (dis-mol),Ger. The key of Dff minor. 
 
 Disonanza (dis-o-nant'sa). It. Dissonance. 
 
 Disonare {dis-o-na'rfi), /(. To sound discord- 
 antly. 
 
 Di sopra (de so'pra). It. Above. 
 
 Disperato^dls-pe-rii'to),/!!. Despaired of; with 
 desperation. 
 
 Disperazione (dIs-pS-ra-tsi-6'nS), It. Despair, 
 desperation. 
 
 Oispfersed 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 aud appointment of an organ. 
 
 Dissonance. The inharmonious relation of 
 tones. (See Discord.) Strictly speaking, dis- 
 sonance is the musical employment of dis- 
 cord. All harmonic combinations are dis- 
 sonant in greater or less degree, except the 
 unison, 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 the dissouance is generally ettected 
 by the voice having it progressing one de- 
 gree to the consonant tone displaced. Most 
 dissonances are either Suspensions, held over 
 out of a previous chprd, Appoggiaturas, 
 struck free upon the beat but resolved upou 
 the half beat. Passing tones, 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-nanh), Fr. \ Dissonant, 
 
 Dissonante (dls-so-uan'tiS), Ji. J out of tune, 
 discordant. 
 
 Dissonanz (dis-so-nants'), Oer. \ Dissonance; 
 
 Dissonanza (dis-so-nan'tsa). It. j discord. 
 
 Dissonare (dls-so-na'rg), It. \ To sound 
 
 Dissoner (dis-so-na'), i^. [ out of tune; 
 
 Dissoniren (dis-so-ne'r'n), Ger.) to be discord- 
 ant. 
 
 Dissoni suoni (dis-so-ne soo-o'nl). It. Inhar- 
 monious souuds ; discords. 
 
 Distico (dis-te-ko), Sp. A distich. 
 
 Distinti suoni (dis-ten'ti soo-o'ni). It. Distinct 
 sounds. 
 
 Distinto (dis-ten'to). It. Clear, distinct. 
 
 Distonare (dls-to-na'rfi), It. To be out of tune. 
 
 Distoniren (dis-to-ne'r'n), Ger. To get out of 
 tune ; to produce discord either iu singing 
 or playing. 
 
 Di testa (de t^s'tii). It. Of the head, in speak- 
 ing of the voice. 
 
 Dithyrambe (de-ti-rahmb), Fr. \ A song or 
 
 Dithyrambe (de-ti-ram'b6), Ger. ) ode sun^ in 
 ancient times in honor of Bacchus ; a wild,- 
 rhapsodical composition. 
 
 Dithyrambic(de-thi-ram'bik), Gi: In style of 
 a dithyrambe. 
 
 Ditirambica(de-te-ram'bi-kS.), „ IDithyram- 
 
 Ditirambico (de-te-ram'bi-ko), •"• j bic. 
 
 Ditirambo (de-te-ram'bo). It. See Dithyrambe. 
 
 Dito (de'to), It. The finger. 
 
 Dito grosso (de'to gros'so). It. The thumb. 
 
 Dlton (de-tOnh), Fr. ) Of two parts or 
 
 Ditone (de-to-nfi), Gr. [tones; a major 
 
 Ditono (de'to-no), It. f third or interval of 
 
 Ditonus (di-td-noos),£ii/. J two whole tones. 
 
 g arm, fi add, a ale, 6 end, e eve, 101,1 isle, 6 old, 6 odd, oo moon, a 6u(, u Fr. sound, kh Qer. eft. nh nasai, 
 
 (»5) 
 
DIT 
 
 DICTIONARY OF MUSIC. 
 
 DOM 
 
 Ditty. A song, a sonnet ; a little poem to be 
 
 sung. 
 Div. Abbreviation o£ Divisi, divided. 
 
 Divan (de'van), Per. Among the Persians a 
 term applied tjaseries of poems ■with the 
 distichs ending in every_ letter successively ; 
 a coliectiou of the writings of a single au- 
 thor. 
 Diverbia (di-'-Sr'bi-a), 7>a(. 1 A musical dia- 
 Diverbio (de-var'bi-6), /(. |logue, of'en used 
 by the ancients to enrich their drama. 
 
 Divertimento (de-ver-li-mSn'to), /(. A short, 
 ligli t composition, written in a pleasing and 
 familiar style. 
 
 Divertissement (di-vSr-tess'manh), Fr. (1) A 
 lif^ht, entertaining composition, consisting 
 of a series of pieces, which may be in any 
 form. (2) A cumpositiou coasisting of a 
 number of movements or simple tunes 
 loo.sely strung tosether. A potpourri. (3) 
 Formerly tl)e name of a series of dances or 
 songs inserted iis the acts of operas, ballets, 
 and .plays. (I) Now a short ballet with lit- 
 tle or no action, often a mere medley of 
 dances. 
 
 Divisi (de-ve'zi), Jl. Divided, separated. In 
 orchestral parts this word implies that one 
 half the performers must play the upper 
 notes and the others the lower notes. The 
 term has a .'.imiiar meaning when it occurs 
 in vocal music. 
 
 Division. (1) A variation of a simple theme 
 i;l) A long note divided into short notes. A 
 series of notes firming a chain of sounds, 
 and In vocal music sung to one syllable. 'Jo 
 run a division is to execute such a s-eries of 
 notes. 
 
 Division (di-ve-ze Onh), Ft. A double bar. 
 
 Division du temps (di-ve-ze-Onh dfl tiinh), Fr. 
 Time-table. 
 
 Division-marl<s. Figures with a curved line 
 above them, showing the number of equal 
 parts into which the beats are divided 
 in a group of notes, g", 5", 7^, 9", etc. 
 
 Divotamente (de-vo-ta-mSn't6), j, \ Devnut- 
 
 Divoto (de-vo'to), • Jly, in a 
 
 solemn style., 
 
 Divozione (de-vot-tsi-6'nS), It. Devotion, re- 
 ligious feeling. 
 
 D. Wl. The initials of Destra mano. 
 
 D-moll (da-moll), Gcr. The key of D minor. 
 
 Do (do^ , Jt. A syllable-applied to the fir.st 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 iVlusic. Thehighest musical degree 
 I'diiferred by the universities. It is condi- 
 tioned upon presenting an extended and 
 meritorious composition, lasting f.irty min- 
 utes ormore, for soli, chorus, and orchestra, 
 togelhor with a satisfactory demonstration 
 in musical history, theory, etc. 
 
 Doglia (dol'yi-ii), It. Grief, affliction, sadness. 
 
 Doigt (dwii), It. Finger. 
 
 Doigti (dwii-ta), Fr. I^ingered. 
 
 Doigter (dwit-ta), Fr. To finger; the art of 
 
 fiu,-,ering any instrument. 
 Doigts fixes, (dwa fek-sS), Fr. Fixed fingers. 
 Dol. An abbreviation of Dolce. 
 
 Dolcan. Obsolete name for Dulciana, an or- 
 
 gau-stop (g, v.). 
 Dolce (dol'tshS), It. Sweetly, softly, deli 
 
 caiely. 
 Dolce con gusto (dol'tshC kon goos'to). It 
 
 boftly, sweetly, with taste and expression. 
 Dolce e cantabile (dol' tshS a kan-ta'bl-l§), 11 
 
 Bvi cct, !-of t, i !i singing style. 
 Dolce o lusingando (dol'tshS a loo-sen-gan'do). 
 
 It. Ill a soit and insinuating style. 
 Dolce e piacevolmente espressivo (d61'tsh€ a 
 
 }ie-a'isli6-v61-men'te Gs-prgs-se'v6), //, Sof*. 
 
 and with pleasing expression. 
 Dolce ma marcato (dol'tshS mii miir-ka'to). It. , 
 
 Hofc and delicate, butmarkedand accented. 
 Dolce maniera (dol'tshS ma-ni-a'ra). It. A 
 
 delicate and expressive manner of delivery. 
 Dolcemente (ddl-tshS-m6n'tS), It. Sweetly, 
 
 tently, softly. 
 Dolcezza ('161-tsh6t'za), II. Sweetness, soft 
 
 ness of tone. 
 Dolciano (dol-tshl-a'no), j, 1 Asmallbassoon, 
 Dolcino (dol-tshe'no), ■ ) formerly much 
 
 used as a tenor to the hautboy. 
 Dolciss. An abbreviation of Doleissimo. 
 Dolcissimo (dol-tshes'si-mo),7i. With extreme 
 
 sweetness and delicacy. A very soft organ- 
 stop of the dulciana quality, 
 Dolemment (do-16m-manh), Fr. Dolefully, 
 
 mournfully, 
 Dolent (dolanh). Fr. \ Sorrowful, mourn- 
 Dolente (do-lSu'tS), It. Jful, pathetic. 
 Dolentemente (d6-lSn-tC-ra6n'te), It. Sorrow- 
 fully, mournfully. 
 Doientissimo (do-lSn-tes'sl mo). It. With ex- 
 
 tieme sadness; wiih very pathetic and 
 
 mournful expression, 
 Dolore (do-lO'rC), It. Grief, sorrow, 
 Dolorosamente (do-lo-ro-za-m6n'te), t. l 
 Doloroso (do-lo-ro'zoi, ' J 
 
 Dolorously, sorrowfully, sadly. 
 Dom (dom), G^. A cathedral. 
 Domchor (dom'kor),(Ter. The cathedral choir. 
 Dominant. The name applied by theorists to 
 
 the fifth note of the scale. 
 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 (d6m-i-Tianht), J'r. ) The domi- 
 Dominante (do ml-niin'lei, Gcr. Jnant, 
 Dominant liarmony. Harmony on the dom- 
 inant or fifth of the key. 
 
 a arm, a add, a ate, 6 end, e e»e, \ill,i isle, 6 old, 6 odd, oomoon,Ubut, ii Fr. sound, kh Ger. eft, n h nasal. 
 
 (96) 
 
DOM 
 
 DICTIONARY OF MUSIC. 
 
 raiT< 
 
 Dominant section. A seetlou teimiuating on 
 
 the commoa chord of the dominant. 
 Dominican psalml (dd-mt-nika'le sal'me), Lni. 
 
 Cenaia psalms of the Roman Catholic 
 
 Church, sung in the Vespers. 
 Domkirche (d6m'ker'kh6), Ger. A cathedral. 
 Dona nobis pacem (do'na uo'bls pa'ts£m), Lat. 
 
 "Grant us Thy peace." The concluding 
 
 movement of the Mass. 
 Donna (don'na), /(. Lady; applied to the 
 
 principal female singers in an opera. 
 Dopo (do'po), It: After. 
 Doppel (dop'p'l), Ger. Double. 
 Doppel-be (d6p'p'l-ha).G«-. A double flat (W), 
 
 equal to a depression of two half-steps. 
 Doppeiflote (dap'p'l-flo't«),Ge»'. Doublefiute; 
 
 a stop in an organ the pipes of which have 
 
 two mouths. 
 
 Doppelfuge (dop-p'1-too'ghe), Ger. Double 
 fugue. 
 
 Doppelfliieei (dop'p'l -flii-g'l), Gn. Double 
 grand pianoforte. (1) An instrument in- 
 vented in the last century, .ilso called Dia- 
 plasion and Vis-4-vis. It had at both ends 
 one or two keyboards, which acted upon 
 two separate sets of strings. (2) Piano L cla- 
 viers reuvers^s (g. v.). 
 
 Doppelgedeckt (dop'p'l-gS-dSktO.Se)'. Double- 
 stopped diapason. 
 
 Doppelgeige (dop'p'l-ghi'ghSj.ffa-. An organ- 
 stop. See Vwlad' Amour. 
 
 Doppelgriffe fdop-p'l-grIf'f#),ffer. Doublestop 
 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 (#S or X), raising a note two semi- 
 tones. 
 
 Doppelpunkt {dop-pfil-poonkt), Ger. . Double 
 dot after a note. 
 
 Doppelsclilag (dop'p'l-shlagh), Ger. A mor- 
 dent, a turn. 
 
 Doppelscliritt (dop'p'l-shrit), Ger. A quick 
 march. 
 
 Doppelt (dop-p'lt), Ger. Double. 
 
 DoppelteNoten (d6p'p'l-tSno't'u),{?er. Double 
 uutes. 
 
 Doppelter Triilerlauf f dop'p'1-tSr trll'lSr-louf), 
 Ger. Double cadence. 
 
 Doppelt gestrichene Note (dop'pglt ghfi-stri'- 
 kh'n6 no'ifi), Ger. A semiquaver. - 
 
 Doppia lyra (dop-pi-a le'ra), It. A double lyre. 
 
 Doppio (dop'j>l-o), It. Double, twofold ; some- 
 times indicating that octaves are to be 
 played. 
 
 Doppio movimento (d6p'pl-6m6-vi-m6n-t6),/(I. 
 Double movement or time ; that is, as fast 
 again. 
 
 Doppio pedale (dop'pi-6 pS-dalfi), It. Playing 
 k bass passage on the organ with the pedals 
 moving in octaves, etc.; that is, using both 
 feet at the same time. 
 
 Doppio tempo (dop'pJ-6 tSm'po), It. Dcuble 
 
 time, as fast again. 
 Doppo (dop'po). It. After. See Dopo. 
 
 Dorian (dorian), ffi'. \ The name of one of 
 Dorien (do-ri-anh), Fr. J the ancient modes or 
 scales. (1) In the ancient Greek system, 
 the octave species ef g a be d e, and one 
 of the transposition scales. (2) In the 
 e cclesi as tical system, the octave species 
 
 d e f g a b''c d, the first (authentic) mode. 
 
 Doric mode. Dorian. 
 
 Dossologia (dos-so-lo'ji-a). It, Dozology. 
 
 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) Aseries 
 of two or four dots placed by a double bar 
 indicate that the strain upon that side is to 
 be played twice through. See Sepeat. 
 
 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 soug, 
 dance tune, or instrumental air, ornament- 
 ed with figures, graces, diminutions, runs, 
 etc. The term is obsolete. 
 
 Double A, or, AA. In England the term 
 
 double is applied to all those rg^ 
 
 bass notes from G to F inclu- "v^' —r— 
 
 sive. In Germany the rule is =1 — S7~ 
 
 different. See Double G. i^to 
 
 Double=action harp. A harp with pedals, by 
 which each string can be shortened two 
 semitones. 
 
 Double afternote. Two afternotes, taking 
 
 their time from "'"'""> _ i CT'li^ 
 
 the^prevlousg^ ^^g^gE 
 
 Double appoggiatura. A union of two short 
 appoggiaturus. 
 
 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 edition! 
 these are Incorrectly placed. 
 
 Double bass. This instrument, the largest 
 member of the violin family, and the fun- 
 damental part of the orchestra, has geuer- 
 erally either three or four strings. In Ger- 
 many the double bass is tuned as under (a), 
 in England most frequently as under (6), 
 and in Italy and Franco as under (c). The 
 double bass sounds the notes an octave 
 lower than they are written. 
 
 (a) 
 
 (^) (.) 
 
 s arm, & add, a aie, 6 end, e eve, i ill, I isle, 6 old, 6 odd, oo moon, Q but, ii Fr. soutid, kh Oer. ch, nh nagoL 
 7 (97) 
 
DOU 
 
 DICTIONARY OF MUSIC. 
 
 DOU 
 
 '^luble bassoon. This Instrument is an oc- 
 tave lower in pitch than the bassoon. Its 
 extreme compass extends from the double 
 contra B|j 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 16- or 32- 
 feet organ reed-stop, of smaller scale and 
 softer tone than the double trumpet. 
 
 Double bemol (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 kfird), 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 different 
 part of the same chord. 
 
 Double D, or, DD. See Double G. 
 
 Double demisemlquaver. A note equal in 
 duration to one half of a demisemi- 'W- 
 quaver ; a sixty-fourth note. It is writ- Br 
 ten thus : -p- 
 
 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 dl-az), Fr. A double sharp 
 
 moTX). 
 
 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 16- 
 f eet scale and delicate tone. 
 
 Double E, or, BE. See Double G. 
 
 Double F, or FF. See Double G. 
 
 Double flageolet. A flageolet consisting of 
 two tubes, blown through one moutbpiece, 
 and producing two sounds at one time. 
 
 Double flat. A character (|>1>) which, placed 
 upon a staff degree, indicates a depression 
 of a whole step. 
 
 Double flute. A flute so constructed that 
 two toues may be produced from it at the 
 same time ; a stop in an organ. See Doppel- 
 flole. 
 
 Double fugue. A fugue on two subjects. 
 
 Double G. The octave below 
 
 ■ 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. 
 
 ^ 
 
 ^' 
 
 Double grand pianoforte. An instrument 
 with a set of keys at each end, invented 
 by James Pierson, 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 hreve; a note twice 
 
 #^ 
 
 the length of a whole note. 
 
 Double octave. An interval of two octaves; 
 a fifteenth ; the bisdiapasou of the ancient 
 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 
 tones at once. 
 
 Double'Stopped diapason. An organ-stop of 
 16-t«et 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 
 two triplets ; a sextole. 
 
 Double trumpet. An organ-stop of 16-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 (dooh-lfif), Fr. An organ-stop 
 tuned an octave above the principal ; lu 
 England it is called the fifteenth. A mix- 
 ture of two ranks. 
 
 Doucet (doo-sa'), Fr. Sweet, soft, gentle. 
 
 Doucenient(doos'manh),i'r. Sweetly, softly, 
 pleasingly. 
 
 Douleur (doo-ldr'), Fr. Grief, sorrow, pathos. 
 
 Douloureusement (doo-loor-iis-miinh), Fr. 
 Plaintively, sorrowfully. 
 
 ;on of ^m WTF m- 
 
 thus: [fr r i rp 
 
 tt at-m, a add, a ate, S end, e e»e, 1 Ul, I isle, 6 old, 6 odd, oo vioon, tl but, u Fr. sound, kh Ger. ch, nh nasal. 
 
DOU 
 
 DICTIONARY OF MUSIC. 
 
 DRU 
 
 Douloureux (doo-loor-tih),iiV. Sorrowful, ten- 
 der, plaintive. 
 Doux (dooz), Fr. Sweet, soft, gentle. 
 Douzieme (doo-zhi-am'), Fr, A. twelfth. 
 
 Downbeat. The accented part or parts of a 
 bar at which in beating time the hand or 
 foot falls. ( V. 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. 
 
 Doxologla (dox-6-lo'gi-a), Lat. 1 p,n_r,i„„„ 
 
 Doxologie (d6x-01'6-zhe), Fr. jUoxology. 
 
 Doxology, Gr. A form or expression of praise 
 and honor to God, but more especially the 
 "Gloria in excelsis Deo" (" Glory to God in 
 the highest") and the " Gloria Patri et Filio 
 et Spiritui Sancto " (" 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 Lgsaer (Dox- 
 alogia minor.) Also versified forms ot the 
 same. 
 
 Drag. A digore in drum music. 
 
 Drahtsaite(drat's6i't6),ffer. 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-mSn'tS), It. 1 
 
 Dramatiquemente (dra-mSrtek-manht), Fr. J 
 Dramatically. 
 
 Dramatique (drama-tek'), Fr. I Ti,„„„,i„ 
 
 Dramatiwh (dra-ma'tish), Ger. j "™maiic. 
 
 Dramatis personse (dra-mii'tis pSr-so'na), Lat. 
 
 The characters of an opera or play. 
 Dramaturge (dram-a turzh), J^r. 1A drama- 
 Dramaturgo (dra-ma-toor'go), It. j tist. 
 
 Drame (dram), Fr. 1 , rlrama 
 Dramma (dram'ma), /(J A drama. 
 
 Dramma burlesca (dram'ma boor-les'ka). It. 
 
 A comic or humorous drama. 
 Dramma lirico (dram'mi le'ri-ko), ") 
 Dramma per musica (dram-ma pSiylt. 
 moo'zi-kit), ) 
 
 An opera or musical drama. 
 Drammaticamente (drS,m - mii-ti-ka-men'tS) , 
 
 It. Dramatically, In a declamatory style. 
 Dranjmatico (dram-ma'ti-ko). It. Dramatic. 
 
 Drawstops. The knobs or buttons by means 
 of which the organist brings on or takes ofT 
 certain "stops "orsetsofpipes. See Stop. 
 
 Drehorgel (dra'org'l), Ger. Barrel organ. 
 
 Drehses«l (dra^6s-s'l), g 1 ^ music-stool. 
 Drehstuhl (dra'stool), ) 
 
 Dreher (dra'fir), Ger. 
 man dance. 
 
 A slow waltz, or Ger- 
 
 Drel (dri), Ger. Three. 
 ' Drelachtel (dri-akh't'l), Ger, Three quavers, 
 oreightlk-notes. 
 Dreiachteltact (drl-akh't'1-takt), Ger. Measure 
 
 in 3-8 time. 
 DrelhSndig (dri'han-dig), Ger, For three hands, 
 Dreiangel (dri'an-g'l), Ger, Triangle. 
 
 Dreichfirig (dri'kor-igh), Ger. Three-choired. 
 Applied to any piano having three strings 
 to each note. Nearly all upright piaiios, as 
 well as grands, belong to this class. Also 
 applied to compositions for three choirs. 
 
 Drelgesang (dri'ghS-sang'),(?er. Trio for three 
 voices. 
 
 Dreiklang (drlHslang), Ger. A triad, a chord 
 of three sounds. 
 
 Dreimal (dri'miil), Ger. Thrice. 
 
 Dreisang fdrl'sang), «„ l a »-!„ 
 
 Dreispiel (dri'spel), '^^^ j-^tno. 
 
 Dreist (drist), Ger. Brave, bold, confident. 
 
 Dreistlgkeit(drls't!g-klt),(i'er. Boldness, con- 
 fidence, resolution. 
 
 Dreistimmig (dri'stlm-migh), Ger. Three- 
 voiced. 
 
 Dreivierteltact (dri-fer't'l-takt),ffer. Measure 
 In 3-4 time. 
 
 Dreizweiteltact (dri-tswl't'1-takt), Ger, Meas- 
 uring 3-2 time, or a measure of three min- 
 ims. 
 
 Dringend (dring'€nd), Ger, Pressing. 
 
 Dritta (dret'ta), „ 1 B,lght ; mano dritta.the 
 Dritto(dret't6), ■"• /right hand. 
 
 Dritte (drit'te;, Ger, Third. 
 
 Droite (drwSt), Fr. Bight; main droite, the 
 right hand. 
 
 Drommete (drOm-ma'tS), 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.) 
 
 Driinen (dro'nfin), Ger. To give a low, dull 
 souud ; to drone. 
 
 Driicker (dre'k'r), Ger. A sticker in organ ac- 
 tion. 
 
 Drum. An Instrument of perciission consist- 
 ing of one or two skins stretched over a 
 frame, frequently cylindrical in form and 
 always circular at the top. There are a great 
 many kinds of drums— the Tambourine, 
 Sidedrum, Bass, or Big, Drum, Kettledrum, 
 etc., the most Important of which will be 
 noted in their places. 
 
 Druma (droo-mii), Iri. A drum. 
 
 Drum, bass. A large drum used in military 
 bauds. 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, eeve,liU,lisle,6old,6 odd, oo moon, Abut, ii Fr. sound, kh Ger. ch. nh nasal. 
 
 (99) 
 
DRt] 
 
 DICTIONARY OF MUSIC. 
 
 DUE 
 
 Drum major. The principal drummer in a 
 military band ; the officer directing the 
 band. 
 
 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. «. , ascending ; (2) reversus. 
 or reiJertens, reversed, i. c, descending; or 
 (3) circumcurreiis, circumcurrent, i. e., as- 
 cending and descending. 
 
 Dudeler (doo'dlfir), Ger. One who plays or 
 sings badly^ 
 
 Dudelkasten (doo'd'1-kas-t'n), Ger. Barrel 
 organ; a hurdygurdy. 
 
 Dudelsack (doo'd'1-sak), g ) 
 
 Dudelkastensack (doo'd'1-kas-t'n-sak), ' J 
 A bagpipe, a coraamuse, a hornpipe. 
 
 Due (doo'6). It. Two; in two parts. 
 
 Due clarinl (doo'fi kla-re'ne), It. Two trump- 
 ets. 
 
 Due corde (doo'8 kor-dS), It. Two strings. See 
 A due corde. 
 
 Due cori {doo'6 ko-rl). It. Two choirs or 
 choruses. 
 
 Due pedali (doo'6 pg-da'li). It. The two ped- 
 als a.e to be used. 
 
 Duet. A compobition for- two voices or in- 
 struments, or for two performers upon the 
 same instrument. 
 
 Due trombe (doo'6 trom'bfi), It. Two trump- 
 ets. 
 
 Duett (doo-fif), Ger. A duet. 
 
 Duette (doo-et'tS), Ger.pl.Y^^^.^ 
 
 Duetti (doo-6t'ti), i<.pt j "^^^■ 
 
 Duettino (doo-St-te'no), It. A short and easy 
 
 duet. 
 Duetto (doo-6t'to). It. A duet. 
 Due volte (doo'6 v61't6), 7/!. Twice. 
 Dulcet, Soft, sweet, musical ; an organ-stop. 
 
 Dulciaii(diil-se-anh'), ■F''. A small bassoon. 
 See Dolciaiio. A dulciana stop. 
 
 Dulciana stop. An 8-feet organ-stop; Of u 
 soft and sweet quality of lone. 
 
 Dulciana principal. A 4-feet organ-stop of 
 delicate tone. 
 
 Dulcimer. A very ancient instrument whose 
 principal parts are a wooden frame, a 
 soundboard with one or several sound- 
 holes, two bridges, and appliances for the 
 fastening and tuning of the wire strings 
 with which it is strung. A dulcimer is 
 played u;jon Vvilh two hammers. 
 
 Dumb spinnet. Another name for the clavi- 
 chord. 
 
 Dumpf (doompf), „ \ Of a dull, hollow, 
 
 Dumpfig (doomp'Iig), J muffled sound. 
 
 Dumpfigkeit (doomp'flK-kit), Ger. Hollow- 
 ness, dullness of sound. 
 
 Duo (doo'6). It. Two ; in two parts ; a com- 
 position for two voices or instruments; a 
 duet. 
 
 Duo concertante (doo'6 kon-tsh6r-tan'tS), if. 
 A duo i 11 which each part is alternately prin- 
 cipal and subordinate. 
 Duodecima (doo-o-da'tshl-ma), „ IThe 
 Duodecimo (doo-6-da'tsM-mo), J twelfth ; 
 the twelfln note from the tonic ; the name 
 is also applied to an organ-stop tuned a 
 twelfth above the diapasons. 
 
 Duodecima acuta (doo-o-da'tsl-ma a-koo'tii;, 
 Lat. A twelfth above. 
 
 Duodecima g:ravi (doo-o-da'tsf-m£ gra've), 
 Lat. A twelfth below. 
 
 Duodecimole (doo-o-da-tshl-ino'lg). It. A mu- 
 sical phrase, formed by a group of twelve 
 notes. 
 
 Duodramma (doo-o dram'ma). It. Buodrama. 
 A dramatic piece for two performers ; more 
 especially a spoken drama with musical ac- 
 companiments, a kiud of melodrama {q. v.). 
 
 Duel (doo-6'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: 
 
 § jj equal to JJ J 
 
 Duolo (doo-6'lo). It. Sorrow, sadness, grief. 
 
 Duomo (doo-6'mo), It. A cathedral. 
 
 Dupla (doo-plit), Lat. Double. 
 
 Duple time. Double time. 
 
 Duplex lon^a (doo'plSx 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 iu 
 different parts. 
 
 Duplo (doo-plo). It. Double. 
 
 Dur fdoor), Ger. Major, in speaking of keys 
 and modes ; as, C-ditr, C major. 
 
 Dur (diir), i''r. Hard, harsh of tone. Major, as 
 distinguished from minor. 
 
 Duramente (doo-ra-mfin'tS), It. Harshl.v, 
 rjughly ; also meaning thst the passage is 
 to he played in a firm, bold style, and strong- 
 ly accented. 
 
 Durate (doo-ra'tfi), It. Hard, rough ; also im- 
 plying false relatious iu harmony. 
 
 Durchcomponiren (doorkh'kom - p6 - ne'r'n), 
 Ger. Lit., " to compose through." A rf-m-cA- 
 compmiirles Lied, "a through - composed 
 song," is a song of which each verse has a 
 setting of its own, whilst iu other songs one 
 setting serves for all verses. 
 
 Durchdringend (doorkh-dring'find), Ger. Pen- 
 etrating, piercing. 
 
 Durohdringende Stimme (doorkh-dring'gn-de 
 stim'mS), Gov. A shrill voice or tone. 
 
 Durchfiihrung (doorkh'fii-roong),(?fi-. Devel- 
 opment. Generally applied to the free fan- 
 tasia serving for middle part of the main 
 movement in sonatas and other serious 
 movements. 
 
 a arm, a add, a ale, 6 end, e eve, i ill, i isU, 6 old, 6 odd, oo moon, H biif, u Fr. sound, kh Ger. ch, nh nasal. 
 
 (100) 
 
DUE 
 
 DICTIONARY OP MUSIC. 
 
 EIG 
 
 Durchgangstone (doorkh'gangs-ton-6h), Oer. 
 
 Passiug tones. 
 Durchgehend (doorkh'ga-find). Oer. Passing, 
 
 traubieut ; passing through. 
 Duree (dura'), Fr. Length, duration of notes. 
 Durement (diir-manh), Fr. Hard, harsh. 
 Durete (du-r6-ta'), Fr. See Dtirate. 
 Durezza (doo-rat'zaj. It. Hardness, harshness 
 
 of tone or expression. 
 
 Duro (doo'ro). It. Rude, harsh. 
 
 Duster (diis'tSr), Qer. Gloomy. 
 
 Duten (doo-t'n), « ) A contemptuous 
 
 Diiten (du-t'n), J term, meaning to toot 
 
 or blow on a horn. 
 Dux (dooiE), 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 he applied to notes. 
 
 e; 
 
 fi, called in France and Italy mi : the third 
 note of the modern scale of Guide d' Arezzo. 
 E, Ed (ad). It. And. 
 
 IE. The smallest and most acute string on the 
 
 ■violin and guitar. 
 Bbollimento (a-bol-li-mSn'to), It Ebullition. 
 
 Boiling. 
 Eccedente (6t-tsh6-d6n't6), It. Augmented, in 
 
 speal^ing of intervals. 
 Ecclesia (fik-kla'zl-a), It. and Lat. Church. 
 
 Ecclesiastical. A term applied to all music 
 
 written for the Church. 
 Ecclesiastical modes. See Church modes. 
 
 Bcclesiastico stilo (fik-kla-zi-as-tl-ko ste'16), /(. 
 
 In the church or ecclesiastical style. 
 Ecco (ak'ko), It. Behold. 
 
 Echappement (a-shap-manh), Fr. Release. 
 
 Dmibte Echappement, rcpeating-mecbanlsm 
 
 in a piano. 
 Echeseiare (a-ked-jl-a'rfi). It. To echo, to re- 
 
 souud. 
 Echelle (a-shSU), Fr. The scale, or gamut. 
 
 Echelle chromatique (a-sh€ll kro-m^t^ekOj-Fr. 
 The chromatic scale. 
 
 Echelle diatonique (a shell dl-a-tOnb-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-klaO, Fr. A burst of applause, ex- 
 pressions of approbation. 
 Eclatante (a-kla-tanhf), Fr. Piercing, loud. 
 
 Eclisses (a-kless), Fr. The sides or hoops of 
 
 a violin, guitar, etc. 
 Eclogue (ek-ldg),Crr. A pastoral song or poem. 
 Eco (a'ko), It. An echo. 
 
 Ecole (e-kol), Fr. A school, a method or 
 course of instruction, astyle formed by some 
 eminent artist. 
 
 Ecole de chant (a-kol dOh shanh), Fr. A sing- 
 ing-school. 
 
 Bcossais (a-kOs-saO, n. | Scotch; a dance, 
 
 Ecossaise (a-k6s-8az), Jtune, 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. ($) The modern Ecossaise 
 is a lively contredause in 2-4 time, formerly 
 popular in France, Germany, and other 
 countries. 
 
 Ecossfise (a-kos-sa'z€), Ger, See Ecossaise. 
 
 Bcoutants (a-koo-tanh), Fr. Auditors, listen- 
 ers. 
 
 Ed(ad), Z(. And. 
 
 Edel (a'd'l), Ger. Noble. 
 
 Editeur (a-di-tdr), Fr. Editor, publisher. 
 
 E-dur (a door), Qer. The key of E major. 
 
 Effet (ef-fa). Fr. \ Efifect ; the effect of mu- 
 
 Effetto (gf-fa'to), It. j sic upon au audience. 
 
 B-flat. The black key of the piano or organ 
 next to the left of E. The flat of E. The 
 flat seventh of F, and the second flat intro- 
 duced in modulating by fourths from the 
 natural diatonic scale. 
 
 Eealement (a-giil-manh), Fr. Equally, even- 
 ly, smoothly. 
 
 Eeallti (a-gal-i-ta'), Fr. Equality, evenness. 
 
 Eglise (a-glez), Fr. Church. 
 
 Eelogra (al'yo ga), /(. 1 An eclogue ; a pas- 
 
 Bglogue (a-glogO, Fr. j toral poem. 
 
 Eguale (e-goo-a1S), It. Equal, even, alike: 
 also applied to a composition for several 
 voices or instruments of one kind, as, male 
 voices only ; female voices only. 
 
 Bgualezza (a-goo-a-lSt'za), It. Equality, even- 
 ness. 
 
 Egualmente (a-goo-al-m€u't€). It. Equally, 
 evenly, alike. 
 
 Eighth. An octave. 
 
 ii arm, & add, a ale, 6 end, e eve, liU,i isle, 6 old, 6 odd, oo moon, 1ibut,\i Fr. sownd, kh Oer. ch, nh luual. 
 
 (101) 
 
EIG 
 
 DICTIONARY OF MUSIC. 
 
 EMP 
 
 Eighth>note. A quaver. 
 Ellend (i'lfiud), Ger. Hurrying. 
 
 iWne), ««■• }a; an; one. 
 
 Einchorie (In'korigh), 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'gang), Ger. Introduction, pref- 
 ace, prelude. 
 
 Eingestrichen (in'ghg-strl-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'hit), Ger. Unity. 
 
 Einhelfen (in'h61-f'n), Ger. To prompt. 
 
 Einigen (I'nl-gh6n), Ger. Some, any. 
 
 Einlgkeit (i'nlgh-kit), Ger. Unity, concord, 
 
 harmony. 
 EInklang (in'klang), Ger. Unison. 
 
 Einleitung (in'li-toong), Ger. Introduction, 
 prelude. 
 
 Einmal (lu'mal), Ger. Once. 
 
 Einsang (in'sang), Ger. A solo. 
 
 Elnschnitt (in'shnit), Ger. A phrase, or in- 
 complete musical sentence. 
 
 Einsatzzelchen (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. 
 
 Elnstlmmen (iu'stim-m'n), Ger. To agree in 
 tune, to be concordant. 
 
 Einstimmigkeit (in'stim-migh-kit), Ger. A 
 concord, agreement. Literally, one-voiced. 
 
 Eintonlg (In'to-nigh), Ger. Monotonous. 
 
 Eintretend (In'trS-tSnd), Ger. Entering, be- 
 ginning. 
 
 Eintritt (in'trit), Ger. Entrance, entry, be- 
 ginning. 
 
 Eis (is), Ger. The note Efr 
 
 Eisteddfod (es'ted-f&d), Welsh. A bardic con- 
 gress. An assemblaSge 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. 
 
 Eligomment (61-a-gam-manh), Fr. \ t,,„ 
 
 Elegantemente (ei-«-gan-te-m«n't6). It. J '^'®" 
 gautly, gracefully. 
 
 Elegante (Sl-6-gan't6), It. Elegant, graceful. 
 
 Eleganza (Sl-S-gan'tsa), II. Elegance, grace. 
 
 Elegia (gl-fi-je'a). It. An elegy, or monody; 
 music of a mournful or funereal character. 
 Elegiac. Plaintive, mournful, sorrowful. 
 
 Elegiaco (61-e-jl-a'k6), /(. \ Mournful, plain- 
 Elegiaque (Sl-a-zhi-ak;, Fr. j tive, elegiac. 
 
 Elegy. A mournful or plaintive poem, or a 
 iuueral-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 principlesor rudi- 
 ments of musical science. 
 
 Elevamento (61-S-va-mSn'to), „ 1 Grandeur 
 
 Elevatezza (61-e-va-tet'za), ""■ J sublimity, 
 loftiness of expression. 
 
 Elevate (61-e-va't6), It. Elevated, exalted, sub- 
 lime. 
 
 Elevazlone (61-6-va-tsi-o'n§), It. Elevation, 
 grandeur. 
 
 Elevatlo (Sl-S-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 art ascending double 
 appoggiatura ; as oue of the ' ' staked graces ' ' 
 it is more complicated. 
 
 Eleve (a-lav), Fr. A pupil. 
 
 Eleventh. An interval comprising an octavii 
 and a fourth. 
 
 Elf (6If), Ger. Eleven. 
 
 Elfte (SU'te), Ger. Eleventh. 
 
 Eloge (a-lozh'), Fr. Praise, eulogy. 
 
 Elegy. See Eulogy. 
 
 Embellir (anh-bSl-ler'), Fr. To embellish, to 
 adorn, to ornament. 
 
 Bmbelllssement (anh-b61-less-m6nh),i<V. Em- 
 bellishment. 
 
 Embellishment. Ornament, decoration, notes 
 added for the purpose of heightening the 
 effect of a piece. 
 
 Embduchure (anh-boo-shoor),J!'r. The mouth- 
 piece of a flute, hautboy, or other wind in- 
 strument ; that part to which the Jips are 
 appliedto produce the sound. It also refers 
 to the position which the mouth must as- 
 sume in playing the instrument. 
 
 E-moU (a-moU), Ger. The key of E minor. 
 
 Emp&ter les sons (6nh-pa-ta 16 sdnh), Fr. To 
 sing or play in a masterly manner, without 
 defects or imperfections. 
 
 Bmpflndung (emp-fin'doong), Ger. Emotion, 
 passion, feeling. 
 
 a arm, & add, a ate, 6 end, e eve, liU,l tste,-6 old, odd, oo moon, iXbut,uFr, sound, kh Ger. eh, nh nasal, 
 
 (102) 
 
BMP 
 
 DICTIONARY OF MUSIC. 
 
 ENT 
 
 \ Empbatical. 
 
 Bmpfindungsvoll (Smpfin'doongs-foll), Ga: 
 
 Full of expression. 
 Emphase (Sm-fii'zS', Ger. Emphasis. 
 
 Emphatique (ilnh-fa-tek'), Fr. 
 Emphatisch (Smp-fa'tish), Go- 
 
 Emphatiquement (iia-fa-tel^'manh), Fr. Em- 
 phatically. 
 
 Emphasis. Marked expression ; particular 
 stressor accent on any note, indicated thus : 
 >/z.,^., etc. 
 
 Emphasize. To sing with marked accent. 
 
 EmpHo (6m-pe'to), It. Impetuosity. 
 
 Empituosamente (6m-pe-too-6-za-mSn't6), It. 
 Impetuously. 
 
 Emporte (anh-p6r-ta), Fr. Passionate, hur- 
 ried. 
 
 Emportement (anh-pdrt-manh), Fr, Passion, 
 transport. 
 
 Empresse (anh-pr6s-sa), Fr. lu haste, 'eager, 
 hurried. 
 
 Bmpressement (anh-prSss-manh), Fr. Eager- 
 ness, zeal. 
 
 En (anh), Fr. In. 
 
 Enarmonico (6n-ar-m6'ni-ko),-n. Enharmonic. 
 
 Encore (auh-kor'), J^. Again, once more; 
 demand for the repetitiou of a piece. 
 
 Ende (find'S), Ger. End, conclusion, conclud- 
 ing piece. 
 
 Energia (6n-6r-je'a), It. ) Energy, force, em- 
 
 Bnergie (fin-fir-zhe), Fr. j phasis. 
 
 Energicamente (6n-er-je-ka-mfin't6}, It. En- 
 ergetically, forcibly. 
 
 Energico j6n-ar'jI-ko), It. Energetic, vigor- 
 ous, forcible. 
 
 Energique (Sn-Sr-zhek'), Fr. 1 Energetic, with 
 Energisch (Su-ar'ghlsh), Oer. j emphasis. 
 
 Energi(|uement (6n-er-zhek-manh), Fr. ' En- 
 ergetically, forcibly. 
 
 Enfant de choeur (anh-Ianh diih kur), Fr. 
 Singing boy. 
 
 Enfasi (6n-fa'zi), It. Emphasis, earnestness. 
 
 Enfaticamente (en-fa-ti-ka-mgn'tS), It. Em- 
 phatically. 
 
 Enfatico (Sn-fa'ti-ko), It. Emphatical, with 
 earnestness. ^ 
 
 Enfiatamente (fin-fi-a-ta-mSn'tfi), It. Proudly, 
 pompously. 
 
 Enfler (auh-fla'), Fr. To swell, to increase the 
 tone. 
 
 Enge (6ng-S), 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 Harmonie (fing-S har-mo-ne'J, Oer. Con- 
 tracted or close harmony, the intervals or 
 sounds being close together. 
 
 Engelstimme (Sng'SI-stirn'mfi), Oer. Angel 
 voice. Angelica. A full-reed stop in an or- 
 gan. 
 
 Engfiihrung (fing'fur-oong), Ger. "Narrow 
 workins." The condensed canonic treat- 
 ment of a theme in fugue. A stretto. 
 
 English fingering. In pianoforte music the 
 use c f a bign (X) to designate the thumb, in 
 distinction from the German fingering, 
 where the thumb is designated as the first 
 fluger. 
 
 English horn. A species of oboe, a fourth ori 
 a fifth lower than the instrument usually 
 designated by that name. 
 
 Enguichure (anh-ghe-shiir'), Fr. The mouth- 
 piece of a trumpet. 
 
 Enharmonic (Sn-ha^-m6n^k). (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 diiTer in notation but not in pitch. 
 Enharmonic chords are chords which have 
 in common one or several tones the same in 
 pitch hut different in notation. An enliar- 
 luonic modulation is one by means of such 
 chords. (2) With the ancient Cfreeks 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 ; 
 
 T ¥ 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(;, and the extreme second, C, D#; 
 or, the extreme fifth, C, GJf, and the minor 
 sixth, C, Al>, etc. 
 
 Enharmonic organ. An organ in which the 
 octave, instead of being limited to adivision 
 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 (fin-har-mo'ni-koos), Lat. 
 
 Bnharmonique (anh-har-mOuh-ek'), Fr. 
 
 Enharmonisch (€n-har-md'nlsh), Oer. 
 Enharmonic. 
 
 Enoncer (a-n6nh-sa), Fr. To enunciate, to 
 proclaim. 
 
 Ensayo (6n-sS.'yo), Sp. Kehearsal of a piece. 
 
 Enseignement (anh-san-miinh), Fr. Instruc- 
 tions. 
 
 Enseigner (anh-sanh'ya), Fr. To instruct, to 
 teach. 
 
 Ensemble (anh-sanh'bl),^^ Together. Taken 
 substantively this word signifies: (1) Per- 
 fect harmony between different parts of a 
 whole; (2) mutual understanding 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. 
 
 Bntgegen (6nt-ga'gh'n); 
 
 r.\ 
 
 Oer. 
 Contrary, opposite, speaking of motion. 
 
 Entgegengesetzt(6nt-ga'g'n-gh6-s6tzt), 
 
 ■} 
 
 a arm, S, add, a ale, 6 end, e eve, iiU,l Ule, 6 old, 6 odd, oo moon, iX but, (1 Fr. Bound, kh Ger. eh, nh naxal. 
 
 (103) 
 
ENT 
 
 DICTIONARY OF MUSIC. 
 
 EEN 
 
 Enthauslasme (aQh-too-zl-asm), Fr. I 
 Enthusiasmus (ea-too-zi-as'moos), Oer. J 
 
 Entbusiasm. 
 Enthusiastisch (gn-too-zi-as'Msli), Ger. En- 
 thusiastically. 
 
 Entr'acte (anh-tr'-akt), Fr. Between the acts; 
 music played between the acts of a drama. 
 
 Entrante (6a-tran't6), ) An, entrance, in- 
 Entrata (Sn-tra'ta), It. Vtroduction, pre- 
 Entrada (gn'tra'da), ) lude. 
 
 Entree (anh-tra'). Fr. Entry, entrance, begin- 
 
 uiug. A pompous introduction in march 
 
 form. 
 Entscheidun^ (Snt-shI'doong), Ger. Decision, 
 
 determiuation. 
 Entschieden (Sntshe'd'n), Oer. Decided, in a 
 
 determined manner. 
 Entschlafen (Snt-shla'f'n), Ger. To die away, 
 
 to diminish. 
 Bntschlossen (Snt-shlos's'n), Ger. Determined, 
 
 resolute. 
 Entschluss (Snt-shlooss'), Ger. Resolution. 
 Entusiasmo (Sn-too-zl-as'mo), J*. Enthusiasm. 
 
 Entwurf (Snt-woorf), Ger. Sketch, outline of 
 
 a composition. 
 Enunciato (a-noon-tshl-a'to). It. Enunciated, 
 
 proclaimed. 
 Envoy. The postscript, or ending, of a ballad. 
 
 iSl!l,iiJ^Skn),^'-}see^oK-. 
 
 Epic. A poem in the narrative style, deal- 
 ing with heroic incidents upon a large 
 scale. 
 Epicedio («p-I-tBha'di-6), It. I An elegy, 
 Epicedium (gp-I-se'di-Um), Eng. j dirge, fu- 
 neral-song, or ode. 
 
 Epigonion (Sp-i-g6'nl-6n) Gr. \ An ancient 
 Epigonium (6p-i-g6'ni-oom), Lat. f 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-nSf), Fr. A spinet. 
 
 Epiniclon (Sp-i-ne'si-6n). A triumphal song, 
 a song 01 victory. 
 
 Episode. An incidental narrative or digres- 
 sion ; a portion of a composition not found- 
 ed upon the principal subject or theme. 
 
 Bpisodio (6p-l-so'di-6), It. Episode, digres- 
 sion. 
 
 Episodiscli (Sp-l-so'dish), Ger. In the man- 
 ner of an episode. 
 
 Bpistroplie (gp-I-stroTS), Gr. A repetition of 
 the concluding melody. 
 
 Epitalamlo (6p-i-ta-lii'mi-6), It. > Epithala- 
 Bpitfialme (6p-i-tai-m6), Fr. J mium. 
 
 Bpitlialamion (6p i-tha-ia'ml-6n), Gr. 
 Epitlialamium (6p-i-tha-la-mx-oom), ffi'. 
 Epithaiamium, Eng. 
 Bpitiialaniy, Eng. 
 A marriage-song ; a nuptial-song or ode. 
 
 Epode (6-i)5'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 autistrophe. The word is now used 
 for auy little verse or verses that follow one 
 or more 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-po'pa), Gr. An epic poem. 
 
 Bptacorde (6p-(a-k8rd), Fr. A heptachord, a, 
 lyre,with seven strings. 
 
 Equ&bile (S-kwaTii-lS), It. Equal, alike, uni- 
 form. 
 
 Equabilmente (S-kwa-bll-mSn'tS), 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-grlf'f'n), Ger. Struck, affected, 
 moved. 
 
 Brliaben (ar-ha'b'n), Oer. Elevated, sublime, 
 iu a lofty and exalted style. 
 
 Brheben (ar-ha'b'n), Ger. To raise, to elevate, 
 to lift up the hand in beating time. 
 
 Brhohen (ar-ho'Sn), Ger. See Erheben. 
 
 Brbiihung (ar-ho'oong), Ger. An elevation. 
 
 Brh&hungszeichen (Sr-ho'oongs-tsl'kh'n), Ger. 
 Sharps or double sharps. 
 
 Ernledrigung(ar-ne'dri-ghoong),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), p \ Earnest, seri- 
 
 Brnsthaft (arnst'haft), ' J ous ; in a grave 
 and earnest style. 
 
 a arm, & add, a.ale,ii end, eeve,iiU,l isle, o old, 6 odd, oo Trwon, tl but, ti Fr, sound, kh Ger, ch. nh nasal. 
 
 (104) 
 
ERN 
 
 DICTIONARY OF MUSIC. 
 
 ETU 
 
 Brnsthaftlgkeit (arnst'haf-tig-kit), Ger. Ear- 
 irjstuebti, KeriousucsB. 
 
 Ernstlichkeit (Irust'likti-kit), Ger. Earnest- 
 ness. 
 
 Ernst und mit steizender Lebhaftigkelt 
 (ariist ooud mit stl'gliSu-dSr lab'hilf-tigh- 
 kiu, Gir. Earnestly, and with increasing 
 vivae.ty. 
 
 Brntelied (arn'tS-led), Ger. Harvest-song. 
 
 Eroffnunj; (ir-bfuoong), Ger. Opening, te- 
 giuuiug. 
 
 Eroffnungsstuck (ar-ol'noongs-stiik), Ger. Ov- 
 erture. 
 Erolco (6-r61-k6), Gr. Heroic. 
 
 Erotic (fir-Ofic). An amorous composition or 
 pOt;m. 
 
 Erotical (Sr-Otl-kai). Pertaining to love. 
 
 Erotica (6-r6'ti-ka), It. Love-songs, amatory 
 ditues. 
 
 Erotic songs. Love-songs. 
 
 Erst (arst), Ger. First. 
 
 Erstemal (ars't6-mal), Ger. First time. 
 
 Brtonen (ar-t6'n6n), Ger. To sound, to re- 
 sound. 
 
 Erweckung (ar-w6k'oong), Ger. Animation, 
 excitement. 
 
 Erweitert (ar-wi'tfirt), Ger. Expanded, de- 
 veloped. 
 
 bs (Ss), Ger. The note El.. 
 
 Esacordo (fi-za-kor'do), It. Hexachord. 
 
 Esatta (e-zat'ia), It. Exact, strict. 
 
 Esatta intonazione (6-zat'ta in-to-uat-si-o'nS), 
 It. Exact intonation. 
 
 Es-dur (6s-door), Ger. The key of E\> major. 
 
 Bsecuzione (Sz-Skootsi-6'ne), It. Execution, 
 facility oJ performance. 
 
 Esempio (6-z6m'pi-6), It. Example. 
 
 Esercizio (6-zar-tshe'tsi-o), It. An exercise, a 
 study. 
 
 Es-es (Ss-Ss), Ger. The note E-double-flat 
 (Ebb). 
 
 Bsitamento (S-zl-ta-m«n'to), „ 1 Hp<iitation 
 
 Esitazione (g-ze-tat-si-o'uS),-"- / J^esitatiou. 
 
 Es-moll (gs-moU), Ger. The key of Eb minor. 
 
 Esonare (6-z6-na'rS), It. To adorn, to embel- 
 lish. 
 
 Espace (Ss-pas), Fr, A space ; the interval 
 between two lines of the staff. 
 
 1 Spanish, 
 , It. j in the 
 
 Espagnol (fis-pan-yol), Fr. 
 Espagnuolo (Ss-pau-yoo-o'16) 
 
 Spanish style. 
 Esperto (es-par'to), It. Skillful, expert. 
 
 Espirando (£s-pe-Tan'dd), Sp. Diminishing to 
 
 the end. 
 Espirando (S.5-pe-ran'd6), It. Breathing deep- 
 ' ly ; with great endeavor. 
 
 Bspress } Abbreviations of Espresslvo. 
 
 Expression, 
 
 Bspressione (Ss-pr8s-si-6'n8), It. 
 fueling. 
 
 Espresslvo (Ss-prSs-se'v6), It. Expressive, to 
 hi playud or sung with expression. 
 
 Espringale (6s'prIn-ga-lS), It. Spring dance. 
 
 Bssempio (Ss-s6m'pi-o), It. See Esempio. 
 
 Essential harmonies. The Ihrec harmonies 
 of the key: lun.c, uomiuani., and s-ubdom- 
 inant. 
 
 Essential notes. The real, coraponrnt notes 
 of achord ; iucoutradistinctioii to all nipro- 
 ly accidental, passing, or orniiiueuitil notes. 
 
 Estemporale (es-tem-po-ra'iei, ,. 1 
 
 Estemporaneo (6s-l6m-po-ra'u6-6), J 
 Extemporancu us. 
 
 Estinguendo (6s-tiu-goo-Sn'd6), \ Becom- 
 
 Estinte (6s-ieu'tfi), It.y in g cx- 
 
 Estinto (Cs-ten'to), 5 liijct, dy- 
 
 ing away gradual'y in time and strength of 
 tone. ' 
 
 Estravagante (6s-tra-va-gan'lS), „ lExtrav- 
 
 Estravaganza(6s-tra-va-gan'tsii}, f agant. 
 
 Estremamente (8s-tra-ma-m6 i'16). It. Ex- 
 tremely. 
 
 Esultazione (fis-ool-tat-sI-o'nS), /(. Exultation. 
 
 Et (61), Lat. And. 
 
 Eteinte (S-tanht), Fr. See Eslintc. 
 
 Etendre (6-tanhdr), Fr. To extend, to spread. 
 
 Etendue (6-tanh-d\l), Fr. The extent or com- 
 pass of an instrument or voice. 
 
 Et Incarnatus (8t In-kar-na'toos), Lat. " And 
 was born," etc. A portion of the Credo. 
 
 Etouffe (a-toof-ta), 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 
 mu,sic it means an exceedingly soft siyle 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 auh r6p-S-te'sI-0uh), 
 Fr. To be in rehearsal. 
 
 Et resurrexit (St rS-soor-rfix'it), Lat. " And 
 rose again." A part of the <;redo. 
 
 Etta(efta), „ 1 Little; an Italian final 
 
 Btto(6t'to), ■ J diminutive; as, tror'>elta, a 
 little trumpet. 
 
 Ettachordo (St-ta-kor'do), Jt. Instruments 
 having seven strings. 
 
 Etude (a-tiid), Fr. A study. Strictly f^ocak- 
 ing, a composition for practice in whi.',_ the 
 overcoming of some one technicu 1 difficulty 
 is aimed at. Thereare, howevor, also6iudos 
 which are studies in expression or iu phra.'. • 
 ing. Further, during the last Ji.ilf century 
 it has been the fashion to wtitefitncles du 
 concert, concert studies, i. e., studies in- 
 tended not merely-f.ir private practice, bul 
 also, perhaps chiefly, fur public display. 
 Not a lew of these Studes de concert are in- 
 deed works of Imagination and exquisite 
 musicianship. 
 
 a arm, a add, a, ale, 6 end, e eve, i iU, i isle, 6 old, 6 odd- oo moon, H but, ii Fr. emmd, kh Ger. ch, nh naaaU 
 
 (105) 
 
ETU 
 
 DICTIONAEY OF MUSIC. 
 
 EXT 
 
 Etudier (a-tii-de-a), Fr. To study, to practice. 
 
 Et vltam (fit ve'tam), Lat. " And life ever- 
 lasting." A part ol the Credo, In the Mass. 
 Etwas (61'vas), Ger. Some, somewhat, a little. 
 
 Etwas langsamer (et'vas lang'sa-mfir), Ger. A 
 little slower. 
 
 Eufonia (a-oo-fo-ne'a), Ji. 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, ol 16-teet scale. 
 
 Euphonic (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 
 enuuciation of sounds. 
 
 Euharmonic. Producing harmony or con- 
 cordant sounds. 
 
 Euharmonic or^an. An ingenious Instru- 
 ment of American origin, invented by H. 
 W. Poole about the year 1848. 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 r", invented by 
 the great physicist, E. F. F. Chladni, about 
 1790. The tone of this 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 those of the organ, horn, bassoon, 
 clarinet, and violin. 
 
 Euphonious (yoo-fo'ni-fls). Smooth and melo- 
 dious. 
 
 Euphonium . A bass wind instrument of mod- 
 ern invention, used in military bands. It 
 has two tubes, played at will from 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 (S-ve-ra'tfi), II. Men with soprano 
 voicts among the Italians, who formerly 
 
 took the treble parts in the church and 
 
 theater. They are now nearly, if not quite, 
 
 extinct. 
 Evolutio (8-v6-loo'tsi-6), Lnt. Inversion of the 
 
 parts in double counterpoint. 
 Executant (fix-a-koo-tanh), Fr. A performer, 
 
 either vocal or iustrumental. 
 Exequiae (SxrS'kwi-a), Lat. Dirge. 
 
 Exequten (Sx-a'kwi-Sn), Ger, Masses for the 
 
 dead. 
 Exercice (6x-Sr-sess'), Fr. Exercise. 
 
 Exercice de I'archet (gx-Sr-sess' dtth 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 (gx-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), /(. See Espressivo. 
 
 Extemporaneous. Without premeditation. 
 
 Extempore (Sx-t6m'p6-r8), Lat. Unpremedi- 
 tated, improvised. 
 
 Extemporize. To perform extemporaneous- 
 ly, without premeditation. 
 
 Extended harmony. See Dispersed fuzrmony. 
 
 Extended phrase. Whenever, by repeating 
 one of the feet, or by any other variation ol 
 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 (Gx-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, & add, a ale, )i end, e eve, I iM, I isle, o old, <3 odd, oo moon, Hl but, il Ft. sound, kh Ger. ch. nh nasal. 
 
DICTIONARY OP MUSIC. 
 
 FAL 
 
 F 
 
 P. The name of the fourth note in the nat- 
 ural diatonic scale of C. A perfect fourth 
 above C. 
 
 F». A syllable applied in sol-faing to the 
 fourth degree of every scale. 
 
 F a bemol (fa ba-mol), Ft. The note F|>. 
 
 Fa-burden. A term applied by the old Eng- 
 lish musical writers to a certain speciex of 
 counterpoint, consisting of thirds and six ihii 
 added by ear to a cantus firmus. Later it 
 siguiBedany kind of Improvised accompani- 
 ment. See Falso boraone. 
 
 Paces d'un accord (fiiss d'iin ak-kor), Fr. The 
 various positions of a chord. 
 
 Fach (fakh), Ger. Ranks; thus, /anjfacA, five 
 ranks. 
 
 Facile (fa-sel'), JV. iLiffht Pasv 
 Facile (fa-tshe'lg). It. J "^nt, easy. 
 
 Faciiita (fa-tshe'li-tii), 7i!. l Facility ; an easier 
 Facilite (fa-sel-1-ta), Fr. J arrangement or 
 
 adaptation. 
 Facilement (fa-sel-manh), Fr. 1 Easily, with 
 Faciimente (fa-tsbel-mSn'te), It. j facility. 
 
 Fackeltanz (fak'l-tiints), Oer. Dance with 
 
 flambeaux. 
 Facture (fak-tiir), JiV. The composition, or 
 
 workmanship, of a piece of music. 
 Fa d^se (fa dl-az), Fr. The key of F#. 
 
 Fa diise majeur (f^ dl-az' ma-zhOr'), Fr. The 
 
 key of F# major. 
 Fa diise mineur (fa di-az' ml-nOr'), Fr. The 
 
 key of F# minor. 
 Pa diesis (fa de-a'zis). It. Fa-sharp. Fjf. 
 Pagott (fa-gotf), Ger. A bassoon. 
 Pagottino (fa-got-te'no), It. A smai. bassoon. 
 
 Pagottist (fa-got-tlsf), Ber. 1 A performer 
 Fagottista (fa-got-tes'ta), It. j on the bassoon. 
 
 Fagotto (fa-got'to), It. A bassoon, also an or- 
 gan-stop. 
 Fagotto contro (fa-got'to kon'tro). It. A large 
 
 bassoon, an octave, a fifth, or a fourth lower 
 
 than the common bassoon. 
 Pagottone (fa-got'td-nS), It. A large bassoon 
 
 formerly in use, an octave lower than the 
 
 fagotto. 
 Pahnenmarsch (fa'nSn-marsh), Ger. The 
 
 march or tune that is played when the 
 
 colors are lodged. 
 Faible (fa'bl), Fr. Weak, feeble, thin. 
 Falblement (fa'bl-manh), FY. Feebly, weakly. 
 Paire (far), Fr. Ho do, to execute. 
 
 Faitesblen sentlr lamilodie (fatbl-anh'stoh- 
 ter* la ma'lo-de), Fr. Play the melody very 
 distinctly. 
 
 Fa, la. The burden, chorus, or refrain of 
 mauy 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. 
 
 Falalella(fa-lsi-iei'la), It. A nonsensical song. 
 
 Fall (fal), Ger. A cadence. 
 
 Falsa (fal'sa), It. \ False, wrong, inharmo- 
 Falsch (falsh), Ger. J nious. 
 
 Falsch singen (falsh sIng'Sn), Ger. To sing 
 out of tune. 
 
 False. Those intonations of the voice that 
 do not truly express tbe intended iutervals 
 are called false, as well as all ill-adjusted 
 combinations. The term false is applied iu 
 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 tbe first beat of the bar to the second 
 or fourth, it is called false aeceut. 
 
 False cadence. An imperfect or interrupted 
 cadence. 
 
 False fifth. An old term for an imperfect or 
 diminished fifth ; a fifth containing only six 
 semitones, as C, 6t>. 
 
 False relation. The principal and most ob- 
 jtfctiouable kind of false relation arises 
 where a note which has appeared iu one 
 part reappears immediately after in another 
 part chromatically altered — i. «., a semitone 
 flattened or sharpened (a). As numerous 
 examples in our best composers show, such 
 progressions have by no means always a bad 
 effect. Another kindof false relation is the 
 occurrence of the tritonus (an augmented 
 fourth or diminished flfth) between thefirst 
 note of the one and the second note of the 
 other of two progressive parts. Hence the 
 strict prohibition by the old theorists of the 
 progression of two major thirds (6). The 
 practice and teaching of more modern times 
 deals with this matter in a high-handed 
 way. 
 
 (a) . , (i) 
 
 False triad. The diminis)ied triad, formerly 
 so called on account of its having a false 
 fifth. 
 
 & arm, & add, &ale,i end, i «ve, I ill, I itle, 6 old, 6 odd, oomoon,iitmt,Vi Fr. aownd, kh Qer. ch, nh nasal. 
 
FAL 
 
 MCTIONAUY OF MTTSIC. 
 
 Ffil 
 
 Falsett (fal-sSf), Ger. \ Falsetto. (1) The 
 Falsetto (fal-sSt'to), It. /head voice, as distin- 
 guished from the chest voice. (2) A singer 
 who sings soijrano or alto parts with such a 
 voice. FalsetU must not be confounded with 
 casirati. 
 
 Palsette. 1 A false or artificial voice ; that 
 Falsetto, (part oi a person's voice that lies 
 
 above its natural compass. 
 False (lal'so), It. False. 
 
 Falso bordone (fal'so b6r-d6-n6), It. What the 
 French Cd.ll Faux-bourdon and the English 
 Fa-bunhn. There are several kinds of falso 
 bordone. The most important are : (1) The 
 early.manner of accompanying a melody 
 (cantus flrmus) in thirds and sixths, with 
 the exception of the first and last note, with 
 whicti the highest part took the octave and 
 the middle part generally the fifth of the 
 tenor— i. e, the part which "holds ' the 
 cantus firmus. Or the melody (cantus 
 firmus) was in the highest part, and was ac- 
 companied by fourths andsixths below, ex- 
 cept at the clo=e, where the lowest part took 
 the octave. (2) Ehythmically unmeasured 
 vocal compositions in simple counterpoint, 
 consisting of progressions of consonant 
 chords, whose eveu course, however, is in- 
 terrupted at the cadences by prepared sus- 
 pensions. 
 Fa majeure (fa mS-zhOr'), i, 1 The key of F 
 Fa majore (fa mi-zhOr'), ^^- j major. 
 
 Fa mineur (fa mi-niir'), Fr. Key of F minor. 
 
 Fanatico (fa-na'tl-ko). It. A fanaticor passion- 
 ate admirer. 
 
 Fancies. An old name for little lively airs or 
 tunes. See Fantasia. 
 
 Fandango (fan-dan'go), Sp. A dance much 
 used iu Spain , iji 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 : 
 
 ^irl^uc 
 
 Fanfare (fanh-far), Fr. A short, lively, loud, 
 and warlike piece of music, composed for 
 trumpets and kettledrums. Also short, live- 
 ly pieces performed on hunting-horns in the 
 cnase. 
 Fantaisie (fan-ta-z6), Fr.^ Fantasy, fancy. 
 Fantasia (fan-fa-ze'a), It. ^caprice, whim. (1) 
 Fantasie(faM-la-se'),<Ja'. J The name of Fan- 
 tasia 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 iu style, not restricted by any defi- 
 nite form. (2) An improvisation. (3) The 
 inst'umental pieces called Fantasias (also 
 written Fantazias and Phantasies), Fancies 
 (or Fansies), etc., were at first mostly of a 
 f ugal nature. Those which Dr. Burney had 
 in his possession were for viols, and "con- 
 
 sisted more of motets, madrigals, and in 
 Homines {g. i;.), originally designed for voices, 
 than of fantasie made expressly for instru- 
 ments." Christopher Simpson writes in 
 1667 that " this kind of music is now much 
 neglected, by reason of the scarcity of audi- 
 tors that understand it; their ears being 
 better acquainted and more delighted wiih 
 light, airy music." He names as the be^t 
 composers of Fancies in Eugland, Alfonso 
 Ferabosco, Ciperario, Lupo, Micu, While, 
 Ward, Dr. Colman, and Jenkins. (4) Weliml 
 the term Fancies also applied to vocal com- 
 positions and to short, lively tunes. 
 Fantasioso (ftlu-ta-zl-o'zo). It. Fantastic, c-i- 
 pricious. 
 
 Fantasiren (fan-la-ze'r'n),'&r. To improvise, 
 to play extemporaneously. 
 
 Fantasticamente (fan-tas-ti-ka-m6n't6), It. Tn 
 a fantastic styie. 
 
 Fantastico (fan-tas'ti-ko). It. 1 Fantastical, 
 
 Fantastique (lau-tas-tek'), Fr. J-whimsical,ca- 
 
 Fantastisch (fau-tas'tlsh), Grr. \ prioiousin re- 
 lation to style, form,- modulation, etc. 
 
 Farandole (fa-ranh-dol'l, „ \ A lively 
 
 Farandoule (fa-ranh-dool), /dance in 6-8 
 time, peculiar to Provence. 
 
 Farce. A short, extravagant comedy, inter- 
 spersed with airs or songs with instrumental 
 accompaniments. 
 
 Farsa (far'sa). It. \ ^„,„„ 
 
 Farsa (lar'sa), Sp. P»'^<'«- 
 
 Farsa in musica (far'sa iu moo'zi-ka). It. Mu- 
 sical farce ; a species of little comic opera, 
 in one act. 
 
 Fascie (fas'tshi-«). It. pi. The sides, or hoops, 
 of a violin, viola, etc. 
 
 Fastosamente (fas-t6-za-mSn't6),/il. Pompous- 
 ly, proudly. 
 
 Fastoso (fas-to'zo). It. Proud, stately. In a 
 lofty and pompous style. 
 
 Faucette (fo-sSf), ii„ l-ii>„i„„ii„ 
 Fausset(ffi-sa'), •^'^- l^setto. 
 
 Faux (fo), Fr. False, out of tune. 
 Faux accord (fo zah-k6rd'), Fr. A dissonance. 
 Faux bourdon (fo boor-dOnh), Fr. See Fa- 
 burden. 
 
 F clef. The bass clef ; a character placed on 
 the fourth line of the staflF so that 
 
 ^ 
 
 the two dots are in the third and 
 
 fourth spaces. ' 
 
 F-dur (Sf-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'fir), Ger. Festival, celebration. 
 Feiergesang (fi'6r-ghe-sang), Oer. Solemn 
 hymn, anthem. 
 
 & arm, & add, a aie, £ end, e eve, I W, i isle, o old, odd, oo moon, ti Imt, ii Fr. sound, kh Qer. cA, nh nasal. 
 
 (108) 
 
P£l 
 
 WCTIOIJARY OF MtJSlO. 
 
 KP 
 
 Peierlich (!i'6t-likh), Ger. Solemn, festive. 
 
 Pelerlichkeit (n'Sr-Uth-kit), Gir. Solemnity, 
 pomp. 
 
 Feigned voice. A lalsetto voice. 
 
 Peine Stimme (H'n6 stJm'mS), Ger. A fije 
 voice. 
 
 Feint. A figure In drum music. 
 
 Feinte. An old name for a semitone ; an ac- 
 cidental. 
 
 Feldflote (fSld-flo't«), Ger. A peasant flute. 
 
 Feldkunstpfeifer (feid-kooust'pfi-fer), Ger. A 
 military musician. 
 
 Peldmusik (feid'moo-zik), Ger. Military mu- 
 sic. 
 
 Feldrohr (ffild'ror), Ger. A rural pipe of oboe 
 order. 
 
 Feldton (fSld'ton), Ger. The tone or keynote 
 of the trumpet and other military wind in- 
 struments. 
 
 Feldtrompete (f61d-tr6m-pa't6), Ger. Military 
 trumpet. 
 
 Ferma (iar'ma), It. Firm, resolute, steady; 
 
 permamente (far-ma-m6n'tfi), It. Firmly, 
 steadily. 
 
 Fermata (far-ma'ta), 7i!. 1 A pause or hold 
 
 permate (far-ma't6), Ger. J marked thus, /^. 
 
 Permate (far-ma'tS), „ \ Firmly, steadily, 
 
 Fermato (far-ma'toi, ' J resolutely. 
 
 Permement (far-mS-manh), Fr. Firmly, res- 
 olutely. 
 
 Pernio (far'mo). It. Firm, resolute. 
 
 Feme (fSr'nS), Ger. Distance. 
 
 Fernwerk (f6rn'w6rk), Ger. Distant, or re- 
 mote, work , term applied to a particular 
 row of keys in Qerman organs. 
 
 peroce (fa-ro'tshg), j, \ Fierce, 
 
 Ferocemente (fa-ro tshS-mfin'tS, J with an 
 expression of ferocity. 
 
 perocita (fa-ro-tshl-tft'). It. Fierceness, rough- 
 ness. 
 
 Fertig(f6r'tigh), Ger. Qnick, nimble, dexter- 
 ous. 
 
 Fertigkeit (fgr'tigh-kit), Ger. Quickness, dex- 
 terity. 
 
 Fervemment (far-va-manh), Fr. Fervently, 
 vehemently. 
 
 Fervente (far-v§u'tS), It. Fervent, vehement. 
 
 Perventemente (far-vSn-t6-m6n't6), „ 1 Fer- 
 
 Pervidamente (far ve-da-m6n't6), J vent- 
 
 ly, vehemently. 
 
 pervido (far'vido). It. Fervent, vehement. 
 
 Fes (f6s), Ger. The note F\>. 
 
 Feses (fa'sgs), Ger. F-double-flat. 
 
 Pest (fSst), Ger. Feast, festival; also firm, 
 steady. 
 
 Festigkeit (fSs'tig-kit), Ger. Firmness, steadi- 
 ueas. 
 
 Festivamente (fSs-te-va-mSn'te), It. Gaily, 
 brilliantly. 
 
 Pestivita (fSs-te-vI-ta'), It. Festivity, gayety. 
 
 Festivo (fSs-te'vo), It. Merry, cheerful, gay. 
 
 Festlich (fgst'llkh), Ger. Festive, solemn. 
 
 Festliclikeit (fgst'likh-kit), Ger. FL'stivity, 
 solemnity. 
 
 Pestlied (fSst'led), Ger. A festive song. 
 
 Festoso (fSs-to'zol, It. Merry, cheerful, pay. 
 
 Festouvertiire(f6st'6-v6r-tii're), Gc. Festival 
 overture ; an overture in a vigorous, bril- 
 liant style. 
 
 Festzeit (fSst'tsIt) Ger. Festival-time. 
 
 P. P. Fortissimo ; very loud. 
 
 F. P. P. Very fortissimo ; as loud as possible. 
 
 Peuer (foi'Sr), Ger. Fire, ardor, passion.^ 
 
 Feurig (foi'rlgh), Ger. Fiery, ardent, passion- 
 ate". 
 
 Fiacca (fe-ak'ka), « 1 Feeble, weak, lauguish- 
 
 Fiacco (fe-ak'ko), J ing, speaking of the 
 tone. 
 
 Fiasco (fe-as'ko), It. The technical term for a 
 failure; a complete breakdown in a mu- 
 sical performance. 
 
 Piato (fe-a'to), It. The breath, the voice. 
 
 Fiddle. A common name for violin. 
 
 twiddler. A common name for violinist, usu- 
 ally applied to a poor player. 
 
 Fiddlestick. A violin-bow. 
 
 Fides (fe'des). Lot. (1) A catgut string; (2) A 
 stiiiiged instrument. 
 
 Pidicen (fe'dl-tsSn), ia(. A harper; one who 
 plays upon a stringed instrument. 
 
 Fidicina (fe'di-tse'na), I.at. A woman who 
 plays upon a stringed Instrument. 
 
 Pidicula (fe-de'koo-la), Lat. A small lute or 
 guitar. 
 
 Fiducia (fi-doo'tshi-a), It. Confidence. 
 
 Piedel (fe'd'l), Ger. A fiddle, a violin. 
 
 Fiedelbogen (fe'd'l-bo'g'n), Ger. A fiddle- 
 stick, a violin-bow. 
 
 Fiedelbrett Jfe'd'l-brfit), Ger. A squeaking 
 fiddle. 
 
 Fiedler (fed'lfir), Ger. A fiddler. 
 
 Fiel. An old name for the fiddle, or violin. 
 
 Field music. Music for military instruments ; 
 martial music. 
 
 Pier (fe-a'), Fr. Proud, haughty. 
 
 Fleramente (fe-er-a-men'tg). It. Fiercely, ve- 
 hemently, boldly. 
 
 pifere (fi-ar), Fr. Proud, lofty, fierce. 
 
 Piirement (fl-ar-manh), Fr. In a fierce man- 
 ner. 
 
 Fleramente assai (fe-arra-mfin't6 iis-sa'i), /(. 
 Very bold and energetic. 
 
 Piero (fe-a'ro), It. Bold, energetic, lively. 
 
 pierte (fer-ta'), Fr. Fierceness, boldness. 
 
 Pile. A simple cross flute (,v. Flute), generally 
 either in the key of F or B^, and chiefly 
 used in military music in combination 
 
 J, arm, &add,tale,6 end, eeve,1iU,li8le,''6old,6 odd, oo moon, tl &k(, U i^. sound, kh Ger. eh, nh nasai, 
 
 (109) 
 
FIF 
 
 DICTIONARY OF MUSIC. 
 
 fIS 
 
 with the side-drum in what are called 
 
 drum-and-fife hands. 
 Fifer. One who plays on the fife. 
 Flffaro (fefa ro), It. A fife. 
 
 Pifre I tefr), Fr. A fife, also a fifer ; the name 
 
 Is also applied to one of the stops in a har- 
 
 mouium. 
 Fifteenth. An interval of two octaves: also 
 
 ilie name of an organ-stop, tuned two oc- 
 
 iu\ es above the diapasons. 
 Fifth. The intervalfrom any tone of the scale 
 
 to ihe fifth ahove or below, the extreme 
 
 tonus themselves being counted. 
 I^lfth, augmented. An interval containing 
 
 lour whole steps. 
 Fifth, diminished. An interval containing 
 
 two waole steps and two half-steps. 
 
 Fifth, perfect. An interval containing three 
 whole steps and one half-step. 
 
 Fifths, consecutive. Two or more perfect 
 
 Hf lti.s immediately following one another in 
 
 two parallel parts of the score. 
 Fifth , sharp. An interval consisting of eight 
 
 semitones. 
 Figur (fi-goor'), Qer. A musical figure, phrase, 
 
 (/r idea. 
 
 Pigura (fe-goo-ra'), It Note employed as an 
 ornament. 
 
 Figuralgesang (fl-goo-ral'ghg-siing'), Ger. 
 Varied and ornamented chant, as opposed to 
 plain chant. 
 
 Figurantes (fe-gu-ranhf), -fr. Those dancers 
 ill 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 
 piissagH, by introducing passing tones, ap- 
 poggiaturas, etc., in one or mor* of the 
 voices. 
 
 Figurato (fe-goo-ra'to). It. 1 Figured, florid, 
 Figure (fl-gii-ra'), Fr. J embellished. 
 
 Figured. Free, florid ; a term applied to an 
 air which, instead of moving 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 
 liarmonies. It consists of a bass part with 
 figures which indicate the principal iuter- 
 v:ils of tlie intended chords. In the case of 
 t'iads, unless they are inverted, the bass is 
 gfnerrilly left without figures. Accidentals 
 aflect the corres[)ondiug intervals of the fig- 
 ures beside which they stand. An acci- 
 dental standing by Itself affects the third 
 above the bass note. A strolie through a 
 figure shows that the interval is sharpened 
 a semitone. An oblique strolie 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 talcen; horizon- 
 tal lines indicate that a harmony has to 
 
 be continued whilst the hass^proceeds, and 
 the words tasto solo or the sign o iudicate 
 that nothing but the bass notes is to be 
 played. 
 
 Figures of diminution. Numerical charac- 
 ters which diminish the duration of tlie 
 notes over which they are placed. T;'ri 
 notes with a figure three are called triplets , 
 where there are two triplets a figure six is 
 used. 
 
 Filar la voce (fe lar la vo'tshg), It, To spin 
 out, to prolong the tone, gradually aug- 
 menting and diminishing the sound of the 
 voice. 
 
 Pllarmonico (fe-lar-mo'ni-ko), It. Philhar- 
 monic, music-loving. 
 
 Flier (fl-la), Fr. To spin, to draw out. 
 
 Filer le son (Ii-la Idh sOnh), Fr. See Filar la 
 voce. 
 
 Filet de voix (fl-la ddh vwa), Fr. A very thin 
 voice. 
 
 Fileur (fi-Wr), Fr. A spinner ; a stringmaker, 
 
 Filum (fe-loom), Lat. A uame formerly given 
 to the stem of a note. 
 
 Fin (fanh), Fr. The end. 
 
 Fin al (fen al), II. End at ; play as far as. 
 
 Final. The final is in the church modeswhat 
 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 cues (confinals), which oc- 
 cur frequently in the endings of the Psalms 
 and in the sections of the Eesponsories, 
 Graduals, and Tracts. 
 
 Pinal close. Final cadence. 
 
 Finale (fe-na'18), B. (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 
 chorus. (2) A final (g. v.). 
 
 P in alt. The seventh ahove G in alt; the 
 seventh note in alt. 
 
 F In altisslmo. The octave above F In alt 
 the seventh note in altisslmo. 
 
 Fin a qui (fen a, kwe), It. To this place. 
 
 Fine (fe'nfi). It. The end, the termination. 
 
 Fine del aria (fe'nS del ii'ri-a), It. The end of 
 the air. 
 
 Fine del attO (fe'nS d61 at' to), It. The end of 
 the act. 
 
 Finement (fftnh-manh), 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. 
 
 i,arm, i, add, a alt, Send, e eve, I iU, I iele, 6 old, 6 odd, oomoon, a but, U Fr. lound, kh der. ch. ah naml. 
 
FIS 
 
 DICTIONARY OF MUSIC. 
 
 FLA 
 
 Fingering:, American. Tbo 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, Qerman. J iug piano music which 
 designates the thumb as the fir!>C finger. 
 
 Fingerieiter (iing'Sr-li'tgr), Ger. Finger-guides. 
 
 FIngern (Img'ern), 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. 
 
 FInlta (te-ne'ta), „ \ Finished, ended, con- 
 
 Finito (fe-ne'toj, '''• /eluded. 
 
 Finite canon. A canon which is not repeated. 
 
 Pino al (fe'no al)', It. Flay L\ far as, stop at, 
 end at. 
 
 Fin qui (fen kwe), It. To this place. 
 
 FInt (fentl, \ Feigned, false, interrupted, 
 
 FInto (fen'to), j in respect to cadences ; afeint, 
 or deceptive, close. 
 
 FlocS*(fi"lkl];^«-} Hoarse, faint, feeble. 
 
 Flochezza (fe-6-ljSt'za), /(. Hoarseness. 
 
 Fioreggiante (fe-6-rCd-ji-an't6),Ji!. Too ornate, 
 decorated with roulades, cadences, etc. 
 
 Fioretti (fe-o-ret'te). It. Little graces, or or- 
 naments. In vocal music. 
 
 Fioriscente (fe-o-ri-Bhen't6, „ 1 Florid, 
 
 Florlto (fe-o-re'to), J abounding 
 
 with ornaments. 
 
 Fiorita cadenza (ffi-o-re'ta ka-dfint'pa). If. A 
 cudenza whose last note but one is divided 
 into many notes. 
 
 Fioritezza (fe-6-ri-tet'sa). It. Embellishment, 
 a fiorid style of performance. 
 
 Fioritura (fe-o-ri-too'ra), It. Literally, "a 
 flowering." A florid melodic ornament. 
 Fioreggiare, the corresponding verb, signi- 
 fies to ornament (flower) a melody by solv- 
 Ine its principal elements into a multiplic- 
 ity of shorter notes of varied pitch. Fimture 
 . is the plural of fxyrUura. 
 
 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 (fls), 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'moU), Ger. The key of FJf 
 
 minor. 
 Fistel (fis'tel), Ger. Feigned voice ; falsetto. 
 
 Fistola (fis'to-la), It. \ . . , 
 Fistula (fis'too-la), Lai. ] ■*■ '^^°' *■ P'P®' 
 
 Fistula dulcis (fls'too-la dool'tsis), Lnl. This 
 
 was once a common flute, and was blown 
 
 at the end. See FlUte i hee. ' 
 Fistula Qermanica (fis'too-la ger-mil'ul-kjl). 
 
 Lat. German flute. 
 Fistula Panis (fis'too-la pa'nls), I.at. The 
 
 Pandean •pipes; wind instruments of the 
 
 ancients. 
 Fistula pastoralls (fis'too-la pas-to-ra'Iis), Lat. 
 
 The Pandean pipes ; wind instruments of 
 
 the ancients. 
 
 Fistula pastorica (fis'too-la pas-to ri-ka), ImI. 
 Name given by Cicero and other classical 
 writers to the oaten pipe used by the audi- 
 ence in the Bomau theaters to express 
 their disapprobation. 
 
 FIstulator (fis'too-la'torl, Lat. \ A piper, a 
 
 Fistulatore (fes'too-la-to'rg), It. J player on a 
 flute or flageolet. 
 
 Fistullren (tjs-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 ofthe upper partial notes instead of the 
 fundamental note. 
 
 Fithele. The old English name for the fid- 
 dle. 
 
 Fixed syllables. Syllables which do nr.t 
 change with the change of key. The Hal 
 lans use fixed syllables. 
 
 Flachflote (flakh-flo'tS) , Ger. Shallow flute; 
 flageolet; also an organ-stop of rather thiu 
 tone. 
 
 Flageolet (fla-zh6-o-la'), Fr. \ A small flftteA 
 
 Flageolet (fla-gh6-6-16t'), Ger. i 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. 
 (3) 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. Hanrumics.) 
 
 Flageolet, double. A flageolet having two 
 tubes. 
 
 Flagioletta (fla-ji-o-iet'ta). It. (See Flaaeolet.) 
 
 Flam. In drum music a grace note or stroke 
 corresponding with the appoggiatura in 
 other compositions. There are two flnms, 
 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 (flashl-net), Ger. The flageolet 
 
 Flat. A character .which lowers a note one 
 semitone (|>). 
 
 Flat, double. A character composed of two 
 flats, indicating a depression of two semi- 
 tones (bb). 
 
 Platter la corde (flat-ta la kord), Fr. To play 
 the violin, etc., in a soft, expressive man- 
 ner. 
 
 i, arm, & add, a ale, £ end, e eve, i ill, I iale, 6 old, 6 odd, oo moon, H but, u Fr. eound, kh Ger. cA. nh uaeal. 
 
 Ciu)' 
 
FLA 
 
 DICTIONARY OF MUSIC. 
 
 FLU 
 
 Flautando(fla-oo-tau'do), t, 1 Flute-like tone; 
 Flautato (fla-oo-ta'to), -^ J that qunlity 
 
 of tone obtained hy drawing the bow 
 
 smoothly and gently across the strings over 
 
 that end of the fingerboard nearest the 
 
 bridge. 
 Plautina (f.a-oo-tc'iia), « lA small flute, an 
 Flautino (fla-oo-te'u6), / octave flute; a 
 
 piccolo. 
 Flautista (fla-oo-tes'ta), It. A performer on 
 
 iLe hute. 
 Flauti 'nisoni (fia'oo-te oo-ne'so-ne), li. The 
 
 fluies m unison. 
 Flauto (fla'on-to), It. A flute. 
 
 Flauto a becco (fla'oo-to a b6k'k6), It. A 
 beaked flute. A flute having a mouth- 
 piece like a flageolet. 
 
 Flauto ad libitum (fla'oo-to'). It. The flute 
 part mi-y be played or omitted. 
 
 Flauto alto (fla'oo-l6 al'lo), It. A tenor flute 
 used iu bauds. 
 
 Flauto amabile (fla'oo'to a-ma'bi-lS), It. The 
 name of an organ-stop of soft aud delicate 
 tone. 
 
 Flauto amoroso (fla'oo-to a-mo-ro'zo), It. A 
 4-feet organ-stop of delicate tone. 
 
 Flauto dolce (fla'oo-to dol'tshS), It. An organ- 
 stop of soft, agreeable tone. 
 
 Flauto piccolo (fla'oo-to pek'k6-16). It. An 
 octave flute, a small flute of very shrill 
 tone ; a flageolet.' 
 
 Flauto tacere (fla'oo-to ta-tsha'r6), It. The 
 flute is not to play. 
 
 Flauto tedesco (fla'oo-to tS-dSs'ko), /(. A 
 German flute. 
 
 Flauto terzo (fla'oo-to t6rt's6), It. The third 
 flute. 
 
 Flauto transverso (fla'oo-to trans-vSr'so), „ 1 
 
 Flauto traverso (fla'oo-to tra-vSr-so), J 
 
 The transverse flute— thus named because 
 it is held across, and blown at the side, 
 contrary to the flflte&bec; 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-m«n't6). It. Mournfully, 
 dolefully. 
 
 Flessibile (fl6-ee'bH«), It. Flexible, pliant. 
 
 Flessibilita (flS-si-be-li-tii'), It. Flexibility. 
 
 F-Locher (Sf-lokh'Sr), Gei: The 1 holes, or 
 soundholes, of a violin, etc. 
 
 FlOn-f Ion (fl0n-fl6n), Fr. Bad music ; trash. 
 Also the burden of certain old vaudevilles. 
 
 Florid. Ornamental, figured, embellished. 
 
 Florid counterpoint. Figured counterpoint. 
 
 Flotchen (flot'khgn), Ger. A little flute, a 
 pipe, a flageolet. 
 
 FlSte (flo'tg), Gcr. A flute. 
 
 Floten (flo't'n), Ger. To play upon the flute. 
 
 Flotenspieler (flo't'n-spe'lfir), Ger. A flute- 
 player. 
 
 Flotenstimme (flo't'ii-stim'mfi), Ger, A soft, 
 
 sweet voice ; the part for the flute. 
 FIStenzug: (flo't'n-tsoog), Gcr. A flute-stop in 
 
 an organ. j 
 
 Flote traverso (flo'tS tra-vSr'so), Gcr. The 
 
 German flute ; also au organ-stop. See 
 
 Flauto travcrso. 
 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. 
 
 Fliichtig (flukh'tJgh), Ger. Lightly, nimbly. 
 
 Fliichtigkeit (fl(ikh'tigh-klt), Ger. Lightness, 
 
 fleetness. 
 Fliigel (flu'g'l), Ger. Awing; a harpsichord, 
 
 a grand piano. 
 Fliigel (flil'g'l), Gfr. Lit., "wing." A grand 
 
 pianoforte. Formerly a harpsichord. 
 Fliigelhorn (flu'g'l-horn), Ger. (1) A bugle. 
 
 (2) A keyed brass instrument which is made 
 
 in various keys and forms. The Kenthorn, 
 
 Klappenhorn, and Cornet belong to the 
 
 genus Fliigelhorn. 
 Fluit (floit),Dw<. '1 . fl J 
 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<'f which only enters the body 
 'of the pipe. The Jluework is the aggregate 
 of such pipes. 
 
 Flute. An organ-stop of the flue .'ipecies, the 
 tone of which resembles that of the flute. 
 
 Flute. There aretwo kinds of flute; theflflte 
 4 bee (beak flute), or direct flute, and the 
 flOte traversifere, 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 least 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 aconioal 
 tube, stopped at 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 infitrument, 
 which is one of the most important mem- 
 bers of the orchestra, 38 written asit sotinds. 
 A small, or octave, flute, the flanto piccolo 
 (with a compass from d" to a""; written 
 ■a'— a'") is also sometimes used in the orches- 
 tra. In military bands flutes in El^andin 
 F, and smnll 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, proljably, were the double flutes. 
 
 a arm, a add, stale, & end, e eve, I M, i isle, 6 old, 6 odd, oo moon, iibut,viFr. somid, kh Ger. ch, nh nasal. 
 
FLU 
 
 DICTIONARY OF MUSIC. 
 
 FOR 
 
 figured upon ancient 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 resultiug ef- 
 fect was that of a melody with harmony or 
 a melody with a drone bass, hut th e latter Is 
 regarded as more probable from the circum- 
 stance of similar flutes being still extant in 
 Abyssinia and elsewhere. 
 
 Piute, Fr. The same as flautando and flau- 
 tato (g. v.). 
 
 Piute k bee (floot a h6k), Fr. " Beak flute." 
 A direct flute. It has a beak-shaped mouth- 
 piece with a plug which leaves only a nar- 
 row aperture lor the breath to pass through. 
 There was a whole family of fltttes & bee, 
 bass, tenor, alto, etc. ( V. Flute.) 
 
 Flute allemande (floot Sl-manhd), Fr. The 
 German flute. 
 
 Flute, Boehm (bom). A perfected flute, in- 
 vented by M. Boehm, of^ Germany, in 1832. 
 It differs from the common flute in having 
 the size and location of the holes arranged 
 in their natural order with keys. 
 
 Flute conique (floot k&n-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. 
 
 Piute d'allemande (flute d'al-manhd), 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 ol producing 
 all the different tones of the major and mi- 
 nor diatonic scales. 
 
 Flute dolce (floo'tS dol'tshg). It. A flute with 
 a mouthpiece like that of a flageolet. 
 
 Flute douce (floot doos), Fr. Soft flute ; the 
 fldte £1 bee ; there were four kinds, the treble, 
 alto, tenor, and bass. 
 
 Mutee (floo-ta\ Fr. Soft, sweet. 
 
 flute harmonique (floot h9.r-mj:>nh-ek), Fr. 
 See Sarmonic flute. 
 
 Piute, octave. A flute the tones of which 
 range an octave higher than the German 
 flute. 
 
 Flute octaviante (floot fik-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,sheplierd's./transverseflute and blown 
 through a lippiece at the end. 
 
 Fluter (floo-ta), Fr. To play the flute. 
 
 Flute traversifere (floot trav-6r-si-ar), Fr, The 
 
 transverse, or German, flute. 
 F-moll («f-moll), Ger. The key of F minor. 
 
 Foco (fo-ko), It. Fire, ardor, passion. 
 
 pocosamente (fo-ko-za-mfin'tfi). It. Ardently, 
 vehemently. 
 
 Focosissimo (lo-ko-ze'si-mo), It. Very ardent- 
 ly, with a great deal of passion. 
 
 Focoso (I6-k6'zo), It. Fiery, passionate. 
 
 Foglietto (f61-ye-6t't6). It. A name given to a 
 flrst-violin part which contains all the ob- 
 ligato passages of the other parts. A fogli- 
 etto is used by the player who assists at the 
 rehearsals oi ballets, sometimes by con- 
 ductors instead of a score, and also 'by the 
 leader of the orchestra. 
 
 Fois (fwa), Fr. Time. 
 
 Fois premi&re (fwa pr6m-i-ar), Fr. The first 
 time. 
 
 Fois deuxiime (fwa dil-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-a de span-ya), Sp. A 
 species of composition invented by the 
 Spaniards, consisting of variations on a 
 given air. 
 
 Fondamentale (f8n-da-m6u-ta'18). It. Funda- 
 mental; fundamental bass. 
 
 Fondamento (fon-da-m6n'to). It. The funda- 
 mental bass ; the roots of the harmony. 
 
 Fond d'orgue (fOnh 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- 
 tntlnga distinct metrical 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, Kondo, and Sonata-piece. 
 (See Introduction.) 
 
 Forlana (for-la'na), It. 1 A lively Venetian 
 
 Forlane (ffir-lan'), Fr. ) dance in 6-8 time. 
 
 Portement (fort'manh), Fr. \ Loudly, 
 portemente (for-t6-m6n't6). It. ) powerfully, 
 vigorously. 
 
 Fortezza (for-tet'za), /(. Force, power, 
 strength. 
 
 ft arm, ft add, a ale, ^ead, e eve, I ill, i iale, 6 old, 6 odd, oo moon, H but, ii Fr. tmmd, kh (7er. cA, nh natal, 
 8 (US) 
 
FOR 
 
 DICTIONARY OF MUSIC. 
 
 FEI 
 
 Forte-piano (f6r-t6-pe-a'n6), II. I The piano- 
 
 Forte-plana (fort-pi-a'no), Fr, J- forte ; a key- 
 
 Portepiano (for'iS-pI-a'no), Oer. ) ed i n s t r u- 
 raeut 01 German invention, so called from 
 its capability of expressing different degrees 
 of power or intensity of tone. 
 
 Forte possibile (for'tS pos-se'M-lS), It. As loud 
 as possible. 
 
 Fortiss. An abbreviation of Fortissimo. 
 
 Fortissimo (for-tes'si-mo). It. Very loud. 
 
 Fortissimo quanto possibile (for'tes'si-mo 
 kwiiu-i6 p6s-se'bi-16), It. As loud as possi- 
 ble. 
 
 Fortschreitung (forfshri-toong), Ger. Pro- 
 gression (in barmony). 
 
 Fortsetzung (fort'sSt-soong), Ger. A contin- 
 uation. 
 
 Forza (fort'sa), It. Force, strength, power. 
 
 Forzando (for-tsan'do), j. 1 Forced ; laying a 
 
 Forzato (for-tsa'to), ' J stress upon one 
 
 note or chord ; sometimes marked V A >. 
 
 Forzar la voce (fort'sar la vo'tshg). It. To 
 force the voice. 
 
 Forzare (for-tsa'rg), Ji!. To strengthen. 
 
 Fourchette tonique (foor-sh£t t6nh-ek), Fr. 
 A tuuiugfork. 
 
 Four-part song. A song arranged for four 
 parts. 
 
 Fourth. A distance comprising three dia- 
 tonic Intervals ; that is, two 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. 
 
 Francaise (franh-saz'), Fr. A graceful dance 
 in 3-4 time. 
 
 Franchezza (fran-kgt'za), It. Freedom, confi- 
 dence, boldness. 
 
 Francaise (fran-saz'). Fr. j French ; in 
 
 Pranzese (frau-tsa'zfi), i(. > the French 
 
 Pranziisisch (fran-tso'zish), Ger.j style. 
 
 Frappe (frap), Ft. Stamping, striking; a pe- 
 culiar manner of beating time or striking 
 notes with force. 
 
 Frapper (frap-pa), Fr. To beat the time ; to 
 
 . strike. 
 
 prase (fra-zS), It. A phrase; short musical 
 
 Prasi. Phrases. 
 
 Praseggiare (fra-sfid-jl-ar'S), It. To phrase; 
 to deliver a melody or idea properly, i.e., 
 with expresslou. 
 
 Frauenstimme (frou'Sn-stlm'mS), Ger. A fe-* 
 male voice. 
 
 Preddamente (fr6d-da-m6n'tS), It. Coldly, 
 without animation. 
 
 Freddezza (fr^d-dSt'tsa), It. Coldness, frigid- 
 ity. 
 
 Preddo (fred'do), It. Cold, devoid of senti- 
 ment. 
 
 
 s= 
 
 Predon (fr6-d6nh), Fr. Trilling ; a flourish oi 
 other extemporaneous ornament. 
 
 Predonnemente (fr§'d6n-manh), Fr. Hum- 
 ming. 
 
 Predonner (fra-d6nh-na'), Fr. To trill, to 
 shake ; also to hum, to sing low. 
 
 Free composition. In a free style ; a com- 
 position not in strict accordance with the 
 rules of musical art. 
 
 Freemen's songs. Little comjpositions for 
 three or four voices, in use about 1600. 
 
 Free reed. A reed-sto;> 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 ujuallyi so strong as that of the 
 striking reed. 
 
 Fregiare (fra-ji-a'rS), It. To adorn, to em- 
 bellish. 
 
 Fregiatura (fra-ji-a-too'ra). It. An ornament, 
 an embellishment. 
 
 Frei (fri), Ger. Free. 
 
 Fremissement (fr&'mess-manh), Fr. Hum- 
 ming, singing in a low voice. 
 
 French horn. See Horn. 
 
 French sixth. One form of an 
 augmented sixth ; a chord 
 composed 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 (frfis'ko), „ I Freshly, 
 
 Frescamente (frSs-ka-mSn'te), ■ J vigorous- 
 ly, lively. 
 
 Fretta (frSt'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- 
 
 fut frets, too, are found on old instruments, 
 trings bound round the necks of instru- 
 ments were. Indeed, the earliest frets. 
 Preude (froy'dS), Ger. Joy, rejoicing. 
 Preudengesang (fioy'd'u-gfi-sang'), Qer. A 
 
 song of joy. 
 Freudig (froy'digh), Ger. Joyfully. 
 
 Freudigkeit (froy'digh-kit), Ger. Joyfulness, 
 joyousness. 
 
 pr i (fri), Ger. Free, unrestrained as to style. 
 
 Preie Schreibart (fri'« shrib'art), Ger. Free 
 style of composition. 
 
 Priedensmarsch (fre'd'ns-marsh), Ger. A 
 march in honor of peace. 
 
 Prisch (frish), Ger. Freshly, briskly, lively. 
 
 Friska. The quick movement in the Hun- 
 garian national dances called Cz&rd^. 
 (See C.) 
 
 a arm, & add, a ate, fi end, e em, !t8, 1 isle, oold, 6 odd, oo moon, a but, u Fr. sound, kh Qer. ch, nh nosoJ. 
 
 (IM) 
 
FRI 
 
 DICTIONARY OF MUSIC. 
 
 FUG 
 
 Frlvblo (fre'v5-16), It. Frivolous, trifling, 
 trashy. 
 
 Frdhgesang (fro'ghS-sa.ng'),' Ger. A joyous 
 song. 
 
 Prohlich (fro'Ukh), Ger. Joyous, gay. 
 
 Friihiichkeit (fro'likh-kit). Gar. Joyfulness, 
 gaytty. 
 
 Frohnamt (tion'amt), Ger. High Mass. 
 
 Prosch (£rosh),Ger. The lower part, or nut, of 
 a violin-bow. 
 
 Frottola (frot'to-la). It. A ballad, a song, gen- 
 erally of erotic seniiment. Musically itwas 
 between the artistic madrigal and the en- 
 tirely simple folksong called V.illftuella. 
 Current in Italy during the fifteenth and 
 sixteenth centuries. 
 
 Priihlingslled (rril'lings-led),ffcr. Spring-song. 
 
 Fruhmesse fruh'mSs-sS), «^ ) Matins, early 
 Friihstiick (frU'sttik), '^^- ] Mass. 
 
 F-5chIiisseI (Sf-shliis's'l), Ger. I'he F or bass 
 clef. 
 
 Fuga (foo'ga). It. A flight ; a chase. See 
 
 Fugue. 
 Fuga authentica (foo'ga ou-t6n'ti-ka), Lot. A 
 
 fugue with an authentic theme or subject. 
 Fuga canonica i(foo'ga ka-no'ni-ka), Lai. A 
 
 cauon. 
 Fuga contraria (foo'ga kon-tra'ri-ii), Lat. A 
 
 fugue in which the answer is generally in- 
 verted. 
 Fuga doppla (foo'ga dop'pl-a), It. A double 
 
 fugue. 
 Fuga irregularis (foo'ga ir-rSg-oo-la'ris), Lat. 
 
 An irregular fugue. 
 Fuga libera (foo'ga lib'g-ra), Lat. A free fugue. 
 
 Fuga mixta (foo'ga mlx'tii), Lat. A mixed 
 fugue. 
 
 Fuga obiigata (foo'ga ob-ll-ga-ta), Lat. A strict 
 fugue. 
 
 Fuga partialis (foo'ga par-tsi-a'lls), Lat. The 
 common form of the fugue intermixed with 
 passages of a difierent character. 
 
 Fuga propria (foo'ga pro'pri-a), Lat. A regu- 
 lar fugue strictly according to rule. 
 
 Fuga plagale (foo'ga pla-ga'lS), It. A fugue 
 with a plagal theme or subject. 
 
 Fuga ricercata (foo'ga re-tshSr-ka'tii), It. An 
 artificial fugue. 
 
 Fuga sciolta (foo'ga she-61'la]. It \ A free 
 
 Fuga soluta (foo-ga s6-loo'ta), ioi. J fugue. 
 
 Fuga totalis (foo'ga to-ta'lls), Lai. A canon. 
 
 Fugara (foo-ga'ra), Lat. An organ-stop of the 
 gamba species, of 4-feet tone. 
 
 Fugato (foo-ga'to). It. In the style of a fugue. 
 
 Fuge (foo'ghS), Ger. A fugue. 
 
 Puge galante (foo'ghS giUlan'tS), Ger. A free 
 fugue in the style of chamber music. 
 
 Pugha (foo'ga), /(. A fugue. 
 
 Pughetta (foo'gSt'ta), It. A short fugue. 
 
 Pugirte«(foo-ger't&), ^„ 1 "In the fugue 
 Fugirt (foo-gert), "'*^- /style; Jugirt 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 them, 
 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 instcuments,for voices 
 and for instruments and voices combined. 
 A fugue may be in two, three, iour,"five, and 
 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. \?arious 
 kinds of fugues are enumerated under Jitga 
 with its accompanying epithets. A fugue, 
 in its final evolution, consists of an exposi- 
 tion and two or more developments, which 
 fenerally are connected by episodes. In a 
 ague in four parts the exposition is some- 
 what likethis: Onepart propoststhesubject; 
 a second part fqllows 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 
 bri ngs up the rear with the answer an octave 
 higher or lower than the pait which was sec- 
 ond in the order of succession. The coun- 
 terpoint with which the' part that first enun- 
 ciates the subject accompanies the answer 
 is called countersubject, 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 and 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 ord^r of succession. 
 Supposing the alto to havie begun before, 
 the tenor or soprano or l>ass 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 before 
 the former has completed its course, iscalled 
 the stretto. This contrivance is especially 
 resorted to in the last development. Other 
 contrivances that may be utilized are the 
 augmentation, diminution, inversion, and 
 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 
 of tener (in order to insure unity) is derived 
 
 a arm, & add, a ale, $ eiid, ieve.liti.l Me, 6 old, odd, oo mion, but, ii Fr. lound, kb Ger. ch, uh naiai, 
 
 (116) 
 
PUG 
 
 DICTIONARY OF MUSIC. 
 
 lUR 
 
 from the subject, couutersubjoct, 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 iu which 
 the answer is an exact transposition of the 
 subject; a tonal fugue is one In which the 
 answer is aa imitation of the subject slight- 
 ly modified for t Lie purpose of lieeping with- 
 in the same key. 
 
 Two words often heard iu connection with 
 fugues may be here explaiined. Coda, or 
 codetta, is the name given to the notes 
 yphich are appended to the subject when at 
 its conclusion the answer does not strike in 
 at once, Rfr-percussion is the reappearance 
 of the subject and answer in a new order 
 with regard to succession and pitch in the 
 various davelopments 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 Fuga. 
 Pugrue, counter. A fugue in which the sub- 
 jects move iu contrary directions. 
 
 Fugue, double. A fugue on two subjects. 
 
 Fugue renversee (flig ranh-v8r-sa'), Fr. A 
 fugue, the answer iu which is made in con- 
 trary motion to that of the subject. 
 
 Fugue, strict. A fugue in which the fugal 
 form and its laws are strictly observed. 
 
 Fugue, perpetual. A canon so constructed 
 that its termination leads to its beginning, 
 and hence may be continually repeated. 
 
 Fug;ue, simple. A fugue containing but a 
 
 single subject. 
 Puguist. A composer or performer of fugues. 
 
 Piihrer (fuh'rfir), Qer. Conductor, director; 
 also the subject or leading theme in a fugue. 
 
 Pull. For all the voices or instruments. 
 
 Full anthem. An anthem in four or more 
 parts, without verses or solo passages ; to be 
 sung by the whole choir iu chorus. 
 
 Full band. A band in which all the instru- 
 meuts arc employed. 
 
 Full cadence. See Perfect cadence. 
 
 Fullflote - (fiil'flo-tei, Ger. Filling-flute; a, 
 stopped organ-register of 4-feet tone. 
 
 Pull 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. 
 
 Full service. A service for the whole choir 
 in chorus. . 
 
 Fiillstimmen (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 iu 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, subdominant, and dom- 
 inant. 
 
 Funereal, 
 mournful. 
 
 Funibre (fii-ngbr'). Ft. ) 
 
 Funerale (foo-n6-ra'16). It. 1- 
 Punereo (foo-na'rfi-o). It. ) 
 Funl (fiinf), Ger. Five. 
 Fiinffach (fiinf'fakh), Ger. Fivefold; five 
 ranks, speaking of organ-pipes. 
 
 Funfstimmig (fiinf'stim-mig), Qer. For five 
 voices. 
 
 Funfte (fiinf 'te), Ger. Fifth. 
 
 Piinfzehnte (funf'tsan-tfi), Ger. Fifteenth. 
 
 Funzloni (foon-tsl-o'ne). It. pi. Oratorios, 
 masses, and other sacred musical perform- 
 ances In the Eoraan Catholic Church, 
 
 Fuoco (foo-o'ko), It. Fire, energy, passion. 
 
 Fuocoso (foo-o-ko'zo). It. Fiery, ardent, im- 
 petuous. 
 
 Fiir (ftir), Ger. For. 
 
 Fiir beide Hande zusammen (fiir bi'dd han'dS 
 tsoo-zam'men), Ger. For both hands to- 
 gether. 
 
 Fiir das ganze Werk (fiir ] 
 das fan'tsS wftrkj, Ger. ( For the full organ. 
 
 Fur das voile Werk (fur ~ " 
 
 das fol'16 wirk, Ger. 
 
 Fiir die linke Hand allein (fiir de lin'kg hand 
 al-lin'), Ger. For the left hand alone. 
 
 Fiir die rechte Hand allein (fiir de rgkh'tS 
 hand al-lin'), Ger. For the right hand 
 alone. 
 
 PSffa"[f^S?rS^/f • V^^' P---' ™S- 
 Furiant (fon'ri-ant), Ger. A quick Bohemian 
 
 dance with sharp accents and changing 
 
 varieties of measure. Called also Furie. 
 Furibondo (foo-ri-bon'do). It. Furious, mad, 
 
 extreme vehemence. 
 Furie (fii-re), Fr. Fury, passion. 
 Furieusement (fii-riiz-manh1, Fr. \ ™ . 
 Furiosamente (foo-ri-6-za-m6n't6),Jif. / 
 
 ously, madly. 
 FuriosO (foo-ri-o'zo). It. Furious, vehement, 
 
 mad. 
 Furlandd (foor-lan'do), „ ) An antiquated 
 Furlano (foor-la'no), j dance. 
 
 Furniture stop. An organ-stop, consisting 
 
 of several ranks of pipes, of very acute 
 
 pitch. A mixture stop. 
 
 a arm, iadd, a ate, £ end, e eve, I ii{, I i8le,d old, 6 odd, oo moon,iibut, ii Fr.mund, kh Ger. ch. nh nasal. 
 
 (116) 
 
FUR 
 
 DICTIONARY OF MUSIC. 
 
 GAM 
 
 Furore (£oo-ro'r«), It. Fury, rage, passion. 
 Fiir zwei Manuale (fur tswV ma-noo-a'lS), 
 Ger. For two inauual», in oigan-playiug. 
 
 Pusa (foo'sa), Lot. A quaver. 
 
 Fusee (fii-za), Ft. A very rapid roulade or 
 passage ; a skip, etc. 
 
 Pusella (foo-s61'ia), Lat. Name formerly ap- 
 plied tj the demisemiquaver. 
 
 Fuss (foos), Ger. Foot ; tlie lower part of an 
 organ-pipe. 
 
 Fiisse (fiis'sfi), Ger. pi. Feet. 
 
 Fussig (fus'sig), Ger. Footed ; S-filMig, or, 
 aciuj'iissiy, of 8-feut size, or bcale. 
 
 Fusston (foos-ton), Grr. The tone or pitch; 
 as, H-Fuaskin, or, AcHjusstun, a pipe of 8-feet 
 tone. 
 
 Fut (fooe), Fr. The barrel of a trum, 
 
 Fz. An abbreviation of Forzaudu. 
 
 o 
 
 G. 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 gatxhe, left hand. 
 
 Gabel (ga'b'l), Ger. A fork. 
 
 Cagliarda (gal-yi-ar'da). It. A galliard. 
 
 Qagliardamente (gal -yi-ar-da- mfin' tS) , It. 
 Brisiily, gaily. 
 
 Gagliardo (gal-yl-ar'do), It. Brisk, merry, gay. 
 
 Gai (ga), Fr. Gay, merry. 
 
 Gaiement (?a-manh), „ 1 Merrily, lively, 
 
 Gaiment (ga-miluh), jgay. 
 
 Gaillarde (ga-yard'), Fr. Merry, brisk ; also a 
 
 galliard. 
 Gaillardement (ga-yard'manh), Fr. Merrily, 
 
 briskly. 
 Gaio (gaf-d). It. With gayety and cheerful- 
 
 ujss^ 
 Gaita (ga-e-ta), fp. A bagpipe ; also a kind 
 
 of flute ; a street organ. 
 
 Gll§(IlJt];^'-}«^y''"«"y-"^^iy- 
 
 Gajamente (ga-ya-mSn'tfi), It. Gaily, cheer- 
 fully. 
 
 Galante (ga-lan'te), „ \ Gal- 
 
 Galantemente (g3rlan-tS-mSn't€), J ^antly, 
 boldly. 
 
 Galanterietuge (ga-lan-tS-re'foo-ghfi), Ger. A 
 f iigue iu the free style. 
 
 Galanterien (ga-lan-tS-re'Sn), Ger. pi. The or- 
 naments, turns, trills, etc., with which the 
 old harpsichord music was embellished. 
 
 Galanteriestiicke (ga-lan-tS-re'stii'kg), Ger. pi. 
 rieces iu the free ornamental style. 
 
 Galanterstyl (ga-iant'Sr-stel),ffei-. Freestyle, 
 ideal style- 
 
 Galliard. A lively old dance in triple time, 
 formerly very popular. Of Italian origin. 
 
 Galop (gal'a), Fr. A quick round dance, iu 
 2-1 tune. ' , 
 
 Galopade (gai-6-pad'), i^.") 
 Galopp (ga-lop'), Ger. >■ A galop. 
 Galoppo (ga-16p'po). It. ) 
 
 Galoube (galooba), p ) A small flute 
 
 Qaloubet (ga-loo-ba'), ■^ J with three holes, 
 sometimes to be met with in France, espe- 
 cially in Provence. 
 
 Gamba (gam'ba). It. The viol di gamba, or 
 bass viul. See that term. 
 
 Gamba-bass. A 16-feet organ-stop, on the 
 pedals. 
 
 Gamba major. A name given to a 16-feet or- 
 gan-stop, or double gamba. 
 
 Gambe (gam'be), Ger. Viol di gamba. 
 
 Gambeta (gam-b6-ta'), Sp. An ancient Span- 
 ish dauco. 
 
 Gambette (eam-bfit'tfi), Ger. A small, or oc- 
 tave, gamba stop iu an organ. 
 
 Gambvlole (pamb-fe-o'16), Grr. An iustru- 
 muut resembling the violoncello. 
 
 Gamma (gam'ma), It. \ The Greek name of 
 Gamme feam), JiY. J the letter G (F). In 
 musical terminology the word gamma has 
 been employed variously. (1) Astlieiiame 
 of the lowest note (G) of the Guidouian 
 scale. (2) Asthenameof thatscale. (3) In 
 the sense of scale, or gamut, generally. (4) 
 In the sense of compass of a voice or instru- 
 ment, the sjiccession of notes from the low- 
 est to the highest. See following. 
 
 Gamma ut, or, T ut. The name of the note 
 G, the lowest note in the old solmisatlon. 
 From this name is derived the Fugli.-h word 
 gamut. 
 
 Gamme chromatique (gam kro-ma-tek'), Fr. 
 
 The chromatic scale. 
 Gamme descendante (gam dS-sauh-dauht). 
 
 Fr. Desoeudiiig scale. 
 Gamme de sol ma|eur(gam dtih sol ma-zhiir), 
 
 Fr. Scale of G major. 
 
 Gamme d'ut majeur (gam d'flt mii-shiir), Fr, 
 Scale of V major. 
 
 a arm, & add, aale, 6 end, e eve, iiU,! Ule, 6 old, 6 odd, oo moon, H but^ ti Fr. sound, kh Ger. ch. nh naaai, 
 
 (117) 
 
GAM 
 
 DICTIONARY OP MUSIC. 
 
 GEF 
 
 Qammes en bemols (gitm sanh ba-mol), Fr. 
 Scales with flats. 
 
 Qamme majeure montante (g9,m ma-zhiir' 
 mOnli-tauiil'), Ji'r. An asceudiug major scale. 
 
 Gammes. Exercises on the scale. 
 
 Gamut. The scale ol notes belonging to any 
 key. 
 
 Gamut G, That G which is on the first line 
 Li 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 con- 
 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, etu., 
 and the major sixth by double letters, gg, 
 aa, bb, etc. 
 
 Ganascione (ga-na-shi-o'nS), It. An Italian 
 lute. 
 
 GaiiK (gang), Ger. Pace, rate of movement or 
 motion. 
 
 Ganiles (ga'nH&), Sp. Fauces, organs of the 
 voice. 
 
 Qanz (gants), Ger, Whole, entire ; also all, 
 very. 
 
 Ganz langsam (gants lang'sam), Ger. Very 
 slowly. 
 
 Ganze Note (gan'tsfi u6'i6),Ger. A whole note, 
 or semibreve. 
 
 Ganzer Ton (gan'ts6r ton), ^ ) A whole 
 
 Ganzton (gaiits-ton), '^' J tone. Im- 
 
 proper expression for " a whole step." The 
 interval of a major second. 
 
 Ganzes Werk (gan'tsSs wftrk), Ger. The full 
 organ. 
 
 Qanzschluss (ganz shloos), Ger. Real close 
 of a piece as opposed to the Salbschluss, or 
 half close. 
 
 Ganzverhallend (gants'fer-hanSnd),^^. En- 
 tirely dying away. 
 
 Garbatamente (gar-ba-ta-m6n't6), /(. Grace- 
 fully. 
 
 Garbato (gar-ba'to). It. Graceful. 
 
 Garbo (gar'bo). It. Simplicity, grace, elegance. 
 
 Garibo (ga'ri-bo). It. A dance, a ball. 
 
 Gariglione (garrel-yl-6'n6). It. Chime, mu- 
 sical bells. 
 
 Oarnir an violin de cordes (gar-ner' flnh ve-6- 
 lauh dflh kSrd), Fr. To siring a violin. 
 
 Garrire (gar-re'r6). It. To chirp, to warble like 
 a bird. 
 
 Gastrollen (giist'rol-l'n), Ger. A term applied 
 to a singer or actor on a starring expedition. 
 
 Gauche (gozh), Fr. Left. 
 
 Gauclie main (gozh milnh), Fr. The leit hand. 
 
 Gaudente (ga-oo-dSn'tS), It. Blithe, merry, 
 sprinht!y. 
 
 Qaudentemente (ga-oo-d6n-t6-m6n'tS),7(. Joy- 
 fully, merrily. 
 
 P 
 
 Gaudio50 (ga-oo-dl-6'z6). It. Merry, joyful. 
 
 Gavot (ga-vOf), Fng. ) A dance consisting 
 Qavotta (ga-vot'tS,), /i. /-of two light, lively 
 Gavotte (ga-yot), Fr. ] strains in common 
 
 time. 
 Gaymente (ghe-mSn'tg), Sp. Gayly, briskly, 
 
 lively. 
 
 Gaytero (ghe-ta'ro), Sp. One who plays on a 
 
 bagpipe ; a piper. 
 Gazzarra (gat'ear-ra). It. Kejoicings with 
 
 music nd cannon. 
 
 Gclef. 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. 1 1 was formerly used upon 
 other degrees. 
 
 G ddubl , or. Double G. The octave below G 
 
 gamut. 
 G-dur (ga'door), Ger. The key of G major. 
 
 Qeberdenspiel (gh6-b6r'd'n-spel), Ger. Panto- 
 mime. 
 
 Oeblase (ghg-bia'sfi), Ger. Bellows, apparatus 
 
 for blowing. 
 Gebrochen (gh6-br6'kh'n), Ger. Broken. 
 
 Gebrdchene Akkorde (gh§-bro'kh'-ne ilk- ■) 
 kor'dfi), Ger. [ 
 
 Gebrocliener Accord (ghfi-bro'kh'-nfir ak- 1 
 kord), Oer. ) 
 
 Broken chords, chords played in arpeggio. 
 
 Gebrochene Stimme (ghfi-bro'kh'-nfi stim'- 
 m€), Ger. A broken voice. 
 
 Gebunden (ghg-boon'd'n), Grr. Connected, 
 syncopated, in regard to the style of playing 
 or writing. 
 
 Gebundene Note (ghfi-boon'd6-n8 no'tS), Ga. 
 
 A tied note, a note which is to be held and 
 
 not repeated. 
 Gebundener Sty! (ghe-boon'dfi-n6r stel), Ger. 
 
 Style of strictly connected harmony ; style 
 
 of counterpoint. 
 Geburtslied (ghfi-boorts'led), Ger. Birthday- 
 song. 
 Gedackt (ghfi-dakf), r'm- 1 Stopped, in oppo- 
 Qedeckt (ghe-dSkf), '"^- f sition to the 
 
 open pipes in an organ. 
 Gedacktflote (ghS-dakt-flo'te), Ger. Stopped 
 
 flute, in an organ. 
 Gedact. See Gedackt. 
 Gedeckte Stimmen (ghfi-dSk'tS stim'mfenl, 
 
 Ger.pl. Stops with covered pipes, as the 
 
 stopped diapason. 
 Gedehnt (ghS-danf), Ger. 
 Gedlcht (ghe-dlkht), Ger. 
 
 ble. 
 Gefahrte (ghg-far'tS), Ger. 
 
 fugue. 
 Gefallig (ghg-tai'lig), Ger. 
 
 ably. 
 
 Lengthened. 
 A poem, tale, fa- 
 
 Gefiedel (ghg-fe'd'l), Ger. 
 on the fiddle. 
 
 The answer in a 
 Pleasingly, agree- 
 Fiddling, playing 
 
 a arm, & add, a ale, 6 end, e eve, i ill, I isle, 6 old, 6 odd, oo moon, fl but, ii Fr. sound, kh Oer. ch, nh naeal 
 
 (118) 
 
(JEF 
 
 DICTIONARY OF MUSIC. 
 
 GEN 
 
 Oefiihl (gh«-ful'), Qei: Sentiment, expres- 
 siun. 
 
 Qegen (gha'g'n), Ger. Against, contrasted 
 with, opposed to. 
 
 Qegenbewegung (g6'g'n-b6-w6'goong), Ger. 
 (Jouirary motion, ' 
 
 Gegengesang (g6'g'n-g6-sang'), Ger. Antiph- 
 ony. 
 
 Gegenhall (g6'g'n-hall'). a>-r I Resonance, 
 
 Gegenschall tgS'g'a-stiair), "'^' J echo. 
 
 Qegenpunkt (g&g'n-poonkf), Ger. Counter- 
 point. 
 
 Qegenstimme (gfi'g'n-stlm'mg), Ger. Counter 
 teuui, or aitu, part. 
 
 GegenstimmiK (gfi'g'n-Btim'mlg), Ger. Disso- 
 nant, discordant. 
 
 Gegensubject (gg'g'n-soob-yfikf), Ger. Coun- 
 tersubject, in a fugue. 
 
 Gehend (ga'find), Ger. A word referring to 
 movement, and having the same meaning 
 us andante. 
 
 Gehiirlehre (gh«-h6r'Ja-r6), Ger. Acoustics. 
 
 Gehorspielen (ghS-hor'spel'n), Ger. To play 
 
 by fear. 
 Geige (gi'ghfi), ffer. The violin. 
 Geigen (gi'ghfin), Ger. To play on the violin. 
 
 Geigenblatt (gi'gh6n-blatt), Ger. The finger- 
 board of a violin. 
 
 Geigenbogen (gi'ghfin-bo'g'n), Ger. Violin- 
 bow. 
 
 Qelgenclavicymbel (gl'gh«n-cla-vl-tsim'bei), 
 Ger. An instrument similar to a harpsi- 
 chord or pianoforte. 
 
 Qeigenformig (gi'ghfin-for'mlg), Ger. Having 
 the form of a violin. 
 
 Geigenfutter (gl'ghen-foot'tSr), Ger. Case for 
 a violin. 
 
 Gelgenhals (gi'ghSn-hals), Ger. The neck of 
 a violin. 
 
 Geigenharz (gi'ghfin-harts), Ger. Spanish res- 
 in, hard resin. 
 
 ,Geigenholz (gi'ghSn-holts), Ger. The wood 
 used in making violins. 
 
 Geigenmacher (gi'ghSn-ma'khSr), Ger. Avio- 
 liu-maker. 
 
 Geigenprincipal (gJ'ghSn-prln-tsI pal'), Ger. 
 A German organ diapason stop, with a tone 
 like tbat of the gamba, but fuller. 
 
 Gelgeiuaite (gi'ghgu-sal'tS), Ger. Violin 
 .".iriEg. 
 
 Geigensattel (ai'ghSn-sat't'l), g 1 The 
 
 Gelgensteg (gl'ghSn-stagh), """• J bridge 
 of a violin. 
 
 Gelgenschule (gI'gheu-shoo'16), Ger. A violin- 
 school, or method of instruction. 
 
 Geigenstrlch (gi'ghSa-strikh), Gir. A stroke 
 ofthe violin-bow. 
 
 GeigenstUck (gl'ghen-stiik), Ger. A tune for 
 the violin. 
 
 Gelgenwerk (gl'ghen-wark), Ger. The celes- 
 tma, an organ-stop of 4-feet scale. 
 
 Qeigenwirbel (gi'ghgn-wir'b'l), Gir. A violin- 
 peg. 
 
 Geigenzug (gi'ghgn-tsoog), Ger, A violin- 
 stup. 
 
 Geiger (gi'ghfir). Go: Violin-player. 
 
 Geistlich (gistllkh), Gir. Ecclesiastical, cler- 
 ical. 
 
 Geistliche Gesiinge (glst'lI-khSgg-siln'gS), \ 
 
 Geistliche Lleder Igist-li-khe le'd^r), Ger. J 
 Psalms, hymns, spiritual songs. 
 
 Gelstreich (glst'ilkh), ^ 1 Spirited, full of 
 
 Geistvoll (gist'fol), "'^' J life and ani- 
 
 mation. 
 
 Geklingel (ghe-kling"l), Ger. Tinkling, ring- 
 ing of a bell. 
 
 Gelassen (ghfrliis's'n), Ger, Calmly, quietly. 
 
 Gelassenheit (ghS-l&s's'n-hit), Ger. Calmness, 
 tranquillity. 
 
 Gelaufe (gh6-loy'f8), ^^ I Running pas- 
 
 Gelaufen (ghfi-loy'f«n), ""^' / sages, scale 
 passages, rapid movements'. 
 
 Gelaufig {ghg-loy'flgh), Ger. Easy, fluent, 
 rapid. 
 
 Gelaufigkeit (ghfi-loy'figh-klt), Ger. Fluency, 
 ease. 
 
 Gelaut (gh£-loyt), Ger. A peal of bells, ring- 
 ing of bells. 
 
 Gelinde (gh6-lin'd6), Ger. Softly, gently. 
 
 Gelindigkeit (ghe-lln'dlgh-kit), Ger. Softness, 
 gentleness, sweetness. 
 
 Gellen (gSl'l'fi), Ger. To sound loudly. 
 
 Gellenfiate (gSI'I'n-flo'te), Ger. Clarionet. 
 
 Geltung (gSl'tnong), Ger. The value or pro- 
 portion of a note. 
 
 Gemachlich (ghfrmakh'likh), „ 1 Quietly; 
 
 Gemachsam (ghS-makh'silm), J in a 
 
 calm, slow manner. 
 
 Gemahlig (gh«-ma'lig),(?er. Gradually, by de- 
 grees. 
 
 Gemassigt (ghS-mas'sIgt), Ger. Moderate, mo- 
 derato. 
 
 GemUch (gbg-mlsh'), Ger. Mixed ; mixture, 
 
 or uomp(»und, stops in an organ. 
 Gemsenhom. An instrument formed of a 
 
 small pipe made of the horn of a chamois, 
 
 or wild goat. 
 Gemshorn (ghems^born), Ger. An organ-stop 
 
 with conical pipes. The tone is light, but 
 
 very clear. 
 Gemshornquint (gbems'hdrn-kwInt),G«'. An 
 
 organ-stop with conical pipes, sounding a 
 
 filth above the fouudatiuu stop^. 
 Gemiith (gbS-mtif), Ger. Mind, soul. 
 
 Gemiithlich (gh€-mut'llkb), Ger. Agreeable, 
 
 expressive. 
 Genera (gS-na'ra), r, ) A term used by the 
 Genus (ua'iioosi, J ancients to indicate 
 
 the modes according to which they divided 
 
 Harm, i add, & ale, 6end, e eve, liU, I wle, oold, 6 odd, oo moon, Q but, Fr. sound, kh Ger ch, nh naeai, 
 
 (119) 
 
GEN 
 
 DICTIONAJIY OF MUSIC. 
 
 GET 
 
 their tetrachords. The different methods 
 of dividing the octave: When both tones 
 and semitones are employed, according to 
 the natural arrangemeot 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 enharmouic geuus when quarter tones 
 also are used. 
 
 Generalbass (ghSa'6r-al-bas), Oer. Thorough 
 bass. 
 
 Qeneral pauje, A general cessation or silence 
 o( all the parts. 
 
 Generalprobe (ghSu'6r-al-pro'bS), Oer. A gen- 
 eral reliearsal. 
 
 Qenerateur (zha nS-ra-tOr'), Fr. The funda- 
 mental note of tbe common chord. 
 
 Generator. The principal sound or sounds 
 by which others are produced; the funda- 
 mental note of the common chord. 
 
 Genere (ja'nS-r6), It. See Gejtcra, 
 
 Generoso (ja-nS-rffzo), It. Noble, in a digni- 
 fied manner. 
 
 Genialia (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. 
 
 8iSlilj^?S^ if- }«--MaJent, spirit. 
 
 Genre (zhauhr), Ji'r. Style, manner. 
 
 Genre chromatique (zhanhr kro-ma-tek'), Fr. 
 
 The chromatic genus. 
 Genre diatonique (zhanhr dl-ii-tSnh-ek), Fr. 
 
 Tne diatouic, or natural, genus. 
 Genre enharmonique (zhanhr anh-har-m5nh- 
 
 ek'), Fr. The enharmonic genus. 
 Genreexpressif (zhanhr fis-prSs-sef), Fr. The 
 
 expressive style. 
 Gentil (zhan-tel'), Fr \ Pleasing, graceful, ele- 
 Gentile (jgd-te'ie), It. Jgant. 
 Gentilezza (jSn-tel let'zii), /(. Grace, elegance, 
 
 refinement of style. 
 Gentilmente (j6n-tel-m6u'tS), /(. Gracefully, 
 
 elegantly. 
 Genus (ga'noos), Lat. See Oenera. 
 Genus chromaticum (ga'noos kro-ma'ti- 
 
 koom), Lat li'hii chromatic genus or mode. 
 Genus diatonicum (ga'noos di a-to'ni-koom), 
 
 Lat. The diat'iuic genus or mode. 
 Genus enharmonicum (ga'noos €n-har-mo'ni- 
 
 kiiom), Lat. The enharmonic genus or 
 
 mrde. 
 Genus inflatile (ga'noos in-fla'ti-16), Lat, 
 
 Wind instruments. 
 Genus percussibile (ga'noos p6r-koos-se'bi-16), 
 
 Instrunieiits td percussion. 
 Genus tensile (ga'noos t6n'sl-16), Lat. Stringed 
 
 insLrumenis. 
 Gerade Bewegung (gh6-ra'de b6-va'goong), Gcr. 
 
 Similar motion. 
 Gerade Taktart(gh6-ra'd6takt'art), Oer. Com- 
 mon time. 
 
 i 
 
 *=§= 
 
 Geriesel (ghS-re'z'l), Ger. A soft, murmuring 
 sound. 
 
 German lingering. 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 Flauio traversp. 
 
 German scale. A scale of the natural notee, 
 consisting of A, H, C, D, E, F, G, instead oj 
 A, B, C, etc., the B being always reserved to 
 express B(>. 
 
 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. Instead 
 of the G clef on the second line of that part 
 
 Ges (gh6s), Oer. The note G\>. 
 
 Gesang (ghfi-sang'), Oer. Singing ; the art of 
 singing ; a song, melody, air. 
 
 Gesangbuch (gh6-sang'bookh), Oer. Song- 
 book, hymn-book. ' 
 
 Gesang der V8gel (ghS-sang' d6r fo'g'l), Ger. 
 Singing of birds. 
 
 Gesange (ghS-sang'S), Ger. pi. Songs, hymns. 
 
 Gesangsgruppe (gh6-sangs'groop-pS), Ger. 
 Song group ; the second subject of a sonata 
 movement, so called in contradistinction 
 from the leading subject, which is thematic. 
 
 Gesangsweise (ghS-sangs'wI-zfi), Ger. In the 
 style of a song. 
 
 Gesangverein (gh6-sang'fSr-in),(ier. A choral 
 society. 
 
 Gesangweise (ghS-sang'wi-z6), Oer. Melody, 
 tune. 
 
 Gesause (gh6-sou'zS), Oer. Humming, whis- 
 tling. 
 
 Geschick (gh€-shlk'), Ger. Skill, dexterity. 
 
 Geschlecht (ghg-shiekhf), Ger. Genus. 
 
 Qeschleift (ghg-shllft'), Ger. Slurred, legato. 
 
 Geschmack (ghfi-schmak'), Oer. Taste. 
 
 Geschwanzte Noten (ghg-shwants'tfi no't6n), 
 
 Oer. A quaver, or flag notes. 
 Geschwind (ghfi-shwlnd'), Ger. Quick, rapid. 
 Geschwindigkeit (ghS - shwindig - kit), Oer. 
 
 Swiftness, rapidity, speed. 
 
 Geschwindmarsch (ghfi-shwind'marsh), Ger. 
 
 A quickstep. 
 Ges-dur (ghfis-door), Oer. The key of Gb 
 
 major. 
 Geses (ghgs-Cs), Oer. G-double-fiat. 
 Gesinge (ghg-sIng'S), Oer. Constant singing, 
 
 bad singing. 
 
 Gestossen (ghS-stos's'n), Ger. Separated, de- 
 tached. 
 Gestrlchene (gh6-stri'kh6-nS), Ger. A quaver. 
 
 Getron! } ^^^ names for the cittern. 
 
 a arm, & add, a die, 6 end, e eve, 1 ill, i tele, 6 old, 6 odd, oo moon, abut, n Fr. iound, kh Oer. ch, nh natal, 
 
 (120) 
 
GET 
 
 DICTIONARY OF MUSIC. 
 
 gla! 
 
 Qethellt (ghMilt'). Ger. Diviiiled. Getheilte 
 Violinen, the same as vioHni divisi. 
 
 Qeton (ghS-ton'), Ger. 
 clamor. 
 
 Repeated sounds, 
 
 Qetra^en (ghiS-trsgli'n), Ger. Well sustained, 
 earned. 
 
 Cetrost (ghetrost'), Ger. Confidently, reso- 
 lutely. 
 
 Geiibtere (gli6-ul>':e-r6), Ger. Expert perform- 
 ers. 
 
 Qewirbel (ghS-wirT)'l), Ger. The roll of 
 drums. 
 
 Gewiss (gh&-wls'), Ger. Firm, resolute. 
 
 Gewissheit (gh6-wis'bit), Ger. Firmness, res- 
 oluti-iu. 
 
 Geziert (ghfi-tsert), Ger. With affectation. 
 
 G-flat. The flat seventh of Ai, ; the fifth flat 
 introduced iu modulating by fourths from 
 the natural diatonic mode. 
 
 G gamut. The G on the first line of the bass 
 stuff. 
 
 Ghijghe. Au old name for the fiddle. See 
 (Jtige. 
 
 Ghiriblzzi (ghe-ri-bet'zi), It. Unexpected in- 
 tervals; eccentric, fantastical passages. 
 
 Ghiribizzoso (ghe-rl-be-tso'zo), It. Fantas- 
 tical, whimsical. 
 
 Ghironda (ghe-ron'da). It. A hurdygurdy. 
 
 Ohittern. An old name for the cittern. 
 
 Gicheroso (je-kg-ro'zo), It. Merry, playful. 
 
 Giga (je'ga), It. ) A jig. A very lively old 
 
 Glgue (zhee), Fr. > dance iu duple, or 
 
 aigiie(ge'ge), Ger. ) quadruple, ternary 
 time— as ] 2-8 (or 4-4 with quaver triplets) ,6 8, 
 6 4, and also in 12 16 and 24- 16. Examples 
 in simple 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 vcord 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 
 Strohfledel (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 altissitno. The first note in altissimo; 
 the fifteenth above the G or treble clef 
 note. 
 
 Ginglarus. A small Egyptian flute. 
 
 Giochevole (j6-lca'vo 16), It. Merry, sportive, 
 gay. 
 
 Giochevolmente (jo-ka-v61-m6n'tS), „ 1 
 
 Giocolarmente ijo ko-lar-m6n't6), ' ) 
 
 Mirrily, sportively. 
 
 Giocondamente (jo-kon-da-mdn't6), //. Mer- 
 rily, joyfully, gayly. 
 
 Giocondo (j6-kou'd6). It. Cheerful, merry, 
 gay. 
 
 GiocosBmente (jd-ko-zS-mSn'tS), j-f I Humor-, 
 
 Giocoso (jo-ko'zo), J ously, 
 
 sportively. 
 
 Gioja (jo'ya). It. Joy, gladness. 
 
 Giojante (jo-yan'tg). „ 1 j>iithp iovfiil pav 
 Giojoso (j6-y6'z6), ""• / "'""e, joytui, gay. 
 
 Giojosamente (jo-yo-za-m6u'tfi). It, Joyfully, 
 muriily. 
 
 Gioviale (jo-vi-a'lS), It. Jovial. 
 
 Giovialita (jo-vl-a-U-taO, It. Joviality, gai- 
 ety. 
 
 Giraffe (ji-rafif). A species of ancient spinet. 
 
 Gis (ghls), Ger. The note GJf. 
 
 Gis-moll (ghis-moU), Ger. The key of G# mi- 
 nor. 
 GIttana <je-t£'na). It. A Spanish dance. 
 Glttern (jit'tSrn). A species of cittern. 
 
 Gitteth (jlt'teth) Heb. An instrument which 
 David brought from Gath, of the harp kind. 
 
 Giubbiloso (joob-bi-lo'zo). It. Jubilant, ex- 
 uliiug. 
 
 Giubilazione (joo-bi-lat-si-o'nS), ) Jubila- 
 
 Qlubilio (joo-bi-le'o), It. J-tion, re- 
 
 . Giubilo (joo'bi-16), J joioing. 
 
 Giucante fjoo-kan'tS), „ 1 Merry, joy- 
 
 Qiuchevole (joo-ka-v6'lS), jful. See Gto- 
 jante. 
 
 Qiulivamente (joo-li-va-mSn'tS), It. Joyfully, 
 lively. 
 
 Glulivtssiino (jooli-ves'si-mo), It. Very joy- 
 ful. 
 
 Glulivo (joo-le'vo). It. Cheerful, joyful. 
 
 Giullari (jool-la're). It. Bands of dancers, ac- 
 tors, or singers. 
 
 Giuocante (joo-o-kan'tS), /(. With sport and 
 gaieiy. 
 
 Giuoco (joo-o'ko). It. An organ-stop. 
 
 Gluocoso (joo-o-ko'zo), It. See Giocoso, 
 
 Giustamente (joos-ta-mSn'tS), It. Justly, with 
 precision. 
 
 Giustezza (joos-tfit'za^, /(. Precision. 
 
 Giusto (joos'to), It. A term signifying that 
 the movement indicated is to be performed 
 iu au equal, steady, and just time. 
 
 Given bass. A bass given, 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 funibre (gla fii-nabr), Fr. A funeral- 
 knell. 
 
 Glapissant (gla-pls-sanh)j Fr. Shrill, squeak- 
 ing. 
 
 Glasses, musical. Au instrument formed of 
 a number of glass goblets sbaped like finger- 
 glasses, tuned by tilling them with more or 
 less water, and played upon with the fingers 
 moistened. 
 
 a arm, & add, a ale, iend, e eve, i iU, I isle, 6 old, 6 odd, oo moon, a btU, iX Fr. sound, kh Ger. cli. nh natal. 
 
 (121) 
 
GLA 
 
 DICTIONARY OP MUSIC. 
 
 GRa 
 
 Olatt (glat), Oer. Smooth, even. 
 
 Qlatte (glat'tS),ffer. 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. 
 
 Qt^emen. An ancient name for minstrels. 
 
 Olelch (glikh), Ger. Equal, alike, consonant. 
 
 Qlejlchklaiig (glikh'klang), Ger. Consonance 
 uf sound, unison. 
 
 aieichschwebende- Temperatur (gllkb-shwa- 
 bSii-rt€ tfim-pg-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. 
 
 Qleichstimniisr (glikh'stim-mlg), Ger. Har- 
 monious, accordant. 
 
 aieiten (gli't'n), Ger. To slide the fingers. 
 
 Gll(gle), Jif.p!. The. 
 
 Qlide. Portamento. 
 
 aiiding. In flute-playing, a sliding move- 
 ment of the fingers for the purpose of blend- 
 ing the tones. 
 
 Glied{glfcd), Ger. Link; the term is used to 
 express a chord, as, Einglied, one chord ; 
 Zwe.gtied, two chords. 
 
 Glissade (glis-sad'), Fr. Gliding; the act of 
 passing the fingers in a smooth, unbroken 
 manner over the keys or strings. 
 
 Gllssando (gles-san'do), /(. ) Slurred, 
 
 Qlissato(gles-sa't6), J(. [ smooth, 
 
 Gllssement (gles mOnh), 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-^' Itth poos), Fr. Slide 
 ilic thumb. 
 
 Qllssicando (gles-si-kiln'dd), t, 1 Slurred, 
 
 Gllssicato (gles-si-ka'to), j smooth, in 
 
 u gliding manner. See, also, Glisser. 
 
 Qll stromenti (gle stro-mSn'le), /(. The iu- 
 Slrumeuts. 
 
 Qlitschen (glll'shen), Ger. To glide the fin- 
 ger. See Glisser. - 
 
 Olockchen (glok'kh'u), Ger. A little bell. 
 
 Olocke (glok'fi), Ger. A bell. 
 
 Gliickeln (glo'kSln), Ger. To ring little bells. 
 
 Olockengelaute (glo'k'n-gg-loy'tS), Oer. The 
 ringing or chiming of bells. 
 
 Olockenist (2lok'6n-ist), g 1 Player on 
 
 GItickner (glok'ngr), • j the chimes, or 
 
 bell-ringer. 
 
 Glockenklang (glok'€n-klaug),6er. The sound 
 of hells. 
 
 Glockenspiel (gldk'€n-spel),&er. Chimes; also 
 a stop in imitation of bells in German or- 
 gans. 
 
 Qlockleinton (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 open 'ng 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 througn 
 in performance. 
 
 Gliihend (glii'find), Ger. Ardent, glowing. 
 
 G-moll (ga-mol), Ger. The key of G minor. 
 
 Gnacchera (nak-ka'ra). It. A tambourine, a 
 tabor. 
 
 Gnugab (noo-gjlb'), Ger. The name given by 
 thu ancient Hebrews to the organ. 
 
 Gala (go'la). It. The throat; also a guttural 
 voice. 
 
 Goll trompo. A trumpet used by the ancient 
 Irish, Danes, Normans, and English. 
 
 Goipe de musica (g61-p€ da moo'zi-ka), Sp. A 
 band of music. 
 
 Gondellied (gon'd'lled), Ger. A gondolier- 
 song. 
 
 Gondoliera (gon-do-le-a'rii). It. A gondola- 
 soiig; a song with an CHsy-rocking motion, 
 & la the movement of a gondola. 
 
 Gondolier-songs. Songs composed and sung 
 by the Venetian gondoliers, of a very grace- 
 ful and pleasing style ; baicaroUes. 
 
 Gong. A Chinese instrument of the pulsatile 
 kind, consisting of a large circular plate of 
 metal, which, when struck, produces an ex- 
 ceedingly loud noise. 
 
 Gorgheggiamento (gor-gad-jI-a-mSi^'to), It. 
 Trilling, quavering. 
 
 Gorgheggiare (gor-gad-jl-ii'rg), It. To trill, to 
 shake. 
 
 Gorgheggio (gor-gad'jl-o), /(. A trill, a shake 
 of the voice in singing. 
 
 Gout (goo), Fr. Taste, style, judgment. 
 
 Governing key. The principal key ; that key 
 iu which a piece is. written. 
 
 Grabgesang (grab'gS-sang), ^,„ 1 Dirge; 
 
 Grabiled (grab'led), '^'"^- j funeral- 
 
 sung. 
 
 Grace note. Any note added to a composi- 
 tion as an embellishment. 
 
 Graces. Ornamentnl no'es and embellish- 
 ments, 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 (gra-sl-dh), Fr. Graceful. 
 
 Gracile (gra'ts'iMS), It. Thin, weak, small; 
 referring to the tone. 
 
 Gracioso (gra-thi-o'zo), Sp, Graceful. 
 
 a arm. a add, a ofe, £ end, e eve, liU,lisle,6old,6 odd, oo moon, ti bu J, ii Fr. sound, kb Ger. ch, uh naeai, 
 
 (122) 
 
GRA 
 
 DICTIONARY OF MUSIC. 
 
 GRA 
 
 Qrad (grad), Ger. Steps, degree. See Crado. 
 
 Gradare (grtl-da'rg), It. To descend step by- 
 step. 
 
 Gradatamente (gra-da-ta-m^n'tS), It, 
 
 Gradation (gra-d3r«e-0uti), Fr. 
 
 Qradazione (grarda-tsi-6'ue), 11. 
 al iacrea-^e or diminution of speed or inten- 
 sify of tone. 
 
 Gradevole (gra'-da'vo-lS), j, 1 
 
 QradevolmenM (gra-da-T61-m6n'tfi), J 
 Gracefully, pleasingly. - 
 
 Gradire (gra-de're), It. • To ascend step by 
 siep. 
 
 Graditamente (grardi-ta-men'te), II. In^ a 
 pleasing manner. 
 
 Graditissimo (gra-di-tes'si-mo), /(. Very 
 sweetly, most gracefully. 
 
 Gradleiter (grad'li-tSr), Ger. A scale. 
 
 Grade (gra'do). It. A degree, or single step, 
 ou thostaif; digrado means that the mel- 
 ody moyes by degrees, ascending or descend- 
 ing, in opposition to di salto, by skips of 
 greater intervals. 
 
 Qrado ascendente (gra'do a-sh€n-d6n't€), It. 
 A descending degree. 
 
 Grado descendente (gra'do da-sheu-den't£), Iti 
 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 Uospel, and which was anciently sung 
 ou the steps of the altar. 
 Gradualmente (gra-doo-al-mSn'te) „ ) 
 Graduatamente (gra-aoo-a-ta-mfin'te), / 
 Gradually, by degrees or steps. 
 
 Gradus ad Parnassum (gra'doos ad par-niis'- 
 soom), Lat. The road to Parnassus. This 
 name was applied by the contrapuntist Fux 
 to his elaborate textbook in counterpoint. 
 Also by Clcmenti 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. 
 
 Qraduare (grardoo-a'rS), It. To divide into de- 
 grees. 
 
 Graduazione (gra-doo-a-tsi-d'n€). It. See Gra- 
 dazionc. 
 
 Graduellement (grii-dwal'manb), Fr. ) Gradu- 
 
 Gradweise (grad'wi-zg), Oer. 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. 
 
 grammatical accent. The common-measure 
 accent, marked by the length of the words, 
 and a regular succession of strong and weak 
 parts. 
 
 Gran (griin), „ Iomo* «™«.i 
 
 Grande (^ran'de), "■ j Great, grand. 
 
 Gran cantore (gran kan-to're). It. A fine 
 siuger. 
 
 Gran cassa (gran kiis'sEi), It. The great drum. 
 
 Grand-barr£ (granh-bar-ra'), Fr. In guitar- 
 playiug this means laying the first linger of 
 the left baud upou all thu six strings of the 
 guitar at once. 
 
 Grand bourdon. Great or double bourdon, 
 au organ-stop of 32-feet tone in the pedal. 
 
 Grand chantre (griinh shanlr), Fr. A pre- 
 centor. I 
 
 Grand chceur (gran kflr), 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 (granhd mass), Fr. High Mass. 
 
 Grande mesure a deux temps (irauhd raii,- 
 zhura du tanh), Fr. Common time of two 
 beats in a bar, marked 2-2, or sometimes 1-4, 
 or g. See, also. Alia cappeUa. 
 
 Grandezza (gran-d€t'sa). It. Grandeur, dig- 
 nity. 
 Qrandioso (gran-di-o'zo), It. Grand, noble. 
 
 Grandisonante (gran-di-z6-nan't6), It. Very 
 sonorous, full-sounding. 
 
 Grand jeu (gran zhiih), Ji'r. 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 lull cast of performers. 
 
 Grand orgue (granh dorg), Fr. Great organ. 
 
 Grand pianoforte. A pianoforte in which 
 nearly all the octaves have three strings to 
 each tone, tuned in uuison, and struck at 
 once by the same hammer. 
 
 Grand sonata. An extended .sonata, consist- 
 ing generally of four movements. 
 
 Gran gusto (griin goos ' 6), II. In a lofty, ele- 
 vated manuer, a full, rich, high-wrought 
 composition. The manner of a fiue and 
 great singer is said to be in the gran gusto. 
 
 Gran prova (gran pro'va), M. The last rehear- 
 sal. ^ 
 
 Gran tamburo (gran t&m-boo'ro). It. The 
 great drum. 
 
 Grappa (gnip'pa), /(. The brace, or character, 
 used to connect two or more staves. 
 
 Gratiasa£lmus(gra'tsI'as!i'gI-moos), TjU.. Part 
 of the Gloria in a ma«s. " We give thanks 
 to Thee." 
 
 Grave (gra'vS), It. A slow and solemn move- 
 ment ; also a deep, low pitch in the scale uf 
 sounds. 
 
 Gravement (griiv-manh), Fr. 1 Withgrav- 
 
 Gravemente(gra-v6-m6n'tS), /(. Jity, iu a Uig- 
 niSed and solemn manner. 
 
 a arm.&add, a ale, € end, e eve, I iU, I Me,6 old, 6 odd. oo moon, H but, u Fr.sound, kh Ger. eh. nh natol, 
 
GRA 
 
 DICTIONARY OF MUSIC. 
 
 GRO 
 
 Qravezza (gra-vet'tjsa),!*. Gravity, solemnity. 
 
 Gravicembalo (gra-ve-tshSmta-lo), jy 1 An 
 Qravicembolo (gra-ve-tshgm'bo-lo), J old 
 name ior the narpsichoid. 
 
 Qravis (gra'vls), Lot. Heavy, ponderous. Tlie 
 namu of one of ibe acceutus ecclesiastici. 
 
 Gravisonante (gra-vi-z6-nau'tS), It. Loud- 
 souudmg. 
 
 Qravita (gra-vi-ta'), /(. ) 
 
 Gravitat (gra-fi-taf), Ger. [-Gravity, majesty. 
 
 Gravite (gra-vl-ta'), Fr. ) 
 
 Gravity . That modification of any sound by 
 wiiich 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(gra'tsi-a), J<. Inrope eleeance 
 Grazie (gra'tsl-g), Ger. j ''race, elegance. 
 
 Graziosamente (gra-tsi-6-za-mfin't8),/(. Grace- 
 fully, smoothly. 
 Grazioso (gra-tsi-o'zo), /(. In a graceful style. 
 Greater scale. Major scale. 
 
 Greater sixth. A name sometimes given to 
 the major sixth. 
 
 Greater tliird. A name sometimes given .to 
 the major third. 
 
 Great octave. The name given in Germany 
 to the notes between C and t^. ■ , 
 B inclusive. These notes ''g^' J 
 
 are expressed by capital let- :^ 
 
 ters. "•■ 
 
 Great organ. In an organ with three rows of 
 keys, usually the middle row, so called be- 
 cause containing the greatest number of 
 stops, and having its pipes of large scale and 
 voiced louder than those in the swell, or 
 choir, organ. 
 
 Great sixth. The appellation given to the 
 chord of the fifth and sixtii when the fifth 
 is perfect and the sixth major. 
 
 Greek modes. The ancient Greek modes or 
 scales were twelve in number ; of these, six 
 were authentic and six plagal. The sounds 
 are supposed to have been somewhat simi- 
 lar to those in the scale oT 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 (grg-go-ri-anlsh), Ger. Grego- 
 rian. 
 
 Gregorianischer Gesang (grS-g6-rl-an'ish-&), 
 Ger. The Gregorian chant. 
 
 Gregorian modes. I The eight tunes, or 
 
 Gregorian tones. ( tones, authorized by St. 
 
 Gregory for use iu intoning the religious 
 
 ofBces. Part of them are still in the plain 
 
 song (9. ft). 
 
 Grellheit (grSl'hit), Ger. 
 uess. 
 
 Gregoriano (gra-go-rl-a'no), It. \ OT-mrian 
 Gregorien (gra-go-rl-anh), Fr. j- Megorian, 
 
 Grell (grgll), Cjfr. Shrill, acute. 
 
 Sharpness. shrlU- 
 
 Grelot (gra-lo), Fr. A small bell. 
 
 Griffbret (griff'brgtj.Ger, The fingerboard of 
 
 a violin, violoncello, etc. 
 Griffloch (grif'lokh), Ger. The holes of a flute 
 
 and like instruments. 
 
 Grillig (grIl'Ug), Ger. Capricious, fanciful. 
 
 Gringotter (granh-go-ta'), Fr. To quaver, to 
 warble. 
 
 Grisoller (gre-z6-la'), Fr. To sing like a lark. 
 
 Grob (grob), Ger. Deep, low voice, bass. 
 
 Grobgedacict (grob'ghS-dakhf), Ger. Laige 
 
 stopped diapason of full tone. 
 Groppetto (grop-pSt'to), It. See Gruppelto. 
 
 Groppo (grop'po), //. 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 (gros'ar-tig), Ger. Grand. 
 
 Grosse (gros'sfi), Ger. Major, speaking of in- 
 tervals; also grand in respect to style. 
 
 Grossecaisse(gr6skass); J^r. Thegreatdrnm. 
 
 Qrosse Nazard (gros's6 na-tsard'),(?er. An or- 
 gan-stop, sounding a fifth above '.he diapa- 
 sons. 
 
 Grosse Quinte (gros'sS quin'tfi), 1 
 
 Grosses Quintenbass (gros's6s quln't'n- >- Ger. 
 bass), ■ j 
 
 An organ-stop in the pedals sounding a 
 fifth or twelfth to the great bass of 32 feet or 
 16 feet. 
 Grosse Senate (gros'sS s6-na'te),ecr. p!. Grand 
 sonatas. 
 
 Grosses Principal (gros'sSs prin-tsi-pal'), Ger. 
 An organ-stop of 82-feet scale of the open 
 diapason species. 
 
 Grosse Terz (gros'sS tartzj, Ger. Great third. 
 The major third. 
 
 Grosse Tierce (gros'sS ter'se), Ger. Great third 
 sounding-stop in an organ, producing the 
 third or tenth, above the foundation stops. 
 
 Grosse Trommel (gros'sS trom'm'l), Ger. The 
 great drum. 
 
 Grossgedackt (gros'ghS-dakf), Ger. Double- 
 stopped diapason of 16-feet tone in an organ. 
 
 Grosso (gros'so). It. Full, great, grand. 
 
 Grossvatertanz (gr6s'fa,-tSr-tants'),ff«-. Grand- 
 father's dance ; an old-lasliioned dance. 
 
 Gros tambour (gro tanh-boor), Fr. The great 
 drum. 
 
 Grottesco (grot-tSs'ko), It. Grotesque. 
 
 Ground bass. A bass consistingof a fewsim- 
 ple notes, intended as a theme, on which, 
 at each repetition, a new melody is coii- 
 
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 (124) 
 
RRO 
 
 DICTIONARY OF MUSIC. 
 
 GUI 
 
 Btructed, so that the entire composition 
 rests upon this elDglefoundation. Example: 
 Bach's Pa^sacaglia in G minor, for organ. 
 
 Group. Several short notes tied together. 
 
 Gnindakkord (groond'ak-kord), Ger. Anunin- 
 
 verted chord. 
 arundstlmnie(groond'stIm-me),Ger. Thehass 
 
 part. 
 Grundton (groond-ton), Ger. The bass note ; 
 
 fundamental, or principal, tone. 
 
 Gruppetto (groop-pgt'to), It. A turn ; also a 
 small group o{ grace, or Qrnameutal, notes. 
 
 Gruppe (groop'pS), Ger. \ A group of notes ; 
 Gruppo (groop'po), Jt. /formerly it meant a 
 
 trill, shake, or turn. 
 G-Schliissel (ga'shlus-s'l), Ger. The G, or 
 
 treble, clef. 
 Quaracha (gwa-rak'a), Sp. A Spanish dance. 
 
 Guaranita (gwS ra-ne'ta) ,Sp. A variety of the 
 Spanish guitar. 
 
 Guarnerius (ewar-na'ri-tis). A make of violin 
 highly prized, so called from the name of 
 the manufacturer. 
 
 Guddok (goo-dok). Bus. A rustic violin with 
 three strings, used among the Kussian 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 av. 
 
 Guide. That note in a fugue which leads off 
 and announces the subject. 
 
 Guide-main (ghed m&ah), Fr. The hand- 
 guide, an instrument invented by Kalk- 
 breuner for assisting young players to ac- 
 quire a good position of the hands on the 
 pianoforte. 
 
 Guidon (ghe-d6nh), Fr. The mark called a 
 direct. 
 
 Guidonian liand. The figure of a left hand 
 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. 
 
 Guigue (goo-e'ghS), It. See Giga. 
 
 Gulltern. See Oittem. 
 
 Guimbarde (ghem-bard'), Fr. A jew's-harp. 
 
 Guion (ghc-6n), Sp. A sign Indicating that 
 the piece or passage Is to be repeated. 
 
 Guitar. A long-necked instrument which in 
 modem times has been strung generally 
 with six strings, and whose fingerboard is 
 provided with frets. The strings, which are 
 plucked 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 : 
 
 $ 
 
 Guitare {ghi-tar'), Fr. 
 Quitarre (ghe-tarrg), Sp. 
 Guitarre (ghl-tai'r6),(jCT-.. 
 
 A guitar. 
 
 Guitare d'amour (ghe-tar d'a^moor), Fr, An 
 instrument (invented by Georg Staufer, of 
 Vienna, in 1823i with si:x strings, tuned like 
 those of the guitar, but played with a bow. 
 In some of itsfeaturesit resembles the guitar 
 in others the violoncello. It has, not inapt- 
 ly, been described as a viola bastarda. The 
 Germans call it, also, Bogengnitarre (bow- 
 guitar). Kniegultarre (knee-guitar), and Vi- 
 oloucellgultarre (violoncello-guitar). 
 
 Guitare d'amour (ghe-tar d'ii-mcor'), Fr, A 
 modification of the German gui> ar. 
 
 Guitarre lyre (ghe-tar lerh), Fr, A French 
 inslrumeut having six strings and formed 
 somewhat like an ancient lyre. 
 
 Guiterne (ghe-tarn'), Fr. An ancient species 
 of lute or guitar. 
 
 Gunst (goonst),Ger. Grace, tenderness, favor. 
 
 Guracho (goo-riUko), Sp. See Guarache. 
 
 Gusto (goos'to). It. Taste, expression. 
 
 Gustosamente (goos-t6-za-m6n't6), It. Taste- 
 fully, expressively. 
 
 Gustoso (goos-to'zo). It. Expressive, tasteful. 
 
 G ut. A name applied by Guido to the tone 
 large G, because this toue was the lowest of 
 the whole system of tones. 
 
 Gutdiinken (goot'd(in-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-m€n't€). It. Gut- 
 turally. 
 
 a arm, i. add, a cde, 6 end, e eve, I Ul, i isle, 5 old, 6 odd, oo mo<m, 1!ibut,uFr. smmd, kh Ger. ch, nh nasal. 
 
 im) 
 
H 
 
 DICTIONARY OF MUSIC. 
 
 HAR 
 
 H 
 
 H. This letter is used by the Germans for B- 
 natural, which note is called by the French 
 and Itaiiaus si. Abbreviation for Hand. 
 
 Habanera (ha-ba'nfi-ra), Sp. A slow Spanish 
 dauce iu ii-4 time; a dance. 
 
 Haberrohr (hii'b6r-ror), Ger. Shepherd's flute. 
 
 Hackbrett (hak'brfit), Ger. The dulcimer. 
 
 Halb (halb), Ger. Half. 
 
 Halbcadence (halb-ka-den'ts€), Ger. Half-ca- 
 deuce. 
 
 Halbgedackt (halb'g6-dakt), Ger. Half-cov- 
 ered. Applied to the rohrflote and clarinet- 
 flute stops in organs. 
 
 Halbnote (halb-no'tfi), Ger. A minim, or half- 
 note. 
 
 Halbprincipal (halb'prln-tsl-pal'), Ger. An 
 organ-stop of four-feet pitch, and conse- 
 quently an octave higher than the pitch of 
 the open diapason. 
 
 Halbton (halb'ton), Ger. Half-tone, semi- 
 toue. 
 
 Half-cadence. An imperfect cadence, a close 
 ou the dominant. 
 
 Half-note. A minim. 
 
 Half-note rest. A pause equal iu duration 
 10 a half-note. 
 
 Half-shift. The first shift on a violin ; that 
 on the fifth hue. 
 
 Half-step. The smallest interval used in 
 music. 
 
 Hall (hall), Ger. Sound, clangor, clang. 
 
 Halle (hiil'lfi), Ger. Hall. 
 
 Hallelujah (hal-lfi-loo'yah), Heb. " Praise ye 
 the Lord "; a song of thanksgiving. 
 
 Hallelujah tneter. A stanza in six lines of 
 iambic measure, the syllsbles of each being 
 iu number ahd order as follows : 6, 6, 6, C, 8, 8. 
 
 Hallen (halTn), Ger. To sound, to clang. 
 
 Halltrompete (hall'trom-pg'tfi), Ger. A power- 
 ful trumpet. 
 
 Halmpfeife (halm-pfl'fS), 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 cf a pianoforte which strikes the 
 strings aud thus produces the souud. 
 
 Hammer, tuning. An instrument by which 
 pianos and harps are tuned, by tightening 
 or loosening the strings. 
 
 Hammerklavier (ham'mSr-kla-fer'), Ger. The 
 modern piano. 
 
 Hanakische (ha-na'kl-sh£),. Ger. A hanacca. 
 A Moravian dance in 3-4 measure, some- 
 what resembling a polonaise, but quicker. 
 
 Hande (h^n'd€), Ger. Hands. 
 
 Handlage (hand-la'gg), Ger. The position of 
 the hand. 
 
 Handleiter (hand-li'tSr), Ger. Handguide. 
 St-e Guide. 
 
 Hand organ. A portable instrument consist- 
 ing of a cylinder, on which by means of 
 wires, pins, and staples arc set the tiuus, the 
 revolutiou of the cylinder causing the pins, 
 etc., to act on the keys and also to give ad- 
 mission to the wind. 
 
 Handstiicke (hand'stu-ke), Ger. Hand pieces, 
 exercises for training the fingers in piano- 
 playing. 
 
 Hardlment (har-dl-manh), Fr. Boldly, firmly. 
 Harfe (har'fg), Ger. A harp. 
 Harfen (har'f'n), Ger. To play on the harp. 
 Harfenbass (harTSn-bass), Ger^ A bass like a 
 
 harp ; broken chords. 
 Harfen5aite(har'fen-sai't£), Ger. Harp-string. 
 
 Harfenspieler (har-f'n-spe'lfir), Ger, Harp- 
 player. 
 
 Harmonia (har-mo'ni-a), Lat. A daughter of 
 Mars and Venus. Her uam6 was first used 
 to indicate music iu general. 
 
 Harmonic. Concordant, musical. 
 
 Harmonica. A musical instrument invented 
 by Benjamin Franklin, consisting of glasses, 
 sometimes globular and sometimes flat. 
 The tone is produced by rubbing the edge 
 of the globular glasses with a moi!.tened fin- 
 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'ter-ish), 
 Ger. A mixture stop of very delicate scale 
 in German organs. 
 
 Harmonlcal trumpet. An instrument very 
 much like a trumpet, except that it is long- 
 er aud consists of more branches ; the sack- 
 but. 
 
 Harmonic figuration. The progression from 
 one tone to another of the same chord by 
 means of passing tones, thence passing in 
 the same manner through successive difiier- 
 eut chords. 
 
 Harmonic flute. An open metal organ-stop, 
 of 8- or 4- feet pitch ; the pipes are of double 
 length, that is, 16 or 8 feet, and the bodies 
 have a hole bored in them midway between 
 the foot and the top ; the tone is exceeding- 
 ly full, fluty, and powerful. 
 
 »,arm, &add, a ale, 6 end, e eve, iill,l i»le, o old, 6 odd, oo rrwon, a but, ii Fr, smmd, kb Ger. eh, nb ncHot, 
 
 (126) ,; 
 
HAR 
 
 DICTIONARY OF MUSIC. 
 
 HAE 
 
 Harmonlchord, An instrument haying the 
 form of an upright piano, but a tune some- 
 thing like that of a violin, produced liy the 
 friction of a cylinder covered with leather 
 upon the strings. It was invented ju 1785 
 by Fr. Kaufman. 
 
 Harmonicl (har-mo'ni-tshe). It. pi. Harmon- 
 ics in violin music. 
 
 Harmonic mark. A sign used in violin, harp 
 music, etc., to indicate that certain passages 
 are to be played upon such parts ('f the 
 open strings as will produce the harmonic 
 sounds, O. 
 
 Harmonicon. A small instrument held in 
 the hand, .the sounds being produced from 
 small metal springs sec in moiiuu by blow- 
 ing from the muuih. 
 
 Harmonics. (Ij The sounds produced by the 
 vibrations of divi&ions (aliquot parts) of a 
 string, column of air, etc. Simple sounds 
 are very rare. Whatwe regard as onesound 
 is in reality a compoundof a multiplicity of 
 fiouuds produced by a multiplicity of vari- 
 ous simultaneous vibrational forms. If, for 
 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 the fun- 
 damental tone, the doubly-quick vibrations 
 of the halves of the string give tue octave 
 above the fundamental tone, the trebly- 
 quick vibrations of the gtriug 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 tjrincipal toue ; those above the funda- 
 mental tone are called the upper partial 
 tonte, upper partials, overtones, or harmon- 
 ics., Tne fundamental tone is generally 
 the loudest of the partial tones, and with it 
 the upper partials blend so as to be indis- 
 tinguisnable, or only in part distinguish- 
 able under certain conditions. The num- 
 ber and relative strength of the partial tones 
 vary in the different classes of instruments 
 and Voices and in the different individuals 
 of the same class ; it is on the number and 
 {he relative streugth of the partials that the 
 timbre (quality, characterot tone) of instru- 
 ments aud voices chiefly depends. In the 
 following illustration, which shows the fi'st 
 sixteen partial tones of the s )uiid C, the fig- 
 ures indicate the sequence of the partials in 
 the series, and also the relative number of 
 their vibrations in a given time. As tlie ac- 
 tual sounds of the 7th, lltb, 13th, 1 th, and 
 16th partials can only be approximately rep- 
 resented, thdy have been distinguishtd by 
 asterisks. .^. ^ 
 
 10 11 12 13 U 15 16 
 
 (2) Harmonics is also the name given to 
 certain tones produced on the violin, liarp, 
 aud other stringed instruments, tuues wbich 
 owe another name— flageolet tones— to their 
 peculiar character. By touching a vibrating 
 string very lightly In the middle, or at a 
 poiuta third, 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, three, four, five, etc., division,!, and the 
 result are notes respectively an octave, 
 twelfth, fifteenth, seventeenth, niueteeiilb, 
 etc., higher than the tone obtained from the 
 open string— i. «., by its full-length vibra- 
 tion. 
 
 Harmonic stops. Organ-stops whose pipes, 
 owing to greater pressure of wind, do uot 
 
 E reduce their fundamental tones, but the 
 rsl harmonic — i. e., the toue an octave 
 above the fundamental tone. Such stops 
 are the Fiate octayiante and Fiate harmo- 
 nique. 
 Harmonic triad. The common chord, con- 
 sisting of a fundamental note, its third aud 
 fifth. 
 
 Harmonie (har-mo-ne'), Fr. \ !!„,..„„„„ 
 Harmonie (hiir-mo-ne'), Oer. j Harmony. 
 
 Harmonlemusik (har-md-ne'moo-zek'),(Tcr. A 
 military band consisting of brass instru- 
 ments. The brass in the orchestra. Music 
 for wind instruments only. 
 
 Harmonleusement (hilr-md-ni-as-manh), Fr. 
 Uarmouiuusly. 
 
 Harmonleux (har-mo-ni-flh'), 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 1837, 
 and intended to supply the place of haut- 
 boys in an orchestra. The sounds 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. 
 
 Harmonlquement (har-mo-nek-miinh), Fr. 
 Harmonically. 
 
 Harmoniren (hiirmo-ne'r'n), Oer. To harmo- 
 nize, to be in unison. 
 
 Harmonisch (hiir-mo'nlsh),(?er. Ilarmouious; 
 
 harmonical. 
 Harmonische Theilung (har-md'nl-sh6 tl- 
 
 loong), Ger. Harmonical division. 
 Harmonist. One acquainted with the science 
 
 of harmony. 
 
 Harmonium. A keyboard wind instrument 
 of the reed-organ kind, the tones of which 
 are produced by the vibration of free reeds. 
 ( V. Beeds.) The bellows are wi irkid, except 
 in very large harmoniums, by the performer 
 by means of two pedals (treadles). Small 
 harmoniums have only one set of reeds, i. e., 
 
 S. arm, & add, a <Ue, 6 end, e eve, I ill, i isle, 6 old, 6 odd. oo moon, Q but, ii Fr. sound, kh Qer, eft, nh nasal. 
 
 C127) 
 
HAR 
 
 DICTIONARY OF MUSIC. 
 
 BAH 
 
 one reed to each note; larger barmonlnms 
 have several sets. These different sets of 
 reeds, varied iu tone, are brought into play 
 by drawing out correspondiug stops. The 
 "expression-stop" closes a valve which 
 shuts off the wind-reservoir, and thus the 
 whole managemeut of the wind is given 
 into the hands (literally, to the feet) of the 
 performer, who, hy 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 (har-mO-no-matr'), Fr. An in- 
 strument to measure the proportion of 
 sounds ; a species of mouochord. 
 
 Harmony. The agreement or consonance of 
 two or more united souhds. The art of 
 comhioing sounds into chords and treating 
 those chords according to certain rules. 
 
 Harmony, figured. Harmony in which, for 
 the purpose of melody, one or more of the 
 parts of a composition move, during the 
 contiDuauce of a chord, through certaia 
 notes that do not form any of the constitu- 
 ent parts of that chord. 
 
 Harmony, natural. The harmonic triad of 
 coiumou chord. 
 
 Harmony, suspended. One or more notes 
 of a chord retained in the following chord. 
 
 Harp. One of the most ancient stringed in- 
 strnmenis, the tones of which are produced 
 by plucking the strings (mainly of cat- 
 gutj with the fingers ol the rignc ana leit 
 hands. The harp has a diatonic scale. On 
 account of the absence of the 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- 
 out all the octaves, each on one of the set en 
 degrees of the Cb 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, /Colian. An Instrument consisting of 
 wire or catgut drawn in parallel lines over 
 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 pedals 
 that can be used in two positions, the first 
 raising the Instrument a half-step, and the 
 second a whole step. 
 
 Harpe (harp), Fr. A harp. 
 
 Harpechorde (harp-kOrd), Fr. An old French 
 name for the harpsichord. 
 
 Harpe Eolienne (harp a-6-ll-6nn), Fr. jEoliau 
 harp. 
 
 Harpeggiate (har-p6d-ji-a't6), It. In the slylo 
 of a harp, arpeggiately. 
 
 Harpeggiato (har-p6d-jI-a'to), It. Causing the 
 Kouuiis of a chord to be played not together 
 but distinctly one after another. See Ar- 
 pcggiato. 
 
 Harpeggiren (har-pfrghe'r'n), Ger. Arpeggi' 
 ate. 
 
 Harnfit I ^ 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 striking it 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 tangents, 
 as iu the clavichord, or by hammers, as in 
 the pianoforte, were plucked by quills or 
 pieces of hard leather. (F. Jack.) The 
 spinet and virginal are varieties of the 
 harpsichord, differing from it in size and 
 form. The form of the harpsichord is in- 
 dicated by the German name of the instru- 
 ment— i^fiiffei, wing, the same as the mod- 
 ern grand piano. The harpsichord had 
 often more than one keyboard, and also 
 was provided with stops by which the 
 tone cuuld 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, invented at 
 Berlin. 
 
 Harpsicon. An old name for the harpsichord. 
 
 Harp, single-action. A harp whose pedals 
 CHU be used in one position only, raising 
 the sounds of the instrument a half-step. 
 
 a arm, & add, a,ale,i end, e eve, I ill, I isle, 6 old, 6 odd, oo moon, a but, u Fr. sound, kh Oer. ch. nh nasal, 
 
 (128) 
 
HAR 
 
 DICTIONARY OF MUSIC. 
 
 HEP 
 
 Harp style. In the arpeggio style. 
 
 Harp, triangular. An ancient Instrument of 
 Pnrygiaa invention. 
 
 Harsur (har-soor), or, Hasur (ha-zoor), Heb. 
 An instrument of ten strings, used by the 
 Hebrews. 
 
 Harte (har'tS), ffer. Major, in respect to inter- 
 vals and scales. 
 
 Hartkllneend (hart'kling'Snd), Ger. Hard- 
 sounding; barsb. 
 
 Hate (bawt), Fr. Haste, speed. 
 Haubois (bo-bwa), Fr. An oboe. 
 Haupt (bowpt), Ger. Head, principal. 
 Hauptgesange (howpt'ghg-sang-S), /j 1 
 Hauptmelodie (howpt'mSl-o-de), "'^^' J 
 
 The principal melody. 
 Hauptkirche (bowpt'kir-kbS),(Ter. Cathedral. 
 
 Hauptmanual (howpt'ma-noo-ai), 6er. The 
 great, or principal, manual ; tbe great or- 
 gan. 
 
 Hauptnote (bnwpt'no'te), Ger. The principal 
 note in a shake or turn; that note over 
 which the A>«.^ or the ir. is placed. 
 
 Hauptperiode (howpt'pS-ri-6'd6), Ger. Princi- 
 pal period ; the principal period in a mu- 
 sical phrase. 
 
 Hauptprobe (howpt'pro-bS), Ger. The final, or 
 general, rehearsal. 
 
 Hauptsatz (howpt'satz), Ger. The principal 
 theme, or subject; the motive, or leading 
 idea. 
 
 Hauptschluss (howpt'shloos), Ger. A final ca- 
 dence. 
 
 Hauptstimme (howpt'stim'mS), Ger. Princi- 
 cipal voice ; principal part. 
 
 Hauptthema (howpt'ta-ma), Ger. The princi- 
 pal theme. 
 
 Hauptton (howpt't6n),(?er. Fundamental, or 
 principal tone ; the tonic. 
 
 Haupttonart (howpt'ton-art), Ger. The prin- 
 cipal key of a composition. 
 
 Hauptwerk (howpt'wArk), Ger. Chief work, 
 or manual ; the great organ. 
 
 Hausse (hoss), Fr. The nut of a bow. 
 
 Hausser (bos-sa'), Fr. To raise, or sharpen, 
 the pitch. 
 
 Haut (ho), Fr. Acute, high, shrill. 
 
 Hautb. An abbreviation of Hautboy. 
 
 Hautbois (ho-bwa), Fr. The oboe, or hautboy. 
 
 Hautbois d'amour (ho-bwa d'a-moor'), Fr. A 
 species of hautboy, with a pleasing tone, but 
 difficult to play in tune, and now nearly ob- 
 solete ; also an organ-stop. 
 
 Hautboy (ho'boy). Oboe. A portable wind 
 instrument of the reed kind, with a double 
 reed, consisting of a tube gradually widen- 
 ing from the top toward the lower end, and 
 furnished with keys aud circular holes for 
 modulating its sounds; the tone is pene- 
 trating and slightly nasal, and peculiarly 
 adapted to express soft and plaintive pas- 
 
 The name is also given to an 8-feet 
 organ reed-stop, the tone of which resem- 
 bles that of the hautboy. 
 
 Hautboy-clarion. See Octave hautboy. 
 
 Haute-contre (hot-kontr), J<V. High or coun- 
 ter tenor. 
 
 Haute-dessus (hdt-d€s-sii), Fr. High treble, 
 first treble. 
 
 Hautement (hot-manh), ' Fr. Haughtily, in 
 a dignified manner. 
 
 Haute-taille (hot-ta-yCih), Fr. High tenor. 
 
 H-bes (ha-bfis), Ger. B-double-flat. 
 
 H-dur (ha-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-kfi), Ger. Kettledrum, 
 tymbal. 
 
 Heerpauker (har'pow-k«r), Ger. Kettledrum- 
 mer, military drummer. 
 
 Heftlg (hgf'tig), Ger. Vehement, boisterous. 
 
 Heftigkeit (hSf'tig-kit), Ger. Vehemence, im- 
 petuosity. 
 
 Heimlich (him'likh), Ger. Secret, furtive, 
 stealthy. 
 
 Heiss (hiss), Ger. Hot, ardent. 
 
 Heiter (hI'tSr), Ger. Serene, bright. 
 
 Heideniled (hei'd'n led), Ger. Heroic song. 
 
 Heldenmiithig; (hsi'd'n-mii'tjig), Ger. Heroic. 
 
 Hell (hSl), Ger. Clear, bright. 
 
 Helle Stimme (hSl'16 stIm'mS), Ger. A clear 
 voice. 
 
 Hemi (ha'ml), Gr. Half. 
 
 Hemidemisemiquaver. A sixty- 
 fourth note. 
 
 Hemidemisemiquaver rest. 
 
 fourth rest. 
 
 A sixty- 
 
 Di- 
 
 Hemidiapente (hSm'I-de-a-p6n't6), Gr. 
 minished, or imperfect, fifth. 
 
 Hemiditonos (hem-I-de-to'nos), Gr. Lesser or 
 minor third. 
 
 Hemiope (hame'o p6), 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-ml-to'ni-flm), Gr. A semi- 
 tone or half-tone. 
 
 Heptachord. A scale or system of seven 
 sounds. In ancient poetry verees sung or 
 played on seven chords or different notes ; 
 a lyre or cithera having seven strings. 
 
 Heptachordon (hgp'ta-kOr'dftn), Or. The ma- 
 jor seventh. 
 
 a,iim, Hadd, a ate, feemi, e eve, I ill, i iste,6 oldfi odd, oo moon, a 5u(, il Fr. sound, kh Ger. eh, nh nasal. 
 9 (129) 
 
HEP 
 
 DICTIONARY OF MUSIC. 
 
 HOC 
 
 '■[ 
 
 l^ptamerls (hfip-ta-tna'ris), Qr, In ancient 
 
 ■ music the seventh part of a meris, or forty- 
 third part of an octave. 
 
 Herabstrich(har-ab'strikh), „^, \ Adown- 
 
 Herstrich (har'strikh), "^'^- /bow. 
 
 Heraufgehen (har-ouf'ga'n), Oer. To ascend. 
 
 Heroisch (ha-ro'ish), Ger. Heroically. 
 
 Herunterstrich (hgr-oon't'r-strlkh), Oer. A 
 downbow upon the violin. 
 
 Hervorgehoben (hSr-for'ghfi-ho'b'n' 
 
 Hervorhebend (har-for'ha'bGnd), Ger. 
 
 Hervortretend (har-for'tra-t6Qd), 
 Play the notes very prominently and dis- 
 tinctly. 
 
 Herzllch (barts'Ukh), Oer. Tenderly, deli- 
 cately. 
 
 Hes (h&), Oer. Bl>. Used when the tone is 
 supposed to come from B-natural, or H, as 
 the Germans call it. 
 
 Hexachord (hSx'akOrd), Or. A scale, or sys- 
 tem, of six sounds ; an interval of a sixth ; 
 a lyre having six strings. 
 
 Hexachorde (h6x-a-k6rd'), Fr. A hexachord. 
 See that word. 
 
 Hexameron (hfix-am'8-r(in),Gr. Set of six mu- 
 sical pieces, or songs. 
 
 Hexameter. In ancient poetry a verse of six 
 feet, the first four of wuich may be either 
 dactyls or spondees, the fifth always a dac- 
 tyl, and the sixth a spondee. 
 
 Hexaphonic. Composed of six voices. 
 
 Hiatus (Ma'toos), Lai. A gap, imperfect har- 
 mony. 
 
 Hibernian melodies. Irish melodies. 
 
 Hidden canon. A close canou. 
 
 Hidden fifths and Hidden octaves. In the ar- 
 ticle ' ' Consecutives " it has been stated that 
 progressions of j)erfect 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, iDut not so strictly. 
 Many of these progressions are indeed quite 
 harmless.' They are, barring some excep- 
 tions, least objectionable when 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 inuocuousness depends upon theclose- 
 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 actual sounds are as at (a), the 
 ear hears as at (b). 
 
 (a) 
 
 I 
 
 Hiefhorn (hefhorn), Ger. Bugle-horn, hunt- 
 ing-horn. 
 
 Hief(hef), (-, 1 Sound given by 
 
 Hlefstoss (hef'stoss), / the bugle or hunt- 
 
 ing-horn. 
 
 Hierophon (he'ro-fon), Gr. A singer of sacred 
 music. 
 
 Higgaion selah (hig-ga.'6n sa-lah), Heb. 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'strSkh), ^__ 1 An up- 
 Hinstrlch (hin'strikh), "^- j bow. 
 
 Hlrtenflote (hir't'n-flo'te), Ger. Shepherd's 
 flute. 
 
 Hirtengedlcht {hlr't'n-g6-dikht'), Oer. Pas- 
 toral poem, idyl. 
 
 Hlrtenlied (hir't'n-led), Oer. A pastoral song. 
 
 Hirtlich (hlrt'likh), Ger. Pastoral, rural. 
 
 Hirtenpfeife (hir't'n-pfi'f6), Ger. Rural pipe. 
 
 pastoral pipe. 
 His (his), Ger. The note B#. / 
 
 Hisls (hlsls), Ger. B-double-sharp. 
 H-moll (ha'mol), Oer. The key of B minor. 
 
 H2£ry'(hS; «-■ } Oboe, hautboy. 
 
 Hoboen (ho'bo-Sn), Ger. pi. Oboe, hautboys, 
 
 Hobolst (ho-bo-ist), Ger. Hautboy-player. 
 
 Hoch (hokh), Ger. High. 
 
 Hochamt (hokh'amt), Ger. High Mass. 
 
 Hochfeierlich (hokh-fi'gr-likh), Ger. Exceed- 
 ingly solemn. 
 
 Hochgesang (hokh'gfrsang), Ger. Ode, hymn. 
 
 Hochhorn (hokh'horn), Ger. Hautboy. 
 
 Hochlied (hokh'led), Ger. Ode, hymn. 
 
 Hochmuth (hokh'moot), Ger. Haughtiness, 
 elevation, pricje. 
 
 Hiichsten (hokh-stfin), Oer. Highest. 
 
 a arm, S, add, a ale, 6 end, e eve, I ill, i isk, 6 old, odd, oo moon, Q but, ii Fr. sound, kh Oer. eft, nh naeal. 
 
 (130) 
 
HOG 
 
 DICTIONARY OF MUSIC. 
 
 HOR 
 
 Hochzeitsgedlcht (hdkh'tsIts-g€-dikht'),/^„ I 
 
 HochzeiUTied (hokh'tsits-led), *"^- / 
 
 Epithalamlum ; nuptial poems ; wedding- 
 sou g. 
 
 Hochzeitsmarsch (hokli' - tsits - marsh), Ger. 
 Wedding-march . 
 
 Hocket. A name formerly given to a rest ; 
 or, cutting short a note without acceler- 
 ating the time. It corresponds to the term 
 staccato. It is no longer used. 
 
 Hofcapelle (hof-ka-pSl'16), Ger. Court chapel- 
 
 Hofconcert (hof-kon-tsfirf), Ger. Court con- 
 cert. 
 
 Ho(dichter(hof-dlkh'tSr), Ger. Poet laureate. 
 
 Hofkirche (hof-kIrkh^),(?er. Court church. 
 
 Hoflich (hoflikh), ^,„ )Iuapleasing 
 
 H6flichkelt(h6fllkh-kit), ''^'^- j and grace- 
 ful style. 
 
 Hofmuslkant (hofmoo-zi-kanf), Ger. Court 
 musician. 
 
 Hof organist (hof-or-ga-nisf), Ger. Court or- 
 ganist. 
 
 Hohe (ho'hg), Ger. Height, elevation, acute- 
 uess. 
 
 Hoheit (ho'hit), Ger. Dignity, loftiness. 
 
 Hohelied (ho'hMed), Ger. The Song of Solo- 
 mon. 
 
 Hohen (ho'en), Ger. High, upper. 
 
 Hohle und helsere Stimme (ho'le ooud hi'zg- 
 r£stim'm€j, Ger. Hollow and hoarse voice. 
 
 HohlflSte (hol'flo-te), 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. 
 
 HohlquintJ (hol'kwIn-tSl, Ger. A quint stop 
 of the hohl-flute species. 
 
 Hold (hold), Ger. Pleasing, agreeable. 
 
 Hold. A character (/tn) indicating that the 
 I. 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. 
 
 Holzbiaser (h61ts'bla-z6r), Ger. Players upon 
 woodwind instruments. 
 
 HolzflSte (holts'flo-te), ffer. Wood -flute; an 
 organ-stop. 
 
 Homophone. A letter or character expressing 
 a like sound with another. 
 
 Homoplionie (ho-mo-fo-ne), Fr. Homophony. 
 
 Homophonoi suoni (hd-mo-fo'no-e soo-o'ne). 
 It. Unisons. 
 
 Homoplionous. Of the same pitch, in unison. 
 
 Homopliony. Unison; two or more voices 
 singing in unison. 
 
 Hopswalzer (hops' wal' tsSr), Ger. Quick 
 waltzes. 
 
 Horse (ho'ra), j- . \ 
 
 Horae regulares (ho'ra r6g-oo-la'res), | 
 
 Hours ; chants sung at prescribed hours in 
 convents and monasteries. 
 
 ) Used ill conuection 
 s. /with the figured baas. 
 
 Horizontal lines. 
 Horizontal strokes. , 
 
 they usually show the continuation of the 
 same harmony, the bass note being un- 
 changed, but they are sometimes 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 insirument 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'nfir), Ger. pi. The horns. 
 
 HSrnerschall (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 : 
 
 i^.^^=(±±^^t-r-^tir^ 
 
 
 ^- 
 
 =^ 
 
 
 j^. 
 
 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 Fjt, below the flrst G, 
 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 (q. 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 B\> 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 
 E|? 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 in 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 arm, & add, a ale, i end, e eve, iiU,l isle, 6 old, 6 odd, oomoon,iibut,u Fr. sound, kh Ger. ch. nh nosol, 
 
 (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, whicn are 
 written in the F clef, and an octave lower 
 than the rest. 
 
 Hornpipe. An old dance, in triple time, pe- 
 culiar to the English nation. It is supposed 
 to have received its name from the instru- 
 ment played on during its performance. 
 Modern hornpipes are usually in common 
 time, and of a more lively character than 
 the ancient hornpipe. 
 
 Hosanna (ho-zan'na), Lot. Part of the Sanc- 
 tus in a " 
 
 Houl (howl). Per. A common drum of the 
 Persian soldiery. 
 
 Hreol (wra'61), Dan. A Dauish peasant dance, 
 similar to the reel. ^ 
 
 H. S. Ahhreviation for Hauptsatz. 
 
 Huchet (hii-sha), Fr. A huntsman's or post- 
 man's horn. 
 Huer (hwa), Fr. To shout. 
 Hiifthorn (hiift'horn), Ger. Bugle-horn. 
 
 Huegab (hoog-gab), Heb. An organ of the 
 Hebrews; Pan's pipes. 
 
 A stanza of eight 
 Eight feet, of 
 
 Hultain (hwe-tanh), Fr. 
 
 lines. 
 Hultpied (hwet-pi-a), Fr. 
 
 organ-stops. 
 Hiilfslinien (hiilfs'le-nl-6n), Ger. Ledger lines. 
 
 HUlfsnote (hiilfs'no-tS) g 1 Auxiliary note, 
 niilfston (hiilfs'ton), J accessory note, 
 
 a note standing one degree ahove, or below, 
 
 the principal note. 
 
 Hiilfsstlmme (hulfs'stim'mS), Ger. Obligate 
 voice. 
 
 Hummel (hoom'm^l), ^ 1 A sort 
 
 Hummelchen (hoom'm61-kh«n), J 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'kfi), 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 
 
 tbe 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 j n resi n powder, which serves 
 as a bow. Two of the strings are affected by 
 certain keys which stop them at different 
 lengths aad produce the tune, while the 
 others act as a drone bass. 
 
 Hurtig (hoor'tig), Ger. Quick, swiftly; same 
 meaning as allegro. 
 
 Hurtigkeit (hoor'tIg-kit),(7er. Swiftness, agil- 
 ity, quickness. 
 
 Hydraulicon (hl-draw'li-kan),tfr. An ancient 
 instrument 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 by Ctesibius, 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, somewliat 
 after the mann er of water upon a plate upon 
 which a vessel is inverted and tne air ex- 
 hausted. The water aids in preserving the 
 vacuum. 
 
 Hymeneal (hi'me'n6-ftl). 1 A marriage-song, 
 
 Hymenean (hi-me'uS-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. 1 A compilation, or collection. 
 Hymn-book. J of hymns. 
 
 Hymne (emn), Fr. 1 A hymn, sacred song, 
 
 Hymne (hlm'nS),Ger. Jan 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 (hlm'noos). Lot. A hymn. 
 
 H^mnus Ambrosianus (hlm'noos am-bro-zl- 
 a'noos), Lat. The Ambrosian chant. 
 
 Hymn, Vesper. A hymn sung in the Vesper 
 service of the Catholic Church. 
 
 Hypate, Gr. The first or most grave string in 
 the lyre; the lowest of the Greek tetra- 
 chords. 
 
 Hypathoides. The lower sounds in the an- 
 cient Greek scale. 
 
 Hyper (hi'p6r). Or. Over, above. Applied 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." 
 
 Hyper£eolian (hi'pfir-e-6'li-an), Gr. (1) The 
 authentic vEolian mode. (2) In the ancient 
 Greek system the name of one of the trans- 
 position scales. (3) In the mediaeval ec- 
 clesiastical system the octave species 
 bed eig a b, the eleventh (sixth authen- 
 tic) mode. (,V. Church modes.) 
 
 a arm, & add, a ate, 6 end, e eve, i ill, i isk, 6 old, 6 odd, oo moov., ti but, ii Fr. sound, kh Ger. ch, nh nasal, 
 
HYP 
 
 DICTIONARY OF MUSIC. 
 
 HYP 
 
 Hyperdiapason (M'pSr-d!-a-pa'son), Gr. The 
 upper octave. 
 
 Hyperditonos (hI'pSr-dl-to'nos), fir. The third 
 above. 
 
 Hyperdorian (hl'p6r-do'ri-an\ Gr. The au- 
 thentic Dorian mode. In the ancient Greek 
 system the name oi the octave species 
 
 bcdefsah, also called Mixolydian, and 
 of one 01 the transposition scales. 
 
 Hyperlonian (hi'pSr-e-d'ni-&n), Gr. The au- 
 thentic Ionian mode. 
 
 Hyperl^^dian (hI'p«r-H-dI-an), Gr. The au- 
 thentic Lydian mode. The name of the 
 
 octave species g a b c d el g, and of one of 
 the transposition scales. 
 Hypermixolydian (hi'p6r-mlx'6-lid'i-au), fir. 
 The authentic Mixolydian mode. 
 
 Hyperphrygian (hl'p6r-frlj'i-an), Gr. (1) The 
 authentic Phrygian mode. (2) In the an- 
 cient Greek system the name of the octave 
 
 species abed e) g a, also called Lociian, 
 and of one of the transposition scales. (3) 
 In the medieeval ecclesiastical syste m th e 
 
 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 anove." 
 
 Hyposeolian (hi'po e-6'li-ftn), Gr. (1) The pla- 
 gal .Xolian mode. (2) In the ancient Greek 
 system the name of one of the transposi- 
 tion scales. (3) In the mediseval efcclesias- 
 tic^ sy stem the name of the octave species 
 
 efgabcde, the tenth (fifth plagal) mode. 
 
 Hypocrltlc (hlp-d-krltlc), Gr. An epithet ap- 
 plied by the ancients to the art of gesticu- 
 lation, which was prominent in their pub- 
 lic vocal performances. 
 
 Hypocrltlc music. Among the ancient Greeks 
 all music intended for the stage or theater ; 
 
 in modern times all music adapted to pan- 
 tomimic representation. 
 
 Hypodiapason (hVpo-de-a-pS-sOn), Or. The 
 lower octave. 
 
 Hypodiapente (hi'po-dI-a-pgu't«), Gr. The fifth 
 below. 
 
 Hypoditonos (hi'p6-de-t6'n6s), Gr. The third 
 below. 
 
 Hypodorian (hi'po-do'rl-an), Gr. (1) The pla- 
 gal Dorian mode. (2) In the ancient Greek 
 system the name of the octave species 
 
 abcd'e'fga, also called ./Eulian, and of 
 one of the transposition scales. (3) In the 
 mediaevalecclesiastical system the octave 
 species abcdefga, the second (first pla- 
 gal) mode. 
 Hypoionian (hi'p6-e-6'ni-an), Gr. (1) The pla- 
 gal Ionian mode. (2) In the ancient Greek 
 system the name of one of the transposi- 
 tion scales. (3) In the mediaeval ecclesias- 
 tical sy stem the name of the octave species 
 
 gabcdef g, the fourteenth (seventh pla- 
 gal) mode. ( V. Church modes.) 
 
 Hypolydian (hVpo-lIdt-an), Gr. (1) The pla- 
 gal Lydian mode. (2) In the ancient Greek 
 system the name of the octave species 
 
 f g a S~c d e f , also called Syntonolydian, 
 and of one of the transposition scales. (3) 
 In the mediaeval ecclesiastical syste m th e 
 
 name of the octave species cdefgabe, 
 tlie sixth (third plagal) mode. ""' ^^ 
 Hypomixblydian (hi'po-mix'd-lld'I-an), Gr. 
 (1) The plagal Mixolydian mode. (2) In the 
 mediaeval ecclesiastical system tne name 
 
 of the octave species d ef g a b c d, the 
 eighth (fourth plagal) mode. 
 Hypophrygrian (hi'po-frfj'i-ftn), Gr. (1) The 
 plagal Phrygian mode. (2) In the ancient 
 Greek system the name of tne octave species 
 gabcdef g, also called Ionian, and of one 
 
 of the transposition scales. (3) In the medi- 
 aeval ecclesiasticalgrate m th e name of the 
 
 octave species Dcdef gab, the fourth 
 (second plagal) mode. 
 Hypoproslambar^omenos, fir. The note below 
 the Proslambanomenos— namely, G. 
 
 aarm, a add, a ale, 6 end, e eve, I ill, I isle, o old, 6 odd, oo moon, Q but, ii Fr. sound, kh Ger. eh, nh rwml. 
 
 (138) 
 
lAM 
 
 DICTIONARY OF MUSIC. 
 
 IMP 
 
 lambe (e-anh-b(iti), Fr. Iambus. 
 
 Iambic. 1 A poetical and musical foot, con- 
 Iambus. ) sistingof one short, unaccented, 
 and one long, accented, note or syllable. 
 
 Iambics. Certain songs, or satires, which are 
 supposed to have been the precursors ol the 
 ancient comedy ; they were of two kinds, 
 one for singing and one for recitation, ac- 
 companied by instruments. 
 
 lastlan (e-as'ti-ln), Gr. One of the ancient 
 Greek modes. The Ionian. 
 
 Ictus (ik'tfls), Qr. A stroke of the foot, mark- 
 ing the point of emphasis in music. 
 
 Idillio (e-del'li-6), Jt. An idyl. 
 
 Idyl. A short poem in pastoral style; an 
 eclogue. 
 
 Idylle (e-dill'), Fr. \ .„ ,^„, 
 
 Idylle (l-dll'16). Get. | ^"^ '"^yl- 
 
 II (el), It. The. 
 
 Ilarita (e-la-ri-ta'). It. Hilarity, cheerfulness, 
 mirth. 
 
 II piu (SI pe'oo). It. The most. 
 II plu forte possibile (el pe'oo for'tfi pos-se"- 
 dM6), /(. As loud as possible. 
 
 II plu piano possibiie (el pe'oo pe-a'no pos- 
 se'bI-16), It. As soft as possible. 
 
 Im (im), Ger. In the. 
 
 Imboccatura (em-bok-kS-too'ra), It. Mouth- 
 piece, embouchure. 
 
 Imbroglio (em-brol'yo), /(. Confusion, want 
 of distinct ideas. 
 
 Imitando (im-l-tan'do). It. Imitating. 
 
 Imitando la voce (im-i-tan'do la vo'tshS), //. 
 Imitating the inflections of the voice. 
 
 Imitatio (im-!-ta'tsI-6), Lat. Imitation, in 
 counterpoint. 
 
 Imitation. The more or less exact repetition 
 of a musical figure in another voice. (See 
 also Carwn.) 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 afso bubordinate 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 which 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 rising intervals descend, and the 
 falling intervals ascend. 
 
 Imitation, in different divisions. That in 
 which the subject is answered in a different 
 division of the bar ; for instance, the sub- 
 ject beginning on the accented division is 
 answered on the unaccented. 
 
 Imitation, in similar motion. Where the 
 auswi-r retains the same order of notes as 
 the subject. 
 
 Imitation, retrograde. A form of imitation 
 in which the subject is commenced back- 
 wards 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 contrai>y 
 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-ta't6), It. Imitation. 
 
 Imitazione (im-I-ta-tsi-o'ng), It. Imitation, 
 referring to counterpoint. 
 
 Immer (Im'mfir), Oer. Always, ever. 
 
 Imparfait (anh-par-fa'), Fr. Imperfect. 
 
 Impaziente (im-pa-tsi-Sn't6), It. Impatient, 
 hurried. 
 
 Impazientemente (Im-pa-tsi-Sn-tS-mSn'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. Imperfact 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. 
 
 iiarm, aadd, a ale, iend, e eve, iiU, i Ule, oold, 6 odd, oo moon, a 6«(, ii Fr. sound, kh Ger. ch, nh nasai. 
 
 (134) 
 
IMP 
 
 DICTIONAEY OF MUSIC. 
 
 INF 
 
 Imperfect measure. An 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 Iiey, consisting of two minor thirds. 
 
 Imperfetto (lm-p6r-f6t'to), It. Imperfect. 
 
 Imperlosamente (im-pa-rt-6-za-men'tS), It. 
 Imperiously, pompously. 
 
 Imperioso (im-pa-ri-6'z6), It. Imperious, 
 pompous. 
 
 Imperturbablle (Im-pSr-toor-ba'bJ-lS),' J(. Qui- 
 etly, easily. 
 
 Impeto (Im'pfi-to), It. Impetuosity, vehe- 
 mence. 
 
 Impeto doloroso (im'p6-to do-lo-ro'zo), It. 
 Pathetic force and energy. 
 
 Impetuosamente (lm-pa-too-o-za-men't€), It. 
 Impetuously. 
 
 Impetuosita (Im-pa-too-o-zl-ta'), It. Impetu- 
 osity, vehemence. 
 
 Impetuoso (im-pa-too-o'z6). It. Impetuous, 
 vehement. 
 
 Imponente (Im-po-nfin'tS), It. Imposingly ; 
 haughtily. 
 
 Impresario (im-pr&sa'rl-o). It. A term applied 
 by the Italians to the manager or conductor 
 01 operas or concerts. 
 
 Impromptu (anh-promp'too), Fr. An extem- 
 poraneou.q production. 
 
 ImprAvisare (im-pr6-vi-za'r6). It. To com- 
 pose, or sing, extemporaneously. 
 
 Improvisateur (anh-pro-vi-za-tflr). Fr. \ „ 
 
 Imbrovisator (Im-pro-fl-za'tor), Qer. J °®® 
 Improvoimtore. 
 
 Improvisation. The act of singing, playing, 
 or composing music without previous prep- 
 aration ; extemporaneous performance. 
 
 Improvisatrlce (anh-pro-vl-za-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. 
 
 Improviser (anh-pro-vl-za'), Fr. To impro- 
 vise. 
 
 Improvvisamente (im-pro-vi-za-m6n't6), /(. 
 Extemporaneously. 
 
 Improvvisare (im-pro-vi-za'rS), 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-prov-vi-zo), It. Extempora- 
 neous. 
 
 In (en). It. and Lot. In, into, in the. 
 
 Inbrunst (In-broonst), Qer. Fervor, ardor, 
 warmth of passion. 
 
 Inbriinstig (In'briins-tig), Qer. Ardent, fer- 
 vent, passionate. 
 
 Incalzando (in-kal-tzan'do), /(. Spurring on, 
 hastening. 
 
 Incantation. Enchantment ; a form of words 
 pronounced or sung in connection with cer- 
 tain ceremonies, for the purpose of enchant- 
 ment. 
 
 Incantazlone (in-kan-ta-tsi-3'ne). It. Songs of 
 incantation. 
 
 Incarnatus (in-kar-na'toos). Lot. "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'rS), /(. To string an in- 
 strument. 
 
 Incrociamento (m-kro-tsha-m6n't6), /(. Cross- 
 ing. 
 
 Indeciso (in-dfi-tshe'zo). It. Undecided , wav- 
 ering, hesitating; slight changes of time 
 and a somewhat capricious value of the 
 notes. 
 
 Indegnatamente (in-dan-ya-ta-men't€), j, \ 
 Indegnato (In-dan-ya'to), J 
 
 Angrily, furiously, passionately. 
 Index. A direct rW ; also the forefinger. 
 
 Indications sceniques (anh-de-ka'si-6nh sa- 
 uek'), Fr. Stage directions. 
 
 Indifferente (In-def-ffi-rSn'tS), ■) 
 
 Indifferentemente (in-def-fe-rSn-tSm6n'tS), J 
 It. Coldly, with indifference. 
 
 Indifferenza (in-def-ffi-reu'tsa), It. Indiffer- 
 ence. 
 
 In disparte (In des-par'tS), 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 (in-fan-te'18). It. Childlike, infan- 
 tine; the thin quality of tone in the upper 
 notes of some female voices. 
 
 Infernale (in-fgr-naQg), It. infernal, diabolic. 
 
 Infervorato (In-f6r-vo-ra'to), It. Fervent, im- 
 
 Infiammatamente (in-fe-am-ma-ta-men'tS), 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 iudeflniteiy repeated; 
 also called circular, or endless, canon . 
 
 Infinito (in-fl-ne'to). It. Perpetual. 
 
 Inflatile. An 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, a ale, & end, e eve, lUl,l isle, 6 old, d odd, oo moon, t. Imt, ii Fr. sound, kh Ger. cA, nh nasal. 
 
 (135) 
 
INF 
 
 DICTIONARY OF MUSIC. 
 
 INT 
 
 lnfuriaiite(in-foo-ri-an't6), j, \ Furious, rag- 
 Infuriato (in-loo-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 auy unusual resolution of a discord, or 
 
 an unexpected modulation. 
 Inhalt (In'halt), Ger. Contents. 
 Inhannoniously. Discordantly. 
 In lontananza (in lou-ta-naut'za), It. In the 
 
 distance. 
 Inner parts. The alto and tenor, as distia- 
 
 guisned from outer parts, the bass and so 
 ■ prano. 
 Inner pedal. A sustained or holding note in 
 
 an 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-tshSn'tS), „ ) 
 
 Innocentemente (ln-n6-tsh6n-tfi-mSn't6), j 
 
 Innocently, in an artless and simple style. 
 
 Innocenza (in-no-tshfin-tsa). It. Innocence. 
 In partite (Inpar-te'to), It. In score. 
 
 Inquieto (in-qui-a'to). It. Restless, uneasy, 
 agitated. 
 
 Insensibile (in-sgn-se'bi-ie), j, \ 
 
 Insensibilmente (in-sgn-sl-bil-m«n'te), J 
 
 Insensihlv, by small degrees, by little and 
 little. 
 
 Instandig(i[n-st9.u'dig), Ger. Urgent, pressing. 
 
 Instante (in-stan'ta), It. Urgent, pressing. 
 
 Instantemente (in-stan-tfi-mgn'tS), It. Vehe- 
 mently, urgently. 
 
 Instrument. A musical instrument is any 
 sonorous body artificially constructed for 
 the production of musical sounds. 
 
 Instrument k cOrdes (&nh-strii-manh a k6rd), 
 Fr. A stringed instrument. 
 
 Instrumental. A term applied to music com- 
 posed for or performed on instruments. 
 
 Instrument a Tarchet (ftnh-stni-manh a lar- 
 ka), Fr. Instrument played yriVa a bow. 
 
 Instrumentale (in-stroo-m6n-ta'l«). 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 & percussion (ilnh-strii-manh k 
 par-koos-se-on). 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 diSferent instruments. 
 
 Instrument k vent (inh-strii-manh & vanh). 
 Ft. a wind instrument. 
 
 Instrumentazione (in-stroo-m€n-ta-tsi-o'n£). 
 It. Instrumentation. 
 
 Instrumentenmacher (In - stroo - m^nt' £n- 
 makh'Sr), Ger. An instrument-maker. 
 
 Instrumentlren (in-stroo-mSn-te'r'u), ) 
 
 Instrumentlrung (in-stroo-men-te'roong), / 
 Gtr. Instrumentation. 
 
 Instrumento (in-stroo-mSn'to), It. An instru- 
 ment. 
 
 Instrumento da arco (in-stroo-m€n'td 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 
 pioduce 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 pr the friction of a bow. 
 
 Instruments, tensile. A general name for all 
 instruments dependent upon the tension of 
 strings for their tone. 
 
 Instrument vent (&nh-strii-manh vanh), Fr. 
 A wind instrument. 
 
 Intavolare (in-ta-v6-la'r8). It. To write notes, 
 to copy music. 
 
 Intavolatura (in-tS,-v6-la-too'ra), It. Musical 
 notation. 
 
 In tempo (in tSm'po), It. In time. 
 
 In tempore justo (in tem'po-rfi yoos-to), Lat. A 
 direction to sing or play in equal, just, and 
 exact time. 
 
 Intendant (inh-tanh-danh), Fr. 1 Director, 
 
 Intendente (in-tend6n't6). 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-tSr-loo'dl-oom), IM. "i 
 
 Intermede (ftnh-t6r-mad'), Fr. [ 
 
 Intermedlo (5n-t6r-ma'dl-6), /(. j 
 
 Intermezzo (In-ter-met'so), It. ) 
 
 An interlude; intermediate, placed be- 
 tween two others; detached pieces intro- 
 duced between the acts of an opera. 
 
 a arm, & add, a ale, £ end, e eve, I i22, i ide, 6 old, 6 odd, oo moon, H but, ii Fr. sound, kh Ger. ch. nh natal. , 
 
 (136) 
 
INT 
 
 DICTIONARY OF MUSIC. 
 
 INV 
 
 Intermediate. A term applied to those flats 
 and sharps which do not iorm any part of 
 the original key of a composition, and 
 which are also called accidentals. 
 
 Intermedietto (In-tSr-ma-dl-St'to), S. A short 
 interlude, or iutermezzo. 
 
 Intermezzi (In-tfr-mfit'tse), It. pi. Interludes, 
 detached pieces or dances. 
 
 Interrotto (In-t6r-r6t't6), It. Interrupted, 
 brolien, speaking of cadence, accent, or 
 rhythm. 
 
 Interrupted cadence. A cadence in which 
 ttie triad of the dominant is followed by 
 some chord which changes the progression 
 of the harmony. 
 
 Interruzione (in-tSr-root-sio'nfi), 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 staff ac- 
 cording to their essential nature, au aug- 
 mented fourth, for instance, arising and re- 
 solving differently from n diminished 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 cliromatic 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-tSr-yall'), Oer. ) 
 
 Irftervalle (ftnh-t€r-vall}, Fr. f An in- 
 
 Intervallo (In-t6r-val'16j, It. f terval. 
 
 Intervallum (in-tSr-val'loom), Lai. ) 
 
 Intervalle (in-tSr-val'ie), Ger. pi. Intervals. 
 
 Intervalli vietati (in-tSr-val-le ve-a-ta'ti), It.pl. 
 Forbidden intervals. 
 
 Intervals, consecutive. Intervals passing in 
 the sime direction in two parallel parts. 
 
 Intervening subject. An intermediate sub- 
 ject of a lugue. 
 
 Intimisslmo (In-tl-mes'si-mo), It. Very ex- 
 pressive, with great feeling. 
 
 Intimo (lu'ti-mo), /(. Inward feeling, expres- 
 sive. 
 
 Intonare (ih-to-na'rg), j. 1 To pitch the 
 
 Intuonare (ln-too-6-n&'r6), J voice, to sound 
 the keynote, to begin. 
 
 Intonation. (1) The act and art of producing 
 sound from the voice oran instrument, both 
 as regards quality and pitch. (2) A voice's 
 or instrument's capacity of yielding sound. 
 (3) The initial phrase sung alone by the 
 officiating priest or leading chorister of the 
 aiitiphon 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. 
 
 Intonation, false. A variation in pitch from 
 what is understood to be the true tone. 
 
 Intonate (in-to-na'-to), It. Tuned, set to 
 music. 
 
 Intonatura (Into-nii-too'ra), „ 1 Intona- 
 
 Intonazione (lu-to-na-tsI-o'nS), J tion. 
 
 Intoniren (In-to-ni'r'n), Ger. To intone, to 
 souud. 
 
 Intrada (In-tra'da), It. 1 A short prelude or 
 
 Intrade (in-tra'd6), Oer. j introductory move- 
 ment. 
 
 Intrepidamente (In - trS - pi - da - mSn ' tS), It. 
 Boldly, with intrepidity. 
 
 Intrepldezza {In-tr6-pi-dfit'sa), It. Intrepid- 
 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 desiga of which is to prepare the 
 ear for the movements which are to follow. 
 
 Introduzlone (in-tro-doo-tsi-o'nSj, II. An in- 
 troduction. 
 
 Introduzione marziale (In - tro - doo - tsl - 6'- 
 ii6 mar-tsi-arl6),ii. An introduction in mar- 
 tial style. 
 
 Introit (In-tro'it), Eng. \ Entrance ; a 
 
 Introit (anh-trwa)j J^T. / hymn, or an- 
 
 Introito (In-tro-e'to), It. >• t h e m, s u n g 
 
 Introito (In-tro-e'to), Sp. Iwhile the 
 
 Introitus (in-tro'i-toos), Xa() J priestenters 
 within the rails at the communion-table ; 
 also the commencement of the Mass. 
 
 Inventio (in-v§n'tsi-6). Lot. A name some- 
 times given to a tricinium. 
 
 Invention (Jlnh- vanh-si-6nh), Fr. An old 
 name for a species of prelude or short fan- 
 tasia. 
 
 Invenzione (in-v6n-tsl-6'n6), It. Invention, 
 contrivance. 
 
 Inversio (in-var'si-6), Lat. Inversion ; see 
 that word. 
 
 Inversio cancrizans (in-var'sl-o ]uln kri-zans'), 
 Lat. Retrograde, or crab-like inversion, or 
 imitation ; because it goes backwards. 
 
 Inversio in octavam acutam (in-var'sio in 
 6c-ta-vam a koo'tam), Lat. Inversion in the 
 octave above, the transposition of the lower 
 part an octave above. 
 
 Inversio in octavam gravem (in-var'sl-o in 
 6k-ta-vam gra'vim), Lat. Inversion 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, 
 nfth,<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 
 
 a ai-m, i add, a. ale, € end, e eve, I ill, i isle, o old, 6 odd, oo moon, ixbut,u Fr. sound, kh Oer. ch, nh nasal. 
 
 C137)' 
 
INV 
 
 DICTIONARY OF MUSIC. 
 
 ITR 
 
 that before descended ascend. (4) In dou- 
 ble counterpoint inversion is the placing 
 of au upper part under a lower part, or a 
 lower 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. 
 
 Inverted chord. A chord whose fundamental 
 tone is not its lowest. 
 
 Inverted turn. A turn which commences 
 With the lowest note instead of the highest. 
 
 Invltatorio (In-vi ta-to'ri-ol, Sp. Psalm or an- 
 them sung at the beginning of the matins. 
 
 Invltatorium (in-vi-ta-to'ri-oom), Lat. A verse 
 sung in the Roman Catholic Church at the 
 beginning of matins, alternately with two 
 verses of the 94th Psalm. The concluding 
 words are generally *' Venite adoremus." 
 
 Invltatory. A partof the service sung in the 
 Roman Catholic Church ; a psalm or an- 
 them sung in the morning. 
 
 Ionian (1-o'nl-an), p 1 (1) In the ancient 
 
 Ionic (I-6n'ik), /Greek system, the 
 
 name of the octave species (in later times 
 called Hypophrygian) g a be d ef g, and of 
 one of the transposition scales. ( V. laslinn. ) 
 (2) In the mediaeval ecclesiastical system, 
 
 the name of the octave species cdefgabc, 
 
 the thirteenth (seventh authentic) mode. 
 ( V. Cliurcli 7nod£S.) 
 
 Ionic music. A light, airy style of music. 
 
 Ira (e'ra), /(. Anger, wrath. 
 
 Irata (e-ra'ta), 1 Angrily, 
 
 Irato (e-ra'to), It. > passion- 
 
 Iratamente (e-ra-ta-mfn-tS), ) 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, geuerally of a sweet, mellow charac- 
 ter. 
 
 Irlandais (er-lauh-da'), Fr. 
 "sh). 
 
 1 An air or dance 
 J tune in 
 
 the 
 
 With wild- 
 
 time ; pcr- 
 
 Irlandisch (er'lau-dish), Gcr. 
 Irish style. 
 
 Ironicamente (o-r6-nl-ka-m6n't6), It. Iron- 
 ically. 
 
 Ironico (e-ro'ni-ko), II. Ironical. 
 
 Irregular cadence. An imperfect cadence. 
 
 Irregolare (er-ra-g6-la'r6), /(. Irregular. 
 
 Irresbluto (er-ra-zo-looto). It. Irresolute, wa- 
 vering. 
 
 Isdegno, con (es-dan'yo kon), /(. With iudig- 
 nation. 
 
 Ismania, con (es-ma'iil-a kon). It. 
 uess, with madness. 
 
 Isochronal, O. ) Uniform in , 
 
 Isochronous, /formed in equal tiu-e. 
 
 Isotonic system. A system of music consist- 
 ing of intervals in which each cncord is 
 tempered alike, and in which there are 
 twelve equal semitones. 
 
 Istesso (es-t6s's6). It. The same. 
 
 Istesso tempo (es-tSafs6 t6m' p6) , It. The same 
 lime. 
 
 Istrepito, con (es-tra-pe'lo kon), It. With 
 noise and bluster. 
 
 Istrionica (es-trio'ni-ka). It. Histrionic ; tha 
 tueatrlcal art. 
 
 Istrumentale (es-troo-m8u-ta'16). It. Instru- 
 mental. 
 
 Istrumentazione (es-troo-mfin-ta-tsi-o'ne). It. 
 Instrumentation. 
 
 Istrumento (es-troo-m6n'to). It. An instrn' 
 ment. 
 
 Italian mordent. A short shake, or trill, con- 
 sisting of the alternation of a tone with the 
 next tone above it. 
 
 Italiano (e-ta-lia'no). It. ) 
 
 Italienisch (eta li-a,'nish), Ger. )- Italian. 
 
 Italienne (e la-11 Suu), Fr. I 
 
 Italian sixth. A name sometimes i_^; ^^ , 
 
 given to a chord composed of a I /!\\ " C j , 
 
 major third and an augmented 
 
 sixth. 
 
 Ite missa est (e'ta 'mis-sa fist), L"t. The ter- 
 mination of the Mass: sung by the priest to 
 Gregorian music. 
 
 I trovatori (e tro-va-to're). It. The trouba- 
 dours. 
 
 3^ 
 
 aarm, £Lacfd, a, ale, fie/id, ecwc, iiZi, iisIe,6oW, 6odd, oo moon, abut, nFr. sound, 'k.h.Ger.ch.nh nasal- 
 
 (138), 
 
A 
 
 JAC 
 
 DICTIONARY OF MUSIC. 
 
 JUS 
 
 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 
 hard leather, projecting at riKhtaugles. The 
 quill or piece of leather serves as a plectrum 
 with which the corresponding string is 
 plucked. (2) A part of the action of the pi- 
 anoforte, the e.<!capement-lever, which is 
 also called " hopper." 
 
 Jaegerchar ( j a'shfir-kor), Ger. Hunting chorus. 
 
 Jagdhorn (yagd'horn), „ 1 Hunting-horn, 
 
 Jagdzlnk (yagd'tsink), J bugle-horn. 
 
 Jagdruf (yagd'rnof), Oer, Sound of the bugle 
 or hunting-horn. 
 
 Jagdsinfonle (yagd'sln-fo-ne'), Oer. Hunting 
 bymphouy. 
 
 JaKdstiick(yagd'stiik),(ier. A hunting-piece. 
 
 Jagerchor tya'ghfir-kor), Gcr. Sae Jaegerchnr . 
 
 Jagerhorn (ya'ghSr-h6rn),(Ter. Hunting-horn, 
 bugle-huru. 
 
 -lailtage (yal-taj). The only musical Instru- 
 ment oi Tartary, consisting of a box of fir 
 about four feet long and three inches wide, 
 the upp. r part of which is open, over which 
 six wire strings are stretched. It is played 
 on with both hands, but chiefly with the 
 left, and produces both treble and bass. 
 
 Jaleo (ha-lS,'€), Sp. A national Spanish dance. 
 
 Jangle. To sound discordantly or inharmo- 
 uiously. 
 
 Janitscharenmusik (ya-nlt-sba'r'n-moo-zik'), 
 tfer. The music introduced into Europe by 
 the Janizaries; military music, consisting 
 of wind instruments and instruments of 
 percussion, such as drums, cymbals, trian- 
 gles, etc. 
 
 JargAn. The union of several discordant 
 notes. 
 
 Jauclizend (yowkh'tsend),Oer. Shouting, joy- 
 ful. 
 
 Jeu (zhQh), Fr. Play; the style of playing on 
 an instrument ; also a register in an organ 
 or harmonium. 
 
 Jeu c£leste (zhtlh sa-l£st), Fr. The name of a 
 soft stop in a harmonium ; also an organ- 
 stop of French invention, formed of two 
 dulciana pipes, the pitch of one being 
 slightly raised, giving to the tone a waving, 
 undulatiug character. 
 
 Jeu d'anche (zhtlh d'ansh), Fr. A reed-stop 
 in au organ. 
 
 Jeu d'anges (zhCh d'iinzh), Fr. Soft stops. 
 
 Jeu d'ichos (zhOh d'a-ko), Fr. Echo stop. 
 
 Jeu de flutes (zhdh d(ih floot), Fr. Flute stop. 
 
 Jeu d'orgues (shilh d'org), Fr. Register, or 
 
 row of pipes, in au organ. 
 Jeux (zhfih), Fr. pi. Stops, or registers, in an 
 
 organ or harmonium. 
 Jeux forts (zhflhfor), 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 jew's-harp. 
 
 Jig. A light, briskmovement ; an old species 
 of dance in 6-8 or 12-8 time ; the name is sup- 
 posed to have been derived from Qeig, 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 (zhwa), Fr. Joy, gladness. 
 
 Jongleurs' (zh6nh-gloor), p , ) Thus were 
 
 Jongleurs (zhOnh-gltlr), ^ '^ ■ j called in the 
 time of the troubadours and trouvdres the 
 professional minstrels and players on in- 
 struments who either were in the service 
 of the former or traveled about the coun- 
 try independeutly. Their performances 
 were not confined to singing, playing, and 
 recitation, but comprised— especially in 
 later times— legerdemain, tumbling, rope- 
 dancing, etc. 
 
 Jota (ho'ta), Sp. A Spanish national dance. 
 
 Jouer (zhoo-a), Fr. To play upon an instru- 
 ment. 
 
 Jovialisch (yo-fi-a'lishj, Oer. Jovial, joyous, 
 merry. 
 
 Jubelflote (yoo'b'l-flo't£), Qer, An organ-stop 
 of the flute species. 
 
 Jubelgesang (yoo'b'l-gh6-zang),„„ ISong of 
 
 Jubellied iyoo'b'1-led), "'"^/jubilee. 
 
 Jubeind (yoo'belnd), Oer. Rejoicing. 
 
 Jubilant. Joyful, triumphant. 
 
 Jubilee. A season of great public joy and 
 festivity. Among the Jews every fiftieth 
 year was a jubilee. 
 
 Jubiloso (yoo'M-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 (zhtlst), Fr. Accurate in time, tone, 
 harmony, and execution. 
 
 Justesse (zbfis-tass'), Fr. Exactness, correct- 
 ness, or purity, of intonation. 
 
 i. arm, & add, a ate, 4 end, a eve, I ill, I Ule,a old,0 odd, oo moon, tl but, U Fr.Bound, kh Qer, cA. nh ruuai, 
 
 (I») 
 
;^,AB 
 
 DICTIONARY OF MUSIC. 
 
 Kil' 
 
 k: 
 
 Kabaro (kiirba'rd). A small drum used in 
 
 Egypt and Abyssiuia. 
 Kalamaika (kill-a-ma'ka). A lively Hungaiiau 
 
 dauee in 2-4 time, full of auimatiou aud 
 
 passiou. 
 Kammer (kam'mSr), Ger. Chamber. 
 
 Kammercantate (kam'm£r-kau-ta'tS), Ger. 
 Chamber cautata. 
 
 Kammercomponist (kam'mSr - kom-po-uist), 
 Ger. " Chamber composer." A composer 
 who has to furnish compositions required 
 for the private concerts of a priuce. 
 
 Kammerconcert (kam ' mSr - kon - ts6rt), Ger. 
 Chamber concert. 
 
 Kammerduet (kam'm6r-doo-6t'), Ger. Cham- 
 ber duct. A duet for chamber peTformauce. 
 
 Kammermuslc (kam ' m€r - moo - zik'), Gei'. 
 Chamber music ; music for private per- 
 formance. 
 
 Kammermusikus (kam'mSr-moo'zi-koos) ,Ger. 
 Chamber musician ; member of a prince's 
 private band. 
 
 Kammersangerin (kam'mgr-eang-er-iu), Ger. 
 Private singer to a prince or king. 
 
 Kammerspiel (kam'mSr-spel), Ger. See Kam- 
 viermusik. 
 
 Kammerstyl (kam'mSr-stel), Ger. Style of 
 chamber music, as opposed to the ecclesias- 
 tical and theatrical styles. 
 
 Kammerton (kam'mSr-ton), Oer. The pitch, 
 or lower tuning of the instruments in 
 chamber music, opposed to the higher tun- 
 ing of the organ in church music. 
 
 Kammervirtuose (kam'mfir-fir-too-o'zfi), Oer. 
 A chamber virtuoso. A virtuoso in the 
 service of a prince. 
 
 Kampoul (kam-pool). A gong of small di- 
 mensions used by the Malays. 
 
 Kandele (kan-da'ie). Ancient minstrel's harp, 
 of the Finns. 
 
 Kanon (ka'uon), (?er. A rule. (1) An instru- 
 ment formerly employed for measuring in- 
 tervals; it was a mouochord with a mov- 
 able bridge. Sometimes it had also a sec- 
 ond string in unison with the first, there- 
 by permitting 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-6n), Gr. Musical instrument of 
 the dulcimer variety, used in Arabia. 
 
 Kantate (kan-tii'te), Ger. Cantata. 
 
 Kanzellled (kan'tsSl-led), Ger. Hymn before 
 the sermon. 
 
 Kapelle (ka-p61'16), Ger. A chapel. A musica 
 establishment — consisting of a choir <'\ 
 singers, of a band of instrumentalists or ol 
 both — connected with a church or a courl, 
 or in the pay of a nobleman. Now the ex. 
 pressior is generally applied to a band (>( 
 instrumentalists. 
 
 Kapellknaben (ka-p£I'kna'bSn), Ger. Choh 
 boys. 
 
 Kapellmeister (ka-pSl'mis-tSr), Oer. Chapel 
 master; musical director. 
 
 Kapellstyl (ka-pSl'stel), Ger. Acappella; un, 
 accompanied vocal compositiou in strict 
 Btylfe. 
 
 Karfreitag (kar-fri'tag), Ger. Good Friday 
 
 Ksck (k6k), Ger. Fresh. 
 
 kcckheit (kek'hit), Ger, Boldness, vigor. 
 
 Keeping time. An inelegant form of express 
 siou. Keeping time means that the pulsa- 
 tion is evenly observed, the accentuation 
 upon the proper points of the measure, and 
 all the tones brought in with their proper 
 time-relation. 
 
 Kehle (ka'lS), Ger. The voice, the throat. 
 
 Kehllaut (kal'lout), Oer. A guttural sound, 
 
 Kemangeh (kg-man-gah'), Tiir. A stringed in- 
 strument of the Turks, played with a bow 
 
 Kenet (kSn'Ct). An Abyssinian trumpet. 
 
 Kenner (k6n'nSr),GCT'. A connoisseur ; a pro- 
 
 Kent bugle. A bugle having six keys, four of 
 which are commanded by the right hand 
 and two by the left. 
 
 Kerana(kS-ra'na), Per. A Persian horn, which 
 is sounded at sunset and at midnight. 
 
 Keraulophon (k6-rou'16-fon), Ger. An 8-feet 
 organ-stop, of a stringy aud pleasing quality 
 of tone, its peculiar character being pro- 
 duced by a small round hole bored in the 
 pipe near the top, promoting the formation 
 of overtones. 
 
 Keren (ker-Gn), Heb. A horn ; an instrument 
 first used by the Hebrews, formed of a ram's 
 horn, and subsequently made of melal. 
 
 Kern (karn), Ger. The languid, or langward, 
 in organ-pipes. 
 
 Kernstimmen (karn'stim-m'n), Ger. The fun- 
 damental, or 8feet, stops of an organ. 
 
 Keron-jebel (k6r'6n-ya-b'l),iri!b. Jubilee horn. 
 
 Kerrena (kSr-ra'nii), It An Indian trumpet. 
 
 Kesselpauke (kfis's'l-pow'kfi), Ger. Kettle- 
 drum. 
 
 Ketch. Name applied by old writers to a 
 catch. 
 
 a arm, & odd, a ale, i end, e eee, I ill, I UU, 6 old, oM, oo moon, d but, tt Fr. louttd, kh On*. cA, nh ruaai. 
 
JvET 
 
 BICTIONAEY OF MtTSIC. 
 
 KLA 
 
 KettentrlUer (k6t't'n-trn'l«r), Ger. Chaiu 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 timed to any note from F to c, and 
 the higher to any note from £-Sat to f. Ket- 
 tledrums are made to sound by means of 
 two slicks, 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 instrumentwith keys, 
 the hammers striking upon plates of glass. 
 
 Keyed Instruments. AH instruments whose 
 tones are produced by the pressure of the 
 fingers upon keys. 
 
 Keyed-stop violin. An arrangement which 
 may be attached to a violin, consisting of a 
 fingerboard made of ebony, with thirty- 
 three stops, called keystops, which stand 
 above the strings and act upon them per- 
 pendicularly. 
 
 Keyed violin. An instrument haying forty 
 strings, arranged like those of a piano, and 
 acted upon by horsehair bows, under the 
 pressure of keys like those of an organ. 
 
 Key harp. An instrument of recent inven- 
 tion, resembling a piano externally, with a 
 similar arrangement of keys and pedals. It 
 consists of an adjustment of tuning forks of 
 various pitches, over cavities of sonorous 
 metal. 
 
 Keynote. The tonic, or repose, note of a 
 scale. 
 
 Keytone. The keynote. 
 
 Khasan (kha'zin), Heb. The principal singer 
 in a synagogue. 
 
 Kin chl (kin ke). A Chinese musical instru- 
 ment possessing a body of thin wood, with 
 five strings of silk, of different sizes. The 
 scholar's lute. A kind of dulcimer. 
 
 King chl (king kee). A Chinese instrument 
 consisting of a frame of wood with pendent 
 stone, graduated through sixteen notes and 
 struck with a hammer. 
 
 Kinnor (kln-nor'), Heb. A small harp, or lyre, 
 held in the hand and played upon while 
 dancing. David played the kinnor. 
 
 Kirche (kir'kh6), Qer. 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. 
 
 KIrchencomponlst (klr' kh'n -kom - po - nlsf), 
 Ge)\ Composer of church music. 
 
 Kirchendlenst (kir'kh'n-denst), Ger. Church 
 service ; form of prayer. 
 
 KIrchenfest (kir'kh'nfSst), Ger. Church fes- 
 tival. 
 
 Kirchengesang (klr'kh*n-gh6-sang'), n«^ \ 
 
 Klrchenlled (kir'kh'n-Ied), ''^^- / 
 
 Spiritual song, canticle, psalm, or hymn. 
 
 Klrchenmusik (klr' kh'n - moo - zlk'), Ger. 
 Church music. 
 
 Klrchenschluss(kir'kh'n-shloos),(?er. An ec- 
 clesiastical, or _plagal, cadence ; the chord 
 of the subdommant followed by the tonic. 
 
 KIrchenstyl (klr'kh'n-stelj.Ser. Church style, 
 ecclesiastical style. 
 
 Kirchentiine (kli'kh'n-ton-S), Gcr. The church, 
 or ecclesiastical, modes. 
 
 Kit. The name of a small pocket violin used 
 by dancing-masters. Its length is about six- 
 teen inches, and that of the bow about sev- 
 enteen. 
 
 Kltar (kl-tiir). A~ musical instrument of the 
 Arabs. Our word * ' guitar ' * is derived from 
 this. 
 
 Kithara (kith'a-ra), Gr. A cithara, or lyre, of 
 the Greeks. 
 
 Klage (klii'ghE), Qer. Lamentation. 
 
 Klagend (kla'g'nd), Ger. Plaintive. 
 
 Klagegedlcht (kia'ghS-gfi-dikht'), r^ \ 
 
 Klagelled (kla'ghe-lld), ''^- / 
 
 Elegy, mournful song, lamentation 
 
 Klageton (kla'gh6-ton), Ger. Plaintive tune, 
 or melody. 
 
 Klang (klang), Ger, Sound ; tune ; ringing. 
 
 Klangboden (klang-bo-d'n), Gcr. Soundboard. 
 
 Klange (kiang'£),<?er. pi. Sounds, melodies. 
 
 Klangfarbe (klang'far-bS), Ger. Sound-color ; 
 the quality, or timbre, of sounds. 
 
 Klanggeschlecht (klang'ghS-shlSkhf), Qer. A 
 genus, or mode. 
 
 Klanglehre (klang'la-rC), Ger. Acoustics. 
 
 Klanglos (kliinglds), Qer. Soundless. 
 
 Klappe (klap'pS), Ger. Kev of any wind in- 
 strument ; a valve. 
 
 Klappenfliigelhorn (klap'p n-flu'g'l-h6rn),ffer. 
 The keyed bugle. 
 
 a arm, a add, a ale, iend, e eve, I ill, I iile, oold, 6 odd, oo moon, il but, <i Fr. sound, kh Ger. ch. nh natal. 
 
KLA 
 
 DICTIONARY OF MUSIC. 
 
 Kill 
 
 Klappenhorn (klap'p'u-hSrii), Ger. A keyed 
 
 horu. 
 Klapptrompete (klap-trom-pa't«), Ger. A 
 
 kiyed trumpet. 
 Klar(klar), Ger. Clear, bright. 
 Klartieit (klar'hit), Gei: Clearness, plainness. 
 Klarinette (kla'rl-n6tt6), Ga: A clarinet. 
 Klarllch (klar'likh), Ger. Clearly, distinctly 
 Klassisch (klas'slsh), Ger. Classical, of high 
 
 rank. Approved. 
 Klausel (klou'zel), Ger. A close; a regular 
 
 section of a movement, 
 
 Klavier (kla-fer'), Ger. Pianoforte; harpsi- 
 chord. See Clavier. 
 
 Klavlerauszus (kla-fer'ows-tzoog), Ger. Edi- 
 tion for pianoforte. An arrangement of a 
 score for pianoforte. 
 
 Klaviersonaten (kia-fer'so-na-t«n), Ger. Piano- 
 forte sonata. 
 
 Klavierspieler (kla-fer-spe'ler), Ger. Piano- 
 forte-player. 
 
 Klein (kiln), Ger. Minor, speaking of inter- 
 vals. 
 
 Kleinbass (klinljass), „„ > ,,. 
 
 Kleinbassgeige (klin'bass-gi-ge), '"'• / V'°- 
 loncello. 
 
 Kleinlaut (klin'lout), Ger. Small or low in 
 tone or voice. 
 
 Klingbar (kllng'baT), Ger. Resonant, sono- 
 rous. 
 
 Klingel (kUng'fil), Ge): A bell. 
 
 Klingeln (kling-81n), Ger. To ring or sound a 
 small bell; to jingle. 
 
 Klingen (kllng'gn), „ \ Sonorous, reso- 
 
 Klingend (kllng'Snd), / nant, ringing. 
 
 Kllnggedicbt (kllng'g£-dlkht), Ger. Sonnet. 
 
 Klingklong (kliug'klang), Ger. Tinkling, bad 
 music. 
 
 Klingaplel (kling'spel), Ger. The sound or 
 noise of instruments. 
 
 Klutter (kloot'ter), Ger. A bird-call. 
 
 Knabenstimme (kna'taSn-stirn'mS), Ger. A 
 boy's voice, counter tenor. 
 
 Knee-stop. 
 
 Knell. The tolling of a bell at a death or 
 funeral. 
 
 Kniegeige (kne'gl-ghe), Ger. Viol da gamba, 
 violoncello. 
 
 KnterShre (kne'ro-rS), Ger. A pipe, or tube, 
 bent like a knee. 
 
 Koilectivauszug (koVISk-tef'ows-tzoog), Ger. 
 A collected selection of an author's vrorks. 
 
 Kollo (kol-lo). Jop. A Japauese instrument, 
 somewhat resembling a harp. 
 
 Kombinationspedale (kom'- bl - na - tsl - ons'- 
 p«-da'IS), Ger. Combination pedal. A pedal 
 coutrolling a combination of organ-stops. 
 
 Komblnationstone (kdm'bl-na-tsi-dns'td-nS) , 
 Ger. Combination tones. Resultant tones 
 formed by the differences of two sounding J 
 tones. 
 
 Komiker (ko'ml-kSr), Ger. A writer of bur- 
 
 lettas ; also a comic performer. 
 Komisch (ko'm!sh), Ger. Comical. 
 Komma (kom'ma), Ger. Comma; a musical 
 section or division. - An interval equal to 
 about au 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-on), Ger. A com- 
 position. 
 Kompositlonslehre (kdm'pd-zlt-s!-6ns'la-r$), 
 Ger. The art of composition. A textbook 
 in musical composition. 
 Konservatorium (kon-sar-va-to'ri-oom), Gfr. 
 A conservatory ; a school of the art of music. 
 Koous. A Persian drum made of brass, two 
 
 feet in circumference. 
 Kdpfstimme (kopf'stim-m£), Ger. Falsetto, 
 
 head voice. 
 Koppe"(kop'p'l), Ger. Coupler; coupling-stop 
 
 in j,u organ. 
 Kor (kor), Ger. \ Choir, chorus. See 
 
 Kore (ko'rS), Ger.pl. f Chor. 
 Koryphsus (ko-ri-fe'iis), Gr. Chief, or leader, 
 
 of the dancers. 
 Kos (koz), Hun, A Hungarian dance. 
 Kbsake (ko-sii'kS). A national dance of the 
 
 Cossacks. 
 Kraft (kraft), Ger. Power, strength, energy. 
 Kraftlg (kraf'tigh), „ ) Power 
 
 Kraftigllch (kraf'tjgh-llkh), ""^- /ful, vigor 
 
 ous, full of energy. 
 Kraftig und kurz (kraf'tigh oond koorts), Ger 
 
 Loud and detached. 
 
 Krakoviak (kra-ko-vl-ak). I The cra- 
 
 Krakovlenne (kra-ko-vi-Sn), Fr. ) covieune, a 
 
 Polish dauce in 2-4 time, with strongly 
 
 marked rhythm and much syncopated. 
 
 Krebsgiingig (kr6bs'gan-gigh), Ger. Crab-go 
 
 ing ; inverse imitation ; backwards. 
 KrelKhend (krl' shSnd), Ger. Shrieking, 
 
 screaming. 
 Krelafuge (krIs'foo-ghS), Ger. Circulating 
 
 fugue; a canon. 
 Kreislerlana (kris'la-ri-a-na), Ger. Like Kreis- 
 ler. A series of eight piano pieces of Schu- 
 mann, named after an eccentric charactt*r 
 called Kreisler,in one of Hoffmann's novels. 
 Kreistanz (kris'tants), Ger. Dance in a circle. 
 Kreuz (kroits), Ger. A sharp. 
 Kreuz-doppeltes (kroits-dop'pSl-tSs), Ger. A 
 
 double sharp, X or ##. 
 Kriegerlsch (kre'gh«r-ish), Ger. Warlike, mar- 
 tial. 
 Kriegsgesang (kregs'ghfrsang'), „ 1 
 Kriegsfied (kregs'led), <'^- f 
 
 A war-song, a soldier's song. 
 Krtegsspieler (kregs'spe'16r),Ge7-. A musician 
 of a legiment. 
 
 iarm, Aadd, aote, i end, e eve, HU,lUU,6oUi, odd. oc noon, a but, u Fr, sound, kb Ger. ch. uhnasal, 
 
 (U2) 
 
KEO 
 
 DICTIONARY OF MUSIC. 
 
 LAM 
 
 Krome. See Croma. 
 
 Krumm (krooin),Ge)-. Crooked, curved, bent. 
 
 Krummbogen (kroom'bo-g'n), Ger. A crook 
 for changing the pitch of horns. Inserted, it 
 lengthens the tube, thereby lowering the 
 pitch. 
 
 Krummhorn (kroom'horn),Ger. Crooked horn. 
 The name of 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-stops.^ 
 
 Krustische Instrumente(kroos'ti-she In-stroo- 
 mSu'tS), Ger. Instruments of percussion, a« 
 the drum, cymbals, etc. 
 
 Kuhhbrn (kooTiom), Ger. Cow-horn, Swiss 
 hum, Alpine horn. 
 
 Kiihn (kiin), Ger. Short. 
 
 Kuhreigen (koo'ri-gh'n), Oer. Ranz des 
 
 vaches. A Swiss melody. 
 Kunst (koonst), Ger. Art, skill. 
 
 Kunstfuee (koonst'foo-gh«), Ger. Art fugue. 
 A musically composed and artistically de- 
 veloped fugue (distinguished from an exer- 
 cise fugue). 
 
 Kiinstler (ktinstl'r), Ger. Artist. 
 
 Kunstpfeifer (koonst'pfi-ffir), Ger. Street mu- 
 sician. 
 
 Kunstwerk der Zukunft (koonst'vark dfir 
 tsoo'koonft), Ger. Art work of the future. 
 A term given by Richard Wagner to his pe- 
 culiar theory of the music of the future; 
 musical composition. 
 
 Kappel (koop'p'l), Ger. See Koppd. 
 
 Kurz (kcorts), Oer. Short, detached, staccato. 
 
 Kiirzen (kflr'tsen), Ger. To abridge. 
 
 Kurzer Mordent (koorts'fir mor-dSnt'), Oer. 
 Short mordent. 
 
 Kurzer Singesatz (koort'sfir sin'gS-siits), Uer. 
 Cavatina. " 
 
 Kurz und rein (koorts'oond riu), Ger,- Dis- 
 tinct and clear. 
 
 Kiirzungr (kiir'tsoong), Ger. Shortening, ab- 
 breviation. 
 
 Kurzungszeichen (kur'tsoongs-tsi'kb'n), Ger. 
 Sign ui abbreviation. 
 
 Kussir (kiis-ser), Fr. A Turkish musical in- 
 strument. 
 
 Kyrie eleison (ke'ri-a ali'zCn), Cr. "Lord, 
 nave mercy upon us." The first movement 
 in a Mass. 
 
 Kyrielle {ke-re-61), Ft. Lit»ny. 
 
 L. Left hand. Notes to be played with the 
 
 left hand or foot are sometimes written 
 
 with an L over them. 
 La. (1) The name of the sixth sol-fa tone of 
 
 the scale. (2) Applied to A uniformly in 
 
 French and Italian sol-faing. 
 
 Lajla), J«. l^he 
 
 La(la),i?r.;^"*- 
 
 La bemol (la ba-mol), Fr. The note Al>. 
 
 La bemol majeur (la ba-mol ma-zhtlr),i^r. The 
 
 key of A\> major. 
 La bemol mineur (la ba-mol me-ntir), Fr. The 
 
 key of Ab minor. 
 Labial. - Organ-pipes with lips ; called, also, 
 
 flue pipes. 
 Lablalstimmen (la-bi-al'BtIm'm°n),Oer. Stops 
 
 belonging to the fluework, not reed-stops. 
 Labium (laHbl-oom), Lot. The lip of an organ- 
 pipe. 
 La chasse (la shiiss), Fr. In the huniing style. 
 Lacrimando (la-crl-man'do), „ ) Sadly ; in 
 Lacrimoso (la-cil-mo'zd), /a mournful, 
 
 pathetic style. 
 Lacrimosa (lak'rl-mo'za), Lat. " Weeping 
 
 stands." Part of the Stabat Mater. 
 Lade (la'd£), Ger. Windcbest in an organ. 
 
 La diese (la di-as')i Fr. The note A#. 
 
 Laee (la'ghS), Oer. Lay. Position. (I) Of a 
 
 chord, (2) Of the hand in the shifts of the 
 
 violin. 
 Lagnoso (lan-yo'zo), /(. Plaintive, doleful. 
 Lagrimando (la-gti-man'do), „ I Weeping, 
 Lagrlmoso (la-gn-mo'zo), •"■ j tearful, in a 
 
 sad and juouruful style. 
 Lai(la),Fr. Lay, ditty; short, plaintive song. 
 La maggiore (la mad-zho'ra), /(. La major; 
 
 tbe key of A major. 
 
 La majeur (la ma-zhdr), 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-mSn-ta'bMS), It. Lamenta- 
 ble, mournful. 
 
 Lamentabilmente (la-m$n-tS-biI-men'tS), It. 
 Lamentably, mournfully. 
 
 Lamentando (la-mgn-tan'do), /(. Lamenting, 
 mourning. 
 
 Lamentevole (la-m6n-ta'vo-iS), /(. Lamenta- 
 ble, mournful, plaintive. 
 
 , a add, S.ale,6 end, eeve,l m, I iale, 6 old, 6 odd, oo moon, &uf , ii Fr. sound,- kh Ger. cA, nh nasal, 
 
 (143) 
 
LAM 
 
 DICTIONARY OF MUSIC. 
 
 LEA 
 
 Lamentoso (la-mSn-to'z6), li. Lameutable, 
 mournful. 
 
 La mineur (la mi-ntlr), Ft. The key of A mi- 
 nor. 
 
 La minore (la me-nd'rS), It' La minor; the 
 key of A minor. 
 
 Lampons (lauh-pdnh), Ft. Drinking-songs. 
 
 Landerer (lan'd§-r6r), ^ 1 A country dance 
 
 Landler (land'l^r), ) or air in a rus- 
 
 tic and popular style, in 3-8 or 3-4 time. 
 
 Landerisch (lan'der-ish\ Ger, In the man- 
 ner cr measure of a country dance. 
 
 Landlich (land'likh), Ger. Rural. 
 
 Landlied (land'led), Ger. Eural song, rustic 
 soug. 
 
 Landu (lan-doo) , For. A Portuguese dance in 
 2-4 or 2-2 time. 
 
 Landums (Ian-dooms), For. A class of Portu- 
 guese music, of a sentimental, melancholy 
 nature. 
 
 Lang (lang), Ger. Long. 
 
 Langsam (lang'sam), Ger. Slowly; equiva- 
 lent to largo. 
 
 Langsamer (lang'sam-gr), Ger. Slower. 
 
 Language. 1 1n an organ-flute pipe this is the 
 
 Languid. ) flat piece of metal or wood 
 placed horizontally just inside the mouth. 
 
 Languemente (Ian-gw6-m6n't6), It, Lan- 
 guishingly. 
 
 Languendo (lan-gw«n'd6), If) Languishing, 
 
 Languente (Ian-gw8n't6), ii!. )■ feeble ;wi9i 
 
 Languido (lan-gwe-do), It, J languor. 
 
 Languettes (lan-gatf), Fr. The brass tongues 
 belonging to the reed pipes in an organ. 
 
 Largamente (lar-ga-mSn'tfi) , j, \ Largely, 
 
 Largamento (lar-ga-mSn'to), ( fully; 
 
 in a full, free, broad style 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), Ft. Pull, free in 
 style. See Largamente. 
 
 Larghetto (lar-g4t'to), /(. A word specifying 
 a time uot quite so slow as that denoted by 
 largo, of which word it is the diminutive. 
 
 Larghezza (lar-gSt'tsa), It. Breadth, large- 
 ness, freedom. 
 
 Larghisslmo (lar-ghes'si-mo). It. Extremely 
 slow ; the superlative of largo. 
 
 Largo (lar'go), It. A slow and solemn degree 
 of moveinent. 
 
 Largo andante (lar'go an-dan'tg), It. Slow, 
 distinct, exact. 
 
 Largo assai (lar'go a£-sa'e) yy \ Very 
 
 Largo di molto (lar'go de mol'to), /slow. 
 
 Largo ma non troppb (lar'go ma non trop'po). 
 It. Sluw, but uut too much so. 
 
 Largd un poco (lar'go oon po-ko), It. Rather 
 slow. 
 
 Larigot (larlgot), Fr. Shepherd's flute or 
 pipe ; an organ-stop tuned an octave above 
 
 the twelfth ; the former named the flageo- 
 let. 
 
 Laringe (ia-reii'gh6), It. Larynx. 
 
 Larmoyant (lar-mwa-yanh), Fr, Weeping, 
 with a tearful expression. 
 
 Larynx. The upper part of the trachea. It 
 is composed of five annular cartilages, 
 placed above one 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 (la'oo-da), ii!. Laud; praise; hymn of 
 praise. One of the canonical hours, imme- 
 diately following matins. 
 
 Laudamus te (lou-da'moos ta), Lot, "We 
 praise Thee." Part of the Gloria. 
 
 Laudes (lou-dSs), Lat. \ Canticles, or hymns 
 
 Laudi (la'oo-dl), It.pl. J of praise, that follow 
 the early Mass. 
 
 Laudi spirituali (lou-de spe-ri-too-a'le), Lat. 
 Sacred songs and dialogues sung by the 
 priests iu 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'fgl, Ger. pi. \ Rapid divisions of 
 
 Laufer(loi'f6r), Ger. /notes; aflight, or run, 
 of rapid notes ; a roulade, a trill, or shake. 
 
 Launenstiick (lou'nfin-stiik), Ger. A volun- 
 tary. 
 
 Launig (lou'nig), Ger. Humorous, 
 
 Laut(lout), Ger. Loud; also sound. 
 
 Laute (lou'tS), Ger. The lute. 
 
 Lauten (loi't'n), Ger. To ring, to toll, to 
 sound. 
 
 Laiitenist (lou't'n-lsf), Ger. Lute-player, luta- 
 nlst. 
 
 Lautenmacher (lou-t'n-ma'khSr), Ger. Lute- 
 maker. 
 
 Lautenschlager (lou-t'n-shla'gh6r), « 1 
 
 Lautenspieler (lou-t'n-spelSr), ^' j 
 
 Lute-player, lutanist. 
 
 Lautlos (lout'los), Ger. Soundless, mute. 
 
 La voce (la vo-tshS), It. The voice. 
 
 Lay. A song; a species of narrative poetry 
 
 among the ancient minstrels. 
 Lay clerk. A vocal ofiiciate in a cathedral, 
 
 who takes part in the services and anthems, 
 
 but is not of the priesthood. 
 Le™h),J'r. Irpj^ 
 Le(la), Ji!.pl. k"®- 
 Leader. The first, or principal, violin in an 
 
 orchestra ; a director of a choir. 
 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, & add, a ale, 6 end, e eiie, i ill, i isle, 6 old, 6 odd, oo moon, iibut,viFr. sound, kh Ger. ch, nh naml. 
 
 (144) 
 
LEA 
 
 DICTIONARY OF MUSIC. 
 
 LEI 
 
 Leaps. A distance composed of several inter- 
 mediate intervals. 
 
 Leben (la'b'n), Cfer. Life, vivacity. 
 
 Lebendig (la'bSn-dlgh), Ger. Lively. 
 
 Lebhaft (lab'haft), Ger. Lively, vivacious, 
 quiclE. 
 
 Lebhaftljskeit (lab'haf-tigh-kit), Ger. Liveli- 
 ness, vivacity. 
 • Lefon (la-s5nli), Fr. A lesson, an exercise. 
 
 Ledger lines. \ The short extra, or addition- 
 
 Lezer lines. J al, lines drawn above or below 
 the staff, tor 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 (18-ga,'bM«), „ Uee Leaaio 
 Legando lie-gan'do), -"• |seeie9aeo. 
 
 Legare (lS-ga'r6), It. To slur, or bind. 
 
 Legate le note (ie-ga'r£ li n6't£\ It. To join 
 
 the notes closely ; to play legato. 
 Legatissimo (IS-ga-tes'si-mo), It, Exceedingly 
 
 smooth and connected. 
 Legato (IS-ga'to), It. In a close, smooth, grace- 
 ful manner ; the opposite to staccato. , It is 
 
 often indicated by a sign called a slur, 
 
 thus, ^. 
 Legato assal (IS-ga'to as-sa'e). It. 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 (l£-ga-too'ra). It. A slur, a ligature. 
 Legatura di voce (IS-ga-too'ra de vo'tshS), It. 
 
 Connection of several tones sung in one 
 
 breath. 
 Legende (la-zhanhd), Fr. \ A legend ; an 
 Legende (la-ghen-de) Ger. j interesting story. 
 Liger (la-zha), Fr. Light, nimble. 
 Legerement (la-zbar-manh), Fr. Lightly, 
 
 nimbly, gaily. . 
 
 Leger et animi (la-zhar £t an-i-ma), Fr. Light 
 
 and animated. 
 L£geret£ (la-sha'rS-ta), Fr. Lightness, agil- 
 ity. 
 Leggenda (led-jSn'da), /(. A legend, a tale. 
 Leggeramente (led-jSr-a-mSn'tS), It. Lightly, 
 
 easily. 
 Leggeranza (IM-jSr-au'tsa), « 1 Lightness 
 Leggerezza (lSd-jer-6t'tsa), J and agility. 
 Leggerissimamente (l£d-j$r-e8-si-ma-m£n't£) , 
 
 u. Very light and sprightly. ^, 
 Leggerissimo (l«d - j6r- es' si - mo). It. Very 
 
 light and sprightly. 
 Leggermente (lM-jSr-m$n't£), It. A light 
 
 and easy movement. 
 -Leggiadra (ied-ji-a'dra),/il. Graceful, elegant. 
 Lwgladrainente (l£d-ji-a-dra-m£n'te), II. 
 
 Gracefully, elegantly. 
 
 Legglardo (Igd-jl-iir'do), It. Lightly, deli- 
 cately. 
 
 Leggieramente (16d-jl-a-ra-m6n't6), ) 
 
 Legglere (16d-ji-a'r6), It. > Easi- 
 
 Leggiermente (16d-ii-6r-m6n't6), 1 
 
 ly, lightly, delicately. 
 
 Leggierezza (led-jI-S-rSt'tsa), It. Lightness, 
 delicacy; in a light, elastic style. 
 
 Leggiero (led-jl-a'ro). It. Light, swift, deli- 
 cate. 
 
 LegnO (liln'y5), /(. Wood. See Col legiw. 
 
 Lehrer (la'rSr), Ger. Teacher, mastw. 
 
 Lehrerin (la'rfir-in), Ger., Instructress, mis- 
 tress. 
 
 Leich (likh), Ger. A lay. 
 
 Lelchenmusik (li'lch'n-moo-zik'),G«-. Funer- 
 al-music. 
 
 Leichenton (li'kh'n-ton'), Ger. A lugubrious 
 sound. 
 
 Leicht (llkht), Ger. Light, easy, facile. 
 
 Leichtheit (likht'hiit), ^„ 1 Lightness, 
 
 Leichtigkeit (likh'tig-kit), "^- 1 facility. 
 
 Leichtfertig (llkht'fer-tlg), Ger. Lightly, care- 
 lessly. 
 
 Leidenschaft (li'd'nshaft), Ger. Passion. 
 
 Leidenschaftlich (ll'd'n-shiiftllkh), Ger. Im- 
 passioned, passionate. 
 
 Leier (li-Sr), Ger. A lyre, a hurdygurdy. 
 
 Lelermadchen (li'Sr-mad'kh'n), Ger. A girl 
 who plays on a hurdygurdy. 
 
 Leiermann (li'Sr-man), Ger. A player on a 
 hurdygurdy. 
 
 Leierorgel (li'Sr-or'g'l), Ger. Hand organ, 
 barrelorgan. 
 
 Leierspleler (ll'£r-spe'l€r), Ger. One who plays 
 on a lyre. 
 
 Leine (U'n€), Ger. A line of the staff. 
 
 Leise (U'z£), Ger. Low, soft, gentle. 
 
 Leltaccord (lIt'ak-k6rd),Ger. A chord, or har- 
 mony, leading instinctively to another, as 
 the chord of the dominant leading to the 
 tonic. 
 
 Letter (li'tSr), Ger. Leader ; also the scale of 
 any key. 
 
 Leitereigen (li'tSr-I'gen), Ger. Such tohes as 
 belong to the scale of any key, the notes 
 forming the scale. Peculiar to the scale. 
 
 Leiterfremd (Ii't6r-fr6md), Ger. Accidental 
 sharps or flats which do not belong to 
 the key. Tones not belonging to the key. 
 
 Leitmotiv (lit'mS-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 " Pa r s i f a 1," etc. Von 
 Weber was one of the first dramatic com- 
 posers to employ this device, the " Zamiel " 
 motive in " Der Freischiitz." 
 
 Leitton (llt'ton), Ger. The leading tone, the 
 leading note. 
 
 a arm, & add, a ale, 6 end, eeve,iiU,l isle, o old, 6 odd, oo moon, fibut,& Fr. sound, kh Oer. ch. nh tuuoJ. 
 -> 10 (145) 
 
LEN 
 
 DICTIONARY OF MUSIC. 
 
 LIE 
 
 Lene. Au old term applied to a note sus- 
 tained in one ot the narmonic parts of a 
 composition whilst the other parts are in 
 motion. 
 
 Leno (la'no), II. Weak, feeble, faint. 
 
 Lent (lanh), Fr. Slow. 
 
 Lentamente (16n-ta-mSn'tS), It. Slowly. 
 
 Lentando (ISu-tan'do), It. With increased 
 slowness. 
 
 Lentement (lanht'-manh). ii'r. 1 Slowly, leis- 
 
 Lentemente (16u'te-m6n'tS), /(. J urely. 
 
 Lentement tr&s (lanht-manh tra),;j'r. Very 
 slow. 
 
 Lenteur (lanh-tdr), Fr. Slowness, delay. 
 
 Lenteur, avec (lanh-ttir a-v€k), Fr. \ TiTifh 
 
 Lentezza, con {16n-t«t'tsa kon), It. f """ 
 slowness and delay. 
 
 Lentissimamente (l€n-tes'si-ma-m€n'tS), r. \ 
 
 Lentissimo (!6u-le5'si-m6), / 
 
 Extremely slow. 
 
 Lento (16n't6), It. Slow. 
 
 Lento assai (16n'td as-sa'i), 1 
 
 Lento di molto (16n't6 de mol'to), It. > Very 
 
 Lento lento (ISn'to Ifin'to), .1 
 
 slowly. 
 
 Leonine verses. So called from Leo, the in- 
 ventor. They are verses the end of which 
 rljyme with the middle. 
 
 Lesser. Formerly used in the same sense as 
 minor ; smaller than the major. 
 
 Lesser barblton. A name formerly given to 
 the kit, or small violin, used by dancing- 
 masters. 
 
 Lesser comma. The difference between the 
 comma and the enharmonic dieses ; the 
 diachisma. 
 
 Lesser la^. 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-tSt'tsa), It. Agility, quickness. 
 
 Lestlssimamente (ISs - tes - si - ma - mSn'tS), li. 
 Very quickly. 
 
 Lestissimo (ISs-tes'si-mo), It. Very quick 
 
 Lesto (Igs'to), It. Lively, nimble, quick. 
 
 Letterale(iet-t6ra'16), „ 1 Lit- 
 
 Letteraimente (16t-tSr-al-m6n't«), •"• | 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 (le-vSt'tsa), It. Lightness. 
 
 Levier pneumatlque (lev-i-anoo-mii-tek'), Fr. 
 Tbe pneumatic lever : a series ofjimall bel- 
 lows, or levers, placed on the windchest of 
 an organ, containing air at a high pressure ; 
 when a key is pressed it admits wind to the 
 
 bellows of the pneumatic lever ; when this 
 inflates it opens tbe 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 8. 
 Barker, about 1825. Modern organs have 
 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 (ISt-tsI-o'ne), It. pi. Lessons. 
 
 L. H. Initials indicating the use of the left 
 hand in pianoforte music. 
 
 Liaison (le-a-zOnh), Fr. Smoothness of con- 
 nection ; also, a bind or tie. 
 
 Llaisbn de chant (le-a-zOnh dClh shanht), Fr. 
 The sostenuto style of singing. 
 
 Liberamente (Ie-bfi-ra-m6n't6), It. 1 Freely, 
 
 Librement (lebr-manh), Fr. j easily, 
 
 plainly. 
 
 Libero (le'be-rd), It. Free, unrestrained. 
 
 Libitum (lib'I-toom), Lot. Pleasure, will. Ad 
 libitum, at pleasure. Applied to rale of 
 movement or to a choice of version. 
 
 Libretto (le-brSt'to), It. The text of an opera 
 orotber extended piece of music. 
 
 License. A deviation for tbe time being from 
 the received rules which form the estab- 
 lished system of harmony. 
 
 Llcenza poetica (le-tshen-tsa po-a'ti-ka), II. 
 Poetic license; alterations, or deviations, 
 from common rules. 
 
 Liceb (le-tsha'o), /(. Lyceum; an academy; 
 a theater. 
 
 L,le (il-a,') , Fr. Smoothly; the same as legato. 
 
 Liebeslied (le'bSs-led), Ger. Love-song. 
 
 Llebhaber(leb'ha-b6r),(Tcr. Amateur; a lover 
 of music. 
 
 Lieblich (leb'likh), Ger. Lovely, charming. 
 
 Lieblichgedacht (leb'likh-ghe-dakht'), Ger. A 
 stopped-dlapason organ-register of sweet 
 tone. • 
 
 Lie coulant (li-a koo-lanh), Fr. Slurred, flow- 
 ing. 
 
 Lied (led), 6er. A song, a ballad, a lay. Ap- 
 plicable to any kind of song, but primarily 
 to the German song, in which a close coire- 
 spondence is sought between the feeling of 
 the poetry and that of the music. Lkder 
 are of two varieties : Stropkic, in which the 
 same music serves for all the stanzas in 
 turn ; and dureh&miponirt ( composed all 
 through), in which every stanza has its own 
 music. 
 
 Liedchen (led'kh'n), Ger. A short song or 
 melody. 
 
 Lieder (le'dfir), Ger. Songs. 
 
 Liederbuch (le'd6r-bookh),G'er. A song-book, 
 a hymn-book. 
 
 Liederbund (le'dSr-boond), Ger. A society of 
 song-singers. 
 
 a arm, i add, a, ale, 6 end, e eve, liU,i itle, 6 old, 6 odd, oo moon, ti but, ii Fr. sound, kh Ger. ch, nh nasal. 
 
 (146) 
 
LIE 
 
 DICTIONARY OF MUSIC. 
 
 LIE 
 
 Liedercyclus (le'dfir-tse-kloos'), Ger. A cycle 
 of songs.as the " Poet's Love ' of Schumann, 
 the " Winter Journey " of Schuhert. 
 
 Liederdichter (le'cl«r-(lSkh't6r),eer. A lyrical 
 poet, a song-writer. 
 
 Llederform (le'der-form), Qer. The form, or 
 subject, of a song. 
 
 Llederkranz {le'd6r-krants),Crer. Glee club. 
 Liederkreis (le'd6r-kris), Ger. A cycle, or 
 
 wrealh, of songs. 
 Lieder ohne Worte {le'dfir 6'nS wor'tfi), Ger. 
 
 Songs without words. 
 
 Liedersammlung (le'd6r-sam'loong),eer. Col- 
 lection of songs. 
 
 Liedersanger (le'dSr-sang'Sr), Ger. A song- 
 
 siuger, a ballad-singer. 
 Liederspiel (le'dSr-spel), Ger. An operetta, 
 
 consisting of dialogue and music of a light, 
 
 lively character. 
 
 Lledersprache (le'dfir-spra'khg), Ger. Words 
 ur language adapted to songs. 
 
 Liedertafel (le'dgr-ta'f'l), Ger. Song-table; 
 German glee club, generally consisting of 
 male voices aloue. 
 
 Liedertiifler (Ie'd6r-ta'fl6r), Ger. Glee-singers. 
 
 Liedertanz (le'dSr-tants), Ger. A dance inter- 
 mingled with songs. 
 
 Lied ohne Worte (led 6'n6 wor'tS), Ger. See 
 Lieder ohne Worte. 
 
 Lier (ler), Dut. A lyre. 
 
 Ligare (le-ga'r«). It. To bind, to tie, to join 
 together. 
 
 Llgato (le-ga'to). It. See Legato. 
 
 Ligatur (ll-ga-toor'), Ger. ) (1) In the old 
 
 l.igatura (h-ga-too'ra). It. > mensurable mu- 
 
 LJgature. ) sic a succession 
 
 or two or more notes sung to one syllable. 
 As in those day.s the slur was not in use, 
 the notes were either brought into close 
 proximity or joined together in various 
 ways. (2) lu modem music a succession of 
 notes sung to one syllable or in one breath ; 
 and also a succe.<i!sion 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 rne 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 (lilnh). Ft. A line of the staff. 
 
 Ligne5 addltlonnelles (Unhs &d-de-8i-dn-nal), 
 Fr. Leger lines. 
 
 Ligneum psalterium (Ug'n£-oom sal-ta'ri- 
 oom), Lat. The wooden dulcimer, called in 
 Germany the straw fiddle. 
 
 Lilt (int), Sco. To sing or play merrily. 
 
 Llmma (llm'mii), Gr. An interval used in 
 the ancient Greek music, less by a comma 
 than a major semitone. 
 
 Linea (le-n6'ii), II. A line of the staff. 
 
 Llnea riga (le'n6-a re'ga). It. The lines of 
 the staff. 
 
 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. f staff for the reception of 
 such notes as are too high or too low to be 
 placed upon or within it. 
 
 Lines, waving. A Hue 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'gwa), It. The tongue in organ- 
 stop reeds. 
 
 Lingual. Pertaining to the tongue; a letter 
 or sound pronounced chiefly by the tongue. 
 
 Llnle (le'ni-6), Ger. A line of the staff. 
 
 Linien (le'nl-Sn), Ger. Lines of the staff. 
 
 Llniensystem (le'nl-6n-sls-tam'), Ger. A scale; 
 the lines of the staff. 
 
 Llniensystem (le'pl-6n-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 (lln'kS hand), Ger. The left 
 hand. 
 
 Linos (le'nos), Gr. A rustic air ; also a dirge. 
 
 Liquid. An epithet applied to the smooth 
 succession of the sweet and mellow sounds 
 of any voice or wind instrument, also to 
 the tones themselves, separately consid- 
 ered. 
 
 Lira (le'rii), It. A lyre. 
 
 Lira da bracclo (le'rii 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 da giim'ba), It. 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 Arclvlola di lira, B. An ODso- 
 ete instrument in shape like the lira da 
 braccio, but larger. It was played like the 
 violoncello, and had fonrteen or sixteeli 
 strings, two of which lay beside the finger- 
 board. 
 
 Qer.} 
 
 Left. 
 
 a arm, ft aid, a ale, iend, e eve, I ill, I iile, dold,6 odd, oo moon, H but, ii Fr. lound, kh Ger. eh, nh ntaal, 
 
 (M7); 
 
LIE 
 
 DICTIONARY OF MUSIC. 
 
 LUN 
 
 j. 
 
 Lira doppia (le'ra dop'pi-a), It. Double lyre. 
 
 Lira grande (le'ra gran'dg), It. The viol di 
 gamba, a viol with six Gtringe, formerly 
 much used in Germany. 
 
 Lira pagana (le'ra pa-gha'na), ) , i,,,fa„ 
 
 Lira rustica (le'ra roos-te'ka), It. I -^ „„!.5; 
 
 Lira tedesca (le'ra ta-d«s'ka), 5 guray. 
 
 Lire (ler), Fr. To re%d. 
 
 Lire la musique (ler la mti-zek),' J^r. To read 
 
 music. 
 Liressa (le-rSs'sa), It. A bad lyre, or harp. 
 
 Lirica (le'ri-ka), „ \ Lyric, lyric poetry; 
 Lirico (le'rl-ko), J poetry adapted for mu- 
 
 sic. 
 Lirone (le-ro'nfi). It. A large lyre, or harp. 
 
 Liscio (le'shi-5), It. Simple, unadorned, 
 smooth. 
 
 Lispeind (lls'pSlud), Qer. Lisping, whisper- 
 ing. 
 
 L'istesjo (les-tSs'sS), It. The same. 
 
 L'jstesso movimento (les-tSs'so mo-Tl- 
 mSu'-to), 
 
 L'istesso tempo (les-t€s'so tSm'po), 
 In the same time as the previous move- 
 ment. 
 
 Litania (litil'nl-a), Lot. 1 
 
 Litanie (11-ta-ne), Fr. 1- A litany. 
 
 Litanel (li-la ni'), 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 coosisting of a bass 
 note with its minor third, perfect fourth, 
 and major, sixth. 
 
 Liturgy. The ritual for public worship in 
 tho.ie 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.) 
 
 LAbgesang (lob'ghS-zang>, ^ ) A hymn 
 
 Loblied (lob'led), ""^^^ / or song of 
 
 praise. 
 
 Loco (16'ko), Itr Place; a word used in op- 
 position to 8va alia, signifying that the 
 notes over which it is placed are not to be 
 played an octave higher, but just as they 
 are written. 
 
 Locrense (Ifi-krSa'se), Gr. One of the ancient 
 tones or modes. 
 
 Locrian (lo'kri-au), q^ 1 The Hyperdorian 
 
 Locrico (16'krl-k6), 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 (16m-bar'da), It. A species of dance 
 used iu Lombardy. 
 
 Long. A note formerly in use, equal to four 
 semibreves, or half the length of the large. 
 
 Longa (lou'ga), Lat. A long. 
 
 Long appoggiatura. An appoggiatura con. 
 
 sistiug 01 a single note forming a part of th(S 
 
 melody. It borrows half the length of Ihii 
 
 next note, and is accented. 
 Lon^ double. An old character equal in du 
 
 ration to four breves. 
 
 Long drum. The large drum used in mill 
 tary bauds, carried horizontally before the 
 performer, and struck at both ends. 
 
 Long meter. A stauza of four lines in Iambic- 
 measure, each line containing eight sylla- 
 bles. 
 
 Writtfen. Played. 
 
 Long mordent. A mor- iJir w, 
 
 dent formed of four p. 
 
 notes. 
 
 Long particular meter. A stanza of six lines 
 in Iambic measure, each line containing 
 eight syllables. 
 
 Long roll. A drumbeat calling the soldiers 
 to arms. 
 
 Long spiel. An ancient Icelandic instru- 
 ment, long and narrow, and played upon 
 with a bow. 
 
 Longue pause (ICnh poz), Fr. Make a long 
 rest, or pause. 
 
 Lontano (lon-ta'uo}. It. Distant, remote, a 
 great way off. 
 
 Lontano, da (lon-ta'no da). It. At a distance. 
 
 Lorgnette (lOrn-yff), Fr. An opera-gla^s. 
 
 Loure (loor), Fr. A dance of slow time and 
 dignified character. It has sometimes three 
 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 
 French air, called also " L' Amiable Vain- 
 qneur," for which Louis XIV. had a re- 
 markable predilection. This air bas_since 
 formed a well-known dance. 
 
 Love-song. A song the words and melody 
 of which are expressive of love. 
 
 Lugubre (loo-goo'br6), It. Lugubrious, sad, 
 mournful. 
 
 Luinie. A short, plaintive song much used 
 In tne 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. 
 
 Aarm, &a<id, kale,i end, e eve, I ill, i isle,o ol<i,0 odd, oo moon, tl but, iX Fr.tound, kh &er, cA, ah naa<U, 
 
 m) 
 
LTJN 
 
 DICTIONARY OF MUSIC. 
 
 LYR 
 
 Lung:a pausa (loon'ga pa'oo-za), It. A long 
 pause, or lest. 
 
 Luogo (loo-o'go), it. See Loco. 
 
 Lusing. An abbreviation of lusingato. 
 
 Lusingando (loo-zen-gan'do), ) Soothing, 
 
 Lusingante (loo -zeu-gau'te), „ I coaxing; 
 
 Lusingato (loo-zen-ga'to), f persua- 
 
 Lusingbevole (Ioo-zen-ga'v6-l€), ) s 1 v e 1 y, 
 Insinuatingly ; In a playful, persuasive 
 style. 
 
 Luslnghevolmente (loo-zen-ga-v61-m6n'tS) , It. 
 Soothingly, persuasively. 
 
 Lusinghiere (loo-zen-gbi-a'rg), „ ) Flatter- 
 
 Lnsinghiero (loo-zin-ghi a'ro), J ing, 
 
 fawning, coaxing. 
 
 Lustlg (loos'tlg), 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 st|ringed Instrument, 
 formerly much used, and contalninET at 
 first only five rows of strings, but to which 
 six or more were afterward added. Ttie 
 lute consists of four parts, viz., the table ; 
 the body, which has niue 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 striEes 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. 
 
 Lute"'**' } ■*■ performer on the lute. 
 
 Luth (loot), Fr. A lute. 
 
 Luthier (lii-tl-a), Fr. Formerly a maker of 
 lutes ; at present a maker of stringed instru- 
 ments of all kinds. 
 
 Lutlna. A small lute, or mandolin. 
 
 Lutlst. A player on the lute. 
 
 Luttuosaineiite(loot-too-6-za-m€n't€), It. Sad- 
 ly, sorrowfully. 
 
 Luttuoso (loot-too-o'zo),/l!. Sorrowful, mourn- 
 ful. 
 
 Lydian. See Greek modes. 
 
 Lydlan chant. A chant of a sorrowful, mel- 
 ancholy style. 
 
 Lyra (le'ra), J<. 'lrr.v,„i,„„ 
 Lyra (lir'a), Ger. P''6 lyre. 
 
 Lyra barbarina (le'ra biir-ba-re'na), It. An 
 old instrument, resembling in sliape the 
 Spanish guitar, having three double niches, 
 but played with a bow. 
 
 Lyra doppla (le'ra dop'pi-a), It. Double lyre, 
 uot at present used, but supposed to have 
 been a kind of viol da gamba. 
 
 Lyra hexachordls (lir'a hfix'ii-kOr'dis), Gr. A 
 lyre with six strings. 
 
 Lyra mendicorum (lir'a m6n-di-ko'room),La(. 
 A hurdygurdy. 
 
 Lyrasanger (lir'a-sane'er), p \ A performer 
 
 Lyraspieler (llr'ii-spe'ier), ■ J on the lyre. 
 
 Lyra-vioL An old instrument of the lyre or 
 harp species ; it had six strings and seveu 
 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 kitharawas an improved lyre. 
 The lyre had originally three or fours triugs; 
 later, seven. The most advanced form of 
 lyre, perhaps, was the magadis, which is re- 
 puted to have had tweuty strings. 
 
 Lyric. 1 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 to song" — 
 are especially applied to poetry and nausic 
 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 lyrie 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 singiug. 
 
 Lyric tragedy. Tragic opera. 
 
 Lyriker (llr'i-k«r), „^_ 
 Lyrisch (llr'Ish), ''^^• 
 
 ■ Lyric, lyrical. 
 
 i arm, &add, a ale, & end, e eve, i ill, I iele,6 old, 6 odd, oo moon, tt btU, ii Fr.sound, kh Ger. ch. nli nam'. 
 
 (149) 
 
M 
 
 DICTIONARY OF MUSIC. 
 
 MAI 
 
 Ad 
 
 M. This letter is used as an abbreviation of 
 Mezzo, also of various other words, as Met- 
 ronome, Mano, Main, and also in couuec- 
 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 (ma). It. But : as : Allegro ma non trojypo, 
 quicii, but not too much so. 
 
 Machalatb (ma-kil-Iath), Ilfb. 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 which these psalms were to be chanted. 
 
 Machicot (ma-she'ko), Fr. A chorister, a bad 
 singer. 
 
 Machol (ma-kol). Neb. Instruments used by 
 the Hebrews. This name i.s supposed to 
 have been given to two insLrnments, one 
 of the string and the other of the pulsatile 
 species. 
 
 Madriale (madri-ii'le), II. 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-drl-a-lfit'to), a short madri- 
 gal. 
 
 Madrigal (mid'ri-gftl). This word of uncer- 
 tain derivation [mandra, flock?) has two 
 significations: (1) A short lyrical poem of 
 UM 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 
 centnry, 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 delightful to men of under- 
 standing. And he demanded from its com- 
 posers not onlv "points" 4nd all sorts of 
 contrapuntal devices, but also "an amor- 
 ous hu 'nor" and an inexhaustible variety 
 of sentiment. 
 
 Madrigal, accompanied. A madrigal in 
 which the voices are sustained by a piano- 
 forte or organ. 
 
 Madrigale (ma-drlga'lS), It. A madrigal. 
 
 Madrigalesco (ma-drl-ga-la'sko), /(. Of, or be- 
 longing to, a madrigal. 
 
 Majesty, digni- 
 ty, grandeur. 
 
 Majestic, ma- 
 
 Mfesa. A mass. 
 
 Maesta (ma-6s-ta'), 
 
 Maestade (ma-Ss-ta'dS), It. 
 
 Maestate (ma €s-ta't€), J 
 
 Maestevole (ma-es-ta'vo-lfi), /(. 
 jestical. 
 
 Maestevolmente (ma-Ss-td-v61-m6n't6), 1 r, 
 
 Maestosamente (ma-es-t6-za-m6n't6), J 
 Majestically, nobly. 
 
 Maestoso (ma-6s-t6'zo). It. Majestic, stately, 
 dignified. 
 
 Maestra (ma-Cs-trii), It. An artiste, female 
 performer. 
 
 Maestria (ma'Ss-tre'a), It. Mastery, skill, art, 
 ability. 
 
 Maestro (ma'as'tro). It. Master, composer, 
 an experienced, skillful artist. 
 
 Maestro alcembele (ma-as'tro al tshfim-ba'lfi), 
 A skillful pianist, a master of the instru- 
 ment. 
 
 Maestro del coro (ma-as'tro dSl kor'ro). It. 
 Master of the choir or chorus. 
 
 Maestro di camera (ma-as'tro de kii'mS-ril), It. 
 Leader, or conductor, of chamber music. 
 
 Maestro di canto (ma-as'tro de kan'to). It. A 
 singing-master. 
 
 Maestro di cappella (ma-as'tro de kap-p€l'la). 
 It. Chapelmaster ;' composer; director of 
 the musical performances in a church or 
 chapel. 
 
 Magadls (ma-ga'dis). Or. 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'gas), Gr. The bridge of stringed 
 instruments. 
 
 Maggiolata (mad-ji-6-la'ta). It. A hymn or 
 song in praise of the month of May. 
 
 Maggiore (mad-ji-6'rS), It. Greater, in re- 
 spect to scales and intervals; major,* the 
 major key. 
 
 Magnificat (miig-nif'i-kat), Lai. A part of the 
 Vespers, or evening service, of the Roman 
 Catholic Church. 
 
 Main (minh), Fr. The hand. 
 
 Main droite (mann drwiit), Fr. Eight hand. 
 
 Main gauche (mflnh gosh),Fr. The left hand. 
 
 a arm, & add, a ok, 6 end, e eee, i <H, i ide, ootd, 6 odd, oo moon, iX byi, Fr. sound, kh Ger. ch, nh nasal 
 
 (150) 
 
MA.I 
 
 DICTIONARY OF MUSIC. 
 
 MAR 
 
 Maitre (m6tr), Fr. A master, a director. 
 Maltre de chapelle (mStr ddh shil-pSll), Fr. 
 
 Chapelmaster ; director of tbe ciiuir. 
 Maitre de mustque (mStr dflh mii-zek), Fr. 
 
 Musical director. 
 
 Majesta (ma'ygz-ta), /«. iMniostv rtiunitv 
 IWajeste (ma-zli6s-ta^, Fr. / J»ajesty, dignity. 
 
 Majestueux (ma-zhSs-tii-Qh), Fr. Majestic. 
 
 Majeur (ma-zhtir), Fr. Major ; major liey. 
 
 Major. Greater, In respect to intervals, scales, 
 
 etc. 
 Major diatonic scale. Tliat 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 four 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. 
 
 Malag:ueiia (ma-la-gwoo-au'ya), Sp. A fan- 
 dango. 
 Malanconia (ma-lan-kOjne'a), r, IMelan- 
 Malenconico (ma-lgn-lto'ni-lto), J eholy. 
 
 Malincolico (ma-lln-ko'll-lio), j. 1 Melan- 
 Malinconla(ma-lin-]io-ne'a), ' J choly. 
 
 Mallnconicamente (ma-IIn-ko-ni-lca-men'te), 
 
 /(. In a melancholy style. 
 Malinconico (ma-lin-ko'ni-ko), ^ lu a 
 
 Malinconioso (ma-liu-ko-ui'd'zd). It. > melan- 
 Malinconoso (ma-lln ko-no'zo), > choly 
 
 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 concert tours. 
 
 Manca (man'ka), /(. The left. 
 
 Mancando (man-kan'do), It. Decreasing, dy- 
 ing away. 
 
 Manche (manh-sh), Fr. The neck of a violin 
 or other instrument. 
 
 Mandoia (man-do'la), It. A mandoline, or 
 cithern, 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 
 strings tuned like the violin, 6, D, A, E. 
 The Milanese, next in favor, has five double 
 strings, tuned G, C, A, D, E. A plectrum is 
 used Dy the right hand, and the left is em- 
 ployed in stopping the strings. 
 
 Mandollno (man-do-le'no), It. A mandolin. 
 
 Mandora. 1 A small kind of lute, or guitar, 
 Mandore. /with frets and seven gut strings, 
 three of which are duplicates. 
 
 Manlco (ma'nl-kd). It. The neck of the violin, 
 guitar, etc. 
 
 Manichord. t Originally an instrument 
 
 Manichordon. (with but one string; subse- 
 quently a stringed instrument resembling a 
 spinet, or harpsiichoid. 
 
 Manichordiendraht (ma-ni-kordl-^n-draht), 
 Gei: Wire for the manichord ur clavichord. 
 
 Maniera (ma-nl-a'ra), «. JMannpr stvlp 
 Maniere (man-I-ar'), Fr. | Manner, style. 
 
 Maniera affettata (ma-nl-a'ra af-fSt-ta'ta), It. 
 An affected style, or delivery. 
 
 Maniera languida (ma-nia'ra lan'gwi-da). It. 
 A languid, sleepy style. 
 
 Manleren (ma-ne'r'n),GCT*. pi. Graces, embel- 
 lishments, ornaments. 
 
 Mannerchor (man'nSr-kor), Ger. A choir of 
 male voices. 
 
 Mannerism. Adherence to the same manner ; 
 the constant use of an ever-recurrini? set of 
 phases ; adherence to the same style with- 
 out freedom or variety. 
 
 Mfinnllche Stimme (man'likh-S stim'mS),<7«)'.. 
 A manly voice. 
 
 Mano (ma'no), It. The hand. 
 
 Mano destra (ma'no das'tra;, 1 The 
 
 Mano diritta (ma'no di-rei'ta), /^, >- right 
 
 Mano dritta (ma'no dret'ta), | hand. 
 
 Mano sinistra (ma'no sl-nes'tra), /(. The left 
 hand. 
 
 Manual. The keyboard for the hands. 
 
 Manual (ma-noo-ai'), Ger. ^ 
 
 Manuale (ma-noo a^S), Lai. > Manual. 
 
 Manuale (ma-noo-a'ie),^/^. J 
 
 Manu^llter (ma-noo-a'li-tSr), Oer. 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-ai-m£n'te), It. Manu- 
 ally. 
 
 Manualuntersatz(ma-noo-ai'oon't$r-satz),(?er. 
 An organ-stop of 32-feet tone, with stopped 
 pipes: the subbourdou. 
 
 Manubrlo (ma-noo'bri-6). It. The handle, or 
 kuob, by which a stop is drawn in an organ. 
 
 Marcando (mar-kan'do), „ ) Marked, ac- 
 
 Marcato ^mar-ka'to;, ' J cented, well pro- 
 
 nounced. 
 
 Marcatlssimo (mar-ka-tes'sl-mo), /(. Very 
 strongly marked. 
 
 Marcato la melodia (mar-ka-to la mS-lo'dia), 
 It. The melody in a marked style. 
 
 March. A musical composition intended to 
 accompany marching, mure especially of 
 soldiers. There are two kinds of marches— 
 tbe quick march, or quickstep, and the 
 slow, or processional, march. Slow marches 
 may be divided Into festal and funeral 
 marches. These two last-named species 
 are much more solemn and dignified in 
 
 aann, a add, a ale, £ ejid, e eve, I ill, 1 Me, 6 old, 6 odd, oo moon, H but, U Fr. sound, kh Ger. ch, uh ncuol. 
 
 (151) 
 
MAR 
 
 DICTIONARY OF MUSIC. 
 
 MAZ 
 
 their movement tban the quick marches, 
 but all of them are mostly in 4-4 time. 
 Quicic marches consist oftenest of two 
 halves, each of two parts, and each part of 
 eight, twelve, or sixteen bars. The second 
 half is called Ihe trio. For the most part, 
 processional marches have, likewise, this 
 symmeirical 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 wilh. 
 
 March, dead. A fuueral-march. 
 
 Marche (marsh), Fr. A march ; in harmony, 
 a symmetrical sequence of chords. 
 
 Marche harmonique (marsh har-mo-n6k'),Ji'r. 
 Harmonic progression. 
 
 Marcia (mar'tshl a), It. A march. 
 
 Marcia con moto (mar'tshi-a kon mo'to), It, 
 A spirited martial movement. 
 
 Marcia funebre (mar-tshi-a foo-na'brS), It. 
 Funeral-march. 
 
 Marciale (mar-tshl-a'16), It. See Marsiale. 
 
 Marciata (mar-tshl-a'ta). It. A march. 
 
 Marked. Accented. 
 
 Mark, harmonic. A sign (O) used in music 
 for the violin, 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. 1 To mark, to 
 
 Marquer (mar-ka), Fr. J emphasize. 
 
 Markirt (mar-kerf), Ger. Well marked. 
 
 Marquez un peu la melodie (mflr-ka tinh ptih 
 la ma'16-de), Fr. The melody to be slightly 
 marked, or accented. 
 
 Marsch (marsh), Ger. A march. 
 
 Marschartig (marsh'ar-tig), Ger. In the style 
 of a march. 
 
 Marsche (mar'shg), Ger. p!. Marches. 
 
 Marseillaise (mar-sal-yaz), Fr. The Mar- 
 seilles hymn ; a French national air. 
 
 Marteli (mar-tei-la'), Fr. \ Hammer- 
 
 Martellando (mar I61-lan'd6), /(. J ing, strong- 
 ly marking the notes, as if'hammered. 
 
 Martellare (mar-tSl-la'rg), It. To hammer, to 
 strike the notes forcibly, like a hammer. 
 
 Martellato (mftr-tSl-la'to), It. Hammered, 
 strongly marked. 
 
 Martial music. Music adapted for war and 
 warlike occasions. An expression applied 
 to marches, songs of triumph, and all com- 
 positions intended to stimulate to battle or 
 celebrate heroic deeds. 
 
 Marziale (mar-tsi-a'16), It. Martial, in the 
 style of a march. 
 
 Mascharada (ma-ska-ra'da), Ty ) Music com- 
 
 Mascherata (ma-sk6-ra'ta), • J posed for 
 grotesque characters; masquerade music. 
 
 Maschera (ma'skfrra), /(. A mask. 
 
 Mask. ") A iipecies of musical 
 
 Maske (mas'kfi), Ger. Vdrama, or operetta, in- 
 
 Masque (mask), Fr. ) eluding singing and 
 
 dancing, performed by characters in masks ; 
 also a utensil used by the ancient Roman 
 actors and singers for the jjurpose 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 Catil 
 olic churches by the singing of the chorisi 
 ters ; distinguished from the low Mass, i n 
 which prayers are read without singing. 
 
 Massif (mas'slg),ffer. Moderate, moderately 
 
 Massie geschwind (mas'sig ghi-shvrind'),Qer, 
 moderately playful. 
 
 Massig langsam (mas'sig lang'sam). Get 
 Moderately slow. 
 
 MassiK schnell (mas'sig shnSll), Ger, Mo(K 
 erately fast and animated. 
 
 Massima (mas'si-ma). It, A semibreve. 
 
 Massimo (mas'sl-mo). It. Augmented, as re 
 gards intervals. 
 
 Masterslneers. 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'rg), "v A lively Polish 
 
 Masureck (miUzoo'rgk), q I dance, in 3-8 
 
 Masurek (ma-zoo'rSk), | or 3-4 time, 
 
 Masurka (ma-zoor'ka), ) quicker tha i 
 
 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- 
 company the Bayadere dances. 
 
 Matassins (ma-t^- senO, Fr. A matachin 
 dance ; the dancers. 
 
 Matelotte (ma't6-16t), Fr. A French sailor's 
 dance in 3-4 time. 
 
 Matinare (ma-tl-na'rS), It. To sing matins. 
 
 Matinata (ma-ti-na'ta), /(. A song lor the 
 morning ; a serenade. 
 
 Matinie (ma-tl-na), Fr. An entertainment 
 given in the early part of the day. 
 
 Matinee musicale (ma-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'tr6m-m61), Ger. A jew's- 
 harp. 
 
 Maxima (maxl-ma), Lat. The name of the 
 longest note used in the fouiteeuth and 
 fifteenth centuries. See Large. 
 
 Mazourk (ma-tsoork'), n A lively Pol- 
 
 Mazourka (ma-tsoor'kii), I ish dance 
 
 Mazur (ma'tsoor'), p V of a sen- 
 
 Mazurca (miUtsoor'ka), ( timental 
 
 Mazurka (ma-tsoor'ka), I character, 
 
 Mazurke (ma-tsoor'ke), ^ in 8-8, or 
 
 3-4 time, of a peculiar rhythmic construc- 
 
 i arm, & add, a ate, 6 end, e eve, iill,l isle, o old, 6 odd. oo moon, fi bti(, ii JV. sontid, kh Ger. c/i, n h Masai. 
 
 (152) 
 
MEA 
 
 DICTIONARY OP MUSIC. 
 
 MEL I 
 
 tlon, quicker than the polouaiBe or polacca. 
 
 See itasurka. 
 M. D. The initials of Main Droite, the right 
 
 hand. 
 Mean. A term formerly applied to the tenor, 
 
 or medium, part in compositions for several 
 
 parts, male and female. 
 
 Mean clef. Tenor clef. 
 
 Measure. That division of time by which 
 the air and movement of music are regu- 
 lated ; the space hetween 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 iwelve-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 falls upon 
 the first unit, and the bar is intended to 
 show the place of the strong pulse. Cansid- 
 ered with reference to the manner in 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 unit is purely a matter of taste with the 
 composer, aud in no way 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, stalely kind of 
 dance ; a cinque pas. 
 
 Mecanisme (mSch-an-Ism), Fr. The mechan- 
 ical part of playing ; the technie. 
 
 Mechanically. A word applied to spiritless 
 styles of performance. 
 
 Medesimo (mfi-da'zl-mo), „ iThp smmo 
 Medesrao (mS-dfis'mo), ""• li^iesame. 
 
 *'• It I 
 at, as before. 
 
 Medesmo moto (mS-dSs'mo mo'to), 
 Medesmo tempo (mS-d&s'mo tSm'pd), 
 
 In the same time, or movement 
 Mediant (ma'di-ant), Za<. 1 The third note 
 Mediante (ma-dl-anhf), Fr, J of the scale ; the 
 middle note between the tonic and the dom- 
 inant. 
 Meditatio (mS-dl-ta'tsi-o), Lat. A word for- 
 merly used to signify the middle of a chant, 
 or the sound which terminates the first part 
 of the verse in the Psalms. 
 Medley. A mixture; an 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 (mat'trom-pa'tS), ^,_ 1 oo- 
 
 Meerhorn (mar-hom), ^^'^- f *^* 
 
 trumpet. 
 
 Mehr (mar), Ger. More. 
 
 Melirfach(mar'fakh),eer. Manifold. Applied 
 to an interval, a canon, or a compound 
 organ-stop. 
 
 Mehrstimmig (mar-stlm'mlg), Ger. For sev- 
 eral voices. 
 
 Meister (mis'tSr), Ger. Master, teacher. 
 
 Meisterfuge (mis'tSr-foo'ge), Ger. A master 
 fugue, illustrating the utmost art in this 
 variety of composition. 
 
 Meistergesang (mis'tfr-gS-zaug'), Ger. Mas- 
 ter's song, minstrel's song. 
 
 Meistersangar (m5s't6r-8ang'6r),.G'er. Master- 
 singer, minstrel. 
 
 Meisterstiick (mis'tgr-stiik), Ger. Master- 
 piece. 
 
 Melancolie (ma'lan-ko-le), Fr. Melancholy, 
 in a mournful style. 
 
 Melange (ma-lanzh), Fr. A medley; a com- 
 position founded upon several popular airs. 
 
 Melisma (mfi-lls'ma), Gr. A vocal grace or 
 embellishment; 'several notes sung to one 
 syllable. 
 
 Mellifluous (mei-lif'loo-ous). Smoothly flow- 
 ing, very melodious. 
 
 Mellow. Soft, melodious. 
 
 Melode (ma-16'd?), It. Melody, tune. 
 
 Melodeon. A reed instrument having a key- 
 board like the pianoforte. It is supplied 
 with wind by a bellows worked with 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 (mg-lod'lk). Relating to melody. 
 
 Melodica. An instrument invented by Stein, 
 at Augsburg, similar to the pianoforte. 
 
 Melodic language. The language of melody 
 or song I ideas expressed by a melodious 
 combination of sounds. 
 
 Melodico (mS-lo'd!k-6). K. Melodious, tuneful. 
 
 Melodicon. An instrument invented by Rif- 
 fel, in Copenhagen, the tones of which are 
 produced from bent metal bars. 
 
 Melodies (m6-15d-iks). That part of musieal;i 
 theory treating of melody. > 
 
 Melodic step. The movement of a voice, or 
 part, from one tone to the following one. 
 Melodie (ma-lo-de'a), It. Melody, tune. 
 Melodie (ma-16-de), Fr. Melody, tune. 
 
 Melodie blen sentle (malo-de bi-anh siinh-te), 
 Fr. The melody to be well expressed or ac- 
 cented. 
 
 a arm, & add, a ale, i end, e eve, I ill, i isle, 6oUl,6odd,oo moan, tk but, ii Fr. sound, kh Qer. eft, nh nosed, 
 
 (153) 
 
MEL 
 
 DICTIONARY OF MUSIC. 
 
 MES 
 
 {m6-16-dram'), Gei\ ) Melodra- 
 ! (m6-lo-dram'), J!")-, [-ma. (1) The 
 na (mfi-lo-dra'ma), J/. )original 
 
 Milodieuse (ma-lo-di-iiz), Fr. Melodious, 
 smooth. 
 
 Milodieusement (ma-lo-di-iis-manh), Fr. \ 
 
 Melodiosamente (n)e-16-di-6-za-m6u'tS), It. j 
 Melodiously, sweetly. 
 
 Milodieux (ma-16 di-iiz), Fr. \ Melodious, 
 
 Melodik (me-16'diJi:), (Jer. j tuueful. 
 
 Melodiosissimo (m€-lo-di-o-sesM-mo), 1(. Ex- 
 ' tremely melodious. 
 
 Melodioso (mfrlo-dio'zo), 7i!. 1 Melodious, mu- 
 
 Melodisch (me-lo'dish), Gir. f sical, tuneful. 
 
 JVleiodious. Having melody, musical ; a term 
 applied to a succession ol 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-16-des'ta), /(. \ Mplndist 
 
 Melodiste (ma-lo-desC), Fr j J>ie'od'St- 
 
 Melodistic (mS-lo-dis'tlk), Ger. The rules or 
 scieuce of melody. 
 
 Melodium (mfrlo'dS-oom), J'r. A reed instru- 
 ment uf the harmonium class. 
 
 Melodize. To make melodious ; to form a 
 succession of sounds which shall produce 
 an agreeable efTect. 
 
 Melodram (mg-lo-drilm'), Ger. 
 
 Melodrame " 
 
 Melodramma . 
 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 meiodramnt- 
 ically. (3) A thirdmeaning is thatof a play 
 (mostly of a romantic and sensational na- 
 ture) will) incidental and now and then ac- 
 companying vocal and instrumental music. 
 
 Melodrammatlco {m6-lo-dra-ma'li-k5),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 nf 
 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. 
 
 MelOKraph. A piano inventort in 1827, con- 
 nectcii with which was machinery which 
 ri'Corded in notes whatever was improvised 
 on the piano. The invention was not a 
 complete ^U(■t■ess. 
 
 Melologue. A combination of recitative and 
 music. 
 
 Meloman (ma'lo-niflii). Gr. 1 A passionate 
 
 Melomane (ma' 6 man), Fr. ) lover of music. 
 
 Melomanie (ma-16-m;i-ne\ Fr. \ Excessive 
 
 Melomany (ni6-liirn'a-uy), J love of mu- 
 sic; music mania. 
 
 Melopea (ma-16p5'a). It. 1 The art of form- 
 Melopee (ma-lo-pa), .Tr. Jing 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 n^ht is placed inside ; used for serenades 
 at night. 
 
 Melopiano (m&lo-pla'no). A stringed instrti- 
 ment invented in 1870, combining tones re- 
 sembling those of the pianoforte and organ. 
 
 Meloplaste (mSl'o-plast). An instrument for 
 teaching vocal music from a staff without 
 either clefs or notes. 
 
 Melopcea (mfi-lo-pe'a). Or. A term In ancient 
 music signifying the art, or rules, of compo- 
 sition iu melody; melody. , 
 
 Melopomenos (m61-o-pOm'6-n6s) , Gr. Vocal 
 melody. 
 
 Melos (ma'lOs), Gr. Tune, song, melody. As 
 used by Wagner, melos includes not simply 
 the melody alone, as such, but also the eu- 
 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. 
 
 MSme mouvement (mam moov-manh),J^r. In 
 the same movement. 
 
 Men (man). It. Less; an abbreviation ol 
 Meno. 
 
 Men allegro (m£n £l-la'gro). It. Less quick. 
 
 Menestrels (m£-nas-trei), Fr. Minstrels. 
 
 Menetrier (mfrna-tii-a'), Fr. A minstrel, a 
 rustic musiciau. 
 
 Meno (ma'no). It. Less. 
 
 Meno allegro (ma'np ^1-la'gro), It. Less quick 
 
 Meno forte (ma'no for'tfi). It. Less loud. 
 
 Meno mosso (ma'no mos'so), It. Less move 
 ment, slower. 
 
 Meno piano (ma'no pe-a'no). It. Not so softly. 
 
 Meno presto (ma'no pr€s'to). It. Less rapid. 
 
 Meno vivo (ma'no ve'vo). It. Not so fast. 
 
 Menschenstlmme (mgn'sh'n-stim'mfi), Ger. 
 Human voice. 
 
 Mensur (mSn-soor'). Gfr. Measure. applied to 
 time, tune, measurement ot intervals ; also 
 the diameter, or scale, of organ- pipes. 
 
 Menuet (ma-noo-6), Fr. 1 A minuet, 
 
 " It. Js 
 
 [slow dance in 
 
 Menuetto (ma-uoo-fit'to) 
 
 ii 4 time. 
 Men vivo (m6n ve'v6). It. Less spirit. 
 
 Mesaullon (mS-saw'li-On), Gr. Symphonies or 
 ritornelli. 
 
 Mescal (mSs-kal), Tur. A Turkish instru- 
 ment, comnosed of twenty-three cane pipes 
 of unequal length, each of which gives 
 three different sounds, from the manner of 
 blowing it. 
 
 Mescolanza (mSs-ko-lan'tsa!, It. A medley, a 
 mixture of discordant sounds; bad har- 
 mony. 
 
 a arm, i add, a ofc, « end, e eve, i iU, i isle, 6 old, odd, oo moon, a but, u Fr. sound, kh Ger. ch, nh naaal. 
 
 (154) 
 
MES 
 
 DICTIONARY OF MUSIC. 
 
 MEJ" 
 
 Mese (ma's6), Gr. A term applied by the aii- 
 cieut Greeks to tbe suund that cumpieted 
 their second tetrachord, and which was the 
 center of their whole system. It was also 
 the name given to the central string of the 
 lyre, from which till the others were tuned. 
 
 Messa (mSs'sa), /{. A mass. 
 
 Messa dl voce (mte'sa dl vo'tshe). It. The 
 gradual swelling and diminishing of the 
 voice. 
 
 Messe (mass), Fr. 1 
 ' - ' 1), Ger. S 
 
 A mass. 
 
 Messe (mfis's^), 
 
 Messe brevi (mSs'sS bra'vl), It. A short mass. 
 
 Mesto (mSs'to), It, Sad, mournful, melan- 
 choly. 
 
 Mestoso (m£s-td'z6), It. Sadly, mournfully. 
 
 Mesure (ma-ztir'), Fr. The bar, or measure; 
 the species of time. 
 
 Mesure a deux temps (ma-ziir' a dAh tanh), 
 Fr Common time of two beats in a meas- 
 ure. 
 
 Mesure ■ trois temps (ma-zur' ii trwa tiinh), 
 Fr. Triple time of three beats in a meas- 
 ure. 
 
 Mesure lemi (ma-ziir' d£-me'), Fr. Half 
 measure. 
 
 Met. An abbreviation of Metronome. 
 
 Metal (m£-tal'), Sp. Strength, compass of the 
 voice. 
 
 Metallico (m£-ta.l'll-k6), „ 1 Metallic, clear in 
 
 Metallo (mgtailo), ■"• f tone, belmetallo 
 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. 1 A method, system, 
 
 Metodo (ma'l6-dd|, /<. /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 
 iu number and order as follows; 8, 6, 8, 6. 
 
 Metre, common hallelujah. A stanza of six 
 lines in iambic measure, the syllables in 
 each being In number and order as follows ; 
 8, 8, 6, 8, 8, 6. 
 
 Metre, eights. A stanza of four lines in ana- 
 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, tbe syllables 
 bieing in number and order as follows : 8, 7, 
 8, 7, 4, 7. 
 
 Metre, elevens. Designated thns, 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: 
 6, 6, 6, 6, 8, 8. 
 
 Metre, long. Four lines in iambic measure, 
 each line containing eight syllables. 
 
 Metre, lonp particular. Six lines in iambic 
 measure tach line containing eight sylla- 
 bles. 
 
 Metre, sevens. Consists of four lines in tro- 
 chaic measure, each line contaiuini; seven 
 syllables. 
 
 Metre, short. Consists of four lines in iam- 
 bic measure, the syllables in number and 
 order as follows : 6, 6, 8, 6. 
 
 Metre, short particular. Consists of six lines 
 iu iambic measure, the syllables in number 
 and order as follows : 6, 6, 8, 6, 6, 8. 
 
 Metre, tens and elevens. A meter designated 
 thus, 10s and Us, 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, 
 12!!, consisting of a stanza of four lints 'n 
 anapestic measure, each line containing 
 twelve syllables. 
 
 Metrical. Pertaining to measure, Or due ar- 
 raugement and combination of long and 
 short syllables. . 
 
 Metrically. In a metrical manner; accord- 
 ing to poetic measure. 
 
 Metrlk (mgt'rlk), Gcr. Metrical art 
 
 Metrisch (mfit'rish), Ger. Metrical. 
 
 Metro (ma'tro). It. \ jr.,.. „._„ 
 
 Metro (ma-tro), Sp. / "*'^'^' ^^'^■ 
 
 Metrometer (mS-tro-mfi'tSr), Qer. 1- A metro- 
 Metrometro (ma-tro'mS-tro), It. j nome. 
 Metronom (mS-tro-nom'), Ger. \ A machine 
 Metronome (mfi'tio-no'mS), Gr. j invented 
 " by John Maelzel, for measuring the time. <ir 
 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 charapters 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 aI<o used. The latter mean " Maelzel's 
 Metronome." (^ — 60, T = 6". etc. 
 Metronome, bell. A metronome with the 
 addition of a small bell which strilies at 
 the commencement of each measure. 
 Metronome, pocket. A metronomes nf the 
 size and form of a watch, on one side of 
 which is marked the number of vibration.<i, 
 and on the other the principal Italian mu- 
 sical terms. 
 
 u arm, a attd, iale, i end, e eve, I ill, i isle, 6 old, odd, oo moon, H bui, ii Fr. sound, kb tier. cA. un naiul. 
 
 (155) 
 
»ir:i 
 
 DICTIONARY OF MUSIC. 
 
 Mm 
 
 MeUe (mSt't«), Ger. Matins. 
 
 IHettere in musica {mSt't6-rS in moo-zi-ka), 
 
 It. To set to music. 
 IVlettre d'accord (matr dak-kor), Fr. To 
 
 tune. 
 Mettre en musiijue (matr anh mii-zek), Fr. 
 
 To set to music. 
 IWettre en repetition (matr anh ra-pfi-te'si- 
 
 Ouh), Fr. To put in rehearsal. 
 Metziliotli, xT.u \ Cymbals; otherwise 
 Metzilltheim, ^°- f rendered " bells of the 
 
 horses," which is also correct. 
 Mez. An abbreviation of Mezzo. 
 iVlez. F, Au abbreviation of Mezzo Forte. 
 IVlez. Pia. An abbreviation of Mezzo Piano. 
 
 IVIezza (mSt'tsa), „ 1 Medium, in the mid- 
 Mezzo (mgt'iso), ■"• J die, half. 
 
 Mezza bravura (mSt'tsa bra-voo'ra), /(. A 
 moderately difficult song. 
 
 IVlezza forza (m£t'tsa for'tsa). Moderately 
 loud. 
 
 Mezza manica (mfit'tsa ma'ni-ka), /(. The 
 half-shift, in playing the violin, etc. 
 
 Mezzana (mSt-tsa'na), It. The middle string 
 of a lute. 
 
 Mezza orcliestra (mfit'tsa 6r-kas-tra), II. 
 Half the orchestra. 
 
 Mezza voce (mgt'tsa v6'tsh6), It. Half the 
 power of the voice ; with moderate strength 
 of tone. 
 
 Mezzo forte (mgl'tso fSr'te), It. Moderately 
 loud. 
 
 Mezzo forte piano (mfit'tso for'tfi pe-a'no), It. 
 Rather loud than soft. 
 
 Mezzo piano (m€t' tso pe-a' no). It. Rather 
 soft. 
 
 Mezzo soprano (mfit'tso sopra'no), It. A fe- 
 male voice of lower pitch than the soprano, 
 or treble, but higher than the contralto. 
 The general compass is from A. under 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 (mfit'tso stak-ka'to). It. A 
 little detached. 
 
 Mezzo tenore (mgt'tso tS-no'rS), It. A half 
 tenor voice, nearly the same as a baritone. 
 
 Mezzo tuono (mSt'tso too-o'no). It. A semi- 
 tone, a half tone. 
 
 Mezzo voce (mgt'tso vo'tshS), It. 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. 
 
 Ml bemol mateur (mS ba'mol ma-zhtlr), Fr. 
 
 The key of Eb major. 
 Mi bemol minaair (m€ ba'mdl mintir), Fr. 
 
 The key of Sl> minor. 
 Mi contra fa Cni^ kon'tra fa), Lat. An ex« 
 
 pressioii used by old theorists, meaning a 
 
 false relation, especially the skip from foiv 
 
 of the scale to seven. 
 Microfono (me kro-fo'no), Sp. \ An instru 
 Microphone (mi'kro-fou), Jmentforlho 
 
 augmentation of small sounds i a micro- 
 
 coustic. 
 
 Middle C. That C which is between the bass 
 and treble staves. 
 
 Middle voices. Tenor and alto voices. 
 
 Mi diese (me dlaz'), Fr. The note E#. 
 
 Mignon (men-yOnh), Fr. Favorite. 
 
 Miiitairement (mll-i-tar-manh), Fr. iMilitar 
 
 Militare (me-li-ta'rg), It. > ry ; in 
 
 Militarmente (me U-tar-mfin'tS), It. ) a war- 
 like, martial style. 
 
 Military music. Music intended for military 
 bands ; marches, quicksteps, etc. 
 
 Miiote (me-16'tS), Sp., An Indian dance. 
 
 Mi majeur (me ma-zhiir), Fr. The key of 
 E major. 
 
 Mimes (me'mSs). A kind of vocal, mimic 
 actors, formerly very numerous in Europe. 
 
 Mi mineur (me mi - nOr'), Fr. The key of 
 E minor. 
 
 Minaccevolmente (me-nat-tshg-vol-mfin'le), //. 
 Ill a threatening, menacing manner. 
 
 Minacciando (me nat-tshi-an'do), ^ ) 
 
 Minaccievole (me-nat-tsi-a'vo-16;, J 
 Threatening, menacing. 
 
 Minacciosamente (me-nat-tshi-o'za-men te), 
 /(. . Threatening, menacing, iu a menacing 
 manner. 
 
 Minaccioso (rae-nat-tshi-o'zo). It. Threaten- 
 ing, menacing, in a menacing manner. 
 
 Minagnghinim (mi-nangd'ghi-nlm), Heb. A 
 pulsatile instrument used by the Hebrews, 
 consisting of a square table of wood fur- 
 nished with a handle; over this tabic was 
 stretched an iron chain and a hempen 
 chord which passed through balls rf wood 
 or brass, and striking against the table 
 when the instrument was in motion, pro- 
 ceed a clear, ringing sound. 
 
 Minder (min'dgr), Ger. Minor, less, not so 
 much. 
 
 Mineur (mi-ntir'), Fr. Minor. 
 
 Minim. A half-note; a note equal to one 
 half of a semibreve. 
 
 Minima (me'ni-ma). It. \ 
 Minime (min-em'), Fr. j 
 
 A minim. 
 
 Minim rest. A mark of silence equal iu du- 
 ration to a minim, made thus, -— -. 
 Minnedichter (mln'nS-dikh'tfir), \ Min- 
 Minnesiinger (min'n«-sang-Sr), Ger. [ strels 
 Minnesinger (mIn'nS-sing-er), ) of the 
 
 twelfth and thirteenth centuries, who wan- 
 
 9 arm, & add, ^ ale, $ end, eeve,i ill, I isle, o old, 6 odd, oo moon, ti but, i) Fr. wund, kh Ger. ch, nh naaai, 
 
 (X56) 
 
MIN 
 
 DICTIONARY OF MUSIC. 
 
 MIT 
 
 dered fr6m place to place, siugiug a great 
 variety of songs aud melodies. 
 
 Minor. Less, smaller, iu spealfiug of iuter- 
 vals, etc. 
 
 Minor canons. Those clergymen of a cathe- 
 dral or chapel who occasionally assist at the 
 performance of the service aud anthem. 
 
 Minor diatonic scale. There are two kinds: 
 one where the pemitones fall between the 
 second aud third aud seventh and eighth, 
 both in ascending and descending; i.i the 
 other the semitone falls between (he sec- 
 ond and third and seventh aud eighth as- 
 cending, aud descending, beiween the fifth 
 and sixth aud second aud third. Thef"r- 
 mer is the harmonic, the latter the melodic 
 form. 
 
 Minore (me-n6'r6), It. Minor. 
 
 Minor l«ey. 1 One of the modern modes. 
 
 Minor mode, j or scales, iu which the third 
 uote 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 toues aud two semitones. 
 
 Minor sixth. An interval composed of three 
 toues aud two semitones. 
 
 Minor tactus. Among the ancients, the act 
 of beating time ; consisting of a semitone in 
 a bar. 
 
 Minor third. A diatonic interval contaiuing 
 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- 
 strel. 
 
 Minue (me'noo-a), Sp. A minuet. 
 
 Minnet. A dance of French origin in ternary 
 time— usually iu 3-4, sometimes in 3 8 time. 
 Its movement aud character changed iu 
 the course of its career. A courtlj; stateli- 
 uess and well-regulated gaiety are its most 
 prominent features. By its introduction, 
 first, into the suite and partita, and after- 
 wards into the sonata-, symphony, etc., it 
 has become an artistic form 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- 
 pnsers 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 uame 
 pieces very difFereut in movement aud 
 character. 
 
 Minuettina (me - noo - St- te ' ua), /(. A little 
 miuuet. 
 
 Minuetto (me-noo-et'to), /(. A miuuet. 
 
 Miracle-Plays. " 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, and em- 
 bodies, for the most part, various apoc- 
 ryphal legends about the saints aud the 
 Virgiu." 
 
 Miserere (rae-sS-ra'rS), Za(. "Have mercy." 
 A psalm of supplication. 
 
 Misericordia (me'se-ri-kor'dl-si), Lai. A small 
 movable seat in the choir of a church ; a 
 mis^ere. 
 
 Miskin. A little bagpipe. 
 
 Missa (mes'sa), Lai, A mass. 
 
 Missa brevis (mes'sa bra'vis), Lai. A short 
 mass. 
 
 Missa canonica (mes'sa kii-uo'ni-ka), Lat. A 
 canonical mass. 
 
 Missal. The massbook. 
 
 Missa pro defunctis (mes'sa pro dS-foonk'tis), 
 Lat. A requiem ; a mass for departed souls. 
 
 Missa solennis (mes'ra so-lSn'nis), Lat. A 
 feolemu mass, for hi^h festivals. 
 
 Missel (uies-s'l), Fr. Missal; the massbook. 
 
 Misshallig cmiss'hal'lig', Gcr. Dissonant, dis- 
 cordant. 
 
 Misshalligkeit (uiiss'hal-lig-kit), Ger. Disso- 
 nance, discordauce. 
 
 Missliellis (miss'hei-lig), (Ici: See Misshdllig. 
 
 Missklang (miss'klang). Ger. Discordant, out 
 of tune. (Not the same as dissonant.) 
 
 Missklange (miss'klaug'fi), Ger. pi. Discord- 
 ant sounds. 
 
 Missklingen (mIss'kling-Su), Ger. To sound 
 discordant. 
 
 Misslaut (miss'lout), Ger. Uuharmouious, 
 discoidant sound. 
 
 Misslauten (miss'Iou-t'n), Qer. To sound iu- 
 harmoniously. 
 
 Misslautend (miss'lou-tSud), Ger. Dissonant, 
 discordant. 
 
 Missstimmen (miss'stlm-m'n), Ger. To put 
 out of tune. 
 
 Misteriosamente (mes-tS-rl-o-za-mSn'tfi), ) r, 
 
 Misterioso (mes-tS-ri-6'z6), | 
 
 Mysteriously, iu a mysterious manner. 
 
 Mistero, con (mes-ta'ro). It. With an air of 
 mystery. 
 
 Misto (mes-to), 6r. Mixed ; a term given by 
 the ancients to some of their modes. 
 
 Misura (me-soo'ra). It. A bar, a measure; 
 time. 
 
 Misurato (me - soo -"ra ' t^), //. Measured; ip 
 strict, measured time. 
 
 Mit (mil), Ger. With, by. 
 
 Mit abwechselnden Manualen (mtt iib'vSkh- 
 s61n-d6u ma-noo-a'l'n), Ger. Alternately, 
 from the choir to the great organ. 
 
 Mit ^anz schwachen Reeistecn (mit gauts 
 shva'kh'n r6-ghis't6rn), Ger. With very soft 
 stops. 
 
 Mit QefUhl (mit gh«-fiil'), Ger. With feeling 
 aud sentiment. 
 
 ^ arm, & add, a ale, S end, e eve, I ill, i islefi old, 6odd,oomoon,ii but, ii Fr,sound, kh Qer, ch, uh nasal. 
 
 (157) 
 
MIT 
 
 DICTIONARY OF MUSIC. 
 
 MOD 
 
 Mit Keckheit (mlt kfik'hit), Ga: With vigor 
 
 and boldness; in the bravura, or dashing, 
 
 style. 
 Mitklang (mit'klang), Ger. Resonance. 
 Mitlaut (mit'lout), ^ 1 Concord, con- 
 
 Mitlauter (mit'lou-t6r), "^'J sonauce. 
 Mitlauten (init'lou-fn), Gei: To sound at t^e 
 
 same lime, or iu common with. 
 iVIitleidsvoll (mit'lids-fol;. Get'. Compassiou- 
 
 utti. • 
 
 Mit sanften 5tinimen (mit sanf't'u stim'm'u), 
 
 Uci\ ^Vith soft stops. 
 JVlit starken Stimmen (mit star'k'n stim'm'n). 
 
 O'er. With loud stops. 
 iVlittel-C (mit'iei-tsa), Oa: Middle C. Sec 
 
 Diagram of Clefs. 
 
 Mittelcadenz (mit't'I-ka-dfints'), Ger. A half, 
 
 or imperfect, cadence. 
 iVlittellaut (mit't61-lout), Ger. Middle sound. 
 
 Mittelmiissig (mit' t'l -mas' sig), Ger. Mid- 
 dling. 
 
 Mittelstimme (mit't'l-stim'm^), Ge?-. The 
 mean or middle voice, or part ; the tenor. 
 
 Mit roller Orgel (mit fol'lgr or'g'l), Ger. With 
 full organ. 
 
 Mixolydian. (1) In the ancient Greek system 
 the name of one of the octave species 
 
 bcdcf 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 ( g). 
 
 Mixture. An organ-stop consisting of sev- 
 eral ranks of pipes— from two to hve 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 orgair- 
 voioinc had become so advanced. Former- 
 ly it was very difficult to secure the har- 
 monic overtones from the fundamental 
 pipes. The tone was therefore dull and 
 heavy. Mixtures were invented to remedy 
 this. The old mixtures, called also furni- 
 ture, cymbal, etc., contained thirds, which, 
 when jilayed in chords, produced a hideous 
 snarling. 
 
 Mode. Species rf scale. In the modern sys- 
 tem of music there are only two modes, the 
 major and minor ; in the ancient Greek 
 and the nipdiseval ecclesiastical system 
 there was a much greater number. 
 
 Mode, major. That in which the third from 
 the keynote is major. 
 
 Mode, minor. That which in the third de- 
 gree from the tonic forms the Interval of a 
 minor third. 
 
 Moderamento (rao-dC-rii-mfiu'to), j. \ 
 
 iWoderato (m6-(18-ra'to), / 
 
 Moderately; in moderate time. 
 
 IVloderatissimo (mo-diS-ra-tes'si-mo), II. In 
 very moderate time. 
 
 Moderato assai con molto sentimento (md- 
 d6-ra'to as-sa'e kon mol'to s6u-ti-men't6), //. 
 A very moderate degree of quickness with 
 much expression. 
 
 Moderazlonfe (mo-dS-ra-tsi-o'uS), It. Modera- 
 tion. 
 
 Modere (mo-dar'), Fr. Moderate. 
 
 Modern, Not iu the ancient style. 
 
 Moderna, alia (mo-dar'na sil'la). It. In the 
 modern style. 
 
 Modestamente (m6-d6s-ta-m6n'l6), „ > 
 
 Modesto (m6-d6s't6), ■"' / 
 
 Modestly, quietly, moderately. 
 
 ModificazionI (mo-de-fi-ka-tsi-6'ne), /(. pi. 
 Modifications, light and shade at intona- 
 tion, slight alterations. 
 
 Modinha (mo-den'a). Par. A short Portuguese 
 song. 
 
 Mod. An abbreviation of Moderato. 
 
 Modo (mo'do), /(. 1 , ^ , 
 
 Modo (mo'd6)|Sjj. | A mode, a scale. 
 
 Modo maggiore (mo'do mad-jI-o'rS), II. The 
 
 major mode. 
 Mod'to. An abbreviation of Moderato. 
 
 Modolare (mo-do-la'rfi), « \ To modulate; 
 
 Modulare (mo-doo-la'rg), j to a c c o m m o- 
 date the voice or instrument to a certain in- 
 tonation. 
 
 Modulante (mo-doo-lan'tfi). It. Modulating. 
 
 Modulate. To move from one key to another 
 iu a manner agreeable to the ear. 
 
 Modulate, Modulation. The primary mean- 
 ing of " 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 mc 
 lodically "—melodic measurement being 
 synonymous with " inflection." In modern 
 technical terminology " to modulfite" 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 moderu 
 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 to 
 be abrupt when the new key comes sudden- 
 ly, as when from the key of C we suddenly 
 go to the key of Al> and remain there. As 
 opposed to the usual modulation by a suc- 
 cession of fifths, as practiced in the time of 
 Bach. Bach, however, usesalmost all chords 
 which have been used since. 
 
 a arm, a add, a ate, e end, e eve, lill,l isle, 6 old, 6 odd, oo moon, a but, ii Fr, sound, kh Ger, ch, nh nasaU 
 
 (158) 
 
MOD 
 
 DICTIONARY OF MUSIC. 
 
 MOR 
 
 Modulation, abrupt. Sudden modulation iuto 
 keys which are not closely related to the 
 original key. 
 
 Modulation, deceptive. Any modulation by 
 which the ear is deceived and led to an un- 
 expected harmouy. 
 
 Modulation, enharmonic. A modulation ef- 
 fected by altering the notation of one or 
 more intervals belonging to some character- 
 istic chord, and thus changing the key and 
 the harmony from that iuto which it would 
 naturally have resolved. The chordswhich 
 admit of these alterations are, fiist, the di- 
 minished seventh and iis inversions; sec- 
 ondly, the dominant seventh not inverted, 
 and the chord of the supertluous sixth iiud 
 perfect filth. 
 
 Modulation, passing. 1 A form of modula- 
 
 Modulation, transient. I tion which leaves a 
 jtey nearly as Hyjoa us entered upon. 
 
 Modulatore (mo-doo-lii-to'rS), It. Singer, 
 tuner. 
 
 Modulazione (mo-doo-la-tsi-o'n^), It. Modu- 
 lation. 
 
 Moduliren (mo-doo-le'r'u), Ger. To modu- 
 late. 
 
 Modus (mo'doos), Lat. A key, mode, scale. 
 
 Mohinda. A short Portuguese love-song. 
 
 Mohrentanz (mo'-rSn-tants), Ger. Morisco, 
 
 morris dance. 
 MoinB (mwii), Fr. Less. 
 Moll (moll), Ger. Minor. 
 MollA (mol' la), It. A key of the flute, etc., for 
 
 raiding or lowering a note. 
 Molle (mol), Fr. Soft, mellow, delicate. 
 
 Moliemente (mol-ie-m6u't6), It. Softly, gen- 
 tly, delicately. 
 
 Mollis (mol'lis), Lat. Soft. 
 
 Molitonart (moll'ton'iirt), Ger. Minor key, or 
 scale. 
 
 Moltisonante (m61-te-zu-nau't6), It. Resouud- 
 iug, very sonorous. 
 
 Molto (mol 'to), //. Much, very much, ex- 
 t.emely, .a great deal. 
 
 Molto adaeio (mol'to a-dii'ji-o). It. Extreme- 
 ly sl^w. 
 
 Molto allegro (mol'to al-lii'gro). It. Very 
 quick. 
 
 Molto carattere, con (mol'to kil-rat- t6-i6, 
 kon), II. With character and emphasis. 
 
 Molto mosso (mol'to mos'so), It. Much move- 
 ment, much motion. 
 
 Molto slargando (mol'to slar-gau'do). It. 
 Much extended ; much slower. 
 
 Molto sostenuto (mol'to fos- t€-noo't6), 7/!. 
 Very sustaiueU ; very legato. 
 
 Molto staccato con grazia (mol'to stiik-ka'td 
 kou gri'tsi-U), It. Ill staccato, style, and 
 with grace. 
 
 Molto vibrato (mol'to vl-br5't6). It. Very vio- 
 lent or rapid. 
 
 Molto vivace (mSl'tS vf- vil' tsh6). It. Very 
 lively. 
 
 Monacordo (mo-nii-kor'do). It. \ (1) An In- 
 
 Monochord (mOn-O-kOrd). J strument for- 
 merly u-^cd for the measurement of inter- 
 vals. It had one. string and a movable 
 bridge. (2) Also a name of the tromba 
 mariua, or trumscheit. (3) A clavichord. 
 
 Monaulos (m6n'ou-16s), Gr. An ancient flute, 
 played through the mouthpiece at the end 
 like the flageolet. 
 
 Monferina (mon-fg-re'na), It. A lively Italian 
 dance in G-S time. ; 
 
 Monochord pedal. The ^one-stringed pedal. 
 
 Monocorde (mfin-o-kOrd'), J'r. lOnonestring 
 
 Monocordo (mo-uo-kor do). It. J only. See 
 also Monochord. 
 
 Monodia (mo-no-de'a), It. I A composition 
 
 Monodie (mOn-6-de), Fr. vfor a single voice. 
 
 Monody (mOn-o-dy). ) The term origi- 
 
 nally applied to church solos. Also a com- 
 position with a single idea. 
 
 Monodie. For one voice, a solo. 
 
 Monodist. One who writes a monody. 
 
 Monodram (mo-no-dram'), Qer. \ A musical 
 
 Monodrama (mo-uo-dra'ma). It. | drama, in 
 which only one actor appears ; a mono- 
 drama. 
 
 Monodrama (m6n-6-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-o-fo'nlk), Or. In one part 
 
 only. 
 Monotone. Uniformity of sound; one and 
 
 the same sound. 
 Monotonia (mo-no-to'ni-a), Sp.~\ Monotony ; 
 Monotonie (m0n-o-t5-ne), Fr. Vsameness of 
 Monotonie (mo'uo-to-ue'), Ger.) sound. 
 
 Monotonous (mo-ndt'o-ntis). An epithet ap- 
 plied lo any instrument which produces but 
 one tone or note ; as the drum, tambourine, 
 etc. 
 
 Monotony. A wearisome uniformity of sound; 
 a continued repetition of the same tone or 
 notes. 
 
 Montant (m6nh-tanh), Fr. Ascending. 
 
 Monter (mOn-tgh), Fr. (1) To put strings on 
 an instrument; to tune them. (2) To put 
 the parts of a wind instrument together. (:i) 
 To ascend. 
 
 Montri (m6nh-tra'), Jr. Mounted; in front; 
 a term applied to the organ-pipes which are 
 placed iu front of the case; commonly a 
 diapason. 
 
 Montr£ d'orgue (mOnh-tra d'6rg\ Fr. The 
 range of pipes in the front of an organ. 
 
 Moorish drum. A tambourine. 
 
 Moralit^s {Fr.), Moralities. Allegorical plays 
 popular in the middle ages. The object of 
 these plays was to point amoral, and among 
 
 ii arm, iadd,aale,6end,eeve,iiU,l isle, 6 old, 6 odd, oo moon, ti but, iX Fr, sound, kh Qer. ch, nh nasai, 
 
 /I Km 
 
MOE 
 
 DICTIONARY OF MrsiC. 
 
 MOT 
 
 the characters that appeared therein were 
 peraonificatlous of the virtues, vices, etc. 
 The Moralities were an offshoot of the Mys- 
 teries (?. v.). 
 
 Morbidezza, con (mor-bi-det'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 (mdr-so^ d'anh-sanhbl), 
 Fr. A piece harmonized for several voices. 
 
 Mordante (mOr-dan'tfi), It. See Mordente. 
 
 iVIordente (mor-d6n'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 cnnsist- 
 
 ingofthenoteoverwhich Written. Played. 
 
 the sign Is placed and the 
 
 note below it, thus : 
 A similar sign without b' 
 
 the vertical stroke Indi- _ 
 I cates the Prall-trill, which is a precisely 
 
 similar embellishment, employing the note 
 
 above. The accent falls upon the first tones. 
 Morendo (mo-rfin'do), 
 Moriente(m6-ri-6u 
 
 dimiuishiug the 
 Moresca (mo-r6s'kft), ,, 1 Moorish; morris 
 Moresque (m6-r«sk'), J dance, in which 
 
 bells are jingled at the ankles and swords 
 
 clashed. 
 
 Sn'do), „ 1 Dyingaway; ex- 
 i-8u'te), ■* • fpiring; gradually 
 ^he tone and the time. 
 
 Ger. 
 
 ■} 
 
 Morgengesang: (mor'g'n-ghg-zang'), 
 Morgenlied (mor'rf'n-led), 
 Morning song ot hymn. 
 
 Morgenstandchen (mor'g'n-stand'kh'n), Ger. 
 Mumiug serenade. 
 
 Morisco (mc3-res'k6), It. In the Moorish style. 
 See Mort&ca. 
 
 Morisk (mo-risk). The morris dance. 
 
 Mormoramento (mor-mo-ra-mSn'to), It. A 
 murmur, warbling, buzzing, purling. 
 
 Mormorando (mor-mo-ran'do), 1 With a 
 
 Mormorevole (mor-m6-ra'vo-lfi),7i. [-gentle, 
 
 Mormoroso (mor-mo-ro'zo), ) murmur- 
 
 ing sound. 
 
 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 III. 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'td). It. Quick, with 
 much motion. 
 
 Mostra (mos'tra). It. A direct (/w), which, 
 when placed on a line, indicates the first 
 note upon the next page. 
 
 Mot (mo), Fr. Literally, a word ; a note or 
 brief strain on a bugle. 
 
 Motet. 1 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 accompauimeuts, which 
 came in to vogue in the seventeenth century, 
 but are to be met with before aud 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 accorci- 
 ing to her own taste and mental bias. Ii> 
 earlier times it was the sacred counterpart 
 of the secular madrigal (q. v.). 
 Motette (mo-tSf), Ger.') 
 Motet {mo-taO.-fV. }- A motet. 
 Motetto (mo-tet'to). It.} 
 Motetten (mo-tfit-t'n), Ger. \ vf.t.,, 
 Moletti (m6-t6t'te). It. ] "O'ets. 
 
 Motetto per voci sole (mo-tet'to par vo'tshp 
 s6-la'). It. A motet for voices without ac- 
 companiment; a motet each part of which 
 is for a single voice. 
 
 Motetus (m6-t6t'oos), Lat. A motet. 
 
 Motif (mo-tef), Fr. Motive, theme, subject. 
 
 Motion. (1) The melodic progression of a 
 part considered by itself. It may be either 
 conjunct or dLsjunct— that is, the progres- 
 sionmaybebyd egrees 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 : (a) Sim- 
 ilar motion, when two parts ascend and 
 descend together. (6) Cfoutrary 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, letc. 
 Also "eighth-note motion," meaning that 
 the prevailing entrances of tones in asingle 
 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. 
 
 Motivo (mo-te'vo), J(. Motive; the theme, or 
 subject, of a musical composition. 
 
 Moto (mo'to), It, .Motion, movement; con 
 muto, with motion, rather quick. 
 
 Moto acceler^to (mo'to iit-tsha-I6-ra'to), It. Ac- 
 celerated motion. 
 
 Moto contrarlo (mo'to kon-tra'ri-o). It. Con- 
 trary motion. 
 
 Moto obliquo (mo'to 6b-le'kwo), It. Oblique 
 motion. 
 
 Moto precidente (mo'to pra-tshi-dfin't6), //. 
 The same time as the preceding movement. 
 
 Moto prime (mo'to pre'mo). It. The same 
 time as the first. 
 
 a arm, A add, a ale, i end, e eve, I ill, I isle, d old, 6 odd, oo moon, it tmt, ii Fr. sound, kh Ger. eh. uhnasait 
 
 (160) 
 
MOT 
 
 DICTIONARY OF MUSIC. 
 
 MUS" 
 
 Moto retto (mo'to rSt'to), It. Direct, or sim- 
 ilar, motiou. 
 
 Motteggiando (mCt-Wd-ji-fiu'do), It, Jeeriug- 
 ly, mockingly, jocosely. 
 
 iVIottetto (mot-tet'to), It. A. motet. 
 
 MOtus (mo'toos), Lat, Motiou, movemeut. 
 
 Motus contrarius (mo'toos fcon-tra'rt-oos),Xaf. 
 Contrary motion. 
 
 Motus obliquus (mo'toos ob-le'kwoo-oos), Lat. 
 Oblique motiou. 
 
 Motus rectus (mo'toos rSk'toos), Lat. Direct, 
 or similar, motion. 
 
 Mouthpiece. That part of a trumpet, horn, 
 etc., which is applied to the lips. 
 
 Mouvement (moov-manh), Fr. 1 Motion, 
 
 Movimento (m6-vi-m?n'to), /(. J movement, 
 impulse ; the time of a piece. 
 
 Mouvement de I'archet (mooy-m£nh dilh 
 I'ar-sha), Fr. Bowing, the movemeut of the 
 bow. 
 
 Movement. Manner of going; as, polka 
 movement, march movement, etc. The 
 name 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 changes in 
 measure and tempo. 
 
 Movimento contrario (mo-vl-mSn/to kon-trii'- 
 rI-6), /(. Contrary movemeut. 
 
 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 iu soli'aiug. 
 
 Muance (mii-anhs'), Fr. A change, or varia- 
 tion, of notes ; a division. 
 
 Muet (mii-a'). Ft: Mute. 
 
 Mnnd (mooud), (rfr. The mouth. 
 
 Mundharmonica (moond-har-mo'nl-ka), Qer. 
 The jew's-harp ; or, a mouth harmonica. 
 
 Mundstiicic (moond'stilk),(Jer. Reed, mouth- 
 piece. 
 
 Miinster (miln'stSr), Qer. Minster, cathedral. 
 
 Munter (moon'tfir), Gcr. Lively, sprightly. 
 
 Munterkeit (moon'tCr-kit),' Ger, Liveliness, 
 briskness, vivacity. 
 
 IVlurmeln (moor'mfiln), Ger. To murmur. 
 
 Murmeind (moor'mfilnd), Ger. Murmuring. 
 
 Murmur. A low, indistinct sound. 
 
 Mus. Bac. An abbreviation of Bachelor of 
 Music. (Little used.) 
 
 Mus. Doc. An abbreviation of Doctor of Mu- 
 sic. 
 
 Muse. Name originally given to the muzzle, 
 or tube, (^f the bagpipe. One of the nine fa- 
 bled goddesses presiding over art, litera- 
 ture, or music. 
 
 Musetta (iioo-zSt-ta), /(. ) (1) A small, im- 
 
 Musette (mvl-s6t'>. Ft. J perfect instrumeut 
 of the oboe kind. (2) A French bagpipe. 
 (o) A pastoral air in imitation of the music 
 
 of the latter instrumeut, with a drone bass, 
 iu 6-8, S-4, and also iu 2-4 and 4-4 time. Such 
 airs have also been used as da jce tunes. 
 
 Music. The science of harmonical sounds, 
 which treats of the principles of harmony, 
 or the properties, dependencies, and rela- 
 tions ot sounds to each other. 
 
 Musica (moo'zi-ka). It. Music. 
 
 Musica antiqua (moo'si-ka an-ti kwa), Lat. 
 Ancient music. 
 
 Musica da camera (moo'zi-ka da ka'mS-ra), 11. 
 Music for the chamber. 
 
 Musica da chlesa (moo'zi-ka da ke-a'za). It. 
 Church music. 
 
 Musica da teatro (moo'zl-ka da ta-a'tro), II. 
 Dramaiic music. 
 
 Musicale (moo'zi-ka-lS), It. Musical, belong- 
 ing to music. 
 
 Musical brachygrapliy. The art of writing 
 musical notation in an abbreviated style by 
 means of signs, characters, etc. 
 
 Musical clockis. 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 ot public musical performances. 
 
 Musical drama. Opera, lyric drama. 
 
 Musical ear. The ability of determining by 
 the sense of hearing the finest gradation of 
 souud. 
 
 Musicalement (raii-zl-kai-manh), J^. 1 
 
 Musicalmente (moo-zi-kal-mSn't6), 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 regi 
 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 pantomrme. A dramatic perform- 
 ance, the ideas and sentiments of which are 
 expressed by music and gestures. 
 
 Musical science. The theoiy of music, in 
 contradistinction from the practice, which 
 is an art; the general principles and laws of 
 combining tones for art purposes. It in- 
 cludes harmony, counterpoint, canon and 
 fugue, form, orchestration, etc. 
 
 Musical soiree. An evening musical enter- 
 tainment, public or private. 
 
 i arm, S. add, a ale, S end, e eve, S ill, I isle, 6 old, 6 odd, oo moon, a 6«(, il Fr. soutid, kb Ger. ch, iih iiaeat. 
 11 (161) 
 
MUS 
 
 DICTIONARY OF MUSIC. 
 
 NaC 
 
 Musical terms. Words or phrases appended 
 to passages of music, indicating the manner 
 in which they should be performed. 
 
 Musica plana (moo'si-ka pla'na), Lat. Plain 
 chant or song. The traditional -tunes for 
 Intoning the various offices of the church. 
 
 Music, enharmonic. Music that proceeds hy 
 intervals smaller than the diatonic and 
 chromatic, or music which progresses from 
 one key to another by meant of enharmonic 
 changes, as when, e. g., the chord of Ci/(_ is 
 followed iiy that of A\>, the former being 
 enharmouically changed into the chord of 
 Dl,. 
 
 Music, field. Martial music. 
 
 Music, Qreg:orian. Those chants and melo- 
 dies introduced into the Roman Catholic 
 servifce by yt. Gregory in the sixth century. 
 
 Music, hunting. Music suited to the chase. 
 
 Musician. One who understands the science 
 of music, or who sings, or performs on some 
 instrument according to the rules of art. 
 
 Musicien (mu-ze-si-anh), Fr. Musician. 
 
 Musicq (moo'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 a1^ 
 tacbed to a pianoforte for the purpose of 
 recording upon paper the notes that are 
 played. 
 
 Music^timekeeper. An English instrument 
 designed to enable a performer to keep 
 time in any measure in which a piece of 
 music is written. 
 
 Music-trademark. A mark adopted by the 
 United Slates Board of Music Trade, being a 
 star enclosing figures 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'zl-koos), Ger. A musician. 
 
 Musiker (moo'zl-kfir), Ger. A musician. 
 
 Musikfest (moo-slk'fSst), Ger. A musical fest- 
 ival. 
 
 Musiklehrer (moo-zlk-la'rfir), Ger. Teacher 
 of music. 
 
 Musikprobe(moo-zIk-pro'b6), Ger. A musical 
 rehearsal. 
 
 Musikverein (moo-zik'ffi-rin'), Ger. A mu- 
 sical society. 
 
 Musikzeitung: (moo-zik-tsi'toong), Ger. A 
 musical paper, 
 
 Musique (mti-zek), Fr, Music. 
 
 Musique d'eglise (mii-zek da-glez), Fr. 
 Church music. 
 
 Muta (moo'ta), Ji!. 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-ta-si-onh), Fr. \ Tir«tQfir^« 
 
 Mutazione (moo-ta-tsl-d'n6), It. j mutation. 
 
 Mutation, or fiUing-up stops, are those which 
 do not give a sound corresponding to the 
 key pressed down— such as the quint, tierce, 
 twelfth, etc. 
 
 Mute, A smaU 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'tlg), Oer. Courageous, spirited. 
 
 Muthwiliig (moot'vil-lig), Ger. Mischievous, 
 lively. 
 
 Mutiren (moo-te'r'n), Ger. To change the 
 voice from soprano to tenor, baritone, or 
 
 Mystferes (mls-tar), Fr. ) A kind of re- 
 
 Mysterien (me-sta're'n), Ger. [ ligious dra- 
 Mysteries. J ma ; rude 
 
 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 Judgment, 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. 
 
 3V 
 
 Nabia (na-bla), Heb. 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 (na'ka-ra). It. ^ with a loud, metal- 
 
 Nacarre (na'ka-rg), It.pl. I lie tone, formerly 
 
 much used iu France and Italy. 
 
 Naccliera (nak'kS-r^), It. Kettledrums. 
 
 Nacliahniung (nakh-a'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 different voice. 
 
 Nacli Belieben (nakh ba-le'b'n),(?er. At pleas- 
 ure. The same as Ad libitum. 
 
 a arm, & add, a ale, i eiid, e eve, i ill, i isle, oold,6 odd, oo moon, abut,^ Fr. sound, kh Ger. eh, nh nasal. 
 
 (162) 
 
NAC 
 
 DICTIONARY OF MUSIC. 
 
 NEA 
 
 Nachilruck (nfUih'drook), Ger, Emphasis, ac- 
 cent. 
 
 Nachdriicklich (nakh'druk-likh), ^„ 1 
 
 Nachdrucksvoll(nakh'drooks-f61), '"^- / 
 Euergetlc, empnatic, forcible. 
 
 Nachhall (uakh'hall), Ger. Reverberation, 
 echo. 
 
 Nachklang (nakh'klang), Ger, Resonance, 
 echo. 
 
 Nachkllngen (nakh'kling-en), /-, 1 To ring, 
 
 Nachschallen (nakh'shal-rn), J to echo, 
 
 to resound. 
 
 Nachlassend (nakh-las's£nd),fier. Slackening 
 iu time. 
 
 Nachiasslg (nakh-las'sigh), Ger. Slackening, 
 meaning somewhat carelessly ; letting up. 
 
 Nachschlag (uakh'shlag),6er. Additional, or 
 afternote. 
 
 Nachspiel (nakh'spel),ffer Afterplay; apost- 
 lude, or concluding piece. 
 
 Nachstverwandte Tone (nakhst'fSr-wand'te 
 td'nS), Ger. The nearest relative keys. 
 
 Nachthorn (nakhfhom), Ger. Nighthorn; an 
 organ-stop oi 8-feet tone, nearly identical 
 with the quintation^ but of larger scale and 
 more hornlike tone. 
 
 Nachtschlager (uakht'shla'gfir), „„ 1 
 
 Nachtigall(nakht'ti-gall), "^- J 
 
 Nightingale. 
 
 Nachtstandchen (nakhfstand-kh'u), Ger. A 
 serenade. 
 
 Nachtstuck (nakht'stiick),ffer. A serenade, a 
 nocturne. 
 
 Nach und nach (nakh oond nakh), Ger. By 
 little and little, by degrees. 
 
 Nafie (nii-fe). 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 oi a 
 bow. 
 
 Naif (na-ef), Fr. 
 
 Naiv (na-ef), Gt 
 
 Naive (na-ev), i 
 
 Naivement (na-ev-manh), Fr. Simple, nat- 
 urally. 
 
 Naked. A term significantly applied by mod- 
 ern theorists to fourths, iifths, and other 
 chords when unaccompanied. 
 
 Nakokus (na-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. 
 
 Nanlen (na-nl-fin), Ger. A dirge, an elegy, 
 
 Narrante (nar-ran'tfi), It. In a narrative style. 
 
 Simple, artless, natural. 
 
 Narratdr. A name formerly given to the chief 
 performer in an oratorio. 
 
 Narrentanz (nir'r'n-tilnts), Ger. A foolish 
 dance ; a fool's dance. 
 
 Nasal tone. That reedy, unpleasant tune pro- 
 duced by the voice when it issues in too 
 great a degree through the nostrils. 
 
 N^at / ■*" °^^ name for an organ-stop, 
 Nassat f t""®'' * twelfth above the diapa- 
 Nazard. ) ^°'^- 
 
 Nasardo (na-zar'do), ^. One of the registers 
 of an orgah. 
 
 Nason. A very quiet and sweet-toned flute- 
 stop, of 4-feet scale, sometimes found in old 
 organs. 
 
 Nationallled (na-tsi-o-nal'led), Ger. National 
 song. 
 
 National music. \ Music identified with the 
 
 National s6ng. 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 t|, used to con- 
 tradict a sharp or flat. 
 
 Naturale (nartoo-ra'18), /(. Natural, easy, free. 
 
 Natural harmonic series. Harmonics; par- 
 tial tones. 
 
 Natural harmony. The harmony of the triad, 
 or common chord. 
 
 Naturall suoni (na too-rii'le soo-o'nl). 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-mSn'tS), It. Nat- 
 urally. 
 
 Natural modulation. That which is confined 
 to the key of the piece and its relatives. 
 
 Naturhorn (na-toor'hom), Ger. The natural 
 horn, the horn without valves. 
 
 NatUrllche Intervalle (na-t{ir'likh-« In-tgr- 
 val'ie)ir Oer. Natural Intervals, intervals 
 proper to the key, not such as are altered by 
 sharps or flats ; more especially are so named 
 those belonging to the C major scale, with- 
 out any sharps or flats at all. 
 
 NaturtSne (na-toot'to-ng), 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 (na-toor'trom-pa-tfi), Ger. A 
 natural trumpet, one without valves. 
 
 Naublum (naw-bloom), Heb. See Nabla. 
 
 Nautical sOngs. Songs relating to the sea 
 
 Nay (na), Tur. 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, & add,-S, ate, & end, e eve, \ill,iule,6 old, 6 odd, oomoon,iibut,ii Fr. sound, kh Ger. ch, nh nosoZ. 
 
 (163) 
 
NEB 
 
 DICTIONARY OF MUSIC. 
 
 NOB 
 
 ol the scale. In the key of C 
 (major or minor) this chord is [ 
 really the same as the first In- 
 version of the triad of Df?. 
 
 Nebel (na-hSl), „^ 1 The 
 
 Nebel nassor (na-b6l nas sOr), j name 
 
 given by the ancient Jews to their ten- 
 stringed harp, supposed to have been tri- 
 angular iu form and used in religious wor- 
 ship. 
 
 Neben (ua'b'n), Ger. Accessory. (Much used 
 in compounds.) 
 
 Nebennote (na'b'n-no' tfi), Ger. Auxiliary 
 note. 
 
 Nebenregister (na'b'n-rC-ghis'tSr), ^ 1 
 
 Nebenzuge (na'b'n-tsil'ge), J 
 
 Secondary or accessory stops in an organ, 
 such as couplers, tremulant, bells, etc. 
 
 Nebenstimmen (na'b'n-stim'mfin), Ger. Ac- 
 cessory voices. Applied to subordinate 
 voices iu contrapuntal work, and to or- 
 gan-stops unavailable for solo oir founda- 
 tion purposes, such as the twelfth, mix- 
 tures, etc. 
 
 Necessario (na-tsh6s-sa'ri-6), It. A term indi- 
 cating that the passage referred to must not 
 be omitted. 
 
 Nechiloth (n6k'i-16ht), 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 bjdy, and on which the fingerboard 
 is fixed. 
 
 Neghinoth (nfi'ghi-noth), „ i 1 A word fixed 
 
 Neginoth (n6'gi-n6th}, •"'^"- / 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" t*ie 
 name given to ancient stringed instru- 
 ments. 
 
 Negligente (nSl-yfi-jSn'tS), It. Negligent ; un- 
 constrained. 
 
 Neeligentemente (n61 - yi- jSn - tS - mto' t6). It. 
 Negligently. 
 
 Negllgenza (nSl-yi-jSn'tsa), /(. N^ligence, 
 carelessness. 
 
 Nei (na'e), Tur. A fashionable musical in- 
 strument of the Turks, beiug a flute made 
 of cane. 
 
 Nekeb (na'kfib), Heb. A wind instrument of 
 the ancient Hebrews, formed of a single 
 tnbe. 
 
 Nel (n61). It. \ 
 
 Nella (uSl'lal, P. I 
 
 JSelle (nSl'JS), J/. p(. ^ In the ; at the. 
 
 Nello (uSl'lo), /(. t 
 
 Neir (nei), /(. J 
 
 Nel battere (nSl bat-ta'ri;), It. \\\ the down- 
 beat of the measure. 
 
 Nel tempo (nSl tem'po), It. In time, in the 
 previous time. 
 
 Nete (na'te). Or. The last, or most acute, 
 string of the lyre ; the name given by th^ 
 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-t« de-zoog'm6-nan), 
 Gr. The flnal, or highest, sound of the 
 fourth tetrachord, and the first, or gravest, 
 of the fifth. 
 
 Nete byperbolaeon (na-t6 he'p6r-b6'le-0n), Gr- 
 The last sound of the hyperbolaeon, or high- 
 est tetrachord, and of the great system, or 
 diagram, of the Greeks. 
 
 Nete synemmenon (na-t6 si-nSmm6-n6n|,(rr. 
 The fourth, or most acute, sound of the 
 third tetrachord, when conjoint with the 
 second. 
 
 Net(na), J-r. ) vrpaflv 
 
 Nett (net), Ger. [ cleariv 
 
 Nettamente (n6t-ta-m«n't6), /(. r <"eariy,_ 
 
 Nette (nat), J^r. 
 
 plainly. 
 
 1 : 
 
 Nettheit (nSt'hit), Ger. \ clearness, 
 
 Nettigkeit (n8t-tig-kit), Ger. j plainness. 
 
 Netto (nSt'to), Ji!. Neat, clear; quick, nimble. 
 
 Neu (noi), Ger. New. 
 
 Neumes (nums). (1) An early system of nota- 
 tion by means or points, commas, hook^, 
 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 (noln-akh't'l takt), Ger. 
 
 Measure in nine-eighth time. 
 Neunte (noiu'tS), Ger. A ninth. 
 Neunzehnte (noin'tsfin-tfi), Ger. Nineteenth. 
 
 Neuviime (ntlh-vi-am'), Fr. The Interval 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. 
 
 Niederstrich (ne'dfir-strikh), Ger. The down 
 bow. 
 
 Niedrig (ne'drig1,G«". Low, or deep, in voice. 
 
 Nina (ne'na). 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 filth ; 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, 6 end, e eve, iiU,l ide, 6 old, 6 odd, oo moon, O but, u Fr. sound, kh Ger. ch, nh nasaX- 
 
 (164) 
 
NOB 
 
 DICTIONARY OF MUSIC. 
 
 NOT 
 
 Nobilita, con (nS-brii-ta kon), /(. With no- 
 bility: dignifled. 
 Nobilmente (no-bll-mgn'te), It. \ Nobly, 
 Noblement (no-bl-manh), Fr. | grandly. 
 
 Nobilmente et animato (nd-bU-mSn't£ £d a- 
 
 ui-ma'toj. It. With grandeur and spirit. 
 Noch (nol£h), Qer. Still, yet. 
 
 Noch schneller (nokh shn61'16r), 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 (nftk-turn), Fr. 1 , nnptiirtip 
 Nocturno (nok-toor'no), It. \ ^ nocturne. 
 
 Nodal points. ) In music the fixed points of a 
 
 Nodes J sonorous chord, at which it 
 
 divides itself when it vibrates by aliquot 
 
 parts and produces the harmonic sounds ; 
 
 as the strings of the i&Jii&n harp. 
 
 Noel (no-61), Ft. A Christmas carol or hymn 
 
 Noire (nwiir), Ft. Black note ; a crotchet. 
 
 Noire pointee (nwiir pwanh-ta), Fr. A dotted 
 crotchet. 
 
 Nomenclature, musical, A vocabulary of 
 names and technical terms employed in 
 music. 
 
 Nomes (no'mes), Gr. Certain airs in the an- 
 cient music sung to Cybele, the mother of 
 the gods, to Bacchus, to Fan, and other di- 
 vinities. The name nome was also given 
 to every air the composition of which was 
 regulated by certain determined and 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-nSt'to), It. A composition for 
 
 nine voices or instruments. 
 Non tanto (n5n tan'to), It. Not so much, not 
 
 too much. 
 Non troppo (non trop'po), It. Not too much, 
 
 moderately. 
 Nontroppoalleero(ndntrdp'poal-la'gro), j. \ 
 Non troppo presto (non trop'po prSs'to), ■ j 
 
 Not too quick. 
 Nonuplet. A group of nine notes of equal 
 
 length. 
 
 Normal (nor-mal'), Ber. Normal, proper. 
 
 Normalton (nor-miil'tSn), Qer. The normal 
 tone, the tone A, the sound to which in- 
 struments are tuned in an orchestra. 
 
 Normaltonleiter (nor-mal-t6n'li-t6r),(?er. The 
 natural scale, the scale of C, the open key. 
 
 Nota (nS'ta), J<. U„ote 
 Nota (no'ta), Lal.]'^ "°*^- 
 
 Nota buona (nS'ta boo-5'na), It. A strong, or 
 accented, note. 
 
 Nota camblata (nO'ta kSm-bl-a'ta), It. A 
 changed, or irregularly transient, note; a 
 passing note. 
 
 Nota caratteristica (no'ta ka-riit-tS-res'tl-kil), 
 /(. A characteristic, or leading, note. 
 
 Nota cattiva (nO'ta kat-te'va). It. A weak, or 
 unaccented, note. 
 
 Nota contra notam (nO'ta kSn'trS no'tani), It. 
 Note against note. See Cmmterpcmit. 
 
 Nota ooronata (nO'ta ko-ro-na'ta), It. A note 
 marked with a hold. 
 
 Nota d' abbellimento (no'ta d'ab-b61-li-m6n'- 
 tS), It. A note of embellishment, an orua- 
 mental note. 
 
 Nota dl passaggflo (no'ta de pgs-sad'jI-6\ It. A 
 passing note, a note of regular transition. 
 
 Nota di piacere (no'ta de pe-a-tsha'rS), It. An 
 optional grace note, an ad libitum embel- 
 lishment. 
 
 Nota sensihUe (no'ta sSn-se'bi-16), It. \ 
 
 Nota sensibllis (no'ta sSn-se'bi-lis), Lat. | 
 The sensible, or leading, note of the scale. 
 
 Nota slgnata (no'tii slg-na'ta), Lat. A note 
 marked with a sign. 
 
 Nota sostenuta (no'ta s6s-t8-noo'ta), II. A sus- 
 tained note. 
 
 Notation. The art of representing by notes, 
 characters, etc., all the different 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, and points, ciphers, 
 etc., for such characters as represent pauses, 
 time, etc. 
 
 Notazlone musicale (no-ta-tsI-o'nS moo-zl-ka'- 
 Vij, 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. An 
 
 ornamental note. 
 Note de passage (not dtkh pas-sazh), Fr. A 
 
 passing note ; a note of regular transition. 
 Note dies£e (not dl-a-za), Fr. Note marked 
 
 with a sharp.. 
 
 Note, double. The ancient breve. =tt=ft 
 
 Note, double-dotted. A note whose length is 
 Increased three fourths of Its original value 
 by the dots Jfiaced after it. 
 
 Note, double-stemmed. A note having i — 1~ 
 two stems, one upward and the other B— 
 downward, showing that it belongs ^~ 
 to two different voices. In pianoforte mu- 
 sic a double-stemmed note generally be- 
 longs to the melody in its longer significa- 
 tion, and to the accompaniment in its 
 shorter signification. In the bass, half-notes 
 with two stems often occur, iu which case 
 
 ftoTOi, &add, a ote, Send, e eve, liU, I isfe,e oW, iodd, oo moon, iXbut, il Fr.tovM, kb Qer, ch. nh Tscwrti 
 
 (165) 
 
NOT 
 
 DICTIONARY OF MUSIC. 
 
 OBB 
 
 the upper stem belongs to a jjuarter- note, 
 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), Oer. pi. Notes. Used in com- 
 position with other words. 
 
 Notenblatt (no't'n-blat), Gcr. A sheet of mu- 
 sic. 
 
 Notenbuch (no't'n-bookh), Ger. Music-book, 
 notebook. 
 
 Notenschrift (no't'n-shrift),(Ter. Musical man- 
 uscript. 
 
 Notensystem (no't'n-sis-tam'),<Jer. The staff. 
 
 Note of modulation. A note which intro- 
 duces a new 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 harmony forming the remaining parts 
 Is allowed to proceed. 
 
 Note, quarter. A crotchet. 
 
 Noter (no-ta), 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'tfi skol'tS), It. Staccato note. 
 
 Notes coulees (not koo-la), Fr. Slurred notes. 
 
 Notes de gout (not dUh 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. g 
 
 Notes liees (not le-a), Fr. Tied notes. 
 
 Notes syncopees (not sen-ko-pa), Fr. Syn- 
 copated notes. 
 
 Note, thirty-second. A demisemiquaver, g 
 
 Note, triple-dotted. A note whose value is 
 increased seven eighths by three dots after 
 it. 
 Note, whole. A semibreve, 
 Notturni (not-toor'ni). It. Nocturnes. 
 
 Notturno (not-toor'no), It. A nocturne; a 
 light, elegant composition suitable for an 
 evening performance ; a serenade. 
 
 Nourrir le son (uoo-rer IQh sOnh), Fr. To 
 commence, or attack, a note in singing, forc- 
 ibly, and sustain it. 
 
 Nourrissons (noor - res - s5nh), 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 (n5v-is). A beginner ; one unskilled. 
 
 Nuances (rii-anh-s'), Fr. pi. Lights and 
 shades of expression, variety of intonation. 
 A system of notation. 
 
 Numerical notation. A system of notation 
 first introduced by Eousseau, 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 & Seal's 
 "One-Line System." The measure was 
 represented ir> nearly the usual manner. In 
 France a similar system is in use among the 
 Orpheonists. It was invented or improved 
 by M. Paris, the inventor of the " time- 
 names." 
 
 Nuovo (noo-6'vo), It. New ; di nuavo, newly, 
 again. 
 
 Nuptial - songs. Wedding-songs, marriage- 
 songs. 
 
 Nut. The small bridge at the "ipper end of 
 the fingerboard of a guitar, over which the 
 strings pass to the pegs or screws. 
 
 o 
 
 0, //. Or. Fiolmoo^auio, violin or flute. 
 
 6 (6) before a consonant, „ l^r na pithpr 
 Od (6d) before a vowel, ""• | Or, as, eitner. 
 
 Obbligato (ob-bll gS'to), It. ) Indispensa- 
 Obbligati (6b-bli-ga'te), It.pl, { ble, necessary; 
 
 Oblige (Ob-li-zha'), Fr. f a part or parts 
 
 Obligat (ob-U-gaf), Ger. ) which can not 
 
 be omitted, being Indispensably necessary 
 
 to the idea. Generally speaking, every in- 
 dependent part is obbligato. The expres- 
 sion "organ obbligato," lor 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 
 
 & arm, i odd, a ate, 6 end, e eve, I HI, i,iale, 6 old, 6 odd, oo moon, but, il Fr. lound, kh Oer. ch, nh nasaU 
 
 (166) 
 
OBE 
 
 DICTIONARY OF MUSIC. 
 
 OCT 
 
 such as these were very common : Aria con 
 violtno obbtigato, or flauto obbligato. 
 
 Ober (6'bfir), Ger. Upper, liigher. 
 
 Obermanual (o'bSr-ma-noo-al'j, Ocr, The up- 
 per maaual. 
 
 Oberstlmme (6'bSr-stim'mfi), Ccr. Treble, up- 
 per voice part. 
 
 Obertasten (6'b6r-tas't'n), Ger. The black keys. 
 
 Obertheil ^o'b6r-tI^), Ger. The upper part. 
 
 Oberwerk (6'b6r-w2,rk), Ger. Upper work, 
 highest row of keys. 
 
 Oblique motion. A relative motion of two 
 voices iu which one moves while the other 
 remains stationary. 
 
 Obliquo (ob-le'kw6), It. Oblique. 
 
 Oboe (S'bo-S). Ger. 1 A hautboy ; also the 
 
 Oboe (o-bo-fi/), /(. /name of an organ-stop. 
 (1) A wood wind instrument with a mouth- 
 piece consisting of a double reed. Its ex- 
 treme compnss extends from h\> or bjf to f". 
 Music for the oboe is written in the G clef, 
 and written as itsounds. This is the oboe 
 of our orchestras. In military bands are 
 also sometimes to be met with oboes iu B[7 
 and a soprano oboe in Ei?, which are, of 
 course, transposing instruments. (2) There 
 are, likewise, organ-ttops 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-S' bas'so), /(. This obsolete 
 instrument stood a minor third lower than 
 the ordinary oboe. 
 
 Obbe da caccia (o-bo-a' da kat'tsbi-a), It. A 
 larger species of oboe, with the music writ- 
 ten in the alto clef. Its natural key was F 
 orEb. 
 
 Oboe d'amore {o-bo-a' d'amo'rfi), „ 1 A spe" 
 
 Oboe lungo (6-b6-a' loon'go), ■ ) cies 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-bo-es'ta), II. An oboist. 
 
 Octachord. An instrument or system com- 
 prisiug eight sounds or seven degrees. 
 
 Octaphonlc. Composed of eight voices. 
 
 Octava alta (ok-ta'va al'ta). It. Play the pas- 
 sage an octave higher. 
 
 Octava grave (6k-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 naif as 
 many vibrations. The most fundamental 
 principle in harmony is that octaves are 
 equivalentand may be interchanged in any 
 chord without changing its harmonic oljar- 
 acler. 
 
 Octave clarion. A two-Ieet reed-stop in an 
 organ. 
 
 Octave flute. A small flute an octave higher 
 thau 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, ludicated by capital letters having a 
 single line below. 
 
 Octave, large, twice-marked. The first oc- 
 tave, indicated by capital letters having two 
 lines below them. 
 
 Octaves, consecutive. Two parts moving iu 
 unison or octaves with each other. 
 
 Octaves, covered. Certain apparent consecu- 
 tive octaves which occur in harmony, in 
 parsing 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, reoresented by small letters 
 with five lines above them. 
 
 Octave, small, four-times marked. The 
 eighth octave, repreisented by small letters 
 with four lines aoove 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 
 oigan 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 ordinary 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 Inlerval 
 of an octave upon the fingerboard ; a me- 
 chauical 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 (ok-tafflo'tfi), Ger. Octave flute, 
 flageolet; also an organ-stop of four-feet 
 scale. 
 
 a arm, a add, a afe, fi end, eeve,HU,i isle, 6 old, 6 odd, oo moon, iibiU,u Fr. sound, kh Qer. eft. nh nasal. 
 
 (167) 
 
OCT 
 
 DICTIONARY OF MUSIC. 
 
 OPE 
 
 OctavflStlein (6k-tafflot'lin), Oer. An octave 
 flute. 
 
 Octavfolgren (6k-tat - ISl'gMii), ffer. Octave- 
 Buccessiou ; parallel motion by octaves. 
 
 Octavin (ak-ta-vSnh), Fr. An organ-stop of 
 two-ieet scale. 
 
 Octavine (5k-ta-ven'), Fr. The small spinet. 
 
 Octet. 1 A composition for eight parts, or 
 
 Octett. J for eight voices. 
 
 Octetto (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 
 effected by means of keys and pedals. The 
 tone is full and strong without roughness. 
 
 Octochord (ok'to-kord), Lot. 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 (Ok-twor), 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'dS-on), Ger. 1 A building for odes. 
 
 Odeum (6-da-oom), IM. J A public build- 
 ing for musical purposes. 
 
 Oder {6'd&), Qer. Or, or else ; fur em Oder 
 zwei Clamere, for one or two manuals. 
 
 <Euvre (iivr), Fr. Work, composition, piece 
 —a term used in numbering a composer's 
 published works in the order of their publi- 
 cation. 
 
 <Euvre premier (iivr pr6-mi-a'), Fr. The first 
 work. 
 
 Offen (of'f'n), Ger. Open. Applied to organ- 
 pipes. Also used in composition. 
 
 Offenbar (of'f'n-bar), Oer. Open to view, un- 
 concealed. 
 
 Offenfiate (of'f'u-flo'tS), Ger. An open-flute 
 organ-stop. See also ClarabeUa. 
 
 Offertoire (6f'f6r-twar), Fr. ) A hymn, 
 
 Offertorio(of'fSr-to'ri-o), J<. I prayer, 
 
 Offertorium (6f'f6r-t6'rI-oom), Lat. f anthem. 
 
 Offertory (Offfir-to-ry). J or in- 
 
 strumental piece sung or played during the 
 collection of the offertory. 
 
 Offertorio (of'fSr-to'rl-o), Sp. Offertory. 
 
 Oticleida (6-fi-kla-I-da), „ 1 The ophioleide; 
 
 Oficleide (o-fl-kla-i-dg), J a French bass 
 horn. 
 
 Ohne (6'nS), Ger. Without. 
 
 Ohne Pedale (6'uS pS-da'16), Ger. Without 
 the pedals. 
 
 Oktave (ok-ta'fg), Ger. Octave, eighth. 
 
 Ole (6'16), Sp. (El ole.) Spanish dance with 
 castanets, in slow 3-4 measure. 
 
 Olio. A miscellaneous collection of musical 
 pieces. 
 
 I 
 
 ^ 
 
 : and 
 
 Olivettes (6-lI-vet'), Fr. The dances of the 
 i peasants in the Provence after the olives are 
 
 gathered. 
 Omnes (om'nSs), j , 1 . ,, gpe t-,,,,,- 
 Omnia (Om'ul-S), •^'- | ■*"• ^^ ""'"'■• 
 
 Omnitonique (6m-nl-t6n-ek'), Fr. Having all 
 the tones. Capable of the whole chromatic 
 scale. 
 
 Once'-marlced octave. 
 
 The name given in 
 
 Germany to the notes 
 
 between 
 
 inclusive; these notes are expressed by 
 
 small letters with one short stroke. 
 
 Ondegrgiamento (on-dad-ji-a-mSn'to), II. 
 Waving ; an undulating or tremulous mo- 
 tion of the sound ; also a close shake on the 
 violin. 
 
 Ondeggiante (6n-dad-ji-an't«), It. Waving, 
 
 undulating, trembling. 
 Ondule (6nh-dii-la'), Fr. Waving, trembling. 
 
 Onduliren (on-doo-le'r'n), Ger. A tremulous 
 tone iu singing or in playing the violin, etc. 
 
 Ongarese (6n-ga-ra'zS), „ 1 „ 
 
 Ongherese (on-gh6ra'z6),-"- | 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 voicer, 
 produced by stopped pipes are somewhai 
 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 (o'pSr), Ger. \ A drama set to music. 
 
 Opera (6-p6-ra), It. f 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 impres- 
 sion, and in order to accomplish this it is 
 at liberty to employ the complete resources 
 
 a arm, & add, a ale, 6 end, e eoe, iiil,i isle, 6 old, 6 odd, oo moon, fl but, ii FY, sound, kh Ber. ch, nh nasal. 
 
 (168) 
 
OPE 
 
 DICTIONARY OF MUSIC. 
 
 ORG 
 
 of the art, almost to an unrestricted de- 
 gree. When there is a dramatic action pro- 
 gressing before the eyes of the spectator, 
 many strange musical combinations be- 
 come Intelligible which without such ex- 
 planation would seem far-fetched or im- 
 Sossible. Hence opera has had great In- 
 ueuce upon the progress of music as an 
 art. 
 
 Opera is divided into schools according 
 to the emphasis placed upon the difTerent 
 elements composing it. French opera, for 
 instance, places the text In the loremost 
 
 Elace, and the dramatic movement next; 
 ence it does not permit itself tbe 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 inuer spirit 
 of the progressing actions, and of the 
 drama as a whole. Italian opera places 
 the voire and the artof singing first, and 
 the drama second. Hence this school has 
 produced the great bullc of arias which are 
 available for concert performances, apart 
 from the dramatic action. Most of the 
 German arias existing are available 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-fS), It. Comic opera. 
 
 Opera, comic. An opera interspersed with 
 light songs, amusing incidents, dances, etc. 
 
 Opera di camera (6'p6-ra de ka'mS-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 (o-pa-ia ha-ro-ek'), Fr. An 
 heroic opera. 
 
 Opera-libretto. The text of an opera ; a small 
 book containing the words of an opera. 
 
 Opera lyriqiie (6-pa-ra leer-eek'). Fr. A lyric 
 opera; an opera la 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 (o'pS-ra sa'ri-a). It. \ A seri- 
 
 Opera serieux (o-pa-rasa-ri-Qh), Fr. j ous, or 
 
 tragic, opera. 
 Operatic. In tbe style of an opera. 
 
 Operetta (6-p8-r«t'ta), It. A small opera, of 
 light and pleasing character. It may be 
 simply comedy, or it may even degenerate 
 into farce. 
 
 Operndichter (o'pftrn-dikh't«r),Ger. An oper- 
 atic poet ; writer of operatic librettos. 
 
 Ophicleide (OfT-klid). A large bass wind in- 
 strument of brass, of modern invention, 
 sometimes used in large orchestras, but 
 ohieHy in military music. It has a compa^ 
 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 si'parate 
 soundboard, with a great pressure of wind. 
 
 Ophicleidist. A performer on the ophicleide. 
 
 Opus (o'poos), Lat.\ Work, composition; as. 
 
 Opus (6'poos), Ger.jOp. 1, the first work, or 
 publication, of a composer. 
 
 Opusculum (o-poos'koo-loom), Lat. A short, 
 or little, work. 
 
 Opus posthumum (o'poos p6st-tioo'moom1, 
 Lai. A posthumous work, published after 
 the death of a composer. 
 
 Orage (6 razh'), Fr. A storm ; a composition 
 imitating a storm. 
 
 Oratoire (Sr-S-twar'), Fr. Oratorio. 
 Oratorio. A musical work upon a Biblical 
 subject, consisting of solos, choriKses, or- 
 chestral accompaniment, and containing an 
 implied action or story. Oratorio is part of 
 the great "stilorappresentativo" in music, 
 the art of representing something by means 
 of music, or accompanied by music. Orig- 
 inally the same as an opera with leligious 
 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 tbe 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 mauy by later writers. 
 Oratorio (6-ra-to'ri-6), It. 1 
 
 Oratorium (6'ra,-t5'rl-oom), Lat. [ Oratorio. 
 Oratorium (o'ra-to'ri-oom), Ger. ) 
 Orchestra (or'kfis-tra). A full company of in- 
 struments and players. A modern sym- 
 phony orchestra consists of about 80 to lOO 
 players, iu the following proportions: Vi- 
 olins, 40; violas, 'cellos, and basses, 30; 
 oboes, fiutes, clarinets, and bassoons, 11; 
 horns, trumpets, and trombones, 9; tvm- 
 paniandpercnssion, 4; total, 94. If further 
 enlargement is desired, the strings are 
 sirengthened. In modern practice the or- 
 chestra is handled in groups, forming a 
 string orchestra, the wood wind and the 
 bra.ss. Thesegroupsoften contrastwith each 
 other throughout a work, playing all to- 
 
 ft arm, i add, a, ale, 6 end, e eve, 1 iU, i isle, 6 old, 6 odd, oo moon, iibut,uFr. sound, kh Ger. eft, nh Tiasal, 
 
 (169) 
 
ORG 
 
 DICTIONARY OF MUSIC. 
 
 ORG 
 
 gether in the most intense portions only. 
 (2) Also the place in which the players sit 
 to play, or the part of the auditorium near- 
 est the place of the players. 
 
 Orchester (6r'k6s-tSr), GerA 
 
 Orchestra (6r-kas'tra), /(. >• The orchestra. 
 
 Orchestre (Sr-k&str), Fi: ) 
 
 Orchesterverein (6r-kfis't6r-v6r-rin'),G?er. Au 
 orchestral society; instrumental associa- 
 tion. 
 
 Orchestratidn. The art of writing or arrang- 
 ing music for au orchestra. The greatest 
 writers upou this subject are Berlioz and F. 
 A. Gevaert. The greatest masters of the art 
 itself have been Berlioz, Beethoven, Mozart, 
 Weber, and Wagner. There are now many 
 modern masters who excel in the art of or- 
 chestral coloring. 
 
 Orchestrer (Or-kfis-tra'), Fr. To score. 
 
 Orchestrina (6r-k€s-tre'na). 1 An instrument 
 
 Orchestrion (6r-k6s'tri-6n). J composed of 
 pipes aud other sounding apparatuses, play- 
 ed automatically (by means of a barrel) for 
 the imitation of orchestral effects. Many of 
 these instruments are of great size, and pro- 
 duce extraordinarily fine efTects. 
 
 Ordinario (or-dl-na'ri-6). It. Ordinary, usual, 
 common; a tempo ordinario, in the usual 
 time. 
 
 Orecchia (6-ra'ki-a), „ 1 The ear 
 
 Orecchio (6-ra'ki-6), ""■ } ^^® ®*'^- 
 
 Orecchia musicale (o-ra'ki-a moo-zi-ka'l€), It. 
 
 A musical ear. 
 Orecchiante (6-ra'ki-an-t6), It. Singing by ear. 
 
 Organ. A keyboard instrument in which 
 sound is produced by means of pipes which 
 are blown on the principle of whistles, by 
 means of compressed air which comes from 
 the windeheats and bellows, along wind- 
 trunks, aud is admitted to the pipes by 
 the opening of a pallet, or valve, actuated 
 by'the 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 nave from three to 
 five times as many, and a corresponding 
 multiplication of sounds. 
 
 The stops are ciaisifled as diapason, flute, i 
 string, and reed. The former furnish the' 
 foundation, Ine others are for specialties 
 of tone. 
 
 Pipes are of wood 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 colunin of water which the pressure will 
 balance. About three-and-a-half-ineh 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 pipts of an organ with wind. 
 
 Organ-blower. One who works the bellows 
 of an organ. 
 
 Organ, buffet. A very small organ. 
 
 Organe (flr-gan), Fr. An organ. 
 
 Organ, enharmonic. \ An instrument ol 
 
 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-nSt'to), It. A sma<l 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 and tunes. 
 
 Organ, harmonium. A reed instrument, the 
 reeds of which are voiced to imitate organ- 
 stops. 
 
 Organique (Or-gau-ek), Fr. Belating to the 
 organ. 
 
 Orgelmusik (or ' gh'l - moo - zik'), Ger. Organ 
 music. 
 
 Organist. A player on the organ. 
 
 Organista (6r-ga-nes'ta), /(. 1 . orcatiiaf 
 
 Organista (6r-ga-nes'tii}, Sp. J ^'^ organist. 
 
 si arm, & add, a ale, i end, eeve,iiU,l isle, o old, 6 odd, oo moon, H but, U Fr. lound, kh Ger. ch, nh ruual. 
 
 (170) 
 
OTJG 
 
 DICTIONARY OF MUSIC. 
 
 ORP 
 
 OrKanUtrum (or-ga-nls'troom), Lat. An an- 
 cient instrument of the hurdygurdy varie- 
 ty, in which strings were actuated by wheel, 
 and the tones controlled by Iseys acting up- 
 on the lieyboard. In use about UOO A. D. 
 
 Organ) vocal! (or-gii'ne v6-ka'Ie), /(. pi. The 
 vucal organs. 
 
 Organ-loft. That part of the gallery of «, 
 church where the organ is placed. 
 
 Organo (or-ga'no), /(. An organ. 
 
 Organo pleno (oivga'no pe-a'no). It. \ The 
 
 Organo pleno (6r-ga'n5 pla'no), Lat. /full or- ' 
 gan with all the stops drawn. 
 
 Organo portatile (or-ga'no por-til'ti-16). It. A 
 portable organ. 
 
 Organo simplex (or-ga'no sim'plSx), Lnt. A 
 term occurring frequently in the writings 
 of the musical monks, and scjems to mean 
 the unisonous accompaniment of a single 
 voice in the versicles of the service. 
 
 Organ point. A long pedal note, or station- 
 ary bass, upon which is formed a series of 
 chords, or harmonic progressions. 
 
 Organ tone. A tone that commences, con- 
 1 nines, and closes with a uniform 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 (or'ghfil), Ger. 'An organ. 
 
 Orgelbalge (or'ghgl-bal'ghg), Ger. Organ - bel- 
 lows. 
 
 Orgelbank (6r'gh«l-bank), Ger. Organist's 
 seat. 
 
 Orgelbatier (6r'ghSl-bou'6r), Ger. Organ- 
 builder. 
 
 Orgelbiihne (or'BhSl-bu'ne), „ \ ormin-lnft 
 
 Orielchor (or'ghfil-kor), ''^- J ""^^^ '°"- 
 
 Orgelgehause (6r'gh61-ghe-hoy'zS), Ger. Or- 
 gan-case. 
 Orgelkasten (or'ghei-kas't'n), Ger. A cabinet 
 
 organ ; organ-case. 
 Orgelklang (or'ghgl-klang), Ger. Sound or 
 
 tone of au organ. 
 Org,elkunst (or^ghfil-koonst). Ger. The art of 
 
 organ-playing ; art of constructing an organ. 
 Orgein (6r'g61n), Ger. To play on the organ. 
 Orgelpfelfe (or'gh"61-pfi'fe), Ger. Organ-pipe. 
 Orgelplatz (or'ghfil-plats), Ger. Organ-loft. 
 Orgelpunkt (or'ghel-poonkf), Ger. Organ 
 
 point; pedal point. 
 Orgeiregister (or'gh«l-r«-ghis't'r), Ger. Or- 
 
 gan-stup. 
 Oreelschule (or'gSl - shoolS), Ger. School or 
 
 methijd lor the orgau. 
 Orgelsplel (or'gh61-spell, Ger. Playing on an 
 
 organ ; piece played on an organ. 
 
 • til-t Fr. 
 
 Orgelspieler (or'ghsl-spe'lgr), Ger. An organ- 
 player. 
 
 Orgelsteln (8r'gh61-stlu), Ger. Tan's pipes. 
 
 Orgelstimmen (or'ghei-stim'mCn), Ger. Row 
 
 of pipis in an orgau. 
 Orgelstucke (or'ghfl-stu'kS), Ger. Organ 
 
 pieces. 
 
 Orgeltreter (or'ghgl-tra'tfir), Grr. Organ- 
 treader, bellows-tender, or belJuws-blovver. 
 
 Orgelvlrtuose (6r'gh61-vIr-too-o'ze), Ger. An 
 accomplished organ-player. 
 
 Orgelzug (or'ghCl-t'OOg'), Ger. Organ-stop, or 
 
 row of pipes. 
 Orgue (org), Fr. An organ, 
 
 Orgue de salon (orer dflh Fa 16nh), p . 1 The 
 Orgue expressif (org Cgz-pra,-,sef), j har- 
 monium. 
 
 Orgue hydraulique (org hi-drO-lek), Fr. Hy- 
 draulic orgau ; water organ. 
 
 Orgue plein (org pianh), Fr. Full organ ; 
 all the stops drawn. 
 
 Orgue portatif (org por-tsL-teO, 
 
 Orgue portatif de barbarie (org port 
 tef dQh'ba,r-ba-re^. 
 
 , A portable organ, a barrel organ, a street 
 orgau. 
 
 OrguQ positlf (org po-zi-tef), Fr. The choir 
 organ in a large or^an ; also a small Hxed 
 organ, thus named in opposition to a porta- 
 tive orgau. 
 
 Orgues de barbarie (org dtth bar-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. Appo^giatnras, grace 
 note^^; all notes not forming an essential 
 part of the harmony, but introduced as em- 
 bellishments. 
 
 Ornament! (6r-na-m6n'te), /(. pi. Ornaments, 
 graces, embellishments, as the appoggia- 
 tura, turu, shake, etc. 
 
 Ornatamente (or-nii-ta mfin'tS), „ I O r n a - 
 Ornate (6r-na't6), J mented, 
 
 adorned, embellished. 
 
 Ornate (or-naf). A style of music, or musical 
 execution, highly ornamental. 
 
 Ornements (6rn-manh), Fr. Graces, embel- 
 lishments. 
 
 Orotund. A mode of intonation directly 
 from the larynx, which has a fnllnpss, 
 clearness, smoothness, and ringini; quality 
 which form the highest perfection of the 
 human voice. 
 Orphton (Or-fa'Onh), p ) Species of mu- 
 
 Orphioron (6r-fa'o-r6nh), i sieal instru- 
 ments, of which nothing is now known. 
 
 Orpheus (Or'f6-fls). 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 
 
 ft arm, a odd, ft ofc, e md, 6 w«, I <«, I Ule, cM, odd, oo moon, but, U Fr. sound, kh der. ch, nh nosui, 
 
 (171) 
 
OSS 
 
 DICTIONARY OP MUSIC. 
 
 PAN 
 
 power of his muaic he visited the lower 
 world and brought hack to life his departed 
 Eurydice. 
 Osservanza (6s-s6r-vaii'tsa), It. Observailon, 
 attention, strictness in i^eeping time. 
 
 0«1a*Sk), ^'- } O'' otherwise, or else. 
 
 Ossia piu facile (6s-se'a pe-oo fa'tsbi-lfi), Jt. 
 Or else in this more easy manner. 
 
 Ostlnato (6s-ti-na't6), It. Obstinate, contin- 
 uous, unceasing ; adhering to some peculiar 
 melodial figure, or group of notes. 
 
 Ottava (ot-ta'va). It. An octave, an eighth. 
 
 Ottava alta (6t~ta'ya al'ta). It. The octave 
 abo\e; an octave higher; marked thus, 8ya. 
 
 Ottava bassa (6t-til'va has'sa), It. The octave 
 below ; marked thus, 8va hassa. 
 
 Ottava supra (6t-la'va soo'pni). It, The oc- 
 tave above. 
 
 Ottavina (6t-ta-ve'na), It. The higher octave. 
 
 Ottavino (ot-ta-ve'no), It. The flauto piccolo, 
 or small octave flute. 
 
 Ottemole. A group of eight notes, marl^ed 
 with the figure 8. 
 
 Ottetto (ot-tst'to), It. A composition in eight 
 parts, or for eight voices or instruments. 
 
 Ou (00), Fr. Or. 
 
 Ougab (oo-gab), Heb. An ancient instrument 
 formed of reeds of unequal lengths bound 
 together. 
 
 Ouie (oo-e), Fr. The hearing ; Vcmie d'wn in. 
 strwment, the souudhole of an instrument. 
 
 Outeir voices. The highest and lowest voices 
 
 Out of tune. Want of tune; discord. 
 
 Ouvert (oo-var), Fr. Open. 
 
 Overture (oo-var-tiir), Fr. '\ An Introduc 
 Overtura (6-v€r-too'ra), It. I tory symphony 
 Ouvertiire (6-fSr-tii'r6), Oer. f to an oratorio, 
 Overture. ) opera.etCy gen- 
 
 erally consisting of three or four different 
 movements ; also an independent piece for 
 a full band or orchestra, in which case it is 
 called a concert overture and resembles a 
 sonata-piece with introduction. 
 
 Overtura di ballo (o-v6r-too'ra de biil'lo), //. 
 An overture composed upon or iutroduc- 
 ing dance melodies. 
 
 Overstrung pianoforte. Where the strings of 
 at least two of the lowest octaves are raised, 
 running diagonally in respect to the other 
 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. 
 
 Padlglione (pil-del-yi-6'n€). It. The bell of 
 wind instruments. 
 
 Padovano, Padavane, or Paduane (pa-do-vii'- 
 no). It. Paduaur An Italian dunce in ter- 
 nary rhythm. Sometimes considered to be 
 the same as Pavau, which, however, is by 
 no means certain. 
 
 Paisana (pa-i-za'na), Sp. A Spanish country 
 dance. 
 
 Paico (pal'ko). It. The stage of a theater. 
 
 Pallet. A spring valve in the wipdchest of an 
 organ covering a channel leading to a pipe 
 or pipes. 
 
 Palmadilla (pal-ma-del'yil), 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 with the cith- 
 ern, w hich he played skillfully as soon as he 
 was born. 
 
 Panathenae (pa'nil-tha'ne), Or. An Athenian 
 festival at which contests in singing and 
 Dlaying on the flute 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 or 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 (pan-do'ran). Gr. '\ An ancient 
 Pandora (pan-do'ra). It, I stringed inslru- 
 Pandore (pan-do'rS), Ger. > ment resem- 
 Pandura (piin-doo'ra). It. \ bling a lute, a 
 Pandure (panh'dur), ji'r. J small Polish 
 
 lute, a bandore. See Bandora. 
 Panfliite (pSn-flo'tS), Ger. Pandean pipes. 
 Panharmonicon. An automatic instrument 
 invented by Maelzel, which produced the 
 sounds of a variety of instruments A kind 
 of orchestrion. 
 Pantaleone (pan'ta-16 6'nfi). An instrument 
 invented by Pantaleon Hebenstreit, and 
 much celebrated in the beginning of the 
 eighteenth century. It was more than nine 
 feet long, 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-lOnh), Fr. One of the 
 
 movements of the quadrille. 
 Pantomime. An entertainment in which not 
 a word is spoken orsung, but the sentiments 
 
 Harm, & add, a ale, i end, e eve, I Ul, i iale,6 a!d,0 odd, oo moon, tt but, 1i Pr.immd, kh Qer, ch, nb rmolt 
 
 (172) 
 
f>AN 
 
 DICTIONARY OP MUSIC. 
 
 PA8 
 
 are expressed by mimicry and gesticulation 
 accompanied by instrumental music. 
 
 Pantomimist. One who acts in a pantomime. 
 
 Papagenoflote (pa-pa-gha'no-flo'tSj.Ger. Pan's 
 pipe, mouth-organ. 
 
 Parallelbewegune ( pa-ra-161 - bg -wa ' goong), 
 Ger. Parallel motion. On consecutives. 
 
 Parallel intervals. Intervals parsing la two 
 parallel parts in the same direction ; con- 
 secutive intervals. 
 
 Parallel keys. The major &nd its relative 
 minor. 
 
 Parallel motion. The motion ol 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 bucce^ion, the second voice be- 
 comes the mere satellite of the first. Paral- 
 lel fifths are'lnvariably wrong when audi- 
 ble. They imply a faulty progression of 
 fundamental harmonies. 
 
 Paralleltonarten {pa-ra-lfil-ton-ar-t'n), Oer. 
 Parallel keys. Related keys. Keys having 
 many 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), n \ Accented ; in a 
 
 Parlante (par-lan'tfi) / declamatory 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- 
 ian Spring and the temple of Apollo. 
 
 Parody. Music or words slightly altered and 
 adapted to some new purpose. 
 
 Part. The music for each separate voice or 
 instrument. 
 
 Parte (par'tfi). It. A part or portion of a com- 
 position ; a part or rfile In an opera. 
 
 Parte cantante (pSr'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- 
 ing note of which may be 
 either a large or small second above the 
 principal. 
 
 Parti di ripieno (par'^te de re-pi-a'no). It. 
 Farts not obligato; supplementary parts. 
 
 Partie (par-te), Fr. See Parte. 
 
 
 Parties de rempiissage (pS,r-te dUh ranh-ple- 
 sazh), Fr. Parts which fill up the middle 
 harmony between the bass and upper part. 
 
 Partimento (par-li-mSn'to), II. An exercise, 
 figured bass. 
 
 Partita (par-te'tii), II. An old terra synony- 
 mous with variation. 
 
 Partition (piir-te-si-6nh), Fr. ) A score, a full 
 
 Partitur Ipar-tl-toor), Gcr. I score, or eu- 
 
 Partitura (par-li-too'ra), It. C tire draft of 
 
 Partizlone(par-te-tsi-6'u6),7/. j a composi- 
 tion for voices or instruments', or both. 
 
 Partite (piir-te'to). It. Scored, divided into 
 parts. 
 
 Partiturspiel (par-ti-toor'spel, Oer. Playing 
 from the score. 
 
 Pactsongs. Songs for voices in parts, intro- 
 duced in Germany in the present century. 
 
 Pas (pii), Fr. A step, a dance. 
 
 Paspie (pas'pi-a), Sp. A kind of dance. 
 
 Paspy. See Passepied. 
 
 Pas redouble (pa rS-doo-bla), Fr. A quick, 
 step ; an increased, redoubled step. 
 
 Passacagiio (pas-sa-kal'yio). It. 1 A species 
 
 Passacaille (pas-.'a-kal), Fr. J of cbacone, 
 
 a slow dance with divisions on a gruund 
 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-sad'ji-o). It. A passage or series 
 of notes. 
 
 Passamezzo (pas-sa-rngt'so), It. 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 (pa sill), 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-d-nii'ta), 
 Passionatamente (pas-Bi-o-ua-ta-m6n't«), 
 Passionate (pas-si-o-na't6). 
 Passionate (pa-si-o na'td), 
 
 Passionate, impassioned, with fervor and 
 
 pathos. 
 Passione, (pas-sI-o'nS), It. Passion, ituiiag. 
 Passion music. Music composed lor aesei i b 
 
 ing the Passion of our Lord. Used iu Holy 
 
 Week. 
 Passionsmusik. (pas-sl-ons-moo-zek'), Ger. 
 
 Passion music. 
 Pasticio (pas-tet'tshi-61, It. 1 A medlev, an 
 " ' " /oi 
 
 ¥ 
 
 Pastiche (pan'tesh) Fr. 
 
 iperamadeup 
 
 i,arm, i, oM, £ ale, i end, e, eve, I ill, I isle, old, O odd, oo moon, tl M, U Fr. aimnd, kh Qer, ch, nh natal, 
 
 (173) 
 
PAS 
 
 DICTIONARY OF MUSIC. 
 
 PED 
 
 of songs, etc., by various composers; the 
 
 pottrjr I dug written to tlie music, instead 
 
 of tlie nuisic to tlie poetry. 
 Pastoral. A musical drama, tlie personages 
 
 iiiHl .-cenery of wiiich are chiefly rural. A 
 
 im^tntal is also any lyrical production! the 
 
 mlijert (if which i.s taken from rural life; 
 
 tLMft the Italians give the same name to au 
 
 iiisiniinental composition written in the 
 
 pabluial style. 
 Pastbrale (piis-to-rii'16), J(. 1 Pastoral, rural, 
 Pastorelle ipas-to'r61). PV. /belonging to a 
 
 s.':ei.luTd; a soft movement in a pastoral 
 
 and rural style. 
 Pastoral flute. Shepherd's flute. 
 Pastourelle (pits- too- rfiU'), i^r. One of the 
 
 movcmeuts of a quadrille. 
 Patetica (pa-ta'tika), It. Pathetic. 
 Pateticamente ( pii-ta'tl-karm6n't6 ), It. Pa- 
 
 ibetiCHlly. .- 
 
 Patetico (parta'tl-ko), It. ) 
 Pathetique (pa-ta-tek), Fr. \ Pathetic. 
 Pathetisch (pii-ta'tisb), Oer. I 
 Pathetic. Applied to music when it excites 
 
 emotions of sorrow, pity, sympathy, etc. 
 Patimento (pa-ti-men'to) ,It. Affliction , grief, 
 
 sutt'eriug. 
 Patriotic. Songs having for their theme love 
 
 (if country. 
 Pauker (pou'kSr), Ger. Kettledrummer. 
 
 Pausa (pii-oo'zii), It.\ a nanse 
 
 Pausa (pou'zii), Lat. J •* P»ise- 
 
 Pause (pou'zS), Ger. A rest. 
 
 Pause. A character [/t\) which lengthens 
 tlie 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 (pOz d£-me'), Fr. A minim rest. 
 
 Pavan, En^. "| A grave, stately 
 
 Pavana (pa-va'na). It. V dance, which took 
 
 Pavane (piirvanh'), Fr,) its 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 s-4 time and 
 generally in three strains, each of which 
 was repeated. 
 
 Paventato (pa-v«n-ta't6\ „ \ Fearful, tim- 
 
 Paventoso (pa-vSn-to'zo), Jorous, with 
 aux-lety and embarrassment. 
 
 Pavillion (ra-ve-yOnh), Ji'r. The bole of a horn 
 
 or other wind instrument. 
 -.avillion chinois (pa-ve-yOnh she-uwa/. . 
 A u 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 paean ; a song of praise. 
 
 Ped. An abbreviation of Pedal. 
 
 Pedal. A lever operated by the foot. Organ- 
 pedals are keys corresponding to those of 
 the key-manual, which command the low 
 bakses. The general compa.ss of an organ- 
 pedalier is two octaves and a half, from CCC 
 to F. 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 rig:ht foot, or under it for 
 the left. The heel is indicated iu 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 ofBce is to raise the dampers 
 from the keys, either for permifting tones 
 to continue after the fingers have left the 
 keys or for promoting sympathetic reso- 
 nance. The use of the damper-pedal is in- 
 dicated by the character Ped., and its cessa- 
 tion by the mark ij! or ■^. The damper- 
 pedal is used very many times where no 
 marks appear. It is permissible everywhere, 
 subject to the 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 called 
 the "soft pedal." On grand pianos it shifts 
 the action so that the hammers etrike upon 
 only two of the three strings of the unison. 
 In the upright it brings the hammers nearer 
 the strings. Its use is indicated by Ihe words 
 Una corda, or Verachidtunff, and its discon- 
 tinuance by the words " tre corde." The 
 softpe(lal 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 ofnce 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 eflfeet a 
 damper -pedal whi(^ operates upon only 
 the single tone or chord which msy be held 
 et the moment when the pedal is pressed. 
 These will be sustained as long as the pedal 
 is tield, while all that may be taken during 
 its use will be unaffected. This device is 
 more and move important as the vibration 
 of the pianoforte b-'comes longer. 
 
 The harp is furnisheil 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 the sides are 
 named for the notes which they severally 
 affect, A, B, etc. The harp is set in the Jtey 
 
 &arm,&aiid,S,(^,6end, Scve ''■iIl,litle,6oUi, Oodd, oomoon, Hbut, ti Fr.tov.wl, kb Ger, eh. nlinasaJL 
 
 (174) 
 
PED 
 
 DICTIONARY OF MUSIC. 
 
 PKR 
 
 of Cb. When a pedal is depressed to Us first 
 notch, it revolves a disk which shortens the 
 strings of the same name throughout the 
 instrument, raising the pitch a half-step; 
 when depressed to the second notch it raises 
 the pitch a whole step. Hence, when tlie A 
 pedal is depressed one notch it makes all 
 the A-flats A-natural; and when to its sec- 
 ond notch il makes them A-sharp. In this 
 way the instrument is adjusted to any de- 
 sired signature, and accidenlals are intro- 
 duced in this way in the course of a piece. 
 The pedals here described are vhat 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 tne bellows. 
 Pedalclaves (pS-dal'kla'fSs), „ 1 
 
 PedalclaviatAr (pe-dal'kia'vi-a-toor'),'^^- J 
 
 The pedal keyboard in an organ. 
 Pedale, doppelte (p6-da'lS dop'pSl-tg), Ger. \ 
 Pedale doppio (pS-dalfi dop'pi-o). It. j 
 
 Double pedals, in organ-playing; playing 
 the pedals with both feet at once. 
 Pedale d'organo (p8-da'lSd'6r'ga-no), It. The 
 
 pedals of an oigan. 
 Pedales (pg'dal), Fr. pi. The pedals. 
 
 Pedales de combinaison, i^V. Combination 
 
 pedals. 
 Pedalfliigel (pe-dal'flii'g'l), Ger. A grand piano 
 
 with a pedal keyboard. 
 Pedalharfe (p6-dal'har'f6), Ger.) \ A h a r 
 Pedalharp. j with 
 
 als, to produce the semitones. 
 
 Pedaliera (p&-darli-a'ra), /(. 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 parts 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 
 BO often. 
 
 Pentachord. An instrument with five 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, 
 
 i^, 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. 
 
 larp 
 ped- 
 
 Penultimate (pg-nai'ti-mat). The last sylla- 
 ble but one. 
 
 Per (par), /(. For, by, through, in. 
 Percussion. 1 Striking, 
 
 Percusslone (pSrkoos-sI-o'n6), It. j as ap- 
 plied 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-dSn'do), „ I Gradually 
 
 Perdendosf (p6r-d«n-d6'2i), -"-J d e creasi ni; 
 the tone and the time ; dying away, becom- 
 ing extipet. 
 
 Perfect, A term applied to certain intervals 
 and chords. 
 
 Perfect cadence. Dominant harmony f(il- 
 fowed by that of the tonic ; a close upon 
 the keynote preceded by the dominant. 
 
 Perfect close. A perfect cadence. 
 
 Perfect concords. 1. These are the uni- 
 
 Pertect consonances. ( sou, the perfect 
 
 fourth, perfect fifth, and the octave. 
 
 Perfect fifth. An interval equal (0 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 tones and two semitones. 
 
 Perfetto (pfir-fet'to. It. Perfect, complete. 
 
 Perieourdine (pfir-I-goor-den). A French 
 
 dance iu 3-8 time. 
 
 Period ") A complete musical 
 
 Periode (pa-rl-od), Fr. }■ sentence. A pe- 
 
 Periode (pS-ri-o'dfi). J(. I riod. The simple 
 
 period consists of eight measures, disposed 
 
 in two sections of similar extent and iSy th- 
 
 raic construction ; each section is a'so com.- 
 
 posed of two phrases, and each phrase of 
 
 two motives. Hence the following scheme : 
 
 Hotive.Motlve.Motivc.Motivc.MotiTe.Motive.lfo(ive.Motive. 
 Phrase. Phrase. Phrase. Phrase. 
 
 Section. SectionT" 
 
 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, thfi 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 instauoe, in the 
 first eight or sixteen measures of almost 
 any Beethoven slow movemeut. 
 
 Subject. 
 Phrase A. 
 
 Partial Answer. Subject. Compiete Answer. 
 Phrase B. Phrase C (A). Phrase D 
 (B modified). 
 
 a am, a add, a,ale,6end,eeve,lUl,l isle, o old, 6 odd, oo moon, a but, ii Fr. sound, kh Ger. ch.nhnaicd. 
 
 (176) 
 
i-ER 
 
 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 haU-pgrlod 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 
 01' 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). Ft, 
 A musical period. 
 
 Periodenbau (p6-ri-6'd'n-bou'), Ger. Compo- 
 sition ; the construction of musical peri- 
 ods. 
 
 Perle (p6r-Ja), Fr. Pearled, brilliant ; cadence 
 2^erlee, 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-6). It. Perpetual. 
 
 Perpetuum mobile (p6r-pa'too-oom mo'bi-lfi), 
 Lat. Perpetual motion. A name applied to 
 certain compositions which go rapidly and 
 without opportunity of pause. 
 
 Per recte et retro (p8r rSk'tS 6t ra'tro), Lat. 
 Forward, then backward; the melody or 
 subject reversed, note for note. 
 
 Pesante (p6-zan'tS), It. Heavy, ponderous; 
 with importance and weight, impressively. 
 
 Pesantemente (p6-zan-tS-m6n'tS), /(. Heavily, 
 
 forcibly, impressively. 
 Petit (pe-te'), Fr. Little, small. 
 
 Petit choeur (pete'kiir), Fr. Little choir ; a 
 sacred composition In three parts: 
 
 Petites flutes (p6-tet' ilUt), Fr. The small 
 flutes ; the octave or piccolo flutes. 
 
 Petto (pfii'to). It. The chest, the breast; voce 
 dipetio, the chest voice. 
 
 Peu (ptih), Fr. Little, a little. 
 
 Psu k peu (pOh a pflh), Fr. Little by litOe, 
 by degrees. 
 
 Pezze (pSt'sS), It. pi. Fragments, scraps ; se- 
 lect, detached pieces. 
 
 Pezzi concertanti (pSl'si kon-tshgr-tan'ie), //. 
 pi. Concertante pieces, in which each in- 
 strument has occasional solos. 
 
 Pezzl dl bravura (pSt'sI de bra-voo'ral, /(. 
 Compositions for the display of dexteritj or 
 rapid execution. 
 
 Pezzo (p6t'so). It. A fragment; a detached 
 piece of music. 
 
 Pf. Abbreviation of Poco forte; a little 
 louder. 
 
 Pfeife (pfi'fS), Ger. Pipe, fife, flute. 
 
 Pfeifen (pfi'f'n), Cfcr. To play on a fife or flute. 
 
 Pfeifendeckel (pfi'f'n-dSk'Sl), Ger. The stop- 
 per, or covering, of an organ-pipe. 
 
 Pfeifer (pfi'tSr), Ger. A fifer, a piper. 
 
 Phantasie (fan-ta-ze), Ger. See Fantasia. 
 
 Phantaslebilder (tan-ta-se'Ml'd'r),ffer. Fancy 
 pictures. 
 
 Phantasiestucke (fan-ta-se'stii'ke),Gcr. Fancy 
 
 8 feces. Name applied by Schumann to his 
 pus 12. 
 
 Phantasiren (fiiii-ta-ze'r'n),Ger. Improvising. 
 Phantasirte (fan-ta-zir'tS), Ger. Improvised. 
 Phantasy. The fancy, the imagination. 
 Philharmonic (fll-har-manlk*. Gr. Music- 
 loving. 
 
 Phisharmonica (ns-hitr-m6u'I-ka). A kind of 
 octagonal ai;cordeon. 
 
 Phone (fo'nS), Gr. The voice; a sound, or 
 
 tone. 
 Phonetic. Vocal, representing sounds. 
 Phonetics. ) The doctrine, or science, of 
 Phonics, jsouuds, especially those of the 
 
 human vOiCe. 
 
 Phonometer. An instrument for measuring 
 the vibrations of sounds. 
 
 Phorminx (for'minx),(?er. A stringed instru- 
 ment of remote antiquity, resembling the 
 lyre. ^ 
 
 Photinx {f6'tinx),ffr. Name given by the an- 
 cients to their crooked flute. 
 
 Phrase. A short musical sentence ; a musical 
 thought, or idea. 
 
 Ph rase , extended .1 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(ns-har-m6n'i-ka),<?r. 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 metul 
 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. 
 
 a arm, & add, a ale, 6 end, e eve, iiU,l isle, o old, 6 odd, oo moon, ft but, ti Fr. sound, kb Ger. ch, nh nasal, 
 
 (176) 
 
PIA 
 
 DICTIONARY OF MUSIC. 
 
 PIA 
 
 Piacere (pe-sUtsha'rfi), It. Pleasure, inclina- 
 tion, fancy ; a piacere, at pleasure. 
 
 Piacevole (p6-a-tsha'v6-l«), II. Pleasing, grace- 
 ful, agreeable. 
 
 Placevolezza (pe-a-tshS-vo-lfit'za), It. Grace- 
 fulness, sweetness. 
 
 Piacevolmente (pe-il-tslifi- v61-m6n'tS), It. 
 Gracefully, delicately. 
 
 Piacimento (pe-a-tshl-mSn'to), It. See Piacere. 
 
 Piagendo (pe-a-gSn'do), It. Plaintively, sor- 
 rowfully. 
 
 Piagnevole (pe-au-ya'vo-16). It. Mournful, 
 doleful, lamentable. ^ 
 
 Pianamente (pe-a-na-m£n'tS), It. Softly, gen- 
 tly, quietly. 
 
 Pianetto (pe-a-nfit't6) , It. Very low, very soft. 
 
 Plangevole (pe-an-ga'v6-16), It. Lamentable, 
 doleful. 
 
 Pianeevolmente (pe-an-ga-vol-m6n'te), /(. 
 Lamentably, dolefully. 
 
 Pianino (pe-arne'no). It. An upright piano- 
 forte. 
 
 Pianissimo (pe-a-ues'sl-mo). It. Extremely 
 soft. , 
 
 Pianissimo quanto possiblle, (pe-a-nes'sl-mo 
 kwan-to pos-se-bl-lSj ,It. As soft as possible. 
 
 Pianist. An amateur or professional player 
 on the pianoforte. 
 
 Pianiste (pe-an-esf), Fr. Pianist. 
 
 Piano (pe-a'no), It. Soft, gentle. 
 
 Piano k queue (pe-a'no a kiih), Fr, A grand 
 pianoforte. 
 
 Piano assai (pe-a'no as-sa'I), It. As soft as 
 possible. 
 
 Piano carrt (pe-a'no kar-ra), Fr. A square 
 pianoforte. 
 
 Piano droit (pe-a'u6Mrwa),"J!V. An upright 
 pianoforte. 
 
 Pianoforte. An instrument made in various 
 shapes, such as square (table-shaped), up- 
 right (cabinet-shaped), and grand ("wing- 
 shaped ; " hence German Flueael). The 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 wire strings are 
 drawn and made fast to hitchpins 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 wood, 
 but in J825 an American, Alpheus 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-pin s 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 waa by a brass tangent which pushed 
 
 the wire; in the harpsichord it waa 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 motion 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- 
 torfori 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 of 
 the present century, but many improve- 
 - ments have been made since. All the early 
 hammers were covered with leather, which 
 soon became bard, 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 
 Chiokeriug between 1830 and 1850. 
 
 The tone of the pianoforte apparently de- 
 pendsupon threeelements 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 oi 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, "rhe 
 board is put in " crowning," as it is called, 
 or convex, and the tendeucy 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 
 recognised 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 thfey have been generally followed 
 by all other good makers, American as well 
 as foreign. In 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 lead the world. These lower-priced in- 
 
 a arm, S, add, a, ale 6 end, e eoe, liU,l isle, 6 old, Q odd, oo moon, iibut,ti Fr. sound, kh Oer, eh. nh naial. 
 12 (177) 
 
PIA 
 
 DICTIONARY OF MUSIC. 
 
 PIE 
 
 strumeuts generally make a fair imitation of 
 the qualities of the best, and the makers 
 have shown great progressiveness In finding 
 ways of doing this within the limitation 
 of expense. The best pianoforte depends 
 for its success, after the maker has secured 
 a good scale, and the requisite solidity, up- 
 on the sounding-board and its treatment, 
 and upon the hammers. 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 p*:ts 
 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. Melody, harmony, expression, and 
 some degree of singing quality and tone- 
 color are placed by it at tne 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 iirst 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 form 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 advantage 
 whicn 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. 
 Plan°pianissimo (pe-an'pe-a-nes'si-mo), li. 
 Exceedingly soft and gentle. 
 
 Plan-piano (pe-an-pe-a'no), It. Very softly, 
 with a Jow voice. See Piano-piano. 
 
 Pianoforte action. The mechanism of a pi- 
 anoforte. 
 
 Pianoforte hammer. That part of the mech- 
 anism of a pianoforte wnlch 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 wo/k In- 
 cludes the vocal parts upon their own 
 staves and the orchestral parts 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 mgt'zo). It. Moderatel; 
 soft. 
 
 Plano-plano (pe-a'no-pe-S'no), /(. Very soft. 
 
 Piano sempre staccato e marcato II basso (pe- 
 a'no s6m-pr6 stak-ka'to mar-kii'to el bas'sC/, 
 /(. Soft, with the bass always well marked 
 and detached. 
 
 Piano solo. For the pianoforte only. 
 
 Plano-violino (pe-a'no ve-6-le'n6). 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 of both vi- 
 olin and piano. 
 
 PlattI (pe-at'te). It. pi. Cymbals. 
 
 PIb (peb). Wet A. pipe, a fife. 
 
 Plbcdrn, or, hornfilpe. The name given by 
 the Welsh to a wind Instrument consisting 
 of a wooden pipe with holes at the sides ana 
 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 performer. 
 
 Pibroch (pe'brSh). A wild, irregular species 
 of music, peculiar to the Highlands of Scot- 
 land, performed on the bagpipe. 
 
 PIcchlettato (pe-kl-6t-ta't6) , /(. Scattered, de- 
 tached ; in violin-playing a staccato made 
 by means of the bow bounding upon the 
 strings ; hence not nearly so snort as the 
 staccato made by plucking the strings (piz- 
 ziccato). The picchiettato Implies a dura- 
 tion about equal to three quarters of the ap- 
 parent duration of the note. Picchiettato is 
 indicated by means of a straight mark over 
 the noteand a dot under the mark, or a slur 
 over several notes and a dot over each one. 
 The corresponding effect upon the piano- 
 forte might be produced by playing several 
 tones with one nnger. 
 
 PIcclolo (pet-tshl-oao), ) 
 
 PIccolIno (pe-ko-le'no). It. > Small, little. 
 
 Piccolo (pS'ko-lo), ) 
 
 Piccolo. A 2-feet organ-stop, of wood pipes, 
 producing a bright and clear tone, in unison 
 with the fifteenth. 
 
 Piccolo flute. A small flute. 
 
 Piccolo pianoforte. A small upright piano- 
 forte. 
 
 Plice (pl-asO, Ft. A composition or piece of 
 music ; an opera or drama. 
 
 Pleds (pi-a'), Fr.pl. The foot; avecles pieds, 
 with the feet, in. organ-playing. 
 
 a arm, & add, aale,^ end, e eve, \ill,i'i£le,dold,6 odd, oo moon, H but, vl Ft. sownd, kh Qer. ch, nh nasal. 
 
 (178) 
 
PIE 
 
 DICTIONARY OF MUSIC. 
 
 PLE 
 
 li It- 
 
 Plena (pe-a'na), „ 1 p ,, 
 
 Pieno (pe-a-no), -"• J*""" 
 
 Pienamente (pe-a-na-mSn'te), It. Fully. 
 
 Pieno coro (pe-a'no ko'rS), It. A full chorus. 
 
 Pieno organo (pe-a'no or-ga'n5), /(. With the 
 full orgau. 
 
 Pieta (pe-a'ta^, 
 
 Pietosamente (pe-a-to-za-niSu't€), 
 
 Pietoso(pe-a-to'z6), . 
 Compassionately, tenderly ; implying, also, 
 a rather slow and sustained movement. 
 
 Pifara (pe-fa'ra). It. A flfe. 
 
 Plfferare (pif-f«-ra'r6), It. To play upon the 
 fife ; also a piper, such as, in Italy, play pas- 
 toral airs in the streets at Christmas. One 
 of these airs forms the basis of Handel's Pas- 
 toral Symphony in the " Messiah." 
 
 Pifferlna (pif-f6-re'na). It. A little fife. 
 
 Piffero (pif'fe-ro), /(. A fife, or small flute ; 
 also an organ-stop of 4 feet. 
 
 Plnc£ (panh-sa), Fr. Pinched ; an ornament 
 called a mordent. See Pizzicato. 
 
 Pincer (p&nh-sa), Fr. To play upon a mu- 
 sical Instrument. 
 
 Pinces (panh-s), Fr. A general name for 
 stringed 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, 
 which 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 (pt-ka'), iv 1 To play on the vinlin, 
 
 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), Qer. Detached ; equiv- 
 alent to picchiettato. 
 
 Piston. A Nnd of valve used in bra£s instru- 
 ments to alter the pitch. 
 
 Pitch. Tbe acuteness, or gravity, of any par- 
 ticular sound, or the tuning of any instru- 
 ment. 
 
 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 having 431 vibrations. 
 
 Pitchpipe. An instrument formerly used to 
 sound the keynote of any vocal composi- 
 tion. 
 
 Piu (pe'oo), /(. More. 
 
 Piu allegro (pe'oo iii-la'gro). It. A little quick- 
 er, more lively. 
 
 Pin che lento (pe'oo kS Ifin'to), It. Slower 
 than lento. 
 
 Piu forte (pe'oo for'tfi). It. Louder. 
 
 Piu lento (pe'oo ISn'to), It. More slowly. 
 
 Piu mOsso (pe'oo mos'so), j, \ More motion, 
 
 Piu mote (pe'oo mo'to), J quicker. 
 
 Piu piano (pe'oo pe-a'n6). 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 al-la'gro), It. 
 Kather quicker. 
 
 Piu posto lento (pe'oo pos'to 16n'to), It. 
 Kathei; slower. 
 
 Piu presto (pe'oo pres'to). It. Quicker, more 
 rapidly. 
 
 Piu vivo (pe'oo ve'vo). It. More lively, more 
 animated. 
 
 Plva (pe'va). It. A pipe, a bagpipe. 
 
 Pizzlcando (pT-tsi kan'do), ,,1 Pinched; 
 
 Pizzicato (pi-tsi-kil'to), J meaning that 
 
 tne strings of the violin, violoucello, etc., 
 are not to be played with tbe bow, but 
 pinched, or snapped, with tbe fingers, pro- 
 ducing a staccato effect. 
 
 Placidamente (pla-tshl-da-mSn'tS), It. Calm- 
 ly, placidly, quietly. 
 
 Placldo (pla-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 cadeiice. A cadence in which the 
 
 final chord on the tonic is preceded by the 
 
 harmony of the subdomiuant. 
 Plagalisch (plii gallsh), Oer. Plagal. 
 
 Plain chant (pl&n sh&nh), Fr. The plain 
 song. 
 
 Plain song. The name given to the old ec- 
 clesiastical chant when in its most simple 
 state and without those harmonic append- 
 ages with which 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. 
 
 Plalnte (plSnht), Fr. A complaint, a lament. 
 
 Plaintif (plftnh-tef), Fr. Plaintive, doleful. 
 
 Plaisant (pla-zanh), Fr. Pleasing. 
 
 Plalsanterles (pla-zan-t're), Fr. Amusing, 
 light compositions. 
 
 Planxty. Old harp music of a lively, tune- 
 ful kind. 
 
 Plaqui (pla-ka'), Fr. Struck at once, without 
 any arpeggio or embellishment. 
 
 Plectraphone. An ingenious invention 
 which, attached to the piano, produces a 
 very clever imitation of the mandolin. 
 
 Plectrum (plSk'troom), Lat. A quill, or piece 
 of ivory or hard wood, used to twitch the 
 strings of the mandolin, lyre, etc. 
 
 Plein jeu (plftnh zhil), Fr. Full organ ; the 
 term is also applied to a mixture stop of 
 several ranks of pipes. 
 
 a am, 3. add, & ale, i end, eeve,'lia,i iile, 6 old, i odd, oo moon, a but, tt Fr. sound, kb 6er, cA, nb nasal, 
 
 (179) 
 
PLE 
 
 DICTIONARY OF MUSIC. 
 
 POl 
 
 Plein jeu harmonique (pl&nh zhii har-m6ub- 
 ck'), Fr. A mixture stop in an organ. 
 
 Pleno organo (pla'no or-ga'no), Lat. Full or- 
 gan. 
 
 Plettro (plgftro), /(. A bow, a fiddlestick: 
 also a plectrum. 
 
 Plus (plii), Fr. More. 
 
 Plus anime (plii sa-ni-ma), Fr. With more 
 animation. 
 
 Plus lentement(plii lanht-manh), Fr. Slower, 
 more slowly. 
 
 Pneumatic (nu-mitlk). Relating to the air 
 or wind ; a term applied to all wind instru- 
 ments collectively. 
 
 Pneumatic action. \ Mechanism intended to 
 
 Pneumatic lever. J lighten the touch, etc., in 
 large organs. The pneumatic lever con- 
 sisted of a bellows aoout 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 iu elasticity and lightness 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, which was 
 reduced to a minimum by increasing the 
 pressure of the wind operating the pneu- 
 matic lever. It was invented by one Barker 
 in 1837, and greatly improved by Ira Bossetl 
 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 (p6-k6s'si-m6). It, A very little, 
 as little as possible. 
 
 Pochette 'po-shSt), Fr. A kit, a small violin 
 used by dancing-masters. 
 
 Pochettino (po-kgt-te'no), 1 A little ; as. 
 Pochette (p6-ket'i6). It. yretard un po- 
 
 Pochlno (p6-ke'n6), ) chettros, a little 
 
 slower. 
 Poco (po'ko), It. Little. 
 
 Poco adagio (po'ko a-da'ji-o), It. A little 
 
 slower. 
 Poco allegro (po'ko iil-la'gr6). It, A little 
 
 faster. 
 Poco animate (po'ko a-nl-ma'to). It. A little 
 
 more animated. 
 Poco a poco (po'ko a pffko). It. By degrees, 
 
 little by Utile. 
 Poco a poco crescendo (po'ko a po'ko kr^ 
 
 shSn'do), /(. Gradually louder and louder. 
 
 Poco a poco diminuendo (po'ko a, po'ko de-me- 
 noo-gn'do), It. Gradually diminishing. 
 
 Poco a poco, plu di fuoco (po'ko a po'kd pe-oo 
 
 de foo-o'ko). It. With gradually increasing 
 
 fire and animation. 
 Poco a poco piu lento (p6'k6 a po'kS pe'oo 
 
 len'to), /(. Gradually slower and slower. 
 Poco a poco, piu moto (po'ko sl po'ko pe'oo 
 
 uio'to), II. Gradually increasing the time. 
 Poco a poco rallentando (po'kd a po'ko ral-lSn- 
 
 tau'do), 7^ Gradually diminishing. 
 Poco forte (po'ko ior'te), /(. Moderately loud, 
 
 a little loud. 
 Poco largb (po'ko liir'go), „ \ Moderately 
 Poco lento (po'ko 16n'to), Jalow. 
 Poco meno (po'ko ma'no). It. A little less, 
 
 somewhat less. 
 Poco piano (po'ko pe-fi'no), /(. Somewhat soft. 
 Poco piu (po'ko pe'oo), It. A little more, 
 
 sumewhat more. 
 Poco piu allegro (po'ko pe'oo al-la'gro). It. A. 
 
 little quicker. 
 Poco piu che allegretto (po'ko pe'oo ke £l-ie. 
 
 grSt'to), /(. A little quicker than allegretto, 
 Poco plu che andante (p5'k6 pe'oo k€ an-dan'^ 
 
 te). It. A little slower than andante. 
 Poco piu forte (po'ko pe-oo tor'tS), It. A little 
 
 louder. 
 Poco piu largo (po'ko pe'oo liir'go), n 1 A lit 
 Poco plu lento (po'ko pe'oo Ito'to), ^ ' j tie 
 
 slower. 
 Poco piu mosso (po'ko pe'oo mos'so), It. A 
 
 little faster. 
 Poco piu piano (po'kd pe'oo pe-ii'no). It. A 
 
 little softer. 
 Poco presto (p6'k6 prfis'to), It. Bather quicl) , 
 Poco presto accelerando (pfl'kS prfe'to at. 
 X tsh61-fi-rau'd6), //. Gradually accelerate thi) 
 
 time. 
 Poetic. A term sometimes applied to descrip- 
 tive music, indicating an underlying poetiQ 
 
 couceptiou. 
 Poetique (p6-6-tek), Fr. Poetic. 
 Poggiato (pod-ji-a'to). It. Dwelt upon, leaned 
 
 upon. 
 Poi (po'e). It. Then, after, afterwards ; piano 
 
 poi forte, soft, then loud. 
 Pol a poi (po'e a po'e). It. By degrees. 
 Point (pwanh), Fr. A dot. 
 Point d'arrSt (pwanh dar-ra), Fr, Point ot 
 
 arrest ; a hold over a rest, which it prolongs 
 
 indefinitely. 
 Point de repos (pwanh dQh rS-pd'), Fr, A 
 
 pause. 
 Point d'orgue (pwanh dOrg), Fr. Organ point. 
 Polntee (pwanh-ta), Fr. Dotted ; blanche 
 
 pointee, a dotted minim. 
 Point final (pwanh fi niil'), Fr. A final, or 
 
 concluding, cadence. 
 Point of repose. A pause, a cadence. 
 Point, organ. A long, or stationary, haas 
 
 note, upon which various passages of mel- 
 ody and harmony are, introduced. 
 
 & arm, 6, (Uid, a alt, i md, e eve, I iU, I isle,Q oid,0 odd, oo moon, Q but, U Fr,soimd, ib Qer. cA, uh nasai, 
 
 (ISO) 
 
POI 
 
 DICTIONARY OF MUSIC. 
 
 POU 
 
 Pol segue (po'e sa'gw6), j. I Then 
 
 Pol seguente (po'e sa-gwgn'tIS), ( follows, 
 
 here follows. 
 Pol segue il rondo (po'e sa'gwC el roa'do), It. 
 
 After this the rondo. 
 Polacca (p6-lak'ka). It. A polonaise, or in the 
 
 btyle of a polonaise. 
 Polka. A lively Bohemian or Polish dance, 
 
 in "2-4 time, the first three quavers in each 
 
 bar being accented, and the fuurth quaver 
 
 uuaecented. 
 Polka mazurka (pol'ka mJt-zQr-ka). A dance 
 
 in triple time, played slow, and having its 
 
 accent on the last part of the measure. 
 
 Polka redowa (pol'ka rSd'oa). A dance tune 
 in triple time, played faster than the polka 
 mazurka, and having its accent on the first 
 part of the measure. 
 
 Polonaise (pdl-d-naz'). A chivalrous Polish 
 dance in 3-4 measure, having, however, a 
 movement of six eighths (in rhythm of 
 two.s) frith an extra accent upon the fifth. 
 The second eighth-note is generally divided 
 into two sixteenths. The rhythm of the 
 polonaise should be strictly observed. 
 
 Polska (pols'ka), Sw. A Swedish dance in 3-4 
 measure. 
 
 Polymorphous (p61-i-m6r'foos), Or. Of many 
 form.s, a term generally used in reference 
 to canons. 
 
 Polyphonla (pol-i-fo'ni-a), Gr. A combina- 
 tion of many sounds ; a composition for 
 many voices. 
 
 Polyphonic (pOl l-f6n-Ik). 1 Full-voiced, for 
 
 Polyphonous (pd-llf'o-ntls), 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'), Oer. Pompous, majestic. 
 
 PompOsamente (p6m-p6-za^mSn't6), It. Pomp- 
 ously, stately. 
 
 Pomposo (p6m-po'z6). It. Pompous, stately, 
 grand. 
 
 Ponderoso (pon-dS-ro'zo), It. Ponderously, 
 massively, heavily. 
 
 Ponticello (p6n-ti-tshfil'16), /(. The bridge of 
 the violin, guitar, etc. 
 
 Pont-neuf (pdnh-ntif), Fr. A street ballad, a, 
 vulgar song. 
 
 Portamento (por-ta^mfia'tO), It. A term ap- 
 plied by theltalians to 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 dl voce (por - ta - m6n' to de v6'- 
 tshS), i(. Carrying the voice ; the blending 
 of one tone into another. 
 
 Portando la voce (por-tan'do Iji vo'tshC). Car- 
 rying the voice, holding it firmly on the 
 notes. 
 
 Portative. A portable organ. 
 
 Portato (por-ta'to). It. Nonlegato. 
 
 Porte de voix (port dtlh vwa), Fr. Porta- 
 mento. Also an appoggiatura, or beat. 
 
 Portee (p6r-ta), Fr. The staff. 
 
 Porter la voix (p6r-la la vwa), Fr. To carry 
 
 the voice. 
 Posato (p6-za't6). It. Quietly, steadily. 
 
 Posaune (p6-zou'n6), Ger. A trumpet ; also a 
 trombone, a sackbut; also au organ-stop. 
 See Trombone. 
 
 Posaunenzug (p6-zou'n6u- tsoog'), Ger. A 
 sackbut. 
 
 Positif (po-zi-tef), Fr. 1 The choir organ, 
 
 Positiv (po-sl-tif), Ger. f 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 pipes of the choir orjan are 
 brought forward and placed behind the 
 organist, when they are called the Biick- 
 positif. 
 
 Position. A shift on the violin, tenor, or 
 violoncello ; the arrangement or order of 
 the several members 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 Ihree voices ex- 
 ceed the compass of an octave, but other- 
 wise in close pisition. (2) With reference 
 to the position of the hand upon the finger- 
 board of stringed instruments, 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-lfi), /if. Possible; U piu 
 Jorte possibilet 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), Tnf \ ■A-'tei'- 
 
 Postludium (p6st-loo'dS-oom), J piece, 
 concluding Voluntary. 
 
 Potenza (po-tfin'tsa). It. A name applied by 
 the ancients to the notes and signs of mu- 
 sic ; any sound produced by an instrument. 
 
 Potpourri (po'poor-re). A medley ; n 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 murt be iisissed 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 iU, I isle, 6 old, 6 odd, oo moon, iibui,uFr. sound, kh fff r. ch, nh nasal. 
 
 m) 
 
POU 
 
 DICTIONARY OF MUSIC. 
 
 PRI 
 
 Pour faire passer dessous lepouce (poor far 
 pas-sa dfis-soo IQh pooss), Fr. To pass the 
 thumb uuder the nugers. 
 
 Pour finir (poor fl-ner'), Fr. To finish ; in- 
 dicating a chord or bar which is to termin- 
 ate the piece. 
 
 Pour la premlire fols (poor la pra-mer' fwa), 
 Fr. For the first time, meaning that on the 
 repetition of the strain this passage is to be 
 omitied. 
 
 Pour feprendre au commencement (poor rC- 
 prandr 6 kOm-mauhs-manh), Fr. To go 
 back to the beginning. ' 
 
 Pousse (poossa), JV. Pushed; meaning the 
 upbow. 
 
 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 t'me 
 slowly, in order that they may be perfectly 
 performed. Only a very small proportion 
 of the practice should he as rapid as the 
 passage is Intended to go. 
 
 Pr«centor (pra - tsSn' tor), Lat. Precentor, 
 leader of the choir. 
 
 Pralltrlll (pral'tril), Ger. A variety of mor- 
 dent made with the note written aud the 
 next above In the same scale, except where 
 otherwise directed by an accidental over 
 the sign. Examples : 
 
 ^^tr^ri^^ 
 
 Praludien (pra-loo'di-6n), Ger. pi. Preludes. 
 
 Praludiren (pra-loo-de'r'n), Ger. To prelude, 
 to play a prelude. 
 
 Praludium (pra-loo'di-oom), Ger. A prelude, 
 an inti eduction. 
 
 Precentor. The appellation given formerly 
 to the master of the choir. 
 
 Precipitamente (pratshe-pi-ta-m6n'tS), 1 „ 
 
 Precipitato (pra-tshgrpi-ta'to), J ■"• 
 
 In a precipitate manner, hurriedly. 
 
 Precipitando (pra-tshe-pi-tiin'do). It. Hurry- 
 ing. 
 
 Precipitazione (pra-tshe-pi- ta-tsl-o'nfi), It. 
 Precipitation, haste, hurry. 
 
 Precipite (pra-se-pi-ta), Fr. . Hurried, accel- 
 erated. 
 
 Precipitoso (pra-tshe-pi-to'zo). It. Hurrying, 
 precipitous. 
 
 Precisione (pra-tshe-zI-o'n«), It. Precision, 
 exactness. 
 
 It. 
 
 Precise, exact, ex- 
 It. Prayer, suppli- 
 
 Fr. V First. 
 
 Preciso (pra-tshe'zo] 
 
 actly. 
 Preghiera (pra-ghi-a'ra) 
 
 cation. 
 Prelude. A short introductory composition, 
 
 or extempore performance, to prepare the 
 
 ear for the succeeding movements. 
 Preludlo (pra-loo'di-o). It. \ A pre- 
 
 Preludtum (pra-loo'dl-oom), Lat. j lude, or 
 
 introduction. 
 Premier (pr6m-i-a), p 1 
 Premiere (pra-mer'), J 
 Premiire dessus (pra-mer' das-sti), Fr. First 
 
 treble, first soprano. 
 
 Premiere fois (pra-mer' fwa), Fr. First time. 
 
 Premiere partie (pra-mer' par-te), Fr. First 
 part. 
 
 Preparation. That disposition of the har- 
 mony by which discords are lawfully in 
 trod need. 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-o'n6). 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 
 notes. Prepared shake, 
 or trill. 
 
 ^^ 
 
 Pres de la table (pra dilh lii tab]), Fr. Near 
 the soundboard. 
 
 Pressanl^e (prgs-sanhf), Fr. Pressing on, hur- 
 rying. 
 
 -^-r-p = 
 
 Pressure tone. A sudden cre- 
 scendo; ex.: 
 
 Prestamente (prfe-ta mfin'tfi), II. Hurriedly, 
 rapidly. 
 
 Prestant (prSs-tiliih), Fr. The open diapason 
 stop in an organ, of either 32-, 16-, 8-, or4- 
 feet scale. See Prdstanten. 
 
 Prestezza (prSs-tfit'sii), II. Quickness, rapid- 
 ity. 
 
 Prestissimametite (pres-tessima- 
 mgn'tfi). 
 
 Prestissimo (pr6s-tes'si-m6\ 
 Very quickly, as fast as possible. 
 
 Presto (prSs'to), It. Quickly, rapidly. 
 
 Presto assai (prSs'to as'sal). It. Very quick ; 
 with the utmost rapidity. 
 
 Presto ma non troppo (prSs'to ma non trop'- 
 \iO), It. Quick, but not too much so. 
 
 Priire (pre-ar), Fr. A prayer, supplication. 
 
 Prima (pre'mil). It. First, chief, principal. 
 
 Prima buffa (pre'ma boof-fal, /(. The prin- 
 cipal female singer in a comic opera. 
 
 ■»! 
 
 a arm, & add, a ale, £ end, e eve, I ill, i isle, 6 old, 6 odd, oo moon, a but, u Fr. sound, kh Ger. ch, nh nasal. 
 
 (182) 
 
PRI 
 
 DICTIONARY OF MUSIC. 
 
 PRO 
 
 Prima donna (pre'ma don'ua),,J<. Principal 
 female singer in a serious opera. 
 
 Prima donna assoluta (pre'm^ don'na &s-sd- 
 loo'ta. , /(. First female singer in an oper- 
 atic eiitablishment ; the only one who can 
 claim that title. 
 
 Prima parte (pre'ma par'tS), It. First part. 
 
 Prima parte repetita (pre'ma pilr'te ra-pS-te'- 
 ta), It. Repeat the first pan. 
 
 Primary chord. The common chord; the 
 
 first chord. 
 Prima vista (pre'ma ves'ta) , It. At first sight. 
 
 Prima volta (pre'ma vol'ta), It. The first 
 
 time. 
 Prime (pre'mg), Ger. First note, or tone of a 
 
 Prime donne (pre'mg fln'nS), /(. The plural 
 of prima donna. 
 
 Primes. Two notes placed on the same de- 
 gree of the Etas', and having the same pitch 
 of sound. 
 
 Primo (pre'mo). It. Principal, first. 
 
 Primo buffo (pre'mo hoof'foj. It. First male 
 singer in a comic opera. 
 
 Primo musico (pre'mo moo'zi-ko), It. Prin- 
 cipal male singer. 
 
 Primo tempo (pre'mo t6m'po), It. The first, 
 or original, time. 
 
 Primo tenbre (pre'mo te-no'rS), „ 1 The first 
 Primo uomo (pre'mo oo-o'mo), J tenor 
 
 singer. 
 Primo violino fpre'mo veo-le'no), Ji!. The 
 
 first violin. 
 
 Primtone (prlm-t6'n6), Ger. pi. Fundamental 
 tones, or notes. 
 
 Principal, or octave. An important organ- 
 st'op, tuned an octave above the diapasons, 
 and therefore of 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 
 principal l£ey, so called because generally 
 occurring at the close of a piece. 
 
 Principale (pren'tshi-pa-18). It. Principal, 
 chief; molirto principale, the principal vi- 
 olin. 
 
 Principalmente (pren - tshi - pal - mSn' tS), It. 
 Principally, chiefly. 
 
 Principal voices. The highest and lowest; 
 the soprano and bass. 
 
 Pringeiee (prln'ghi-ghfi), Ger. The first violin. 
 
 Probe (pro'bg), Ger. Proof, trial, rehearsal. 
 
 Professeur de chant (pro-fes-sOr dGh sh&nh), 
 Fr. A professor of vocal music ; a singing- 
 master. 
 
 5r dQh \ 
 )'r? de j 
 
 Professeur de muslque (pro-fgs-sflr dQh 
 mii-zek'), Fr. 
 
 Professore di musica (pro-fSs-so'r 
 moo'zl-ka), /(. 
 
 Professor of music. In the universities the 
 professor of music enjoys academicnl rank, 
 confers musical degrees, lectures on har- 
 monic science, e!c. 
 
 Programme (pro-gram'mfi),/;. 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. A mong 
 the first to apply this principle were tlie 
 Abbe Vogler, Weber, and Berlioz. The lat- 
 ter aiforded brilliant examples. 
 
 Progression. A succession of triads, or per- 
 fect chords, which are confined to the tonic. 
 
 Progressione (pro-grgs-sI-6'n6), /(. Progres- 
 sion, 
 
 Progressive. Advancing by degrees. 
 
 Prolatio (pro-la'tsl-o). Lot. Adding a dot, to 
 increase, or lengthen, the value of a note. 
 
 Prolazione (pro-la tsI-o'n«), It. Prolation. 
 
 Prolonged shake. A shake which can be 
 opened or closed at pleasure. 
 
 Prolongement (pro-lon-zha-m^nh), Fr. The 
 prolongation ; part of the action of the pi- 
 ano, retaining the hammer away from its 
 rest. 
 
 Promenade concert. A vocal or instrumctl- 
 tal concert during which the hearers are at 
 liberty to promenade the hall instead of be- 
 ing seated. 
 
 Promptement (pr6nht-manh), Fr. \ Readily, 
 
 Prontamente (pron-ta-m6n't6). It. ] quickly, 
 promptly. 
 
 Pronto (pron'to). It. Ready, quick. 
 
 Pronunziare (pro-noon-tsl-a'rS), It. To pfo- 
 nounce; to enunciate. 
 
 Pronunziato (pro - noon - tsl - a' to). It. Pro- 
 nounced. 
 
 Proportio(pr6-por'tsI6),Zo(. 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 (pr6s-sha'nS-6), Jif. 1 „ . _ 
 
 Proscenio (pros-tha'ni-o), Sp. J "oscenium. 
 
 Proscenium (prOs-sGnl-Qm). The front pllrt 
 
 of the stage, where thecurtaiu separates the 
 
 stage from the audience. 
 Proslambanomenos (pr0s-lilm-ba-nfim'5-nfl<l), 
 
 (Jr. The lowest note in the Creek syslein, 
 
 equivalent to A on the first space iu tl'ie baiis 
 
 of the modern. 
 Prosodia (pr0-s6'di-a\ Gr. A sacred .song, or 
 
 hymn, sung by the ancients iu honor of the 
 
 gods. 
 Prosody. That part of the laws of languBKe 
 
 dealing with quantity (or the time of svUh- 
 
 bles) nnd accent (the relative emphasis Of 
 
 syllables). 
 
 & arm, & add, a ale, « end, e eve, i Ul, I i8le,6 old,6 odd, oo moon, Q but, u Fr.sound, kh Ger. oh, nh nosdl, 
 
 (183) 
 
PRO 
 
 DICTIONARY 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 (pro'va), It. Proof, trial, rehearsal. 
 
 Prova generale (pro'va jSn-6-ra'lS), It. The 
 last rehearsal previous to a public perform- 
 ance. 
 
 Psalm. A sacred song or hymn. 
 
 Psalmbuch (psiilm'bookh), Ger. A psalter; 
 a book of psalms. 
 
 Psalmen (psill'mCn), Ger. To sing, to chant 
 psalm.s. 
 
 Psalingesang: (psalm' gfi-silng'), Ger. Psalm- 
 ody. 
 
 Psalmist. A composer, writer, or singer, of 
 
 ]>salmM or sacred songs. 
 Psalmlied (psalm' led), Ger. Psalm, sacred 
 
 song or hymn. 
 Psalmodie (psil'mO-de), Fr. Psalmody. 
 Psalmody. The practice or art of singing 
 
 lisalms; a collection of music designed for 
 • church service. 
 Psalter. The Book of Psalms. 
 Psalter (psal'tSr), Ger. Psaltery. 
 Psalterion (psal-ta-ri-6nh), i^r. 1 A stringed 
 P5alterium(psal-ta'ri-oom),I.ai. > instrument 
 Psaltery. ) much used 
 
 by the Hebrews, supposed to be a species 
 
 ol lyre, harp, or dulcimer. 
 Psaume (psom), Fr. A psalm. 
 Pseautier (pso-ti-a), Fr. A psalter, or book 
 
 of psalms. 
 Pulcha (pool'ka), Ru«s. A Russian dance, 
 
 the original of the polka. 
 Pulsatile (pOl'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 (poonk'tfi), Ger. Dots. 
 
 Punktirte Noten (poonk-tir'tS no't'ii), Ger. 
 Dotted notes. 
 
 ; alFO 
 
 Punta (poon'ta), „ 1 The point, the top ; 
 Punto (poon'to), / a thrust, or push. 
 
 Punta d' arco (poon'tadar'ko), ) „ 
 Punta del' arco (poon'ta d61 ar'ko), J 
 The point or tip of the bow. 
 
 Puntato (poon-ta'to), It. Pointed, detached, 
 marked. 
 
 Punto d' accressimento (poon'to dak-krSs-sI- 
 men'lo). It. The point of augmentation. 
 
 Punto dl divisione (poon'to de de-ve-si-6'nS), 
 It. Point of division. 
 
 Punto d' org^ano (poon'to dor-ga'no). It. Or- 
 gan point. 
 
 Punto per punt6 (poon'to p§r poon'to), It. 
 Note for note. 
 
 Pupitre (pfl-petr), Fr. A music-desk. 
 
 Pyramldon (pi-rJlm'I-d6n), Gr. An organ- 
 stop of 16- or 32-feet tone, on the pedals, in- 
 vented by the Bev. F. A.G. Ouseley. The 
 pipes are four times larger at the top than 
 at the mouth, and the tone of remarkable 
 gravity, resembling that of a stopped pipe 
 m quality. 
 
 Pyrrhics (plr'hiks). A metrical foot, consist- 
 ing of two short syllables. „„ 
 
 Pythag^orian lyre. , An instrument said to 
 have been invented by Pythagoras. 
 
 Q 
 
 Quadrat (kwa-draf), Ger. A square. The 
 mark called a natural, 4 
 
 Quadratmusik (kwad rat'moo-zek'). Ger. A 
 name sometimes applied to the old mensur- 
 able music written in square notes. 
 
 Quadricinium (kwa-dri-tse'ni-oom). Lot. 1 
 
 Quadripartite i kad-ri-par-tet'), J^r. J 
 
 A quartet, a composition in four parts. 
 
 Quadriglio (kwa-dr61'yI-o), It. Quadrille. 
 
 Quadrille (ka-drel'), Fr. A French dance, or 
 set of five consecutive dance movements, 
 called La Pantalon, La Poule, L'^t6, 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, fl. 
 
 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-riipl kroshl, Fr. 1 
 
 Quadruple quaver. ) 
 
 Four-nooked; a half-demisemlquaver, or 
 semidemisemiquaver. 
 
 Quadrupio (kwa'droo-pl5), It. In four parts. 
 
 Quantity, The relative duration of notes or 
 syllables. 
 
 Quarta (kwar'ta), „ 1 A fourth ; also the 
 
 Quarto (kwar'ta), J fourth voice, or instru- 
 mental part. 
 
 Quart de souplr (kar dflh soo-per), Fr. A 
 semiquaver rest. 
 
 a arm, & add, a ale, eend, e eve, i ill, i isle, 6 old, 6 odd, oo moon, ti but, fl Fr. sound, kh Ger. ch. nh naxal. 
 
 (184) 
 
QUA 
 
 DICTIONARY OP MrsiC. 
 
 QUI 
 
 Quarte (kart), Fr. \ , f.,,-ii, 
 Quarte (kwar-te), Oer. ;•*■ »i"li. 
 
 Quarter-note. A black note with a stem. 
 Its duration is equal to one quarter of a 
 whole note. 
 
 >}uarter-rest. A pause equal in duration to 
 a quarter-note. 
 
 i)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 CS and DJ) is a 
 quarter-step; in some cases, but not in all, 
 accordlni; to the manner in which the sev- 
 eral pitches f»re arrived at. 
 ^Quartes (kartl. Fr. Fourths. 
 
 Quartet "| A composition 
 
 Quartet! (kwar-tfitt), Qer. yior four voices 
 
 Quartette (kwar-tst'to), Ji.Jor instruments. 
 
 Quartet, stringed, A quartet, or composi- 
 tion, arranged for tour stringed instru- 
 ments, consisting of first and second vio- 
 lins, viola, and violoncello. 
 
 Quartettlno (kwar-t6t-te'uo). It. A shortquar- 
 tet. 
 
 Quartet, wood. A quartet consisting of the 
 flute, oboe, clarinet, and bassoon. 
 
 Quartlagott (kwart'fa-gof), Ger, lAn old 
 
 Quart-faeotto (kwart m-got'to). It. j sort of 
 bassoon, formerly used as a tenor to the 
 hautboy ; called, also, Duleino and Dulzain. 
 
 Quartflote (kwart'flo'te), Oer. A flute sound- 
 ing a fourth above. 
 
 Quartgeize (kwart'ghi-ghS), Oer. A small vi- 
 olin, a fourth above the usual violin. Pic- 
 colo violin. 
 
 Quarto (kwir'to), J?. The fourth; the quarter- 
 note. 
 
 Quartsextaccord (kwart'sfixt-ak-kord'), Ger. 
 Chord of the sixth and fourth ; second in- 
 version of the triad. 
 
 Quasi (kwa'ze), /(. In the manner of, in the 
 style of. 
 
 Quasi allegretto (kwii'zC iil-lS-grSt'to), /(. Like 
 an allegretto. 
 
 Quasi andante (kwa'ze iin-dan'tg). It. In the 
 style of an andante. 
 
 Quasi presto (kwa-zl prfis'to). It. Like a 
 presto. 
 
 Quasi recitatlvo (kwa'zi ra-tshi-tiirte'vo). It. 
 Resembling a recitative. 
 
 Quasi una fantasia (kwa'zi oo'nii fan-ta'zi-a), 
 //. As if it were a fantasia. 
 
 Quatrain. A stanza of four lines rhyming 
 alternately. 
 
 Quatre (katr), Fr. \ Four ; a quatre mains, 
 
 Quattro (kwiit'tro), It. j or, a quattro mani, 
 for four hands ; a pianoforte duet. 
 
 Quattricoma (kwat'tri-ko'ma). 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'tfi), Ger. German flute. 
 See Flauto iraverso. 
 
 Querpfeife (kwar'pfi'fg), Oer. A fife. 
 
 Querstand (kwar'stand), Crer. False relation ; 
 in harmony. A chromatic tone not pre- 
 pared in the same voice. See False relation. 
 
 Querstriche (kwar'stri'khg), Ger. Ledger lines. 
 
 8u"iS'(k^fst,^'-}™^'-"'^'"- 
 
 Queue (kiih), Fr. The tail, or stem, of a note ; 
 also the tailpiece of a violin, etc. 
 
 Quiclcstep. 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 (kwIn'kwS), Lat. Five. 
 
 Quint (kwlnt), ia(. ) A fifth ; also the name 
 
 Quinta(kwen't&), 7i!. ( of an organ-stop 
 
 Quinte (kanht), Fr. C sounding a fifth, or 
 
 Quinte(kwin'tS),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 (kwln'ta-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. 
 
 Qulntbass. An organ pedal-stop. See Quint. 
 
 Quintenzlrkel (kwin'tSn-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 Quintenzlrkel beginning 
 with C returns to Bft after twelve fifths. 
 
 Quintet. A composition for five voices or in- 
 struments. 
 
 Quintette (kwen-tSt'to), J*. I . onintet 
 Quintette (k&nh-tit), Fr. |-«- fl'^'ntet. 
 
 Quint-fagott (kwenf fii^got'). It. The small 
 bassoon or fagottina, sounding a fifth high- 
 er than the common bassoon. 
 
 Quintgedackt (kwint'ghg-dakf), Oer. An or- 
 gan-stop of the stopped-diapason species,/ 
 sounding the fifth above. \ 
 
 Quintoire (kftnh-twar), Fr. An old French 
 term applied to a species of descant con- 
 sisting chiefly of fifths. 
 
 Quintole (kwln'to-lS), 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. 
 
 S. arm, i add, a, ale, 6 end, e eve, 1 ill, lisle, 6 old, 6 odd, oo moon, 11but,nFr. sound, kh Oer. ch, nh nasal. 
 
 (185) 
 
QUI 
 
 DICTIONARY OF MUSIC. 
 
 REB 
 
 Qui tollis (kwi tol'lls), Lat. " Thou who tak- 
 est away the sins of the world." A part of 
 the Gloria. 
 
 Quodlibet (kwod'li-b6t), Lat. A medley ot 
 
 airs, etc., out of different works, or by var- 
 ious composers ; a musical potpourri. 
 Quoniam Tu solus (quo'ni-am too so1oos),X<i<. 
 " Thou only art holy." Part of the Gloria. 
 
 le 
 
 R, or, R. H. Indicates the right hand in pi- 
 
 a r 1 of orte- playing. 
 Rabani (rii-ba'ne). ) A species of tam- 
 Kabbana (rii-bii'uft). jbourine used by the 
 
 negroes. 
 Rabbia (riib'bi-a), It. Rage, fury, madness. 
 Raccourcir (rii-coor-ser), Fr. To abridge. 
 
 Rackett, or, Rankett (rak'ket), Ga: (1) A 
 family of wood wind instruments, long ago 
 obsolete. (2) Obsolete names for organ- 
 stops, generally reed-pipes of 8- or 16-feet 
 pitch. 
 
 Rackettfagott (riik'kgt-fa-got'j, Ger. A kind 
 of bassoon, now obsolete. It belonged to 
 the bombarde family. 
 
 Racier (rak-la), Fr. To scrape. Said of a poor 
 player. 
 
 Racleur (ra-kldr), Fr. A poor player. . 
 
 Raddolcendo (ra.d-dol-tsh€n'dd), „ 1 Within- 
 
 Raddolcente (rad-dol-tshen'tS), ( creas- 
 
 ing soflne-ss; becoming softer by degrees. 
 
 Raddopplamento (rad-d6p-pi-a-in€n'td), It. 
 Augmeutation ; reduplication ; the doub- 
 ling ,of an interval, 
 
 Raddoppiato (rad-dop-pi-a'to). It. Doubled, 
 iucreaseU, augmented. 
 
 Radical bass. The fundamental bass ; the 
 roots of the various chords. 
 
 Raggione (rad-ji-6'n6),/i. Ratio; proportion: 
 
 Ragoke. A small Russian horn. 
 
 Railentamento (ral-18n-ta^m6n'to), 
 
 Rallentando (ral-lgn-tan'do), 
 
 Kallentato (ral-lgn-ta'to). 
 The time gradually slower, and the sound 
 gradually softer. 
 
 Rallentando assai (ral-l€n-tan'ddas-sU'i), It. A 
 great slackeuiug of the time. 
 
 Ranz des vaches (ranh d6 vash), Fr. Pastoral 
 airs played by the Swiss herdsmen, to as- 
 semble their cattle together for the reluru 
 home. 
 
 Rapidamente (ra-pe-da-m6n'te). It. Rapidly. 
 
 Rapidamente e bril'^nte (ra-ne-da-mgn'tC a 
 bril Ijiu'iS), It. Rap, ily and brilliantly. 
 
 Rapidita (rii^pedi-ta'). It. Rapidity. 
 
 Rapido (rii'pi-do). It. Rapid. 
 
 Rapsodie (rilp-s6-de'), Fr. \ A capriccio, a 
 
 Rapsody (ritp's6-dy), Eng. | fragmentary piece, 
 a wild, unconnected composition. 
 
 /'} 
 
 Rasch (rash), Ger. Swift, spirited. 
 
 Rasegesan^ {ra'zg-ghS-zang'), /j™ ") Awild 
 
 Raselied (ra'z6-led'), J song, a 
 
 dithyrambio. 
 
 Rathselcanon (r&tli's'l-ka-non), Oer. Enig- 
 matic canon. A canon written upon a sin- 
 gle line, without marks to indicate where 
 the following voices should enter. 
 
 Rattenendo (rat-tS-nfiu'do), „ 1 Holdfii^ 
 
 Rattenuto (riit-te-noo'lo), J back, ro- 
 
 Btraining the time. 
 
 Rattezza (riit-tet'sa), It. Swiftness, rapidity. 
 
 Raucedine (ra-oo-tsh6-de'nS), /(. Hoarseness. 
 
 Rauco (ra-oo-ko). It. Hoarse, harsh. 
 
 Rauh (rou), Ger. \ x,„„„i, 
 Rauque (r6k), Jr. P°"Sh. 
 
 Rauscher (row'3her),(?er. A passage in which 
 every two tones are several times repeated. 
 
 Rauschflote (roush'flo'tfi), Ger. A mixture 
 stop of two ranks of pipes, souuding the 
 twelfth and fifteenth. 
 
 Rauschpfeife (roush'pfi-fg), „ 1 Rustling 
 
 Rauschquinttroush'qulnt), ^'^- | fifth ; a 
 mixture-stop in German organs, the twelfth 
 and fifteenth on one slide. 
 
 Ravanastron. A very simple form of bow in- 
 strument, common in the East. 
 
 Ravvivando (rav - vi - van' do), It. Reviving , 
 quickening, accelerating. 
 
 Ravvivando il tempo (rav-vl-van'do il t6m'- 
 po). It. Accelerating the time. 
 
 Re (ra). A syllable applied in solfaing to the 
 second degree of the major scale, or in 
 France and Italy to the note D, irrespec- 
 tive of key place. 
 
 Reading music. The art of recognizing and 
 feeling musical effects from the written no- 
 tation. 
 
 Rebec. 1 A Moorish word signifsring an in- 
 
 Rebecca. f strument with two strings played 
 with a bow. The Moors brought the rebec 
 into Spain, whence it parsed into Italy, and 
 after the addition of a third string pbtained 
 the name of rebecca, whence the old Eng- 
 lish rebec, or fiddle with three strings. 
 
 Rebecchino (ra-b6k-ke'n6). It. Small rebec 
 guitar. 
 
 Re bemol (rS ba-mol), Fr. The note D^ 
 
 Re bemol majeur (ra ba-mol mi-zhdr), Fr 
 The key of V\> major. 
 
 a arm, a add, a ale, 6 end, eeve,i ill, i tsle,6 old, 6 odd, oo moon, a im(, il Fr. sound, kh Ger. ch, nh 7ia8ai. 
 
 (186) 
 
REB 
 
 DICTIONARY OF MUSIC. 
 
 REE 
 
 
 Recension (ra-tsauh-sl-6nh'), Fr. An analyt- 
 ical criticism. Also used of careful or 
 analytical editing. 
 
 Recheat. An old term for a series of notes 
 "which huntsmen sound on a horn to recall 
 the dogs from a false>Ecent. 
 
 Recherche (rS-shSr-sha), Fr. Rare, affected, 
 formal. 
 
 Recht (r§kht), Ger. Eight. 
 
 <{echte Hand (rSkh'tS hand), Ger. Right 
 hand. 
 
 iecit (ra-set), Fr. Recitative. 
 
 kecitado (ra-tsi-ta'dd), Sp. Recitative. 
 
 Recital. A recital of choice music by a solo 
 artist. Distinguished from concert by be- 
 
 . ing exclusively musical, the idea of dis- 
 play not entering into the concept. 
 
 Recltando (ra-tshi-tan'do), t-, 1 Declamatory, 
 
 Recitante (ra-tshi-tan'te), ) in the style 
 of a recitative. 
 
 Recitatif (rfi-sl-ta-tef), Fr. 
 
 Recitativ (tg-tsi-ta-tlf ), Qer. }■ Recitative. 
 
 Recitative {r6-tshi-ta-te'vo). 
 
 Recitative fr6-si-ta-tev'). A musical form in 
 which a text is recited to masical cadence. 
 Recitative ranges all the vray in musical 
 quality, from the recitaiivo secco (dry reci- 
 tative), in which, aided simply by a chord 
 jow and then for Insuring the intonation, 
 the musical cadence seeks merely to deliver 
 the text effectively, up to a rediativo ac- 
 compagnato stromentaio (accompanied and 
 instrumented recitative), in which the mu- 
 sical phrases have perceptible melodicqual- 
 ity, while the instrumentation colors and 
 intensifies 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 examples 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 Mozarf 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, bnt 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 in 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 accompanied when, besides the basi, 
 there are parts for other instruments, as 
 violins, flutes, hautboys, etc. 
 
 Recitativo instromentato (rS-tshl-tit-te'vo In- 
 sti6-mSu-ta't6),i(. Accompanied recitative. 
 
 Recitativo pariante (r6-tshi-ta-te'vo pilr-i 
 liin'te), [ /(. 
 
 Recitativo secco (r«-tshi-tit-te'ro sak'ko),) 
 Unaccompanieil recitative; also, when ac- 
 companied only by tlie violoncello and 
 double bass, or the piauofone or organ. 
 
 Recitativo stromentato (rfirfshi-ta-te'vo stro- 
 m6n-ta-to. Recitative accompanieit hy the 
 orchestra. See SecUativo imtrumeiUatu. 
 
 Rezitativzug (rS-tsi-ta-tef'tsoog), Ger. Re- 
 citative stop. 
 
 Recitazione (rfi-tshi-ta-tsi-o'nfi), Jf. Recita- 
 tion. 
 
 Reciter (ra-sl-ta'). Ft. To recite. 
 
 Reciting note. The note in a chant upon 
 which the voice dwells until it comes '•> a 
 cadence. 
 
 Recorder. An old wind instrument of the 
 flageolet kind, but of smaller bnrc and 
 shriller tone. Mentioned in Shakespeare. 
 
 Recreation. A composition of attractivestylc, 
 designed to relieve the tediousness of prac- 
 tice ; an amusement. 
 
 Recreations musicaies (T€k-rti-a'si-6nh mu-zl- 
 kal'), Fr. Musical recreations. 
 
 Recte (rfik'te), Lat. Right, straight, forward 
 
 Recte et retro (rSk'tg #t ra'tro); Lat. Forward, 
 then backward ; the subject, or melody, re- 
 versed, note for note. 
 
 Reddita (rSdde'ta), „ 1 Pefurn to the sub- 
 
 Redita (rS-de'ta), ^'' Jject; repetition of a 
 melody. 
 
 Ridiise (ra-dc-as), J^r. 1 t.„ „>,„„ tm 
 Rediesis (ra de-a,4es). It | ^ ^^^^P- ^■ 
 Redondilla (rS-don-del'yS), Sp. A roundelav; 
 a stanza of four lines of eight syllables each. 
 Redowa (r§'d6-wa). ) A Bohemjiu 
 
 RedOwalc (rMS-wak) >■ dance, in 2-4 a nd 
 
 Redowazica (rS'dd-wats-kS.). | 3-4 ' time alter- 
 nately. Modern redowas confine them- 
 selves to 3-4 measure. 
 Redublicato (rg-doob-ll-ka'to), It. Redoubled. 
 Reduciren (r6'doo-tsIr'6n), 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 clarihet and 
 bassethorn; this is called asiugle reed. Tlie 
 double reed is the mouthpiece of the haut- 
 boy, English hornand ba.ssoon, formed of 
 two pieces of cane joined together. Organs 
 and reed organs have jnetal 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, lu 
 
 a. arm, a add, a ale, 6 end, e eve, i ill, i iste, 6 old, 6 odd, oo moon, a 6«(, u Fr, sound, kh Ger. cA, uh nasal. 
 
 (187) 
 
REE 
 
 DICTIONARY OF MUSIC. 
 
 REP 
 
 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 impinglng.orstriklng.reed is used 
 only in the organ (for trumpet, oboe, and 
 cornopeon-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 intonation of the reed to 
 <hat 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 
 upon 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. Organ-stops in which the sound 
 is made by reeds. 
 
 Reel. A lively Scotch dance. Originally the 
 term Rhay, or Reel, was 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 Jihay. 
 
 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'gSns ko'rt) , Lat. The choir- 
 master in German churches. 
 
 Regimental band. A company of musicians 
 attached to a regiment ; a military band. 
 
 Regina cceU (ra-ge'na tsa'li), Lat. Queen of 
 Heiiven ; a hymn to the Virgin. 
 
 Register, The stops, or rows of pipes, in an 
 organ ; also applied to thehigh, 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 an organ. 
 
 Registerstimme (rS-ghls'tSr-stlrn'mei, Oer. 
 Speaking-stops of an organ, as distinguished 
 from mechanical stops (couplers, etc.). 
 
 Registre (r(5g estr"), Fr. \ Pesister draw-stoo 
 Registro (re-jes'tro), j(. | register, araw stop. 
 
 Rezistriruns; (ra-ghis-tre'roong), Ger. The arc 
 
 of registration. 
 Rehearsal (rg-hfir'sal). A trial, or practice, 
 
 previous to a public performance. 
 
 Reihen (ri'Sn), Ger. Song, dance. 
 Reihentanz (rl'6n-tants'),(?er. Circular dance. 
 Rein (rin),(Jer. Pure, clear, perfect ; kurs und 
 
 rein, distinct and clear. 
 Reine Stimme (ri'nS stim'mS), Ger. Clear 
 
 voice. 
 Reiselied (ri'z6-led'), Ger. A traveling song; 
 
 a pilgrim's hymn, or song. 
 
 Related, A term applied to, those chords, 
 modes, or keys, wliich, 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 
 
 Eroportion to the number of chords they 
 ave 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 bodilygointo the en- 
 tire foreign key to which such a chord os' 
 tensibly belongs. See ModiUaUon. 
 
 Relatio non harmonica (rS-la'tsi-o non har- 
 mo'ui-ka), Lat. False relation. 
 
 Relative keys. Keys which only difTer by 
 one sharp, or flat, or which have the same 
 signatures. 
 
 Religiosamente (r6-le-ji-o-za-mfin't6), j, \ 
 
 Religiose (rS-le-ji-o'z6), ■"• ] 
 
 Religiously, solemnly, in a devout manner. 
 
 Re majeur (ra ma zhtir), Fr. D major. 
 
 Re mineur (ra me-ntlr), Fr. D minor. 
 
 Remote keys. Those keys whose scales have 
 few tones in common, as the key of C and 
 the key of T)\>. 
 
 Remplissage (ranh-pli-sazh), Fr. Filling up ; 
 the middle parts ; also a term applied to the 
 decorative flourishes introduced in con- 
 certos and bravura airs. 
 
 Rentrie (riinh-tra), Fr. Return; reentry of 
 the subject or theme. 
 
 Renversement (ranh-viSrs-manh), Fr. An in- 
 version. 
 Renverser (ranh-vSr-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,& end, e eve, i ill, lisle, 6 old, 6 odd, oomoon, iibyi^u Fr, sound, kh Ger. eh, nh tmkoZ, 
 
REP 
 
 DICTIONARY OF MUSIC. 
 
 RET 
 
 Repeai. Two or more dots to the left or right 
 lof a double bar, iudioatlug gj „ Repeiiiiou. 
 that certain measures or pas- 
 sages on the same Bide of the 
 bar are to be sung or played 
 twice. 
 
 Repercusslo (r^-pSr-koos'sI-o), Lat. The an- 
 swer, in a fugue. 
 
 RepercussUn. A frequent repetition of the 
 same sound. A technical term in fugue, to 
 denote the reappearance of the subject. 
 
 Repertoire (ra-pSr-twar), Fr. Repertory. The 
 eutire list of works ready for performance, 
 or practicable after certain preparation. 
 
 Repertoire de I'opera (ra-pSr-twar dtkh lo-pa'- 
 la). Ft. a collection of pieces from an 
 opera. 
 
 Repetent (r6-pS-tSnt'), Ser. A teacher who 
 conducts the rehearsals. 
 
 Repetimento (r6-p6-tl-m€n't6), „ 1 Eepeti- 
 
 Repitizione (re-pe-titsi-o'nfi), "''• / tion. 
 
 Repetition (ra-pa-te-si-&nh), Fr. Rehearsal ; 
 repetition. 
 
 Repetitore (r6-p6-ti-t6'r6), It. The director of 
 a rehearsal. 
 
 Replica (ra' pli-ka). It. Reply, repetition, 
 bee also B^percussio, 
 
 Repiicato (rS-pli-ka'to), It. Repeated. 
 
 ^epiique (ra^plek), Fr. (1) Octave. (2) An- 
 swer (in fugue). (3) Interval arising from 
 inversion. (4) Small notes inserted in a 
 part to guide the performer. 
 
 Reply. The answer, in fugue. 
 
 Reponse (ra - pOnhs), 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 reprise. 
 
 Requiem (ra' kwi -tm), Lat. A mass, or mu- 
 sical service, for the dead. 
 
 Resin. Rosin. 
 
 Resolutio (r6z-o-loo'tsi-6), 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 dissonan t tone one step to the consonant 
 tone which it displaced. See Viasonance. 
 
 Resoiuzione (rfiso Iqo-tsi 6'nf), 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 tunes 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 own tone or one of its partials. 
 The human head resonates according to the 
 
 i^l 
 
 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 newly created. 
 
 Resonanzlioden (r«-s6-nants'b6'd'n),Ger. Res- 
 onance bodies. The sounding-board of a 
 pianoforte, etc. 
 
 Response. Response, or answer, of the choir. 
 The name of a kind of anthem snug in the 
 Roman Catholic Church after the mornins 
 les60n. In a fugue the response is tlie repe- 
 tition of the given subject by aauther part. 
 
 Responsive (rSspon-se'vd), It. Respousively. 
 
 Responsorien (r6-sp6n-s6'ri fa), 
 Responsorium (r6-sp6n-s6'ri-oom), Lat. 
 Responsum (iS-spdn'soom), 
 
 See Response. 
 Resserrement (rSs-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. Resis correspond in denomination 
 and value to all the different forms of note. 
 
 Whole Hair Quartei Slli I6tti 3M 6<tli 
 
 - - r n =• i I 
 
 Rests may .be augmented by dots and 
 double dots, exactly the same as notes. 
 
 Restrictio (rS-strik'ti-o), Lai. The stretto in a 
 fugue. 
 
 Resultant tones. Tones formed by the co- 
 iucideuces of vibrations when two tones 
 are sonnding together. These tones were 
 first discovered by ttie violinist Tartini, 
 who used them as a guide to correct in- 
 tonation in dduble stopping far up the 
 flugerboard. They may easily be observed 
 upon the reed organ by taking a single set 
 of reeds and prolonging E and G (4tri 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-sftr-rgxlt), Lat. "And rose 
 again." Fart 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 graiiual ana 
 cumulative in character, slackening the 
 movement very gradually, and completinit 
 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 au 
 accelerando a little time previously, in 
 approaching the climax after which the 
 retard generally comes. 
 
 ^ arm, H add, a ale, 6 pnd, ^eve,iiU,lisle,6 old, Q odd, oo moon, tl 6«(, u Fr. eound, kb Otr. ch, nb nojoj. 
 
EET 
 
 DICTIONARY OF MUSIC. 
 
 RIP 
 
 Retardando (re-tar-dan'do), It. 
 of the movement. 
 
 A retarding 
 
 Retardation. Slackening, or retarding the 
 time; also a suspension, in harmonj , pro- 
 longing some note of a previous chord in- 
 to the succeeding one. 
 
 Retraite (rgtrat), Fr. Retreat; tattoo, in 
 military music. 
 
 Retro (r6-tro'), La'. 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 (rfit'to). It. Right, straight, direct. 
 
 Reveille (rS-va'yfi), Fr. Awaking, a military 
 morning signal ; also horn music played 
 early iu 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 down. 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. 
 
 Revolce. 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. 
 
 Rhaplody.'"^""'""^^''' ^"'- }see Bapsodie. 
 
 Rhapsodists. Greek minstrels, of the time of 
 
 Homer and later, 
 Rliytlini. 1 Measured move- 
 
 Riiytlimus (rit'moos), Ger. J mentiutime. 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. lience, in general, the rhythm of a 
 piece of nlusic 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 iu 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, arhytbra 
 of the accompaniment, and a rhythm of the 
 two together. 
 
 Rhytlinie (rithm), Fr. Rhythm. 
 
 Rliythhiical. Conformable to rhythm. 
 
 Rhythmically. In a rhythmical manner. 
 
 Rhythmique (rith-tnek'), /"r. ) Hhvthmical 
 Rhythmisch (rii'mlsh), Ger. | "^lythmical. 
 
 Ribattere (re-bat'tg-rS), //. To reverberate. 
 
 Ribattuta (re-bat-too'ta). It. A beat, a passing 
 note. 
 
 Ricercare (re-tshSr-ka'r6), ) SouRht 
 
 Ricercari (re-tsli6r-ka're), j)I. « f after; this 
 
 Ricercata fre-tsh§r-ka'ta), ' ftermisap- 
 
 Ricercato (re-tshgr-ka'lo), ) plied to 
 
 every kind of composition wherein re- 
 searches of musical design are employed. It 
 Is suitable to certain figures rep.ete with 
 contrapuntal artifices, also to madrigals, 
 and the term was formeily applied to sol- 
 feggi, and also to instrumental exercises 
 when of considerable dithculty. 
 
 Ricordanza (re - kor - dan' tsa), It, Remem- 
 brance, recollection. 
 
 Riddone(red-d6'n6), /(. A roundelay; a vil- 
 lage dance. 
 
 Rideau d'entr'acte (re-do d'auh-tr'akt), Fr. 
 Drop scene. 
 
 Ridevolmente (re-dfi-vol-mCn'td), II. Ludi- 
 crously, pleasantly. 
 
 Ridicolosamente' (re-di-ko-lo-za-mSn'tS), /(. 
 Ridiculously. 
 
 Ridotto (re-dot'to), It. Reduced ; arranged or 
 adapted from a full scor.i ; also an entertain- 
 ment consisting of singing and dancing; a 
 species of opera. 
 
 Riesenharfe (re'z'n-har'fe),Ger. jEolian harp. 
 
 Rifiormenti (re-fe-or-rafin'te), It. pi. Orna. 
 menis, embelllslimBUis. 
 
 Rigadoon. A lively old French or Provencal 
 (lance In triple time. 
 
 Rigodon (re-go-donh), Fr. A rigadoon. 
 
 Rigoletto (re-g6-16t't6), It. A round dance. 
 
 Rigoll. An old instrument consisting of sev- 
 eral sticks placed by tlie side i^f each other, 
 but separated by beads. It was played by 
 being struck with a ball at the end of a 
 Hick. 
 
 Rigore (re-eo'r6), II. Rigor, strictness; al 
 rigure di tempo, v/ilh strictness as to time. 
 
 Rigoroso (re-go-ro'zo). It. Rigorous, exact, 
 strict. 
 
 Rilasciando (re-la-shi-an'do), It. Relaxing the 
 time, giving way a little. 
 
 Rinforzando(ren-f6--tsan'd6), '^ Strength- 
 
 Rinforzare (reil-for-tsa'ifi), « I ened, re- 
 
 Rinforzato (ren-for-tsa'to), f iuforced; 
 
 Rinforzo (ren-for'tso), J a' rei>eat- 
 
 ed reinforceraeut of tone or expression ; in- 
 dicating that S('ver.il notes are to be played 
 with energy and emphasis. 
 
 Ripetitura (re-pp-te-ton'rii'), „ ) Repeti- 
 
 Ripetizione (re-(iS-te-isi-6'nS), jtiou; the 
 burden of a song ; a refrain. 
 
 Ripieni (ro-pe-a'n?), pi. „ 1 The, tutti, ot 
 
 Ripieno (re-pe-a'u6), ■■ • /full, parts which 
 
 a arm, & add, a ale, S end, e eve, i ill, i isle,o old,6 odd, oo moon, a but, (i Fr.sound, kh Ger. ch, uh v,tisai, 
 
 (190) 
 
RIP 
 
 DICTIONARY OF MUSIC. 
 
 ROM 
 
 fill up and augment the effect of the full 
 chorus of voices &nd instruments. In a 
 large orchestra all the violius, violas, an^ 
 hashes, except the principals, are sometimes 
 called ripicni. 
 
 Ripienist. A player of the ripleno, or tutti, 
 I)aits In an orchestra. 
 
 Riposta (re-p6s'lU), li. Repeat. 
 
 Ripresa (re-pra'zS), « 1 Repetition, reiter- 
 
 Riprese (re pra'Kfi), Jation. 
 
 Risentitamente (re-sSu'll-ta-mgn'tS), 1 „ 
 
 Risentito tre-sgn-te'iol, J ^'■ 
 
 Marked, distinct, forcibly, firmly. 
 
 Risolutamente (re-zo-loo-ta-m6n't6),/^ Reso- 
 lutely, buldly. 
 
 Risolutissimo (re zo-loo-tes'.si-mo). It. Very 
 lesolutely, as boldly as possible. 
 
 Risoluto (re-z6-loo'lo), /(. Resolved, resolute, 
 bold. 
 
 Risoluzione (re-zo-loo-tsi-6'ne),7/. Resolu- 
 tion, determination ; also the resoluiion of 
 a discord. 
 
 Risonante. Resounding, ringing, sounding. 
 
 Rlsposta (res-pos'la), II. The answer in a 
 fugue. 
 
 Rissonanza (re-so-nan'tsa), It. Resonance. 
 
 Ristretto (re-str«t'to). It. The stretio, the re- 
 striction, or coulraction, of the subject, in a 
 fugue. 
 
 Risvegllato (res-val-yi-a'to). It. Awakened, 
 reanimated. 
 
 Rit. 
 
 Ritard. 
 
 Ritardando (re-tar-dan'do). It. Retarding.de- 
 layiug the time gradually. 
 
 Ritardato (re -tar -da' to), /(. Retarded, de- 
 layed. 
 
 Ritardo (re-tar'do). It. Retardation, gradual 
 delay ; in harmony prolonging some note 
 of a previous chord into the succeeding 
 one. 
 
 Ritardo un pochettlno (re - tar' do oon p6-kSt- 
 te'no), /(. Slacken the time a little. 
 
 ..titen. An abbreviation of Ritenuto. 
 
 Ritenendo (re-tfi-ngn'do), „ ) Detaininc. 
 
 Ritenente (re-t6-n6n't6), J holding back 
 the time. 
 
 Ritenente (rg-te-n6n'l6), „ 1 Detained, slower, 
 
 Ritenuto (re-tS-noo'to), / kept back; the 
 elTeet differs from ritardando, by fceins; 
 done at once, while the other is eiTected by 
 degrees. 
 
 Ritmo (ret'mo), It. Rhythm, cadence, meas- 
 ure. 
 
 Rltmo a tre battute (ret'mq a tra baHoo'te). 
 /(. Rhythm In three beats. 
 
 Ritornel (re-t6r-n61' , It. 1 The burden of 
 
 Ritornello (re-tor-nSl'lo), It. [-a song; aiso a 
 
 Ritournelle(re-toor-n61),Fr'. \ shortRymphony 
 or introduction to an air, and the symphony 
 which follows an air; it is also applied to 
 tutti parts introductory to, aud between, or 
 after, the solo passages in a concerto. 
 
 Abbreviations of Ritardando. 
 
 Ritual. The directions and text of formal 
 services, such as those of the church, secret 
 societies, etc. 
 Riverso (re-vSr'so), „ 1 „„„ pn„„_„,-n 
 
 RIverscio (re-vfir-shi'6), ■''• J ^^^ Eovcscio. 
 Rivolgimento (re-voI-yi-mSn'to), It. Inver- 
 
 Biou of the parts, in double counterpoint. 
 Rivoitato (rfi-v61-ta't6),« 1 Inverted, in coun- 
 Rivolto (re-vol'to), J terpoint. 
 
 &CM r'Sfl^e?- } Old-fashioned, odd. 
 
 Rofihrquint (rofquint), ^ 1 Reed -fifth; 
 
 Rohrquint (ror'quint), Jan orKan-.stop, 
 
 sounding the fifth above the diapasons. 
 
 Rohr (ror), Ger. Reed, pipe. 
 
 RShre (ro'rC), Ger. pi. Reeds. 
 
 Rohrflote (ror'flo'te), Ger. Reed flute, a stop- 
 ped diapason in an organ. 
 
 Rohrwerk (ror'warkl, Ger. Eeed-work ; the 
 reed-stops in an organ. 
 
 Role (roll), Fr. A part or character performed 
 by an actor in 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 lapon 
 the ear with a rumbling continuity of effect. 
 
 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-manhs), Fr. i Formerly the 
 
 Romanza (ro-man'ts^), It. > name given to 
 
 Romanze (ro-man'tse), Ger.) the long lyric 
 tales sung bjrtbe minstrels ; now a term ap- 
 plied to an irregular, though delicate and 
 refined composition in lyric style. 
 
 Romanesca (ro-raangs'ka), It. 1 A favorite 
 
 Romanesque (ro-man-6sk), Fr. ) 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 ex- 
 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 otihers, which 
 were measurabl-y free from classical restric- 
 tions aud carried out their ideas In aiiy 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 certniur manner, 
 which in the hands of commmi composers 
 became merely pedantic and learned. Ac- 
 cording to some philosophers the essence of 
 the romantic spirit differs from the classic 
 in this : That, whereas the ideal of classical 
 art was to represent the eternal and ideal, 
 the idea of the romantic is that everything 
 which the individual experiences is of in- 
 terest to the whole race. Hence a vastly 
 greater latitude of styles and forms. 
 
 ii arm, & add, a ale, 6 end, e eve, I iM, i isle, 6 old, 6 odd, oo moon, iX but, ii Fr. sound, kh Qer. ch,nii naici, 
 
 n.ai) 
 
ROM 
 
 DICTIONARY OP MUSIC. 
 
 BUT 
 
 easy rondo. 
 
 Romantique (ro-manh-tek), Ft: \ Roman- 
 
 Romanzesco (ro-mauh-ts&'ko), /(. J tic, imag- 
 inative, fairy like. ^ 
 
 Rondc (rond), Fr. A semibreve. 
 
 Rondeau ( 6nh'd6), Fr. \ A composition, vo- 
 
 Rondo (roii'do). It. ) cal 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 niignon (rOnh-do' me-yOnh), Fr. A 
 favorite rondo. 
 
 Rondiletta (ron-dl-lfit'ta), 
 
 Rondinetto (ron-di-nfit'to), „ ( A short and 
 
 Rondino (ron-de'no), 
 
 Rondoletto (ron-do-iet'to), 
 
 Rondo form. In the style of a rondo. 
 
 Root. The fundamental note of any chord. 
 
 Rosalie (ro-sa'li-6j, Oer. A derisive name 
 sometimes applied to cheaply constructed 
 musical passages, consisting of sequences 
 and common harmonies. 
 
 Rostral (ros-tral'), Oer. 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. Bound, full. 
 
 Rotte (rot'tfi), It. Broken, interrupted. 
 
 Roulade (roo-lad),J^i'. A fiorid 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- 
 Kio". Tliey are called rounds because the 
 jverformei s follow one another in a circula- 
 tory motion. 
 
 Rounc!el. 1 From the French word rounde- 
 
 Koundelay. J let; a species of antique rus- 
 
 tic song, or ballad, common in the four- 
 teenth century, and so called on account of 
 form, by whicn it constantly returned to' 
 the first verse, and thus went round. 
 
 Roverscio (ro-var'shi-d), j( |g Roescio. 
 
 Rovesio (ro-va-si-o), ) 
 
 Rovesciamento (ro-va-shi-a-mfin'to), 1 „ 
 
 Rovescio (ro-va'ahi-o), J 
 
 Reverse motion, the subject backward, in 
 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 Tempo 
 rubato. 
 
 Riickgang (rek'gang), CJer. Going back. The 
 part of the sonata preceding the return of 
 the principal. 
 
 Riickung (rek'oong), Ger. Syncopation. 
 
 Rudiments. The first elements, or principles, . 
 of music. 
 
 Ruhepunct (roo'hS-poonkf), p.- 1 Pause, 
 
 Ruhepunkt (roo'hS-poonkt), • J point of 
 rest or repose ; a cadence. 
 
 Ruhestelle (roo'hfi-stgl'lS), f, 1A pause, 
 
 Ruhezeichen {roo'hfi-tsi'kh'n), / a rest. 
 
 Ruhig (roo'hig), Ger. Calm, quiet, tranquil. 
 
 Rule of the octave. The art of accompany- 
 ing the scale, either ascending_ or descend- 
 ing, when taken in the bass, with the prop- 
 er chords or harmony. 
 
 Rullando (rool-lan'do), „ 1 Rolling on the 
 
 Rullante (rool-lau't6), J drum or tam- 
 bourine. 
 
 Run. A rapid flight of notes introduced as 
 an embellishment ; a roulade. 
 
 Rundgedicht (roond'gfi-dikhf), g 1 Ron- 
 
 Rundgesang (roond'gfi-ziiug'), J dean, 
 
 roundelay, a convivial sung. 
 
 Running passages. Divisions ; series of notes 
 appropriated to a single syllable. 
 
 Russe {russ),i^r. Russian; A la Russe, in the 
 Russian style. 
 
 Russian bassoon. A deep-toned instrument 
 of the serpent species, .sometimes used in 
 military bands. 
 
 Rustico (roos'ti-ko). It. Rural, rustic. 
 
 Rutscher (root'shSr), Ger. The dance called 
 a galopade. 
 
 a arm , a (k/'Z, u a(f , $ end^ e eve, 1 ill, i isle, o old, Q odd, oo tnoo7i, ii but, u Fr. souTid, kh Ger. ch, uh nasal. 
 
 (W2) 
 
DICTIONARY OF JIUSlC. 
 
 SAK- 
 
 S. Abbreviation of Segno or Sinistra. 
 
 Saccade (sSk-kad'). Fr. A firm pressure of the 
 violin-bow against the strings, enablinj; the 
 player to produce two, three, or four notes 
 at one stroce. 
 
 Sackbut. An old bass wind instrument, re- 
 8embling a trombone. The sackbut of the 
 Bible was a stringed Instrument. 
 
 Sackpfeife (sak'pfi'fe), Qer. A bagpipe. See 
 Comamusa. 
 
 Sacred music. Music composed for public 
 religions worship or private devotion ; ora- 
 torios, psalmody, etc. 
 
 Saengerfest (sang'Sr-ffisf), Ger. A festival of 
 singers. 
 
 Saison (sa'sOnh), Fr. The musical season. 
 
 Saite (si'tS),Ger. A string of a musical instru- 
 ment. 
 
 Saiteninstrument (si't'n-in-stroo-mSnt'), Ocr. 
 A stringed instrument. 
 
 Saiteniklang (si't'n-klilng'), Oer. The sound, 
 or vibration, of a string. 
 
 Saitenspieler (si't'n-spe'lSr), Oer. Player on a 
 stringed instrument. 
 
 Saitenton (si't'n-ton'), Ger. The tone of a. 
 stringed instrument. 
 
 Saitig (si'tig), Ger. Stringed. 
 
 Salciohal (sal-sl-o-nal'), 1 An eight- or 
 
 Salicet (sil-li-sa'), Fr. J- sixteen - feet 
 
 Salicional (sa-le-si o-niil'), ) organ-stop of 
 small scale and stringy tone. 
 
 Salle de concert (sail dtih kOnh-sarl'), Fr. A 
 concert-room. 
 
 Salle de musique (sail dQh mii-zek'), Fr. A 
 music-ruom. 
 
 Salm (salmi, Ger. \ , _„i™ 
 
 Salmo (siil-mo). It. J ^ P^"'™" 
 
 Salonmusik(sa'16n-moo-zek'),Ger. Salon mu- 
 sic; music for the drawiug-room ; hence 
 music of a pleasing and not profound char- 
 acter. 
 
 Salpinx. The ancient Greek trumpet. 
 
 Saltando (sal-tiln'dd), It. Leaping, proceed- 
 ing by skips or jumps. 
 
 Saltarello (sal-ta-r6no), It. A Roman or Ital- 
 ian very quick dance, deriving its name 
 from the introduction of leaping skips, in 
 2-4, 6-8, or 6 4 measure. 
 
 Salteretto (sal-te-rfit'to). It. A musical figure 
 in 6-8 time, the first and fourth quavers be- 
 ing dotted; very usual in move- . , 
 ments alia Siciliana. v . 5 J 
 
 Saitero (sill-ta'ro). It. Psaltery, instrument 
 witli ten strings. 
 
 Salto (sal'to). It. A leap, or skip, from one 
 
 noie to a distant one; also a clauce. 
 Salve regina (Ral've ra-ge'na), I.at. " Hail, 
 
 Queen ; " a hymn to the Virgiii Mary. 
 Sanibuca(sam-boo'ka),/f. An nncientstriiippd 
 
 instrument used by the Greeks, the peculiar 
 
 structure of which is unknown. 
 
 Sammluns (sam'loong), Ger. A collection of 
 airs, etc. 
 
 Sampogna (sam-pon'ya). It. A species of pipe. 
 See Zampogna. 
 
 Sampunia. A pneumatic instrument used by 
 theaircient Hebrews, resembling the mod- 
 ern bagpipe. 
 
 Sanctus(sank'toos;,Xaf. "Holy;" the fourth 
 movement of the Mass. 
 
 Sanft (siinft), Oer. Soft, mild, smooth ; mit 
 HUiften Siimmen, with soft stops. 
 
 Sanftgedackt (sanft'ghS-dakt), Ger. A soft- 
 toned stopped pipe. 
 
 Sanftheit (sanft'hit), Ger. Softness, smooth- 
 ness, gentleness. 
 
 Sanftlg (sanf-tig), Ger. Soft, gentle. 
 
 Sanftmuth (sanft'moot), - 1 « 
 
 Sanftmiithigkeit (sanft'mii-tig-kit), j ^• 
 Suftuess, gentleness. 
 
 Sanftmiithig (sanft'mil- tig), Qer. Softly, 
 gently. 
 
 Sang (sang), Ger. .Song. 
 
 Sanger (sang'gr), Ger. A singer. 
 
 sangerbund (sang'6r-boond'), Oer. A league, 
 or brotherhood, of singers ; a convention of 
 singing societies. 
 
 Sangerverein (sang'Sr-f6r-rin'), Ger. Singers' 
 union. 
 
 Sans (sanh), Fr. Without. 
 
 Sans frappe (sanh f rap-pa'), Fr. Without 
 striking; play the notes without striking 
 them' hard or forcibly. 
 
 Sans pedales (sanh pa-dal), Fr. Without the 
 pedals. 
 
 Santur (san-toor), Tur. A Turkish stringed 
 instrument; tlie psaltery. 
 
 Saquebute (sak-bilt), Fr. The sackbut. 
 
 Saraband (saraband", Enij. ■) A dance snid 
 
 Sarabanda (sar-a-ban'da). It. \ tn be orig- 
 
 Sarabande(sar-a-baiid), />. f inal'y du- 
 
 Sarabande(sar-a-bau'd6), Ger. ) rived from 
 the Saracens, and danced with castanets; it 
 is in slow 3-4 or 3 2 time, and characterized 
 by the second note of the measure being 
 prolonged through the second and third 
 beats, which gives gravity and majesty to 
 the movement. 
 
 i ur m , a add, a ale, S end, e eve, i HI, I isle, 6 old, 6 odd, oo moon, it but, u Fr, sound, kh Ger. eft, nh nosoi. 
 13 (193) 
 
SAR 
 
 DICTIONARY OF MUSIC. 
 
 SCA 
 
 Sarrusophones (sar'roos-6-f6nes). A family of 
 reed brass instrumentB, with reed mouth- 
 pieces. They are made in eight sizes. 
 
 Sattel (sat't'l), Go-. The nut of the finger- 
 hoard of the violin, etc. 
 
 Satz (satz), Ga\ Musical passage, composi- 
 tion, theme. Aijplied to pieces of all dimen- 
 sions, from a single phrase to a complete 
 sonata or rondo movement. . A single piece. 
 
 Saut (so), Fr. See Satto. 
 
 Sautereau (s6-te-r6), Fr. The jack of the 
 spinet. 
 
 Sawtry. k term used in olden times for 
 psaltery. 
 
 Sax-horn. A brass Instrument introduced by 
 M. Sax, with a wide mouthpiece and three, 
 lour, or five cylinders, and much used in 
 military bands; the tone is round, pure, 
 and full. 
 
 Saxophones. A family of brass wind instru- 
 ments invented by M. Sax. The body of 
 these instruments is a parabolic cone of 
 brass, provided with a set of keys; iheir 
 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, (he 
 tenor, the baritone, and the bass ; they are 
 played with a single reed and a clarinet 
 mouthpiece. 
 
 Saxotromba. A brass instrument introduced 
 by M. Sax, 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 in.strument introduced by 
 M. Sax, with a wide mouthpiece and three 
 cylinders; the tone is very sonorous and 
 deep. 
 
 Sbaizo (sbal'tso). It. Skip, or leap, in melody. 
 
 Sbarra doppia (sbar'ra dop'pi-a). It. A double 
 bar. 
 
 Scagnello 'skan-yal'16), It. The bridge of the 
 Violin, etc. 
 
 Scala (ska'la), /(. A scale, or gamut. 
 
 Scala cromatica (ska'la 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 iustrument or a set of in- 
 struments. 
 
 Scale, chromatic. A scale proceeding by half- 
 steps, 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 .<!cale of the natural notes 
 formed of A, H, C, D, E, F, G, the B being 
 reserved to express Bi>. ' 
 
 Scale, Quido's. The syllables ut, re, mi, fa, 
 sol, la, used by Guido d'Arezzo, called also 
 the Aretinian scale ; the syllable si wa^ in- 
 troduced afterward. 
 
 Scale, minor diatonic. The scale of the minor 
 
 mode, having a minor third and sixth, the 
 
 other degi'ees being the same as in the major 
 
 of ithe 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, C#, D, E, F#, Gjt, A. 
 
 Three sharps. 
 Scale of A\> major. Ab, Bb, C, Db, El,, P, G, 
 
 At.. Four flats. 
 Scale of A minor. A, B, C, D, E, F, G#, A. 
 
 Natural. 
 Scale of Ab minor. A\,, Bb, Ob, Db, Bb, Fb, Gfl, 
 
 Ab. Seven flats. 
 Scale of B major. B, Of, D#, E, F#, G#, A#, B. 
 
 Five sharps. 
 Scale of B minor. B, C#, D, E, r#, 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, BJ, C. 
 
 Three flats. 
 Scale of C major. C, D, E, F, G, A, B, C. Nat- 
 ural. 
 Scale of CJt minor. C#, D#, E, FS, G#, A, BJf, 
 
 CS. Four sharps. 
 Scale of D major. D, E, F#, G, A, B, C#, D. 
 
 Two sharps. 
 Scale of D minor. D, E, P, G, A, Bb, C#, D. 
 
 Two sharps. 
 Scale of Db major. Db, Eb, F, Gb, Ab, Bb, C, 
 
 Db. Signature five flats. 
 Scale of Eb major. Eb, F, G, Ab, Bb, C, D, Eb. 
 
 Three flats. 
 Scale of Eb minor. Eb, F, Gb, Ab, Bb, Cb, Di], 
 
 Eb. Six flats. 
 Scale of E major. E, F#, G#, A, B, €#, DJt, E. 
 
 Pour sharps. 
 Scale of E minor. E, F#, G, A, B, C#, Dfl, E. 
 
 One sharp. 
 Scale of F major. P, G, A, Bb, C, D, E, F. One 
 
 flat. 
 
 Scale of F minor. P, G, Ab, Bb, C, Db, Eb, F. 
 
 For four flats. 
 
 Scale of F# majbr. P#, G#, A#, B, C#, »#, E, 
 
 F}t. Six sharps. 
 Scale of F# minor. F#, G#, A, B, e#, D, Eif, 
 
 FJt. Three sharps. 
 Scale of O major. G, A, B, C, B, E, F#, G. 
 
 One sharp. 
 
 S, ar^, a add, a ale, 6 end, e eve, I iJi, i isle, 5 old, 6 odd, oo moon, tl Imt, u Fr. sound, kh Ger. eft, nh :iasa(, 
 
 (194) 
 
SCA 
 
 DICTIONARY OF MUSIC. 
 
 SCH 
 
 Scale of G minor. G^ A, BJ,, C, D, El,, F«, G. 
 Two flats. 
 
 Scale of a# minor. G#, Aft, B, C#, D#, E, 
 FX, G. 
 
 Scemando (sh6-man'd6), It. Diminishing, de- 
 creasing in force. 
 
 Scena (sha'nii), It. A scene, or portion, of an 
 opera or play. 
 
 Scenario (sli6-na'ri-6), It. Actor's guide- 
 book ; a programme ; scenes, decorations. 
 
 Scene. Part of an act, portion of an cpera ; 
 an act generally comprises several scenes. 
 
 Scenic music. Music adapted to dramatic 
 performances. 
 
 Scliaferlied (sha'fgr-led), Ger. Pastoral song, 
 sheplierd's song. 
 
 Scliaferpfeife (slia'tSr-pfi'fg), Ger. Sliepherd's 
 pipe. 
 
 Scliafertanze (sha/f6r-ta,n'ts8), Ger. pi. Shep- 
 herd dances. 
 
 Sctialkhaft (sballi'hafl),Ger. Playful, roguish. 
 
 Schall (shall), Ger. Sound. 
 
 Schallbecl(en (shall-b6k'lien), Ger. Cymbal. 
 
 Scliallloch (shaU'lokh), Ger. Sound-hole. 
 
 Scliallrohr (shaU'ror), Ger. Speaking-trum- 
 pet. 
 
 Schallstiiclc (.«hall'stuk), Ger. The bell of a 
 trumpet, bugle, horn, etc. 
 
 Schalltrichter (shall'trlkh-t6r), Ger. The bell 
 of wind instruments. 
 
 Sctialmay (shall-ml'), „ \ A shawm ; also 
 
 Schalmei (shall-ml'), ' fanS-feet reed or- 
 gnu-stop ; the tone resembles that of the 
 Cremona, or clarinet. 
 
 Scharf (sharf), Ger. Sharp, acute ; a shrill 
 mixture stop, of several ranks of pipes. 
 
 Schauspiel (shou'spel),(?er. Drama, dramatic 
 piece. 
 
 Schauspieler (shou-spe'16r), Ger. Actor, 
 player. 
 
 Sclielle (shei'lg), Ger. A bell ; a jingle. 
 
 Schellenbaum (sh61'lSn-bowm),Ger. "Jingle- 
 tree." The high stand of bells sometimes 
 used in orchestral and band music for ori- 
 ental coloring. 
 
 Scherz (sharts), Ger. \ Play, sport, jest. A 
 
 Qcherzo (skfir'tso), II. J name given to a 
 great variety of instrumenlal 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 towards the end of 
 the last century, and soon after also into 
 the symphony and other kindred forms, 
 where it frequently takes the place of the 
 minuet. Its form in the sonata, etc., was at 
 first that of the minuet (a firsfrdivision of 
 two parts ; a second division, or trio, of two 
 parts, and a repetition of the ijrst 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 fantastically con- 
 structed. Triple measure is oftenest to be 
 met with, more especially 3-4 measure, but 
 also 2-4 time occurs. 
 Scherzando (sker-leau'do). It. \ Playful, 
 Scherzante (sk6r-tsan't6). It. I lively, 
 Sciierzevole (skar-tsa'vo-16). It. j sportive, 
 Scherzhaft (shartshaft), Ger. ) merry. 
 ScherzOso (skfir-tso'so. It. Merry, playful, 
 
 jocose. 
 Scherzozamente {skSr-tso-sa-mSn't6), It. Mer- 
 rily, playfully, sportively. 
 Scliiettamente (ske-St-ta-m€n'tS), It. Simply, 
 
 unadorned. 
 Schietto (ske-6t'to), /(. Simple, plain, neat. 
 
 Schlsma (skisma), Gr, A very minute diflbr- 
 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. 
 
 Schlachtgesane (shlakhf ghS - sang), 1 /v„ 
 
 Sdilachtlied (shlakht'led), / ^^■ 
 
 War song, battle-song. 
 
 Sclilag (shlfig),eer. Stroke, blow; a beat, as 
 regards time. 
 
 Sclitagen (shlagh'n), Ger. Tp strike, to beat; 
 to warble or trill. 
 
 Schlagfeder (shlagh'fa-d'r), Ger. A plectrum. 
 
 Schlaginstrumente (shlaghln-stroo-mSn'tS), 
 Ger. pi. Instruments of percussion. Form- 
 erly key-board instruments also, 
 
 Sclilecht (shiekht), Ger. Faulty. 
 
 Schlechtertacttlieile (shl6kh-t6r-takt'thi-lS), 
 Ger. The unaccented parts of the measure. 
 
 ScHleifbogen (shllf'bo'gh'n), Ger. A slur. 
 
 Schleifen (shli'f'n), Ger. To slide, to glide. 
 
 Schleifer (shli'fSr), Ger. Slurred note, gliding 
 note. 
 
 Schleifezeiclien (shli'fg-tfl'Ikh'n), Ger. A slur, 
 a mark of the legato style. 
 
 Sciileppend (shlSp'pSnd), Ger. Dragging, 
 drawling. 
 
 Schluss (shlooss), Ger. The end, conclusion. 
 
 Schliissel (shlus's'l), Ger. A clef. 
 
 Sclilussfall (shlooss'fSIl), Ger. A cadence. 
 
 Schlusssatz (shlooss'sat8),Ger. A closing pas- 
 sage. 
 
 Sciilusszeichen (shlooss- tsi'kh'n), Ger. A 
 pause. 
 
 Schmeicheind (shml-khSlnd), Ger. Coaxiug- 
 ly, caressingly. 
 
 Schmerz (shmarts), Ger. Grief, sorrow. 
 
 Schmerzhaft (shmarts'hilft), Ger. Dolorous, 
 sorrowful. 
 
 Sclmabel (shna'b'l), Ger. A beak ; a mouth- 
 piece, as of the clarinet. 
 
 a. arm, & add, a ole, 6 end, e eve, iiU,i isle, 6 old, 6 odd, oo iruion,ii but, <i Fr. soutid, kh Ger. ch, nh nascU. 
 
 (195) 
 
SCH 
 
 DICTIONAEY OF MUSIC. 
 
 SCO 
 
 SchnabelflSte (shna'b'l-flo'tS), Qer. A beak- 
 fiute, i.e., flageolet. 
 
 Schnarrpfeifen (shnarr'pn-f'n), ^„ IReed- 
 Schnarrwerk (shnarr'wark), ''"•J pipes, 
 ref dwork, or stops, in an organ. 
 
 Schnecke (shnSk'kS) , Ger. A snail ; the scroll 
 
 at tho top of a violin. 
 Schnell (shnfiU). Ocr. Quickly, rapidly ; etwas 
 
 bewegter achnell, a little quicker. 
 Schnelle (shiiei'lS), Ger. ^,_ 1 Quicknes.-!, 
 
 Schnelligkeit (shufil'lig-kit), "^- j swiitness, 
 
 rapidity. 
 Schneller (sh-nel'Mr), Ger. Quicker, faster. 
 ' AlbO a quick and short trill. 
 
 Schnellwalzer (shngll' wal'tser), Ger. Quick 
 
 waltzes. 
 Schollrohr (shoU'ror), Ger. Trumpets, bugles, 
 
 brass wind instruments. 
 
 Schottisch (shot'tish), Gfr. A modern dance, 
 rather slow, in 2-4 time. 
 
 SchrageBewegung(schra'gh6ba-wa'ghoong), 
 
 Ger. Oblique motion. 
 Schreibart (shrib'art), Ger. Style, manner of 
 
 composing. 
 Schrelber (shrl'bSr), Ger. A music-copyist. 
 
 Schrelend (shri'find), Ger. Acute, shrill, 
 screaming. 
 
 Schreiwerk (shri'wark), Ger. Shrill work; 
 acute or mixture stops. 
 
 Schrittmassig (shril'mas'slg),ffCT-. Slow time, 
 andante. 
 
 Schuiftromppet (shwIf'tr6m-pfit),D!i(. A sack- 
 but. 
 
 Schule (shoo'16), Grr. 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'ghfi-rSkht'), 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 (shool't'r-gbl'ghg), Ger. Shoul- - 
 der Tloliu, as distinguished from " nee 
 Tiol," 'cello. 
 
 Schusterfleck (shoos'tfir-flSk'), Ger. See Ro- 
 salia. 
 
 Schwach (shwakh), Ger. Piano, soft, weak. 
 
 Schwacher (shwa'khSr), Ger. Fainter, softer, 
 
 more piauo. 
 Schwache Stimme (shwakh'6 stirn'mfi), Ger. 
 
 A weak voice. 
 Schwarmer ('chwar'm'r), Ger. A passage in 
 
 which each pair of tones are several times 
 
 repeated. 
 Schwebung (shw6-boong), Ger. Waving ; a 
 
 lighter species of tremulant, for the more 
 
 delicate stops, such as the vox humaua, etc. 
 
 Schweige (shwi'ghe), Ger. A rest. 
 
 SchwetzerflSte (shwi'tsfir-flotS), 1 « 
 
 Schweizerpleife (shwI-tsgr-pfi'fS), J '''^■ 
 Swiss flute, or pipe. 
 
 Schwellen (shwSl'l'n), Ger. To swell, to In- 
 crea-e in loudness. 
 
 Schwer (shwar), Ger. Heavily, ponderously. 
 
 Schwermlithig (shwar-mil'tig),6er. In a pen- 
 sive, luulaneholy style. 
 
 Schwit-gel (shwe'g'I), Ger. An organ-stop of 
 the flute species, of metal, pointed at the 
 lop. 
 
 Schwindend (shwin'd'nd), Ger. Dying away. 
 
 Schwingung (shwSng'oong), Ger. Vibration 
 of a siriiig, etc. 
 
 Scialumo (."je-a-iu'mo), Fr. A word employed 
 In clariouet music, signifying that the notes 
 are to be played an LCtave lower than writ- 
 ten. 
 
 Scioltamente (she-dl-ta-m£n'te), It. With free- 
 dom, aigility ; easily, the notes being rather 
 detached than legato. 
 
 Scioltezza (she-ol-tSt'sa), It. Freedom, ease, 
 lightness. 
 
 Sciolto (sh6-61'to). It. Free, light. See SdoU 
 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 diftferently, 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 the name " score ") in such 
 a way as to present the whole detail to the 
 eye at once. A piano score of a vocal work 
 contains all the voice parts, ( ach on its own 
 staff, and the pianoforte accompaniment. 
 The copy of an opera for piano solo is not a 
 score, but an arrangement, tince the vocal 
 parts are notshown. 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 flrst a piano score, indicating 
 the leading instruments for each motive as 
 it occurs. From this the full score is after- 
 wards developed, and in carrying out the 
 instruments complete much detail is often 
 added, leading later to a new 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 '* s^ore " of a trio, quar- 
 tette, or even a composition for two pianos, 
 whenever the copy contains all the parts, is 
 correct. 
 
 Scorrendo (skor-rgn'do), 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. 
 
 aarm,^add,a,ale,&end,eeve,iiU,l isle, 6 old, 6 odd, oomoon,1ibut,u Fr. sound, kh Ger. cli.nh iiasal. 
 
 (196) 
 
SCO 
 
 DICTIONARY OF MUSIC. 
 
 SEG 
 
 Scotch snap. A pconliarity in Scotch tunes, 
 and those written in imitation of the Scotch 
 character. It is the lengthening of the time 
 of a second note at the expense of the one 
 before it, placing a semiquaver before a 
 dotted quaver. It gives emphasis and spirit 
 to dance tunes, and, when well applied, has 
 a lively effect. 
 
 Scozzese (skSt-sa'zS), 71!. In the Scotch style. 
 
 Scuola (skoo-o'la). It. A school ; a course of 
 study. 
 
 Sdegnante (sdan-yan't6), /(. Angry, passion- 
 ate. 
 
 Sdegno (sdan'yo), It. Anger, wrath, passion. 
 
 Sdegnosamente (sdan-yo-za meu't£),i2. Scorn- 
 fully, disdainfully. 
 
 Sdrucciolamento (sdroot-tshlolar > 
 mSn'to). }■ /(. 
 
 Sdrucciolato (sdroot-tshi-o-la'to), } 
 Sliding the fingers along the strings or the 
 keys of an instrument. 
 
 Se (sa). It. If, in case, provided, as, so, etc. 
 
 Se bisogna (sa be-son'ya). It. If necessary, if 
 
 required. 
 Sec (sSk), Fr. 1 Dry, unornamented, cold- 
 Secco (sSk'kS), It. j ly ; the note, or chord,to 
 
 be struck plainly, without ornament or 
 
 arpeggio. 
 Seccarara (s£k - kii- la' ra). It. A Neapolitan 
 
 dance. 
 Secfas (sekh,s), Oer. Six. 
 Sechsachteltakt (sekhs-akh't'1-tS.kt), Ger. 
 
 Measure in 6-8 time. 
 Sechssaltig (sSkhs - si'tig), Ger. Instrument 
 
 with six strings. 
 Sechstel (sSkhs'tSl), Ger. A sixth. 
 Sechstheills (sSkbs-ti'lig), Ger. In sis parte. 
 
 Sechzehnfiissig (sSkh'tsan-fiis'sig, Ger. Six- 
 teen feet, applied to organ-pipes, or pitch, 
 a IG-feet tone being an octave below the 
 normal pitch. 
 
 Sechzehnte (sSkh'tsan-tS), Oct. Sixteenth. 
 
 Secbzehntel (sSkh'tsau-tei), Ger.- Semiquaver. 
 
 Sechzehntelpause (sekh-tsau'-tSl-pou'zS), Ger. 
 A semiquaver rest. 
 
 Second. The interval between any tone of 
 the scale and the next above, or below. It 
 derives its name from the 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- 
 mented second to three half-steps, being 
 equal to a minor third, from which, how- 
 ever, it easily distinguishes itself by the 
 manner in which it is used. 
 
 Seconda (sa-kon'da), It. Second, a second. 
 
 Seconda donna (ea-kou'dti dou'na). It. Second 
 female singer. 
 
 Seconda volta (sa-kon'da v61'ta). It. The sec- 
 ond time. 
 
 Seconda volta molto crescendo (s6-k6n'da 
 voi'ia mol'to krg-shSn'do), /(. Much louder 
 the second time. 
 
 Seconde (sa-k6nhd), Fr. Second. 
 
 Seconde fols (sa-k6nhd fwa), Fr. Seconil 
 time. 
 
 Secondo (sa-kon'do), /<. Second, a second. 
 
 Second soprano. The low soprano. 
 
 Second subject. The counter subject of a 
 fugue when it remains unchanged in ail 
 the parts. 
 
 Second tenor. Low tenor. 
 
 Second treble. Low treble. 
 
 Sectio canonis (sSk-tsi'o ka-no'nis), Lnt. 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 200 A. D.) 
 upon a monochord. See "Hawkins' History 
 of Mu>ic." 
 
 Section. A musical form consisting of two 
 phrases, tbe 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 (.se-koon'd€), Ger. Second. ' 
 
 Secundum artem (se-koon'do6m ^r'tSm), Lot. 
 According to art or professional rule ; with 
 skill and accuracy. 
 
 Sedesima (sa- da' si- ma). It. Sixteenth. Ap' 
 plied to intervals, and to an organ-stop. 
 
 Seelenamt (sa'l'n-amt), ^ 1 Kequiem, 
 
 Seelenmesse (saTn-mfis'sfi), j or mass for 
 departed souls. 
 
 Seer. The ancient name for a bard or rhap- 
 sodist. 
 
 Segno (san'yo). It. A sign, .g: ; al segno, return 
 to the sign ; dal segno, repeat from the sign. 
 
 Segue (sa'gw6), „ 1 Follows, now fol- 
 
 Seguito (sa-gwe'to), | lows, as follows; it 
 also means, go on; in a similar, or like, 
 inanuer, showing that a passage is to be 
 played like that which precedes it. 
 
 Segue coro (sa-gw« ko'ro), „ 1 The 
 
 Segue 11 coro (sa-gwS el ko'ro), ' J chorus 
 follows, go on to the uhorus. 
 
 Segue il duetto (sa-gwS el doo-8t't6). It. The 
 duet follows. 
 
 Segue il menuetto (sa-gw8 el me-noo-£t't5), 
 It. The minuet follows. 
 
 Segue la flnale (sa-gwS Ui fS-nS.'ie), It. The 
 finale now follows. 
 
 fi arm, ft odd, a ate, « etui, e ev«, I iK, I isM o^i<i <><^> 00 ™°<>'>i ^ ^> >i -'^■'''""''i ^t' ^^- <!'^> ^^ ™i>^- 
 
 (197) 
 
SEG 
 
 DICTIONARY OF MUSIC. 
 
 SEN 
 
 Seguendo (sS-gwSn'do), „ 
 Seguente (sS-gw6ii'te), "■ 
 
 Following, next. 
 
 Seguenza (sa-gwSn'tsa), It. A sequence. 
 
 Segue senza Interruzione (sS-gw6 sgn'tsa en'- 
 tSr-roo-tf,l-6'u6), It. Go on without stopping. 
 
 Segue subito senza cambiare il tempo (sa- 
 gw6 S"0'bi-t6 fc^n'tsa kam-bi-a'rfi), It. Pro- 
 ceed directly, and without changing the 
 lime. 
 
 Seguidilla (sa-gwe-del'ya), Bp. A favorite 
 hpanibh dance in 3-4 time. 
 
 Seguito (se-gwe'to), It. Followed, imitated. 
 
 Sehnsucht (san'sookht), ffer. Desire,Ionging ; 
 
 ardor, fervor. 
 Sehnsiichtig (san'siikh-tig), Ger. Longingly, 
 Sehr (sar), Qer. Very, much, extremely. 
 
 Sehr lebhaft (sar ISb'haft), Qer. Very lively; 
 
 extremely animated and vivacious. 
 Sei (sal). It. Six. 
 
 Seitenbewegung(si't'n-b6-wf'goong),G'er. Ob- 
 lique motion. 
 
 Seitensatz (sl^fn-satz), Oer. Sidepiece. An 
 episode, or second subject, in an' overture, 
 sonata, or symphony. 
 
 Sekunde (sS-koon'dS), Oer. Second. 
 
 Selah (sa-la), Heh. 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. 
 
 Semibescroma, It. A sixty-fourth note. 
 
 Semibreve (sfiml-hrev), Eng. 1 
 
 Semibreve (sSm-i-bra'v61, It. V 
 
 Semibrevis (sSm-i-bra'vis), Lai. j 
 
 Half a breve ; the longest note now rj 
 in general use. r::!:^ 
 
 Semibreve rest. A rest equal in dura- — ^ — 
 tion to a semibreve. ^^— - 
 
 Semlchorus. A chorus to be sung by half or 
 
 only a few of the voices. 
 Semicroma ^sSm-i-kro'ma), It. A semiquaver. 
 
 Semidemlsemiquaver. A half demisemi- m 
 quaver ; sixty-tour of them being equal g 
 to a semibreve. p5 
 
 Semidemisemiquaver rest. A rest equal in i 
 duration to a semidemisemiquaver. % 
 
 Semi-fnsa (sSm-i-foo'sa), Lat. A semiquaver. 
 
 Seminar (sSm'I-nart, Qer. A school for teach- 
 ers. 
 
 Semiographie (s6m'i-6-gra'fe), „ \ The art 
 
 Semieographie (s6m'i-o-gra'fe), J of nota- 
 tion, or writing music in notes. 
 
 Semipausa (sS'ml-pow-za), IM. A half-rest. 
 
 Semiquaver. A note equal to half a ff 
 
 quaver ; a sixteenth note. P 
 
 Semiquaver rest. A rest equal in dura- a 
 
 tion to a semiquaver. " 
 
 A half- 
 tone. 
 
 Semitone (s6m1-ton), Eiig. \ 
 
 Semitonium (se'ml-to'ni-oom), Lat. j 
 
 Improperly used for half step. 
 Semitonium modi (sfi- ml- to' ni- oom mo'dl), 
 
 Lat. The leading note, or major seventh. 
 Semituono (s8-mi-too-0'n6), It. A semitone. 
 Semplice (sgm'pli- tshfi). It. Simple, pure, 
 
 plain. , 
 
 Semplicemente ( B6m-pli- tshfi-mgn'tS), It. 
 Simply, plainly, without ornament. 
 
 SempIicissimo(s6m-plI-tshes's!-m6), It. With 
 the utmost simplicity. 
 
 Semplicita (s8m-ple'tshl-ta), It. Simplicity, 
 plainness. 
 
 Sempre (sSm'prS), It. Always, evermore, con- 
 tinually. 
 
 Sempre forte (sSm'prfi for'tg). It. Always 
 loud. 
 
 Sempre legato (sSm'pre lS-ga't5), It. Alwavs 
 smooth. 
 
 Sempre piano (sSm'prS pe-a'no), II. 
 soft. 
 
 Always 
 
 Sempre piu affrettando il tempd (sSm'pre 
 pe'oo ai-fr6t-ta,n'd6 el tSm'pO), It. Contin- 
 ually increasing the time. 
 
 Sempre piu forte (sSm'prS pe'oo for'tfi), /(. 
 Continually increasing in power. 
 
 Sempre piu presto (sSm'prS pe'oo prSs'to), It. 
 Continually quicker. 
 
 Sempre ritardando (sSm'prS re-tar-dan'do), It. 
 Always slower ; slower and slower. 
 
 Sempre staccato (sSm'prfistak-ka'to), /(. Al- 
 ways detached ; staccato throughout. 
 
 Sensibile (sfin-se'bMS), It. Sensible, expres. 
 sive, with feeling. 
 
 Sensibiiita (sgn-si-bell-ta), II. Sensibility, 
 expression, feeling. 
 
 Sensibilmente (s8n-si-bll-m8n't6). It. Sensi 
 bly, expressively, in a feeling manner. 
 
 Sensible (san-sebl'), Fr. The leading note, oi- 
 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 (sSn-ti-mSn'to), It. Feeling, sen- 
 timent, delicate expression. 
 
 Senza (s6n' tsa). It. Without. 
 
 Senza accompagnamento (°8n-tsaak-kom-pan- 
 
 ya-m6n't6). It. Without accompaniment. 
 Senza battuta (s8n'tBa bat-too' ta). It. At the 
 
 pleasure of the performer, as regards the 
 
 beat or time. 
 Senza f iori (s6n-tsa f6-o'ri) , 
 Senza ornamenti (s8n-tsa dr-na-m8n't8). 
 
 Without ornaments, without emb 
 
 ments. 
 Senza interruzibne (s8n-tsaIn-tSr-roo-tsi-o'n8), 
 
 It. Without interruption. 
 
 Senza oboe (sSn'tsa o'bo-a), It. Without the 
 hautboy. 
 
 nbellish' 
 
 a arm, & add, a aU, S end, eei]e,\iU,Hsle,6 old, odd, oo moon, tl but, ii Fr.iound, kh Ger. (A, nh nasal 
 
 (198) 
 
SEN 
 
 DICTIONARY OF MUSIC. 
 
 SEV 
 
 > 
 
 Senza organo (sSn'tsa 6r-ga'no), It. Without 
 
 the organ. 
 Senza pedale (aSn'tsa p6-(Ja'lS), It. Without 
 
 the pedals. 
 Senza pianb (sta'tsa, pe-a'u6), It. Without the 
 
 piano. 
 Senza repetizione (s6n'tsa ra-pS-te-tsI-6' 
 
 u«), 
 Senza replica (sSn'tsii ra'pli-ka), 
 
 Without repetition. 
 Senza rigore (sfin'tsa re-go'rS), It. Without 
 
 regard to exact time. 
 
 Senza sordini (sSn'tsa sor-de'nl), It. pi With- 
 out the dampers, in pianoforte-playing, 
 meaning that the dampers are to be raised 
 from the strings. 
 
 ^enza sordino (sgn'tsa sor-de'no), It. With- 
 out the mute, in violin-playing, etc. 
 
 Senza stromenti (sSn'tsa stro-mSn'tl), It. pi. 
 Without instruments. 
 
 Senza tempo (sfin'tsa tfim'po). It. Without re- 
 gard to the time ; in no definite time. 
 
 Se place (sa pe-ii'tshS), It. At will, at pleasure. 
 
 Septet (s6p-t8tO. .Eray. 1 A composition for 
 Septetto (s6p-tSt' to), iil.j seven voices or in- 
 struments. 
 Septieme (s8t-i-am'), Fr. \ The interval of a 
 Septime (s6p-te'mS),'fier. /seventh. 
 
 Septimenaccord (sSp-ti-m6n-akTkord),G'er. The 
 chord of the seventh, comprising the root, 
 the third, fifth, and seventh. 
 Septimole Cs6^K-m6'16), t- , ) A group of 
 Septiole (sSp'ti-6'lS), ' J seven notes, 
 
 having the value and to be played in the 
 time of four of the same species. 
 Septole (sSp-tolfi), Lat. A group of seven 
 
 notes in the time of six or eight. 
 Septnor (e8p-too-6r), Fr. A composition for 
 
 seven voices or instruments. 
 Septuple! (s6p-too-pl6t). A group of seven 
 equal notes in the time of six or eight of 
 the sauLe name. 
 Sequence (se-kw6ns), Dug. ) A series, or pro- 
 Sequence (sa-kanhss), Fr. I gressiou, of slmi- 
 Sequenz (sS-kwSnts'), Ger. f lar chords, or In- 
 Sequenza (se-kwSu'tsa), It. ] tervals,in succes- 
 sion. 
 Seraphine (s£r'i-fen). A species of harmo- 
 nium. 
 Seren&de (sa-rS-nad'). Fr. 1 Night music ; an 
 Serenata (sa-re-na'ta), It. j 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 
 nny light, pleasing instrumental composi- 
 tion comprising several movements. 
 Serene (sg-ra'no). It. Serene, calm, tranquil, 
 
 clieerful. 
 Seria (sa'ri-a), „ 1 Serious, grave ; in a 
 
 Serioso(s6-rl-6'z6), /serious, sedate style. 
 
 Serieusement (sa-ri-tls-manh), Fr. 
 gravely. 
 
 Seriously, 
 
 Serinette (sSr-i-u6t), Fr. A bird organ. 
 
 Seringhi (s8-rSn'ghe), Bin. A Hindoo in- 
 strument of the violin class. 
 
 Serio (sa'rI-6), It. Serious, grave. 
 
 Serio-comic. A song combining the grave 
 with the ludicrous or humorous. 
 
 Serpent (sSr-pSnt), Eng. ) A bass wind 
 
 Serpente {sSr-pSn't6), It. > instrument, 
 
 Serpentono (ser-pSn-to'no), It.) of deep, coarse 
 tone, resembling a serpent in form. It is 
 chiefly used in military bands, though 
 nearly superseded by the ophiolelde; 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. 
 
 Service-book. A missal ; a book containing 
 the musical service of the church. 
 
 Service, choral. The Anglican service in- 
 toned, instead of spoken. 
 
 Sesqui (sfis'kwi), Lat. A Latin particle, signi- 
 fyiug a whole and a half, and which, when 
 joined with altera, tersa, Quarto, etc., expres- 
 ses a kind of ratio. 
 
 Sesquialtera(seii'kwi-al't€-ra),£ai. 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 (s6s'ta), „ 1 The Interval of a sixth. 
 Sesto (sSs'to), ■"• /See, also, Sexte. 
 Sestet (sSs-tfif), Eng. \ A composition for 
 Sestetto (s€s-t6t't6). It. j sis. voices or Instru- 
 ments. 
 Sestina (sSs-te'na), „ \ . „„„»„,„ 
 Sestola (sSs-to'la), ■'^'- [Asextole. 
 
 Sette {s6t't6). It. Seven. 
 
 Settima (s8t'ti-ma), „ \ The Interval of a 
 
 Settimo (s#t'tl-m6), /seventh. 
 
 Settima maggiore (s6t'li-ma mad-ji-o'rg), It. 
 Major seventh. 
 
 Settima minore (s6t'ti-ma me-no'rg). It. Mi- 
 nor seventh. 
 
 Settimola (sSt-tl-mo'lS), II. A septimole. 
 
 Set to music. An expression applied to any 
 language to which musin is adapted. Such 
 a composition is said to be set to music. 
 
 Setzart (sets'art), Ocr. Style, cr manner, of 
 composition. 
 
 Setzkunst (sfitsTtoonst), Qer. The art of mu- 
 sical Composition.' 
 
 Sevens and eights metre. A metre consist- 
 ing of a stanza of eieht lines, iu trochaic 
 mtasure, and deslguutcd ihus, 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. 
 
 a arm, A add, a, ale. Send, e eve, iiU,l isle, 6 old, 6 odd, oo moon, tl &uf, ii Fr. sound, kh Ger. ch. nh naxal. 
 
 ,(199) 
 
SEV 
 
 DICTIONAEY OF MUSIC. 
 
 SHO 
 
 Sevens, eights, and sevens meter. A meter 
 designated thus, 7s, 8s, and 7s. cousisting 
 of a stanza of eight lines in iambic measure, 
 with number of syllables corresponding to 
 the designation. 
 
 Seven? metre. A stanza of four lines in tro- 
 chaic measure, each line containing seven 
 syllables. 
 
 Sevens, sixes, and eights metre. A metre 
 designated Ihus, 7s, 6s, and 8s, consisting of 
 eight lines in trochaic and iambic measure. 
 
 Seventh. An interval between any tone of 
 the teale 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 ml- 
 nor.equalto ten half-steps,ocours 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 (s8-vfir-a-m8n't6). It Severely, 
 strictly, rigorously. 
 
 Se verita (sS-vfi-ri-ta') ,'Il. Severity, strictness. 
 
 Sexta (sSx'ta), Lat. Sixth. 
 
 Sexte (sSx'tS), Ger. A sixth ; also the name 
 of an organ-stop with two ranks of pipes, 
 sounding the interval of a major 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. 
 
 See Sestetto. 
 
 A sextet. 
 Lat. 
 
 J A group of six 
 notes, having 
 
 Sextetto. 
 
 Sextuor (s6x'tw6r), Fr. 
 
 Sextole {s6x'to-l«), 
 
 Sextupiet (sSx'too-pl6t), , - ., 
 
 the value, and to be played in the time, of 
 four. 
 
 Sextuple measure. The name formerly given 
 to measures of two parts, 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 (stor'za). It. Forced, with force and 
 
 energy. 
 Sforzando (sfor-tsan'do), „ 1 Forced ; one 
 Sforzato (sJor-tsa'to), ' J particular 
 
 chord, or note, is to be played with force 
 
 and emphasis. 
 Sforzare la voce (sf6r-tsa'r6 la vo'tshS), It. To 
 
 overstrain the voice. 
 
 Sforzatamente (sfor- tsa- ta- m6n' tS), It. Im- 
 petuously, energetically. 
 
 Sfuggito (sfoodje'to), Jt. Avoided, shunned, 
 rambling. See Cadenza sfuggita. 
 
 Sealllnacciare (sgal-lI-na-tshi-a'rS), J(. To 
 crow ; a bad method of singing. 
 
 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 ' 
 step. 
 Plain shake, or trill. 
 
 Shake, double. Two simultaneous shakes on 
 notes which are 
 either sixths or i 
 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. 
 
 
 Shake, prepared. A shake i f . _ ■ — '"' — 
 preceded by two or more ff rrnr ji^ 
 introductory notes. ^rrn '=-i— 
 
 Sharp. A character ( if ) indicating an eleva- 
 tion of a half-step. Applied to a staff de- 
 gree. Sharps are either in signature or ac- 
 cidental. Accidental sharps affeet 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. 
 
 Sheminlth (shfim-I-nlth), Md). 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 
 f arth er down the fingerboard until the very 
 high notes are reached. 
 
 Shiginoth (she'ghi-noth), Heb. According 
 to variable tuu^. 
 
 Shofar (sho' far), Heb. A trumpet, or bent 
 horn, 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 EmbeUishments in introduction. 
 
 Short hallelujah metre. A stanza of six 
 lines in iambic measure. 
 
 a ann, i add, a ale, 6 end, e eve, iill,! isle, 6 old, 6 odd, oo 7m>on, H but, ii Fr. eotmd, kh Oer. cA, nh tmsal, 
 
 (200) 
 
kHO 
 
 DICTIONARY OF MUSIC. 
 
 SIN 
 
 Short metre. A stanza of four lines in iam- 
 bic measure. 
 
 Short mordent. A mordent consisting o' 
 two notes, viz.: tliat having the sign over it, 
 and (hat below or above it, before the prin- 
 cipal note. 
 
 Short octaves. A term applied to the lovrer 
 notes iu old urgauis, where some of the notes 
 were omitted. 
 
 Short particular metre. A stanza of six lines 
 iu 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 
 scale of soprano voices and treble instru- 
 ments. 
 
 St (se), Fr. Applied in solfaing to the note B. 
 
 SI bemol (se ba-m61\ Fr. \ mv,„ „n)o ri. 
 Si bemolle (se ba-moh«). It. \ ^^^ ""*« ^^■ 
 
 Si temol majeur (se ba - mol ma - zhtir), Fr. 
 Tlie key of Bb major. 
 
 Si bumol mineur (seba-mol me-nftr), Fr. 
 The liey of Bl> minor. 
 
 Sibilus (se'bi-IooK), Lai. A little fiute, or flag- 
 euiel, used to teach birds to sing. 
 
 Siciliana (se-tshe-li-a'na), „ 1 A dance of 
 
 Sicliiano (se-tshe-li-a'no), / 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 iu 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 
 iu the overture to *' La Gazza Laddra." 
 
 SI diese (se di-az), Fr. The note Bif. 
 
 Sieben (se'b'n), Ger. Seven. 
 
 Siebenklang (se'b'n-klang'), ffer. Heptachord, 
 a scale of seven notes. 
 
 Slebente (se'bSn-te), Ger. Seventh. 
 
 Siebenzehnte (se'b'n-tsfin-tfi), Ger. Seven- 
 teenth. 
 
 SiegesgesanK (se'gh8s-ghe-sang'), > „. 
 
 Siegeslied (se-ghes-led'), J "^'^■ 
 
 A triumphal song. 
 
 Siegesmarsch (se'ghSs-marsh'), Ger. A tri- 
 umphal march. 
 
 Siffflote (siff'flo'te). Oer. 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. 1 Namegiven to 
 
 Signature. | the sharps or 
 
 nais placed at the beginning of a piece, and 
 at the commencement of each staff, to indi- 
 cate the key In which it is written. Thesig- 
 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. 'Ihe sharps or 
 flats of the signature affect not o.ily i he lines 
 and spaces upon which they are placed, Imt 
 all octaves above or below upon iLe same 
 staff. 
 
 Signature, time. Figures, in the form of a 
 fraction, placed at the beginning of a piece 
 to indicate the time. The upper of tlie two 
 figures tells the number of pulses in a me«.s- 
 ure, and the lower the kind of m.te which 
 represents one pulse, and accordingly is 
 taken for the time unit of the pie<e, all 
 other notes being valued in relation to it. 
 
 Signe (sen), Fr. The sign .g:. Sec Segno. 
 
 Signes accidentels (sen ilk-si-danh't'l), Fr. 
 Accidental sharps, flats, or naturals. 
 
 Signes de silences (sen dS sl-lanhs'),i^r. Bests. 
 
 Signs of abbreviation. Strokes, waving lines, 
 (lots, and figures, employed to denote a rep- 
 etition of notes, continuation of rests, etc. 
 
 SIguidilla (se-gwe-del'ja), Sp. See Seguidilla. 
 
 Silence (se-lanhs), Fr. \ . „.f 
 
 Silenzlo (se-16n'tsI-6), /(. / ■*■ ^*"^- 
 
 SI leva 11 sordino (se la'vil el s6r-de'n6). It. 
 Take off the mute. 
 
 Si levano 1 sordino (se le-va'no e eOr-de'no), It. 
 Kaise the dampers. 
 
 Silver trumpet, ^he 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 mit-zhtlr), Fr. The key of E ma- 
 jor. 
 
 Simile (se'mI-16), It. Similarly ; in like man- 
 ner. 
 
 SI mineur (se mi-nilr'), Fr. The key of B mi- 
 nor. 
 
 SI minore (se mi-no're). It. B minor. 
 
 Simplified. Rendered free from difficult pas- 
 
 Sin', I(. As far as. SeeSijiO. 
 
 Sin' al fine (sen al fe'nS), It. To the cud, as 
 
 far as the end. 
 Sin* al segno (sin iil san'yo). It. As far as the 
 
 sign. 
 
 SI naturrel (se niit-oo-rei), Fr. B. 
 
 Sincopa (sin'ko-pii), „ 1 g f.„„conato 
 Sincope (siu'ko p6), •"• J '"^" ' '.'"^i"'"'- 
 
 Sinfonia (sin-fo'nl-ii). It. 1 A ii orfhestral 
 Slnfonle(8auh-£6-ne'), i'>. / compusition iu 
 many parts ; a symphony. 
 
 i arm, a add, a ale, 6 end. e eve. i iU, I isle 6 old, 6 odd, oo moon,il but, ii Fr. sound, kh Gee. c/i, nh nasal. 
 
 (201) 
 
SIN 
 
 DICTIONABY OF MUSIC. 
 
 SIT 
 
 "- Vit. 
 a-j 
 
 Sinfoniaapittorica(sm-fd -ne'ilapel-to'rt'ka), 
 It. A symphony descriptive of scenes and 
 events. 
 
 Slnfonia concertante (sin-Io-ue'a ton- \ 
 t«iher-iau't6), I 
 
 Sinfonia concertata (sin-fo-ne'a ton- 
 tsher-ta'ia), 
 
 Sinfonia concertate isln-fo-ne'a kon- 
 tbher-ta'iS , 
 
 A concerto for many instruments; a con- 
 certo symphony. 
 
 Sinfonia da camera (sin-fo-ne'a da ka'mS-ra), 
 //. 8ym|ihoiiiescomposi.d forcliamberuse, 
 as quknels, trios, etc. 
 
 Sinfonia eroica (sin-fo-ne'a a-ro'i-ka), It. A 
 symphony in the heroic style. 
 
 Sinfonie (sin'f6-ne'), Ger. A symphony. 
 
 Sing. To perform melody with the voice. 
 The siiiglngvoice dilt'ers 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 bel- 
 ter grade and finer resonance. The act of 
 singing Implies an emotional excitation to 
 which speaking would not be adequate. In 
 all very emotional s]>eech the tone assumes 
 certain qualities of singing. 
 
 Singalcademie (sing'a-kardfi-mS'), Ger. Vocal 
 academy. 
 
 Singanstalt (8ing'an-stalt'),G?er. Singingclub. 
 
 Singart (sing-art), Ger. Manner, or style, of 
 singing. 
 
 Singbar (sing'bar), Ger. That may be sung, 
 singable. 
 
 Singen (sing'en),(?er. To sing, to chant ; sing- 
 ing, chanting. 
 
 Singend (sing'find), Ger. See Cantabile. 
 
 Singgediclit (slng'ghS-dikhf), Ger. Hymn, 
 poem intended to be sung. 
 
 Singhiozzando (sin-ghi-6t-san'd6), It. Sob- 
 biugly. 
 
 Singicunst (sing'koonst), Ger. The art of 
 singing. 
 
 Single-action iiarp. A harp with pedals, by 
 which each string can be 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'n), fier. A ballad. 
 
 Singmanleren (sing'miirne-r'n), Ger. Singing 
 ' embellishments. 
 
 Sing5chauspiel (slng'shou-speI),ffe?'. Singing- 
 drama; a drama with songs, etc., inter- 
 spersed. 
 
 Singschule (siag'shoo'ie),fc?er. Singing-school; 
 a school, or method, for the voice. 
 
 Singschiiler (slng'shu'16r),ffn'. Singing-pupil. 
 
 Singspiel (sing'spel), Ger. An operk, melo- 
 drama, a piece interspersed with songs. 
 
 Singstimme (siug'stlm'mg), Ger. Singing- 
 voice ; a vocal part. 
 
 Singstimmen (sing'stirn'mfin), Ger. pi. The 
 voices ; the vocal parts. 
 
 SIngstUck (sing'stiik), Ger. Air, melody. 
 
 Singstunde (sing-stoou'ds), Grr. Siuging-lcs- 
 eon. 
 
 SIngtanz (sing-tants), Ger. Dance, accom- 
 panied by singing. 
 
 SIngverein islng'ffir-rln'), Ger. A choral so- 
 ciety. 
 
 Singwelse (sing'wi'sS), Ger. Melody, tune. 
 
 Siniestra (se-ni-as'tra), f^. 1 rri.« !«*»- 1 ,^ 
 
 Sinistra (sin-is-tra), ia< | The left hand. 
 
 Sinistra (sin-is-tra). Lot. Left-handed flutes. 
 See Dextrse. 
 
 Sinistra manb (si-nis'tra ma'no). It. The left 
 hand. 
 
 Sinkopace. A five-step dance. Ginquepace. 
 A galliard. 
 
 Sino (se'no), „ \ To, as far a."!, until; con 
 
 Sin' (sen), ' j/woco siw' ai ^/te, with spirit 
 to the end. 
 
 Sino al fine pianissimo (^e'no al fe'ng pe-£U 
 nis'sl-mo). It, Pianissimo to the end. 
 
 Sino al segno (s§'nd al san'yo). It. As far as 
 the sign. 
 
 Si place (se pe-a-lsh6). It. At pleasure, as you 
 please. 
 
 Si raddoppia 11 tempo (se rad-dop'pi-a el tSm'- 
 po), /^ Kedouble the time; a^fastagain. 
 
 Siren. In ancient mythology a goddess M'ho 
 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 pilches of musical 
 sounds. 
 
 Siren song. A song of a bewitching, fascihat- 
 ing style. 
 
 Sirenengesang (Re-r6n'6n-ghfi-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 (so ra'pli-ka oo'na vol'ta). 
 It. I'lay the part over again. 
 
 Si scriva (se scre'va). It. Ah written, without 
 any alteratious or embellishments. 
 
 Si«egue(se sa'gw6), J/. Goon. 
 
 Sistrum (sis'tronm). Int. An instrument rf 
 percussion of very great antiquity, supposed 
 to have been invented by the Egyptian.'!, 
 and was much used by the priests of Jrisand 
 Osiris in sacrifice. It consi.^ted 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'tsh£), It. Be silent. 
 
 a arm, a add, a.ale,S end, e eve, I ill, i isle, 6 old, 6 odd, oo moon, H but, (i Fr. sound, kh Ger. ch, nh nasal. 
 
 (202) 
 
SIX 
 
 DICTIONARY OF MUSIC. 
 
 SOL 
 
 1 
 
 six-eighth measure. A measare having the 
 value of six eighth-notes, marked 6-8. 
 
 Sixes and fives metre. A metre consisting 
 of a stanza of eight lines in iamhic or tro- 
 chaic measure, designated thus, 6s & fis. 
 
 Sixes and four. A pietre designated thus, 6s 
 & 4, consisting of a stanza 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 eights metre. A metre 
 designated thu.s, 6s, 7s, t& 8s, consisting uf a 
 stanza of eight lines, in iambic measure. 
 
 Sixlime (sez-i-am'), Fr. A sixth. 
 
 Six pour quatre (sez poor katr), Fr. A double 
 triplet, or sextuplet ; six notes to he played 
 in the time of four. 
 
 Sixte (sekst), Fr. A sixth. 
 
 Sixteenth note. A semiquaver. S 
 
 Sixteenth rest. A pause equal in duration to 
 a sixteenth note. 
 
 Sixtes (sekst), Fr. Sixths. 
 
 Sixth. The interval between any tone of the 
 scale and the next but four above or below. 
 A sixth is represented upon the staff by a 
 line and a space with two lines between. 
 There are three sixths in use: The minor, 
 equal to eight halt-steps.as between mi and 
 do ; the major, nine half-steps, as between 
 sol and me ; and the augmented, of (en half- 
 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'dS^ 6er. A scald ; ancient Scan- 
 dinavian bard. 
 
 Skip. A term applied to any transition ex- 
 ceeding that of a whole step. 
 
 Sklzzen (skits'sSn), Oer. pi. Sketches ; short 
 pieces. 
 
 Slargando (slar-gan'do), • „ \ Extending, 
 
 Slargandosi (slar-gan-do'zl), • J enlarging, 
 widening; the time to become gradually 
 slower. 
 
 Slentando (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 can be 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 
 horn 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 B|> trombone, for instance, 
 the player can change the key of the instru- 
 ment by drawing the slide more and more 
 out into A, A!>, G, Gb, F, and E. (2) An 
 ornament consisting of two or more quick 
 notes proceeding diatouically to the prin- 
 cipal note. (3) A sliding strip of lath, which 
 in the organ cuts off a ranlj 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 that they must be played smoothly. 
 
 Small octave. The name given inCermany 
 to the notes included between C on the 
 second space of the bass staff and the B 
 above, these notes being expressed by small 
 letters, as a, b, c, d, etc. 
 
 Smaniante (sma-nl-an't§), ") Furious, vehe- 
 
 Smanlato (sma-nl-&'td). It. > ment, frantic; 
 
 Smanioso (sma-nl-o'zo), ) with rage. 
 
 Sminuendb (sme-noo-Sn'-do), ' ") Diminish- 
 
 Smlnulto (sme-noo-e'to). It. >-ing, decreas- 
 
 Smorendo (smd-r$n'd6), J ing ; gradu- 
 
 ally softer. 
 
 Smorflozo (smor-fi-o'z6), /(. Affected, coquet- 
 tish, full of grimaces. 
 
 Smorz. An abbreviation of Smorzando. 
 
 Smorzando (smor-tsan'do), j, 1 Extlnguish- 
 
 Smorzato (smor-tsa'to), Jed, put out, 
 
 gradually dying away. 
 
 Snare drum. The side drum. 
 
 Soave (so-a'v6). It. A word implying that 
 a movement is to be played In a gentle, 
 soft, and engaging style. 
 
 Soavemente (so-a- v6-m6n't6), It. Sweetly, 
 agreeably, delicately. 
 
 Soggetto (tod-j6t't6), //. Subject, theme, mo- 
 tive. 
 
 Soggetto dl f uga (sdd-j€t'td de foo'ga). It. Sub- 
 ject of the fugue. 
 
 Soggetto Invarlato (sod-jSt'to in-va-ri-il'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-j6t'to va-rl-a't6\ /(. 
 \ ariahle subject— a term applied to tlie sub- 
 ject of a counterpoint when it changes the 
 figure, or situation, of the notes. 
 
 Soiree muslcale {swa- ra' mil- zi- kill'), Fr. A 
 musical evening. 
 
 Sol (sol). A syllable applied by the Italians 
 to G, the fifth sound of the diatonic scale or 
 octave of C. 
 
 Sola (so'la). It. Alone. See Solo. 
 
 Sol bemol (sor ba'mol), ia(. The note Gl>. 
 
 Sol bemol majeur (sol ba-mol mii-zhtlr). Ft: 
 The key of Gl> major. 
 
 i, arm, i add, ft afe, S end, i eve, lia,lisle,d old, odd, oo moon, a but, U Fr. sound, kb Ger. ch, nb noiui, 
 
 (203) 
 
80L 
 
 DICTIONARY OF MUSIC. 
 
 SOU 
 
 Sol bimot inineur(sdl ba-mdl me-utlr), Fr. 
 
 The key of Gb minor. (Not in use.) 
 Sol diese (sol di-az), Fr. The note G#. 
 Sol diese mlneur (sol di-az me ndr), Fr. The 
 
 key of G^ minor. 
 Solenne (s6-l(?n'nfi), IL Solemn. 
 Solennemente ( so- 16n- n6- mfin' t6 ), It. Sol- 
 emnly. 
 Solfa. To pronounce the names of the notes 
 
 fcuiig. 
 Solfaing. Singing the notes of the scale to 
 
 the monosyllables applied to them by 
 
 Guidii. feee Soimizaiivn. 
 Solfege (sol-fazh), Fr. ) Exercises for the 
 Solfeggi (sol-f6d'jI), /(. r voice according 
 Solfeggio (.s61-ffid'ji-6), /(. ( to the rules of 
 
 solmizatiun. 
 Solfeggiare (sol- fed- jl- il' rS), It. To practice 
 
 solfeggi. 
 Solfeggiren (.'i61-t«B-gJ'r'n\ Ger.\ m. _„,.. 
 Solfier (iol-fi-a), /"r. |losolta. 
 
 Soli (so'li), //. A particulnr passage played 
 by principals only, one performer to each 
 part. 
 
 Solist. The solo -player. Also sometimes 
 called soloist. 
 
 Sol majeur (sol ma-zhdr), Fr. The key of G 
 major. 
 
 Sol mlneur (sol me-ndr), Ji'r, The key of G 
 minor. 
 
 Solmisare (sol-mi-za'r6), /(. "| The prnc- 
 
 Solmisiren (sol-rai-se'r6n), Ger. >■ tice of the 
 
 Solmizare (s61-mi-tsa'r6), It. ) scnles, ap- 
 plying to the diftterent tones their respec- 
 tive syllables, do, re. mi, fa, sol, la, si. To 
 this kind of vocal exercise the practice of 
 solfeggi is added. 
 
 Solmization (sOl-mi-za'shdn). £n£r. The art 
 of singing by solfa, i. e., by use of the scale 
 syllables. ]n Italy, France, and Germany, 
 the scale-names do, re, mi, fa, S"l, la, si, do 
 are applied to C, D, E, etc., according to the 
 scale of C, no matter what the key inny Ite. 
 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 foliaists 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 byllables become associated 
 with certain relations of tone in key, and 
 are a help to identifying key -relations. 
 They are therefore peculiarly advantageous 
 in the earlier stages of slndy. There comes 
 atime. 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 other sy.stem might be 
 invented which would afford the help 
 without^ the disadvantages mentioned. 
 
 Solo (so'lo), /(. 
 
 Solo ~ 
 
 Solo 
 
 1 (so'lo), /«. ) 
 
 > (so'lo), Fr. > 
 
 > (so'lo), Ger. ) 
 
 A composition for a single 
 voice or instrument. 
 
 Solomanie (solo-mane), Tur. The Turki.>ih 
 
 flute, entirely open and without any reed. 
 Solosanger (so'lo-san'gir), Ger. Solo-singer, 
 
 principal singer. 
 Solo-soprano (so'lo s6-pra'n6), /(. For s - 
 
 prano only. 
 Solospieler (so'lo-spe'lfir), Ger. Solo-player. 
 Somma (som'ma), It. Extreme, exceedingly 
 
 great. 
 Somma espresslone (som-ma 6s-prSs-si-6'nC), 
 
 /(. Very great expression, 
 
 Son(sOnh), Fr \ga„j,A 
 Son (sou), Sp. J sound. 
 
 Son aigu (s6nh a-gii), Fr. A sharp, acute 
 
 souud. 
 Sonante (so-niin't6), Sp. Sounding, sonorous. 
 
 Sonare (so-nii'rg), It. To sound, to have a 
 sound, to rinji, to play upon. 
 
 Sonare alia mente (so-na'rS al'la mSn'tS), //. 
 
 • formed according to the mind ; to play ex- 
 tempore, to improvise. 
 
 Sonata (po-na'ta), /(. Something sounded. 
 Hence an iustrumentdl composition. This 
 appears to have been the original meauin^^ 
 of the word. Sonata Form designates \\ hat 
 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 iu- 
 struoiive illustrations of development to be 
 found ill music. Originally it was derived 
 from dance forms, each movement being 
 a serious enlargement of some popular 
 rhythm, but carried out themntically and 
 contrapnntally, i. e., without lyric episodes. 
 Bach's sonatas fur organ, and f-r violin 
 solos, consist of from throe to five move- 
 ments of this kind, duly contrasted amung 
 themselves. The trio organ sonatas are ex- 
 tended In formand beautitnlly written. All 
 they lack for modern hearing is occasional 
 points of lyric episode. The innovation 
 made by Haydn consisted of adding these 
 points of lyric repose, both as episodes in 
 the allegro movemc nts and as foundation 
 for the slow movements. Mozart added to 
 Haydn'swork a still more distinct return to 
 the folksong a.«i the type of the lyrical mo- 
 ments in a sonata. As practiced by these 
 great ma,sters the sonata consisted of three 
 movements or four. First, an allegro, fol- 
 lowing a certain type of treatment (of which 
 presently) ; then a slow movement, gener- 
 ally an andante cantabile or an adagio; 
 then a rondo or finale. Beethoven made 
 several innovations upon this order, flrst by 
 inserting a third movement between the 
 slow movement and the finale. This is a 
 menuet or a scherzo with trio. His further 
 innovations consisted In intensifying the 
 lyric movements and moments, atnd in 
 making them still more deep and heartfelt. 
 The sonata-piece (Sonatasatz) is the )irin- 
 cipal movement in a sonata. The entire 
 sonata-piece divides into three chapters: 
 First, from the beginning to the double bar. 
 
 a arm, & add, aale,iend,e«ve,lill,l iek,6 old, i odd, oo moon, mut,iX Fr.eound, kh &er. ch, nh ncuai, 
 
 (204) 
 
so:!T 
 
 MCTlONARV 01? MTlSlC. 
 
 SON 
 
 This contains all tlie original material of 
 the ent.re movement. There is, first, a prin- 
 cipal, or leading, subject, which generally 
 is thematic in character, closes in the domi- 
 naul, and leads off toward the second by 
 means of passage or modnlating periods, de- 
 rived iu part from the material of the prin- 
 oip il. Then comes the second, in the dom- 
 inant of the original key, or In the relative 
 major, if that had been minor. The second 
 is also called by the Germans Geeanggruppe, 
 "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, leading to thepartialclose,which 
 brings around to a cadence upon the domi- 
 nant of the original Icey at the double bar, 
 where is always marked a repeat for the en- 
 tire work up to this part. In some in- 
 stances, as in Beethoven's Sonata Appas- 
 siouata, the modulating material after the 
 principal is so much enlarged and so Inter- 
 esting as to become almost an equal factor 
 with the principal, thesecond, and theclose 
 in affording material for the later develop- 
 ment. The second chapter of the sonata- 
 piece follows the double oar, and consists of 
 an elaboration (German Dtirchfiihrungssaiz, 
 " working-out piece ") a free fantasia upon 
 motives already introduced. This, after suit- 
 able development, leads into a pedal pnint 
 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 of 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 iri 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 elaboration 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 be has heard it. Moreover, there is 
 better effect in a Blow movement In 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 son^; 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 BondOi 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 (so-na't^ da ka'm{5-ra). It. 
 A sonata designed for the chamber or parlor. 
 
 Sonata di bravura (so-nU't£i de bril-voo'rii). It. 
 A brave, bold style of sonata. 
 
 Sonata di chiesa (so-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 inuvemenis. 
 
 Senate (so-na'tS), Oer. A sonata. 
 
 Sonatina (s6-na-te'na). It. \ A short, easy 
 
 Sonatine (so-na-ten), Fr. J sonata. 
 
 Son doux (s6nh doo), Fr. Soft sound. 
 
 Sonetto (so-nfit'to), It. A sonnet. 
 
 Sonevole (so-na'vo-ie). It. Sonorous, ringing, 
 souuding. 
 
 Song. That which is sun^. A melody ; a 
 pocm 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. 01 
 the latter kind Schubert and Schumann 
 wrote some beautiful examples, which 
 stand as models. 
 
 Song, bacchanalian. A song which either in 
 sentiment or style relates to scenes of rev- 
 elry. 
 
 Song, boat. A song sung by the rowers; 
 gondolier-song. 
 
 Song, erotic. A love-song. 
 
 Song:forni. In the form of a song. A mu' icnl 
 form consisting of one, two, three, or at 
 rnost five, periods making a uuiiy. The 
 principal subjects of all the Peeihuven An- 
 dante Cantabiles are practically soiigtorins. 
 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 andcoutrasting songform. Af- 
 ter this a return is made to the firstsong- 
 form. Of long examples of songform Schu- 
 mann left the best in the first movements 
 
 i arm, &adcl, a ttfe, 6 end, e eve, I ill, i isle,5 oJei,0 odd, oo moon, tl but, tl l''r,eound, kh Qer. eh, uh nasal, 
 
 (205) 
 
so>r 
 
 DICTIONARY OF MUSIC. 
 
 SOU 
 
 of h is Novelettes, iu E, Opus 21, No. 7, and 
 iu B minor, Opus 99. 
 
 Theperiuds ii\ a songform are lyrical in 
 rhythm, iJ not in essential nature. 
 
 Songs without words. Pianoforte piecps of 
 a poetical character, consisting of a melody 
 with an accompaniment. 
 
 Sonnet. A short poem of fourteen lines, two 
 Ktaiizas of four verses each, and two of 
 threo each, the rhymes being adjusted by a 
 particular rule. 
 
 Sono (so'no), It. A sound. 
 
 SonOramente (so-nd-ra-m$u'te), Jt. Sonorous- 
 ly, harmoniously. 
 
 Sonore (s6-n6r'), Fr. \ Sonorous, harmoni- 
 
 Sonoro (so-no'ro), It. J ous, resonant. 
 
 Sonoridad (so-no-ri-dad), Sp. Sonorousness. 
 
 Sonorlta (so-no-ri-ta'), It, "l Harmony, sound, 
 
 Sonorit6 (so-no-ri-ta'), Fr. J sonorousness ; 
 having sonority. 
 
 Sonorous (so-nor'ous). An epithet applied to 
 whatever is capable of yielding sound ; full 
 or loud in sound ; rich-toned ; musical. 
 
 Sons harnioni(}ues (sdnhs.har-mOnh-ek'), Fr. 
 pi. Harmonic sounds. 
 
 Sons pleins (sOnhs plftnh), Ji'r. j)!. In flute 
 music this means that the notes must be 
 blown with a very full, round tone. 
 
 Sonus (so'noos), Lat. Sound, tone. 
 
 Sopra, It. Above, upon, over, before. 
 
 Sopra dominante (so'pra do-ml-uau't6). The 
 
 fifth, or upper dominant. 
 Sopran (s6-pran'), Oer. \ The treble, the high- 
 Soprano (so-pra'no). It. J est kind of female 
 
 voice ; a treble, or soprano, singer. 
 Soprana chorda (s6-pra'na kor'da). It. The E 
 
 string of a violin. 
 Soprani (s6-pra'ni), It. pi. Treble voices. 
 Sopranist. A male soprano. 
 
 Soprano acuto (s6-pra'no a-koo-to), It, High 
 
 soprano. 
 Soprano clef. The treble or G clef. 
 
 Soprano clef. The C clef on the first line of 
 the staff for soprano, instead of using 
 the G clef on the second line for that 
 part. 
 
 Soprano clef, mezzo. The clef when placed 
 ouihesecuiid line of the staff, formerly used 
 for the second treble voice, and for 
 which the soprano clef is now sub* 
 stituled. 
 
 Soprano concertato (so - pra' no kon - tshgr- 
 la'tu), II. 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 (so-pra'no m€z'zd), It. A 
 species of female voice between soprano 
 and alto. 
 
 Soprano naturel (so-pra'-no na-too-ral), It. A 
 natural soprano. A falsetto. 
 
 w 
 
 1^ — 
 
 Soprano, second. Low soprano. 
 
 Soprano secundo od alto (so-pra'u6 sa-koon'- 
 do 6d al'to), It. The second soprano or alio. 
 
 Sopranstimme (so-pran'stim'mfi), Gcr. A so- 
 prano voice. 
 
 Sopra quinta (so'pra quln'ta), It. Upper dom- 
 iuant. 
 
 Sopra una corda (so'pra Oo'na kor'da), /(. Ou 
 one Etriug. 
 
 Sorda (sor'da), It. HufBed, veiled tone. 
 
 Sordamente {s6r-da-m6n'tS), It. Softly, gen- 
 tly ; also damped, muffled. 
 
 Sardine. A small Instrument, or damper, iu 
 the mouth of a trumpet, or on the bridge of 
 a violin or violoncello, to make the sound 
 more faint and subdued. A mute. 
 
 Sdrdini (sor-de'ni). It. pi. Mutes in violin- 
 playing and the dampers in pianoforte mu- 
 sic. See Con sordini and Seiaa sordini. 
 
 Sordini levatl (sor-de'ni 16-va'tfi), It. The 
 dampers removed. 
 
 Sordino (sor-de'no). It. A sordine. A mute. 
 
 Sorgfaltig (sorg'fal-tigh), Ger. Carefully. 
 
 Sorgfaltie gebunden (sorg'fal-tigh g8-boon'- 
 
 d'u), (J«r. Very smoothly. 
 Sortita (sOr-te'ta), /(. The opening air iu an 
 
 operatic part ; the entrance aria. 
 
 Sospensione (s6s-p6n-si-o'ue), It. A suspen- 
 sion. 
 
 Sospirando (sos-pi-rau'do), ) Sighing, 
 
 Sospirante (sos-pI-ran'tS), j. (verysub- 
 Sospirevole (s6s-pI-ra'v6-iS), f dued, dole- 
 Sospiroso (s6s-pl-r6'z6), ) ful. 
 
 Sospiro (sos-pe'ro), It. A crotchet rest. 
 
 Sostenuto molto (s6s-tS-iioo't6 mol'to), It. Iu 
 
 a highly sustained manner. 
 Sotto (sot'to). It. Under, below. 
 Sotto voce (sot-to vo'tshg), It. Softly, in a 
 
 low voice, in an undertone. 
 Soubrette (soo-brStf), Fr. A female singer 
 
 for a subordinate part in a comic opera. 
 
 Soufflerle (soof-fl6-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 
 sound depends upon the frequency of the 
 vibrations, which are inaudible when they 
 fall below the rate of from 8 to 32 per sec- 
 ond, or when they rise above the rate of 
 about 40,000 per secon^. 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, 
 
 ft arm, & add, a. ale, S end, e eve, 1 ill, i isle, 6oid,liodd,oomoon,tibut,iiFr. sound, kh Ger. eft, nh nasal. 
 
 (205} 
 
sou 
 
 DICTIONARY OF MUSIC. 
 
 SPI 
 
 a blow upon a block of wood, are dull and 
 confused; so, also, a blow upon an iron 
 kettle, or a wooden box. In these cases 
 several rates of Tibration are in operation 
 at the same time. Again, when a stretched 
 string vibrates and makes a tone, there are 
 also several rates of vibration in operation 
 at the same time, the string vibraiiug Dot 
 only in its full length but also in various 
 aliquot parts, whereoy the sounds of several 
 different pitches are produced. In the case 
 of the string all these rates are multiples of 
 the rate of the full siring, and the resulting 
 partial tones mutually combine aud 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- 
 sistencu vtithin itself, so that the vibrations 
 combine Into a harmonious 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 affords the ear no 
 repose whatever, and therefore it has no 
 musical character. Noises are of limited 
 application in music, the kettledrums, tri- 
 angles, cymbals, and bass drum being prac- 
 tically less offensive noises. They are em- 
 iJoyed for the sake of rendering the ensem- 
 ble more imposing, and their empty charac- 
 ter, from a musical standpoint, is 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 
 loue. This subject is fully investigated in 
 Helmholtz's great work on "Sensations of 
 Tone,'\"Tonempflndung.") 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 C'f 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- 
 lactory, excepting the tones of the human 
 voice, which admit of assuming _.Jiost any 
 kind of timbre. 
 
 All stringed Instruments are susceptible 
 1 1 considerable tonal variety, according to 
 the skill with which the vibration is in- 
 cited, lu 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 
 strins<; and even iu the pianoforte, where 
 mechanism would peem to have been most 
 exact, the tone is largely influenced by the 
 manner in which the keys are attacked. 
 The use of the pedal also influences the 
 quality of the piano tone, the finer shades 
 being impossible without the help of the 
 pedal. 
 
 Soundboard. \ Tbetbin boardover which 
 
 Sounding-board. J 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. They 
 are designed to afford more perfect commu- 
 nication with the outer air. 
 
 Soundpost. A small pos*, or prop, within a 
 violin, nearly under the bridge. 
 
 Sound-register. An apparatus invented in 
 Paris in 1858, by means (>f which pounds are 
 made to record themselves, whether those 
 of musical instruments or of the voice iu 
 singing or speaking. 
 
 Soupir (soo-per), Fr. A crotchet rest. 
 
 Sourdeline (soor'dl-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- 
 mouium-stop. See, also, Sorditw. 
 
 Sous (soo), Fr. Under, below. 
 
 Sous-chantre (soo shauhtr'), Fr. A sub- 
 chanter. 
 
 Sous-dominante (soo do-mi-nanht'), Fr, The 
 subdominant, or fourth of the scale. 
 
 Sous-mediante (soo ma-di-anhl), Fr. The sub- 
 mediant, or sixth of the scale. 
 
 Sous-tonique (soo ton-ek'), Fr. The seventh 
 of the scale, or subtouic. 
 
 Soutenir (soo-t6-ner'), Fr. To sustain asound. 
 
 Souvenir (soo-v6-ner'), Fr. Recollection, rem- 
 
 iuiacence. 
 Spaces. The intervals between the lines of 
 
 the staff. 
 Spagnoletta (span-yo-lSt'ta), It. A Spanish 
 
 dance, a species of minuet. 
 Spag'nuola (span-yoo-6'la), /(. The guitar. 
 
 Spalla (spal'lii), 11. Shoulder. See Viola da 
 spalla. 
 
 Spanisch (span-ish), Ger. 1 IntheSpau- 
 
 Spagnolesco (span-yo-lfe'ko), II. J ish style. 
 
 Spassapensiere (spas-sa-pgn-sI-a'rS), It. The 
 jew's-harp. 
 
 Spasshaft (spSss'haft), Ger. Sportively, play- 
 fully, merrily. 
 
 Spasshaftigkeit (spass'haf-tlg-klt),^^'. Sport- 
 ivene>-s, playfulness. 
 
 Spatium spa-shl-oom), Lat.> A space between 
 
 Spazio spa'tsi-6), it. ( theliues where 
 
 music IS written ; a distance, an interval. 
 
 Spianato (spe-ii-na'to). It. Smooth, even ; le- 
 gato. 
 
 Spiccato (spek-ka'co). It. Separated, pointed, 
 distinct, detached ; iu violin music it means 
 that the notes are to be played with the 
 point of the bow. 
 
 Spiel (spel), Ger. Play, performance. 
 
 a arm, & add, a ale, 6 end, e eve, i HI, 1 isle, o old, 6 odd, oo moon ti but, u Fr. sound, kh Ger. e/i, nh mxsal. 
 
 (207) 
 
SPl 
 
 DICTIONABY OF MUSIC. 
 
 STA 
 
 Spielart (speVart), Oer. Manner of playing, 
 style of performance. 
 
 Spielen (spe'l'n), Ger. To play on an instru- 
 ment. 
 
 Spieler (spe'lgi), Oer. Performer. 
 
 Spielmanieren (Bpel'ma-ne'r'n), Ger. Play- 
 mauucrs. Instrumental ornaments, graces. 
 Spinet (spiu'fit), Eng. ) A stringed instru- 
 Spinett(spi-n6t'), Oer. i-ment,formerlymuch 
 Spinettai-pl-n6t'ta),I(.J in use, somewhat 
 similar to the harpsichord, and, like that, 
 couyisting of a case, sounding-board, keys, 
 jacks, and a bridge. It was evidently de- 
 rived from the barn, and was originally 
 called the couched harp, though since de- 
 nominated spinet, from its quills, which re- 
 semble thorns, called in Latin spinse. The 
 spinet was a small harpsichord, in square 
 form, whereas the larger instrument had 
 the shape of a grand piano. 
 Spirito (spe'rlto). It. Spirit, life, energy. 
 
 Spiritosamente spe-ri-t6-za-m6n'tS), 1 „ 
 Spiritoso (spe ri-to'zo), J ' 
 
 Lively, animated, brisk, spirited. 
 Spirituale (spe-ri-too-Sng), It. 1 Sacred, spir- 
 Spirituel (spJr-e-too-al'), •Fr. Jitual. 
 
 Spirituoso (spe-ri-too-6'z6), II, See Spiritoso. 
 
 Spissi gravissiini (spis'si gra-vis'si-ml). Lot. 
 Hypatoides— the deep, or bass, sounds of 
 the ancient Greek system. 
 
 Spissus (spis-soos), Lai. Thick; fliU, refer- 
 ring to intervals. 
 
 Spitz (spitz), Ger. Point. 
 
 Spitzfiote (spitz-fio'tfi), ^ 1 Pointed flute; 
 
 Spitzflute (spitz-floo'tS), """^' J an orsan- 
 stop of a soft, pleasing tone, the pipes of 
 which are conical and pointed at the top. 
 
 Spitzharfe (spItz'har-fS), Oer. Pointed harp. 
 A small harp with two sounding-boards and 
 two rows of strings. 
 
 Spitzquinte (spitz-kwin't«), Ger. An organ- 
 stop with pointed pipes, sounding a fifth 
 above the foundation stops. 
 
 Spondee (spon-da), Lat. A musical foot con- 
 sisting of two longnotesorsyllables, 
 
 Sprung (sproong), Ger. A skip. 
 
 Square B. Nameformerlyglven to B-natural 
 on account of its shape. 
 
 Square piano. A piano made in square form, 
 the strings and sounding-board lying hori- 
 zontallv, 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 cachaction has to befitted to 
 the instrument to which it belongs, whereas 
 iu uprights the parts are interchangeable. 
 
 Sta ("ta), /(. This, as it stands ; to be played 
 1.S written, 
 
 Stabat mater (sta'bat mil'tSr), Lat. The 
 Mother stood— a hymn on the crucifixion. 
 
 Stabile (sta'bl-ie). It. Firm. 
 
 Stac. An abbreviation of Staccato. 
 
 Staccare (slak-ka'rS), It. To detach, to sepa- 
 rate each note. 
 
 Staccatissimo (stak-kii-tis'sl-mo). It. Very 
 much detached ; as staccato as possible. 
 
 Staccato (stak-ka'to . /(. Detached, distinct, 
 separated from each other. 
 
 Staccato delicatamente (Stak-ka'to d€l-i-ka-ta- 
 m6n't6), It. In 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 effect. 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 tlie 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 thestringswith the.fingers, whereby the 
 tone is extremely short and of limited so.' 
 nority. 
 
 Stadtmusikus (stadt'moo's!-koos), 1 „_ 
 
 Stadtpfeifer (stadt'pfl'ffir), / ""^■ 
 
 Town musician. 
 
 Staff. The five horizontal and parallel lines 
 on and between which the note^ are written. 
 The lines and spaces are named as follows : 
 -First added line above. 
 
 Fifth line - 
 Fourth line- 
 Third line - 
 Second line- 
 First line - 
 
 Space above. 
 
 Fourth space. 
 
 Third space. 
 
 Second space. 
 
 First space. 
 
 Space below. 
 
 First added line below. 
 
 Second added line below. 
 
 Staff, bass. The stafi" marked with the bass 
 cleflf. 
 
 Staff, tenor. The staff marked with the tenor 
 clef. 
 
 Staff, treble. The staff marked with the 
 treble clef. 
 
 Stagione (sta-jI-o'nS), It. The season, the mu- 
 sical season. 
 
 S. arm, & add, a ale, 6 end, e eve, i ill, I isle, 5 old, 6odd, oo moon, bnt, (1 Fr. sound, kh Qer. ch. nh nasal. 
 
 (208) 
 
STA 
 
 DICTIONARY OF MUSIC. 
 
 STO 
 
 Stammaccbrd (stam'ak-kord), Ger. A radical 
 
 or fundamental cbord, from which others 
 
 are derived. 
 Stamplta (stam-pe'ta), It. An air, a. tune, u 
 
 song. 
 Standchen (slaud'khSn), Ger. A serenade. 
 Standhaftlekeit ( stand' haf- tig- kit'), Ger. 
 
 Firmness, resolution. 
 Stand, music. A light frame designed for 
 
 holding sheets or books, for the eonveu- 
 
 ieuce of performers. 
 Stanghetta (stS,n-get'ta.), Ji!. 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' kg stIm-mSn), Ger. 
 
 Loud stops ; mil darken Stimmen, with loud 
 
 stops. 
 Stave. Name formerly given to the stafT. 
 Steg (stagh), 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 note belongs to two parts, in one of 
 
 which it has its natural and appro- 
 
 priate length, as shown by its face, | ^ 
 while in the other it may be sliorter, I J 
 
 corresponding to the notes that follow it. 
 
 Stentando (stSn-tan'do), It. Delaying, retard- 
 ing. 
 
 Stentato (st6n-ta'to). It. Hard, forced, loud. 
 
 Stentorian. Extremely loud. 
 
 Stentoroplionic tube. A speaking trumpet, 
 so called from Stentor. The stentorophonic 
 horn 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- 
 tionally, called semitones. 
 
 Sterbend (st4rT)6nd), Ger. Dying away, the 
 same as morendo. 
 
 Steso (sta'zo). It. Extended, diffused, large. 
 
 Stesso (stes'so), It. The same ; Vistisao tSmpo, 
 in the same time. 
 
 Sticcado (stlk-ka'do), „ 1 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 thickness, 
 are 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 (stelfi), It. Style. 
 
 Stile a cappella (st£'ie a kap-pgl'la). It. In the 
 chapel style. 
 
 Stile grandiose (ste'16 gran-dl-o'zo). It. In a 
 grand style of composition, or performance. 
 
 Stile rigoroso (ste'lS rl-go-ro'zo) , /(. lu a 
 
 rigid, strict style. 
 Still (still), Ger. Calmly, quietly. 
 
 Stillgedakt (still-g6-dakt'), Ger. A stopped 
 diapason, of a quiet tone. 
 
 Stilo (ste'lo), It. Style, manner of composi- 
 tion or performance. 
 
 Stilo alia cappella (ste'lo al'ia ka-pSl'la), It. In 
 the church or ctiapel style. 
 
 Stilo di recitativO (ste'lo de ra-tsheta-te'vo). 
 It. In style of recitative. 
 
 Stimme (stim'mS), Go-. The voice, sound; 
 also the soundpost in a violin, etc.; also a 
 part in vocal or inftrumental music ; also 
 an organ-stop or register. 
 
 Stimmen (stim'm'n), Ger. pi. Parts or voices ; 
 also organ-stops. 
 
 StimmfUhrung (stlm'Iiih-rooug), Ger. Voice 
 movement. 
 
 Stimmgabel (stim'ga'b'l), Ger. Tuning-fork. 
 
 Stimmhammer (stim'ham'mSr),ffer. Tuning- 
 key, tuning-hammer. ^ 
 
 Stimmliorn (stim'h6rn),G'cr. Tuning-cone for 
 metal organ-pipes. 
 
 Stimmstock (stim'stok), Ger. The soundpost 
 of a violin, etc. 
 
 Stimmumfang (stlm'oom-fang),^^!-. Compass 
 of a voice. 
 
 Stimmung (stim'moong), Ger. Tuning, tune, 
 tone. 
 
 Stimmweite (stIm'wI-t4),(Jer. Voice-breadth, 
 compass. 
 
 Stinguendo (stln-guSn'do), It. Dying away, 
 becoming extinct. 
 
 Stiracchiato (ste-rak-ki-a'to), ,, 1 Stretched, 
 
 Stirato (ste-ra'to), ■ ) forced, re- 
 
 tarded. See AUargando. 
 
 Stonante (sto-nan'tfi), /(. 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 in quality of tone. 
 
 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, 9. add, a ale, 6 end, e eve, \itt,l Ule, 6 old, 6 odd, oo moon, H but, tt Fr, sou/nd, kh Ger. ch, nh nasal. 
 14 (209) 
 
8X0 
 
 DICTIONARY OF MUSIC. 
 
 STO 
 
 stop, creqiona. A reed stop in unison with 
 the diapasons. 
 
 Stop, double diapason. An open set of pipes 
 tuned an ociave below the diapasons. 
 
 Stop, double trumpet. The most powerful 
 reed stop in the crgan, 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 (if its pipes being longer and smaller 
 than those of the pipes of other stops. 
 
 Stop, faggotto. The bassoon stop. 
 
 Stop, tifteenth. A stop which derives its 
 name from its pitch, or scale, being fifteen 
 uoted above that of the diapason. 
 
 Stop, flute. An organ-stop, resembling in 
 tone a flute or flageolet. 
 
 3top, hautboy. A reed stop having a tone in 
 imitdtion of the hautboy. 
 
 Stop, laris^ot, fyr 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 driller 
 than those of the sesquialtera, and only cal- 
 culated to be used together with that and 
 other pipes. 
 
 Stop, nazard. Tvfelfth 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 slop diapason, the pipes of which 
 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 au organ, three, four, five, or more 
 to each key, all answering 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 properly 
 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, thefifteenth, 
 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, 
 prefeiably 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, Salicion«l. 
 
 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, stbpped 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- 
 
 aarm, i, add, a ale, &eiui, e eve, i ill, i iale, 6 old, 6 odd, oo moon, a. but,M Fr, sound, kh Oer. eh. nh naml. 
 
 (210) 
 
RTO 
 
 DICTIONARY OP MUSIC. 
 
 STR 
 
 der tbe tone -more soft and mellow tliau 
 that of the open diapason. 
 
 Stop, stopped unison. The stopped diapason 
 stop. 
 
 Stop, tierce. A stop tuned a major third 
 higher than the pfteenth, and only em- 
 ployed in the full organ. 
 
 Stop, treble forte. A stop applied to a roelo- 
 deon, or reed organ, by means of which the 
 trehle part of the Instrument may be in- 
 creased iu power, while the bass remains 
 subdued. 
 
 Stop, tremolo., A contrivance by means of 
 which a fine, tremulous effect is given tu 
 some of the registers of an organ. 
 
 Stop, trumpet. A stop so called because its 
 tone is imitative of a trumpet. In 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 tuning, can never be used 
 alone; the open diapason, stopped diapa- 
 son, principal, and fifteenth, are the best 
 qualitied to accommodate it to the ear. 
 
 Stop, vox humana. A stop (he tone cf which 
 resembles the human voice. 
 
 Storta (stor'ta), J(. A serpent. See that word. 
 
 Stortina (stor-te'na). It. A small serpent. 
 
 Str. Abbreviation for Strings. 
 
 Straccinato (stra-tshl-na'to), /(. See StrasH- 
 ncUo. 
 
 Stradivari. The name of a very superior 
 make of violiii, so called from their makers, 
 Stradivarius (father and son), who made 
 them at Cremona, Italy, about A. D. 1650. 
 
 Strain. A portioH of music divided ofT by a 
 double bar. 
 
 Strascicando (stra-shl-kan'do), It. Dragging 
 the time, trailing, playing slowly. 
 
 Mltrasclnando (stra-shl-nan'do). It. Dragging 
 the time, playing slowly. 
 
 Hrascinando I'arco (st-ashi-nan'do lar-ko). 
 Keeping the bow of the violin close to the 
 strings, as in executing the tremolando, so 
 as to slur or biiid tbe notes closely. 
 
 Strascinato (stra-shi-na'to). It. Dragged along, 
 played slowly. 
 
 Strascino(stra-she'no), J/. A drag. This grace, 
 or embellishment, is chiefly confined to vo- 
 cal music, and only used in slow passages. 
 It consists of an unequal and descending 
 motion, 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. 
 
 Stravazante (stra-va-gan't6), It. Extravagant, 
 odd, &utastic. 
 
 Stravaganza (stra-va-gan'tsa), It. Extrava- 
 gance, eccentricity. 
 
 Street organ, fiand organ. 
 
 Streich (strikh), Ger. String. Used iu com- 
 position, as, Sireichinstntmente, stringed in- 
 struments; Streichquarict, stringed quartet, 
 eic. 
 
 Streng (string), Ger. Strict, severe, rigid. 
 
 Strenge gebunden (strSn'ghS gh(5-boon'd'n), 
 Otr. Strictly legato, exceedingly smooth. 
 
 Streng im Tempo (strSng im tCm'po), Ger. 
 Strictly in time. 
 
 Strepito (stra'pl-to), It. Noise. 
 
 Strepitosamente (stra - pj - to - sa - mfin' t6), It. 
 With a great noise. 
 
 Strepitoso (stra-pl-to'zo), It. Noisy, boister- 
 ous. 
 
 Stretta (strgt'tii), II. A cnncUidins; passage, 
 coda, or finale, in an opera, taken in quicker 
 time to enhance the effuct. 
 
 Stretto (strSt'to), /(. Pressed, close, contract- 
 ed ; formerly used to denote that tlie move- 
 ment indicated ..was to be performed iu a 
 quick, concise style. In fneiie-writing thst 
 vart where the subject and answer succeed 
 one another very rapidly. 
 
 Strich (strikb), Ger. Stroke, the manner of 
 bowing. 
 
 Stricharten (strikh ar-t'n),Ger. Different ways 
 of bowing. 
 
 Strict carton. A canon in which tbe imita- 
 tion is complete, each voice exactly repeat- 
 ing the other. 
 
 Strict composition. A composition in which 
 voices alone are employed; that which rig- 
 idly adheres to the rules of art. 
 
 Strict fugue. Where the fugal form and its 
 la MS are rigidly observed. 
 
 Strict Inversion. The same ns simple inver- 
 sion, but requiring that whole tones should 
 be answered by whole toues, and semitones 
 by semitones. 
 
 Strictly Inverted imitation. A form of imi- 
 tation in which half and whole toues must 
 be precisely answered iu contrary motion. 
 
 Strict style. A style in which a rigid adher- 
 ence to the rules of art is observed. 
 
 Strident (stre-danh), Fr. 
 
 Stridente (stre-d6n' "' 
 
 Strldevole (stre-dS 
 
 Strii<inK reed. Thnt kind of reed pipe in an 
 organ in wtiich 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 drawii g 
 strings, or by the friction of a bow drawn 
 across them. 
 
 Stringendo (stren-gfiu'dd), It. Pressing, ac- 
 celerating the time. 
 
 String pendulum. A Weber chronometer. 
 
 String quartet. A composition for four in- 
 struments of thevioliu species, as two vio- 
 lins, a viola, and violoncello. 
 
 h), Fr. 1 
 n'tfi). It. y 
 S-vo'lS), It. \ 
 
 Sharp, shrill, 
 acute. 
 
 a arm, 6 add, a ate, « end, e CTC, i J!i, i is!e, oW, odd, 00 moo»i a but, \1 Fr. sound, kU Ger. oh, uU mi«i. 
 
STR 
 
 DICTIONARY OF MUSIC. 
 
 ^j, A 
 
 strings. Wires, or chords, used in musical 
 instrumeuts. which, upon being struclc or 
 drawn upon, produce tones; the stringed 
 lustruments iu a baud or orchestra. 
 
 Strings, latten. Wires made of a composition 
 coiisistiiig ot copper and zinc. 
 
 Strings, open. The strings of an instrument 
 when not pre8i,ed. 
 
 Strisciando (stre-shi-an^do). It. Gliding, slur- 
 ring, sliding smoothly Irom one note to an- 
 other. - 
 
 li^Sll IS: ^-l A strophe, stanza. 
 
 Strolifiedei (str6'te-d'l),Ger. Straw fiddles. A 
 xylophone composed of rods of wood, which, 
 when struelc by a little mallet, give out mu- 
 sical sounds. 
 
 Strol<e, diagonal. A transverse heavy stroke, 
 haviug a dot each side of it, denoting that 
 the previous measure or the previ- 
 
 ous groupofnotesiuthesamemeas- — A^- 
 ure is to be repeated. ' 
 
 Stroke, double. Two etrokei or dashes 
 dfawnoveror under asemibreve 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- 
 tion. 
 
 Stroke, single. A strolce rr dash drawn over 
 or uudtr a semibrev^, or through the stem 
 of a miuim or crotchet. Implying that such 
 a note must be divided into as many qua- 
 vers as are equivalent to it in duratiou. 
 
 Stroke, transverse. A heavy stroke placed 
 above a fundamental note to indicate the 
 intervals of changing notes, and also used 
 lor anticipation In 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 iu duration. 
 
 IThe 
 J sound 
 
 To sound 
 
 A trum- 
 
 Strombazzata (strom-bat-tsa'ta), „ 
 
 Strombettata (strom-bet-ta'la), ■ 
 of a trumpet. 
 
 Strombettare (str6m-b6t-tii'r€), Tt. 
 or play on the trumpet. 
 
 Strombettiere (strom-bet-ti-a'rS), It. 
 peter. 
 
 Stronientato(stTom6n-ta'l6), II. Instrument- 
 ed, scored for an orchestra. 
 
 Stromentl (stro-mSn'te), II. pi. Musical in- 
 struments. 
 
 Stromenti da f iato (stro-mSn'te dii 
 fe-a'lo), 1 n , 
 
 Stromenti di vento (stro-m6n'te de C •"• P'- 
 v6n't6). 
 Wind instruments. 
 
 Stromenti d'arco (strS-m6n't5 'd'ar'ko). It. pi. 
 lustruments played with the bow. 
 
 Stromenti dl rintorzo(str6-m8n'te de rln-for'- 
 tso), It.pl, Instruments employed to sup- 
 port or strengthen a performance. 
 
 Stromento (Gtr5-meD't5), It. An Instrument. 
 
 Strophe. In the ancient theater, that part ot 
 a bong or dance around the altRr which 
 was performed by tnrning from the right 
 to the left. It was succeeded by the anti- 
 stropbe, in a contrary direction. Heuce, 
 in ancient lyric poetry, the former of two 
 stanzas was called the strophe, and the lat- 
 ter the antistrophe. The cpode, or afier- 
 song, followed after. 
 
 Stiick (stiik), Ger. Piece, air, tune, musical 
 entertainment. 
 
 Stiickchen (stiik' kh€n), Ger. Little airs or 
 tunes. 
 
 Studlen (stoo'di «n), Ger. pi. Studies. 
 
 Studio (stoo'di-61, /«. 1 A study, an ex- 
 
 Studium (stoo'df-oom), Ger. j ercise intend' 
 ed for the practice of some particular diffi- 
 culty. 
 
 Stufe (stoo'f6), Ger. Step, degree. 
 
 Stufe der Tonleiter (stoo'fe dSr ton'll-ter), Ger. 
 A degree of the scale. 
 
 Stufen ((stoo'f'n), Ger. Steps or degrees. 
 
 Stufenwelse (stoo'1'n-wi's^), Ger, By degrees. 
 
 Stiirmisch (stiir'mlsh), ff€r. Impetuously, 
 boisterously, furiously. 
 
 Stiirze (stiir'tse), Ger. The bell of wind iii- 
 etaaments. 
 
 Style. That manner f f composition or per- 
 Ktrmance on whicli the tftt'Ct chiefly, if not 
 wholly, depends. The distinction "strict" 
 and "trie" style is tiften. made. By ttrlct 
 style is meant a manner of composition in 
 which a certain number of voice-parts are 
 carried through in accordance with the 
 principles of this "form (if 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 in troduced. Accom- 
 paniments must beobllgato, etc. 
 
 Stylo (steaa), It. Style. 
 
 Stylo dramatico (ste'ld dra-ma'tl-ko). It. In 
 dramatic style. 
 
 Styl6 eccleslastico (ste'lo ek-kla-zI-Ss'ti-ko), It. 
 In church style. 
 
 Stylo fantastico (ste'io fan- tiis' ti- ko). It. An 
 easy, humorous style free from all restraint. 
 
 Stylo rappreseiitatlvo (ste'lo rap-pra-z6n-t^- 
 te'vo). It. The name originally applied to 
 music written for opera, meaning that the 
 chief cilice 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 iteelf 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 recitativo (ste'lo ra.-tal-ta-te'v5), It. In 
 the stj le of a recitative. 
 
 il arm, & odd, a ofe, fi end, eeve,iill,i tele, 6 old, 6 odd, po moon, tl imf, tl jFr. iound, kb Ger. eh, nh nasal. 
 
 (212) 
 
sff" 
 
 DICTIONARY OF MUSIC. 
 
 suo 
 
 Su (soo), /(. Above, upon. 
 
 Suabeflute. An organ-stop of pure liquid 
 tone, not eo loud as tiie Waldflute; it was 
 invented by William Hill, of Loudon. 
 
 IHS^- &5'v«' £; i Sweet, mild, agree- 
 Suave (soo-a ve), bp. > ^,_ nlpnsant 
 Suave (swav), Fr. ) "•°^®' Pleasa°'" 
 
 Suavemente(soo-a-ve-mSn'te>, Sp. > Suavity, 
 
 Suavemente (soo-a-vfi-men'tS), It. > sweet- 
 
 Suavita (soo-a-vl-ta'), J(. ' uess, 
 
 delicacy. - 
 
 Sub (si3b), Lai. Under, below, beneath. 
 
 Subbass (soob'bass), Oer. Underbass; an or- 
 gan-register in the pedals, usually a double- 
 stopped bass of 32- or 16-feet tone, though 
 sometimes open wood-pipes of 16 feet, as at 
 Haarlem ; the groundbass. 
 
 Subbourdon. An organ-stop of 32-feet tone, 
 with stopped pipes. 
 
 Subdomlnant. The fourth note of any scale 
 or key. 
 
 Subitamente (soo-bi-ta-mSn'tS), „ 1 Sudden- 
 
 Subito (soo'bito), j ly, im- 
 
 mediately, at once. 
 
 Subject. A melody or theme ; a leading text 
 01 motive. 
 
 Subject, counter. The counterpoint of the 
 subject, which every voice in. a fugue per- 
 forms alter giving out the subject. 
 
 Submediant. The sixth tone of the scale. 
 
 Suboctave. An organ-coupler producing the 
 octave below. 
 
 Subprincipal. Underprincipal ; 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. 
 
 Subsemitonium modi (sooh-sSm-i-to'n'l-oom 
 mo'di). Lat. The leading note. 
 
 Subtonic. Under the tonic ; the si mitone 
 immediately below the tonic. 
 
 Succentor (sook-sSn'tor), Lat. A subehanter, 
 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' t6). It. SufTocated. 
 OboKed, as if with grief. 
 
 Sui (soof), /(. Sul. 
 
 Suite (swet), Fr. A series, a succession ; une 
 suile de pieces, a series of lessons, or pieces. 
 
 Suite (swet), Fr. A series, a set ; i.e., a series, 
 ur set, of pieces (suite de pieces). In the 
 earlier part of the eighteenth century, and 
 anterior to that time, a suite consisted la 
 most cases of dances, to which, however, 
 WHS often added a prelude as an introduc- 
 tory first piece. Other pieces than dances 
 wefft also occasionally inter.spersed— for in- 
 stancs, in some of J. S. Bach's suites we find 
 an air. As to the dances, they were artis- 
 
 tically treated, difTering from those intend- 
 ed to be danced to, both in form and style, 
 and not unfrequently also in character. 
 Bach's Suites Auglaises all open with a pre- 
 lude, but his Suites Fran^aises are without 
 such an introductory piece. The first of 
 Bach's Suites Anglalses contains the follow- 
 ing pieces; (1) Prelude; '12) AUemande; 
 (3) Courante; (4) Sarabande; (5) Bourse; 
 (6) Gigue. Instead of the bourse we find in 
 others oi the master's suites a gavotte, ir a 
 menuet, or a passepied. The allemaude is 
 generally the first of the dniices; tlie order 
 and selection of the other dances were less 
 settled, but the coarante and sarabande 
 were very common as the second and third 
 constituents, as was also the gigue as the 
 last. Other dances to be met with in suites 
 are the loure, anglaise, polonaise, pavane, 
 etc. As a rule the pieces are all in the same 
 key. Their number dififered. 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 (swB-va), Fr. Follow, attend, pursue -, 
 the accompaniment must be accommodated 
 to the singer or solo player. 
 
 Sujet (sil-zha), Fr. A subject, melody, or 
 theme. 
 
 Sul (sol), ) 
 
 Suir (sool). It. }-0n, upon the. 
 
 Sulla (sool'la), ] 
 
 Sul A. On the A string. 
 
 Sul D. On the D string. 
 
 Sulla mezza corda (sool'la mSt'sa kor'da). It. 
 On the middle of the string. 
 
 Sulla tastiera (sool-la tiis-ti-a'ra), It. Upon 
 the keys, upon the fingerboard. 
 
 Sul ponticello (sool p0n-ti-tsbSl'16), 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. See Resultant tones. 
 
 Sumpunjah (soom-poon-yah), Hcb. The dul- 
 cimer of theancients. Itwasawind instru- 
 ment made of reeds ; by the fyriaus called 
 samboujah and by the Italians zampogna. 
 
 Sumsen (soom's'n), Ger. To hum. 
 
 Suo loco (soo'd lo'ko). It. In its own or usual 
 place. 
 
 Suonantina (soo-o-nan-te'na). It. A short, easy 
 sonata. 
 
 Suonare (soo-6-nii're). It. To play upon ml 
 instrument. 
 
 Suonare le campane (soo-o-na'rS IS kiim-pa'uS), 
 
 /(. To ring the bells. 
 Suonarsordamente (soo-6-nar' sor-dii-m6n'tC), 
 
 It. To play softly. 
 
 d arm, & add, a,ale, 6 end, e eve, i iM, i isle, o old, 6 odd, oo moon, a but, ii Fr. sound, kh Ger. di. nh nasdf, 
 
suo 
 
 DICTIONARY OF MUSIC. 
 
 SYM 
 
 Suonata (soo-o-na'ta), Zi. A sonata. 
 Suonl (soo-6'ni), /(. pi. Sounds. 
 
 Suoni armonichi (soo-6'ni ar-mo'nl-ki), It.pl. 
 
 Harmonic sounds. 
 Suono armonioso (sooo'no ar-monio'zo), It, 
 
 Harmonious sounds. 
 Superano (soo-p6r-a'n6), Sp. Soprano. 
 
 Superdoitilnant. Ttic note in the scale next 
 ub.)ve Ibe dominant. 
 
 Superfluous intervals. Those which are one 
 .semitone 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-p6r'soos), Lat. Name formerly 
 given to trebles when their station was very- 
 high in the scale. 
 
 Supertonic. ) The note 
 
 Supertonique (sii-p6r-t6nh-6k'), i'r. ) next 
 above the tonic, or key-note; the second 
 note of the scale. 
 
 Supplichevole (soop-pli-ka'vo-ie), 1 
 
 Supplichevolmente (soop-pli-kavol-m6n'l6) J 
 It. In a supplicatory manner. 
 
 Sur (soor). It. 
 
 Sur (sur), Fr. 
 
 On, upon, over. 
 
 Surde^ine. 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 pressured the 
 Augers, and inflated by means of bellows, 
 which the performer blows with his arm at 
 the same time that he fingers the pipe. 
 
 Sur la quatriime corde (silr la k^-ri-am 
 kdrd), Fr. On the fourth string. 
 
 Sur la seconde corde (siir lasa-k5nhd kdrd), 
 Fr. Upon the second string. 
 
 Sur una corda (soor oo'ua kor'da), /(. ) Upon 
 Sur une corde (silr iinh kOrd), 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- 
 peuded, after the beginning of the next 
 loUowing 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 aud 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 (s-iiss), Ger. Sweetly. 
 
 Siissflote (suss'flo'te), Ger. In organs, the soft 
 flute. 
 
 Sussurando (soos-sooran'do), „ 1 Whisper- 
 
 Sussurante (soos-soo-rau'tS), 'Jing, mur- 
 muring. 
 
 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-yl-a' to), /(. 'Brisk, lively, 
 sprightly. 
 
 Svegliatojo (svfil-yi-ii-to'yo). It. An alarm bell. 
 
 Svelto (sv61't6), It. Free, light, easy. 
 
 Swell. A gradual increase of sound. 
 
 Swell organ. In organs having three rows of 
 keys, 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 (he dampers 
 from the strings or opens the swell-blinds of 
 the organ. 
 
 Syllables, Quidonian. 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). Or. 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; agreeingin sound. 
 Symphonie (sanh-fo-ne), ii'r. 1 Aformofcom- 
 Symphonie (sim-fo-ne), Ger. > position for 
 Symphony (slm fo-ny), Eng. J 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 son- 
 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 efTects of tone color and 
 contrast. The greatest masters of 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 
 
 a arm, i, add, a aie, g end, e eoe, \Ul,l isle, 5 old, 6 odd, oo moon, tk but, u Fr, sound, kh Oer. ch, nh nasal. 
 
 (214) 
 
rfYM 
 
 DICTIONARY OF MUSIC. 
 
 TAG 
 
 uses it In the " Messiah " as " Pastoral Sym- 
 phony," which would now be called an iu- 
 termezzo. 
 
 Symphonienseser (sim-fo-ni-fin-sfi-sfir), Qer. 
 Symphonist; a composer of symphonies. 
 
 Symphonious. Harmonious; agreeing in 
 sound. 
 
 Symphonische Dichtung (sIm-{6'ni-Bh£ dlkh'- 
 toong), Qer. A symphonic poem. An or- 
 chestral composition with a poetic hasis (a 
 program) and of a free form— the latter be- 
 ing determined by the subject, not by rule 
 and custom. Liszt is the originator of the 
 kind and the name. Before him Berlioz 
 had written symphonies with a poetic basis 
 and differing more or less from the ortho- 
 dox compositions of that appellation. Nev- 
 ertheless Liszt was an originator of more 
 than the name, for his symphonic pnems 
 are peculiar in various ways, especially iu 
 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 imity_ to the various constitu- 
 ents of the composition. 
 
 Symphonist. A composer of symphonies. In 
 France the terra 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-k6-pa'ta) ) 
 
 Syncopate (sln-k6-pa't6), It. \ Syncopated. 
 
 Syncopate (slD-ko-pa'to), j 
 
 Sy ncopatio (sln-k6-pa'tsi-6), Lat. ) A rhyth- 
 Syncopation, Eng. tmic distur- 
 
 Syncope (sanh-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 be 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 syncopate. 
 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 (sanh-ko-pS), Fr. \ To syn- 
 Syncopiren (sln-ko-pe'r'n), Ger. j copate. 
 Systime (sls-tam), Fr. A system. 
 
 T. Abbreviation of Tempo ; also of Tenor. 
 
 Taballd (ta-bal'lo), It, A kettledrum. 
 
 Tabar (ta-bar), /(. A small drum ; a tabor. 
 
 Tablatura (tab-la-too'ra), /(, ■) A terra for- 
 Tablature(ta-bla-tur), j'r. I merly ap- 
 
 Tablature (tab'la-tshur), £n£r. j plied to the 
 Tabulatur (ta'boo-la-toor),G»T. J totality or 
 general assemblage of the signs used iu mu- 
 sic ; so that to understand the notes, clefs, 
 and other necessary marks, and to be able 
 to sing at sight, was to be skilled in the tah- 
 lature. More particularly applied, however, 
 to a curious notation for the lute, viols, and 
 wind instruments invented between A. D. 
 1400 and 1500. It consisted of lines and bars, 
 with signs in the spaces and above the staff. 
 There 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, 6 for first fret, e 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 (tabl d'ar-mo-ne), Fr. A 
 table or diagram of chords, intervals, etc. 
 
 Table d'instrument (tabl d'anh-strii-manh), 
 Fr. The belly of an instrument. 
 
 Table songs. Songs for male voices formerly 
 much in vogue in German glee clubs. 
 
 Tabor. A small drum, gnierally used 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 
 head. 
 
 Tabret. A kind of drum used by the'ancient 
 Hebrews. 
 
 Tacet (ta'set), or, Tacent (ta-ts6nt), Lat. -i 
 
 Tace (ta'tshg). It. I 
 
 TacI (ta'tshi). It. [ 
 
 Taclasi (ta-tsbl-a'zl), It. ) 
 
 Be silent ; meaning thatcertain instruments 
 are not to play ; as, vwlino tacet, the violin is 
 not to play ; oboe tacet, let theoboe be silent. 
 
 Tact (takt), Ger. See TaU. 
 
 Tactus (tak'toos),,i7(. In the ancient music 
 the stroke of the hand by which the time 
 was measured or beaten. 
 
 a arm, & add, a ale, 6 end, e eve, i ill, i isle,6 old,& odd, oo vioon, Q bid, ii Fr.sound, kh Ger. ch, nh nasal. 
 
 (215) 
 
TAF 
 
 DICTIONARY OF MUSIC. 
 
 TEA 
 
 Tafelmuslk (ta'f'1-moo-Bik'), Ger. Table- 
 music ; music sung at the table, as part- 
 songs, glees, etc. 
 
 Taille (ta-ah), Jr. The tenor part; the viola. 
 
 Taille de violon (ta-tlh dtih ve-5-lonh), Fr. 
 
 The viola, or tenor violin. 
 Tailpiece. That piece of ebony to which the 
 
 viol.u, viola, etc., are fastened. 
 Takt (takt), Gcr. Time, measure. 
 
 Taktart (takt'art), Ger. Species of time, com- 
 mou or triple. 
 
 Taktfest (takt'tfiet), Ger. Steadiness in keep- 
 ing time. 
 
 Taktfiihrer (takt-Jiih-rgr), Ger. A conductor; 
 leader. 
 
 Taktieren (tak'terSn), Ger. To direct in meas- 
 ure. 
 
 Taktiinie (taktas-nl-e), ^., 1A bar-line; 
 
 Taktstrich (takt'strikh), "'^'^- J the lines 
 
 whicii mark the bars. 
 
 Taktmassig (takt'ma'sig), Ger. Conformable 
 to liie time. 
 
 Taktzeichen (takt't.<:i'kh'n), Ger. The figures, 
 or signs, at the beginning of a piece, to 
 show the time. 
 
 Talabalacco (ta-la-ba-:fik'ko), Tl. A species of 
 Moorish drum. 
 
 Talon (la-lBnh), J'r. The heel of the bow; 
 that part nearest the nut. 
 
 Tambour (tanh-bonr), 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 ddh bask),i<'r. 
 A tabour, or labor; a tambourine. 
 
 Tambouret (lanh-boo-ra), Fr. \ A timbrel, a 
 
 Tambourine, Fvg. 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-ntSr), Fr. Drum- 
 mer, lambourine-player. 
 
 Tambour major. See Drum major. 
 
 Tambourello (tam-boo-ral'lo), „ 1 A tam- 
 Tambouretto (lam-boo-rat'to), " J bourine ; a 
 
 little d^rum. 
 Tambourone (tam-boo-ro'nS), It. The great 
 
 dium. 
 Tamburaccio (tam-boo-rat'tshI-6), It. A large 
 
 old drum ; a tabor. 
 Tamburino ( tarn -boo -re' no), It. 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'dfilnd), Ger. In a playful man- 
 ner. 
 
 Tanedor ( ta- nfi- thor'), Sp. Flayer on a mu- 
 sical instrument. 
 
 Taneeiit (tan'gh6nt),G'er. The jack of a harp- 
 sichord. 
 
 Tantino (tftn-te'no). It. A little. 
 
 Tanto (tan'to), It. So much ; as much ; aUe- 
 gro non tanto, not so quick, not too quick. 
 
 Tantum ergo (tan'toom ar'go), Lat. A hymn 
 sung at the Benediction in the Eomau 
 Catholic service. 
 
 Tanz (tants), Ger. A dance. 
 
 Tanze(tan'tsfi), Ger. jj!. Dances. 
 
 Tanzer (tan'tsSr), Ger. A dancer. 
 
 Tanzerin (tan'tsS-rln), 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 vessel. 
 
 Tarantella (tar-ran-tgl'lft), /(. A swift, deliri- 
 ous sort of Italian dance in 6-8 time. The 
 form has been adopted by many of the mod- 
 em 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-mSn'tS), It. Slowly. 
 
 Tardando (tar-dan'do), /(. Lingering, retard- 
 ing the time. 
 
 Tardo (tar'do), It. Tardy, slow. 
 
 Tartlnl's tones. The resultant or combina- 
 tion tones, which are formed when two 
 notes are sounded together upon the violin. 
 Tartini first observed them, and PS they al- 
 ways represent the natural root of the tones 
 which sound thtm, 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. I keyboard of a 
 
 Tastatura(taa-ta-too'ra),Ger. r pianoforte, or- 
 
 Tastiera (las-ti-a'ra). It. ) gan, etc 
 
 Taste. A sympathetic appreciation of the re- 
 fined, intelligent, and noble in any ait. 
 
 Taste (tas'tS), Ger. 1 Thetouch of anyinstru- 
 
 Tasto (tas'to), /(. Jment; hence, also, a key, 
 or thing, touched. 
 
 Tastenbrett (tas't'n-brSt), Ger. Keyboard of 
 a pianoforte, etc. 
 
 Tasto solo (tils'to solo), It. One key alone ; in 
 organ or pianoforte music Ih is means a note 
 without harmony, the ba-ss'notes over or un- 
 der which it is written are not to be accom- 
 panied with chords. 
 
 Tatto (tii'to), II. The touch. 
 
 Tattoo, The beat of a drum at night calling 
 the soldiers to their quarters. 
 
 Teatro (ta-a'tro), /(. A theater, playhouse. 
 
 Teatro dl gran cartello (ta-a'tr3 de griin kiir- 
 tSl'16), It. Lyric theater of the first rank. 
 
 &armf&add, & ale, i end, eeve,liU,lisle,6'old, 6odd, oo7noon,iibut,u Fr. ioimd, kh Ger. ch.nhrmsaU 
 
 (216) 
 
TEC 
 
 DICTIONARY OF MUSIC. 
 
 TEM. 
 
 Technlc. That port ol the art of playing, per- 
 foriniug, or working which can be taught. 
 Upon instruments the technic includes the 
 application o£ the Augers, 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 term technic was for- 
 merly restricted to finger-facility merely, 
 whereas at present it applies to all parts of 
 the mechanism of playing, including every 
 port of movement and the art of differenti- 
 ating tones. 
 
 Technik (tgkh'nlk), Ger. ' Technic. 
 
 Technisch (tfikh'nlsh), Ger. Technical ; this 
 word is also used to indicate mechanical 
 proficiency, as regards execution. 
 
 Tedesca (l4-d6s'ka), „ 1 German; aUaiedes- 
 Tedesco itS-dSs'ko), Jco, in the German 
 
 style. 
 Te Deum laudamus (tS da'oom lou-da'moos), 
 Lat. We praise Thee; a canticle, or hymn 
 of praise, often attributed to St. Ambrosius. 
 
 Telltale. A movsible piece of metal, bone, or 
 ivory, attached to an organ, indicating l<y 
 its position the amount of wind supplied by 
 the bellows. 
 
 Tema (ta'ma). 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 accoustical re- 
 lation. In order to play in perfect tune up- 
 wards of fifty intervals in the octave would 
 be necessary, and many tones which are 
 identical upon the tempered instrument 
 would then be found different and incap- 
 able of substitution for each other. An 
 equal temperament is one in which the im- 
 perfections are equally distributed ; an un- 
 equal temperament is one in which a few 
 keys are nearly perfect, while all others are 
 very bad. In correct temperaments the 
 fifths are a twelfth of a comma fiat; the 
 fourths the same amount too sharp; the 
 major third is a fourth of a comma too 
 sharp, and so on. All intervals are incor- 
 rect except the octave and unison. But the 
 differences are so small that, except in slow 
 chords, the ear is quite well satisfied. 
 
 Temperatur (tSm'pS-ra-toor"), Ger. Tempera- 
 ment. 
 
 Tempcstosamente ftSm'pSs-to-za-mSn't6), It. 
 Furiously, impetuously. 
 
 Tempcstoso (tfim-pes-t6'zo),Ji. Tempestuous, 
 stormy, boisterous. 
 
 Tempete (tanh-paf), Fr. A boisterous dance 
 in 2-4 time.. 
 
 Tempo (tSm'po), 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, moderate, allegro, presto, prestissi- 
 mo, the latter being as ^ast as possible ; a 
 tempo, in time. 
 
 Tempo alia breve (tSm'po ill'la bra'vfi) , It. In 
 a quick species of common time. 
 
 Tempo a piacere (t€m'p6 a pe-£l-tsha'rS), It. 
 The time at pleasure. 
 
 Tempobezeichnung (t6m'p6-b6-tsikh'noong), 
 6er. Measure-marking. The signs indicat- 
 ing the variety of measure. 
 
 Tempo comodo (tSm'po ko-mo'do), It. Con- 
 venient time ; an easy, moderate degree uf 
 movement. 
 
 Tempo dl ballo (tSm'po de bill' 15), It. In 
 dance time ; rather quick. 
 
 Tempo di bolero (tgm'po de bo-lC'ro), It. In 
 time of a bolero. 
 
 Tempo di cappella (tSm'po de kap-pSl'lii), It. 
 lu the church time. See AHa breve. 
 
 Tempo di gavotta (t€m'p6 de ga-vot'ta), It. 
 In the time of a gavot. 
 
 Tempo di marda (tSm'po de mar'tsfai-a). It. 
 In the time of a march. 
 
 Tempo dlmenuetto(t§m'pd de mS noo-Sl'to), 
 It. In the time of a minuet. 
 
 Tempo di polacca (tSm'po de po-lak'^a). It. 
 lu the time of a polacca. 
 
 Tempo di prima parte (tSm'po de pre'ma 
 pai'tS), /(. In the same time as the first 
 part. 
 
 Tempo di valse (tSm' po de val'se), Jt. In 
 
 ' waltz time. 
 
 Tempo debole (tSm'po da-bo'lfi). It. The un- 
 accented part of the measure. 
 
 Tempo frettevole (tfim'po fret-ta'v6-16), 1 „ 
 
 Tempo frettoloso (tSm'po fr6t-t6-16'z6), j ^■ 
 In quicker time; hurrying, hastily. 
 
 Tempo giusto (tfim'po joos'to). It. In just, ex- 
 act, strict time. 
 
 Tempo maggiore (tfim'po miid-jl-o'rfi). It. In 
 a quick species of common time. 
 
 Tempo ordinario (tem'po or-di-nil'ri-o), /(. Oxr 
 dinary or moderate time. 
 
 Tempo prime (tSm'po pre'mo). It. First, or 
 original, time. 
 
 Tempo rubato (tSm'po rooTba'to), It. Robbed 
 or stolen lime ; irregular time ; meaning a 
 slight deviation to give more expression, by 
 retarding one note, and quickening anothiT, 
 but so that the time of each measure i.s not 
 altered in the whole. Rubato is of several 
 grades : Applied to a single tone, and so i e- 
 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 (tfim'powe lor'har), Ger. 
 The time as before: 
 
 a, arm, ft add, a die, 6 end, e eve, i HI, I isle, 6 old, 6 odd, oo moon, H but, ii Fr. sound, kh Ger. ch, nh nasal. 
 
 (217) 
 
TEM 
 
 DICTIONARY OP MUSIC. 
 
 TEu 
 
 Temps (tanh), j^ 1 Time; also the various 
 
 Terns (tiluh), J parts.or divisious.ol a bar. 
 
 Temps foible (tanh fwabl), Fr. Tlio weali, or 
 unaccented, parts of a meaburc. 
 
 Temps fort (tanh for), Fr. The strong, or ac- 
 cented, parts of a measure. 
 
 Temps leve (tanh IS-va), Fr. The upbeats, or 
 unaccented parts. 
 
 Temps trappe (tanh trap-pa), Fr. The down- 
 beats, or accented parts. 
 
 Tempus imperiectum (tfim'poos im-pSr-f6lj'- 
 l. om), ia*. Imperfect time ; a term used 
 by old writers, meaning common time of 
 two in a measure. 
 
 Tempus perfectum (tSm'poos p6r-f6k'toom), 
 Lat. Perfect time; a term used by old 
 writers, meaning time of three in a meas- 
 ure. 
 
 Tendrcment (tilnhdr'-manh), Fr. Tenderly, 
 afl'ectionately. 
 
 Tenebrae (ten'S-bra), Lat. Darkness; a name 
 given to the Roman Catholic evening serv- 
 ice during Holy Week, In commemoration 
 (if the darkness which attended the cruci- 
 fixion. 
 
 Teneramente (t6-n6'ra-mSn't6), It. Tenderly, 
 delicately. 
 
 Tenerezza (t6-n8-rSt'tsa), It. Tenderness, soft- 
 ness, delicacy. 
 
 Tenero (ta'n6-r6). 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 U 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 (te-no'r6), Ji!. Tenor voice; a tenor 
 singer. S.e also Viola. 
 
 Tenore buffo (t6-no'rg boof'fo), It. The second 
 tenor singer of an opera company for comic 
 parts. 
 
 Tenore di grazia (t6-no'rS de gra'tsi-a). It. A 
 delicate and graceful tenor. 
 
 Tenore legeiero (t6-no'r6 ISd-ji-a'ro), It. A 
 tenor voice of a light quality of tone. 
 
 Tenore primo (tfi-no'rS pre'mo). It. First 
 tenor. 
 
 Tenore robusto (tfrno'rS ro-boos'to). It. A 
 strong tenor voice. 
 
 Tenore secondo (tS-nffrS s&-kon'dd),'It. Sec- 
 ond tenor. 
 
 Tenore viola (tS-nffrS ve-6'la), It. Tenor vijol. 
 
 Tenorist(t6n'6-rist), Ger. ). .enorsineer 
 Tenorista(ten-o-res'ta),/«. ;* tenorsmger. 
 
 Tenoroon. The old tenor hautboy, tbe com- 
 pass of which extended downward to tenor 
 0. The name is someiimes applied to an or- 
 gan-stop. 
 
 The 
 
 The 
 
 Tenorposaune (t6nor'p6-zou'n6), Oer. 
 tenor trombone. 
 
 Tenorschliissel (tS-nor'shliis's'l), Ger. 
 tenor clef. 
 
 Tenor, second. Low tenor. 
 
 Tenorstimme (tS-nor'stlm'mfi), 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 (t6-n6r fl-o'lS), Oer. 
 
 Tenor violin, Eng. 
 
 Tenorzeichen (t6-n6r'tsl'kh'n),(»er. The tenor 
 clef. 
 
 Tensile. A terni applied to all stringed in- 
 struments, on account of the tension of their 
 strings. 
 
 Tenth. An interval comprising an octave and 
 a third; also an organ-stop tuned a tenth 
 above the diapasons, called, also, dccima 
 and double tierce; obsolete. 
 
 Tenue (ta-nii), Fr. See Tc7iuto. 
 
 } The viola. 
 
 Tenute (ta-noo'tSJ, „ 
 Tenuto (ta-noo'to), ' 
 time. 
 
 Held on, sustained 
 or kept down the full 
 
 Teorbe (ta-6rb), Fr. See Theorbo. 
 Teoretico (ta-o-ra'ti-ko). It. Theoretical. 
 Teoria (ta-o-re'a), It. Theory. 
 
 Teoria del canto (ta-6-re'a d61 kan'to), It. The 
 theory, or art, of singing. 
 
 Tepidamente (ta-pi-dii-m6n't6). It. Coldly, 
 with indifference; lukewarm. 
 
 Tepidita (la-pe-di-tii'), It. Coldness, indiffer- 
 ence 
 
 Ter (tgr), Lat. Thrice, three times. 
 
 Tercero (tfir-tha'ro), Sp. Third. 
 
 Tercet (tSr-sa), Fr. A triplet. 
 
 Terms, musical. Words and sentences ap- 
 plied to paftSageSof music for the purpose of 
 indicating the style in which they should 
 be pel formed. 
 
 Ternario (t6r-nil'ri-6). It. Ternario. 
 
 Ternario tempo (tSr-na'ri-o tSm'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 (tgr'tsl-a), Xa<. 1 Third, tierce; also 
 Tert2la(tSr'tsi-6), Ger. jan organ-stop, sound- 
 ing a third or tenth above the foundation 
 stops. 
 Ter unca (tSr oonTtS), Lat. Three-hooked ; 
 the old name of the demiseraiquaver. 
 
 ii arm, a add, a, ale, 6 end, e eve, S in, i isle, 6 old, 6 odd, oo moon, iibut,u Fr. sound, kh Ger. cA, nh maal. 
 
 (218) 
 
TER 
 
 DICTIONARY OF MUSIC. 
 
 TIB 
 
 Ten (iarts),.ee7-. ■^ A third, the inter- 
 
 Terza (tar'tsa), II. f yal of a third; also 
 
 Terze (tar'tsfi), Ger. V an organ-stop sound- 
 
 Terzle (tftr'tsi-S), Ger. \ inga third ahove the 
 
 Terzo (tar'tso), /(. J fifteenth. See Tierce. 
 
 Terz declmole (t&rts da-l^-mo'lS), Oer. A 
 group of thirteen notes, having tlie value of 
 eight similar ones 
 
 Terza magglore (tar'tsa mad-ji-e'r€). It, Ma- 
 jor third. 
 
 Terza minore (tar'tsS. me-nd'r€), It. Minor 
 third. 
 
 T«rzen (tar'ts'n), Ger. Thirds. 
 
 Terzetto (t6r-ts6t'to). It. A short piece, or 
 trio, for three voices. 
 
 TerzflSte (tarts'flo'tS), Oer. A flute sounding 
 a minor third above ; also*an organ-stop. 
 
 Terzina (tar-tse'na). It. A triplet. 
 
 Teste (tfis'to), /(. The text, snhject, or theme 
 of an y c.jm position. A word applied by the 
 Italians lo the poetry of a song; when the 
 wonls are well written the song is said to 
 have a good testo. 
 
 Testudo (tSs-too'do), Lot. Name given by the 
 Romans, in imitation of the Greeks, to the 
 lyre oi Mercury, because it was made of the 
 bdck or hollow of a sea tortoise. 
 
 Tetrachord (tfifri-kOrd), Gr. ^ A fourth ; also 
 
 Tetracorde (i6t'ra-k6rd), Fr. y a system of 
 
 Tetracordo (ifit-ra-kor'do), /i.J four sounds 
 among the ancients, the extremes of which 
 were fixed, but the middle sounds were 
 varied according to the mode. 
 
 Tetrachords, conjoint. Two tetrachords, or 
 fourths, where the same note is the highest 
 of one and the lowest of the other. 
 
 Theile (ti'lfi), Oer. pi. Parts, divisions of the 
 bar ; also strains, or component parts of a 
 movement or piece. 
 
 Thema (Iha'ma), Or.') 
 
 Thema (ta'ma), Ger. )■ A theme or subject. 
 
 Theme (tarn), Fr. ) 
 
 Thematic. Derived from appertaining to a 
 theme. This style of music is illustrated 
 by the Inventions of Bach, many pieces of 
 Schumann (the Novell^ttes, etc.) and the 
 middle part of the sonata-piece. It is op- 
 posed to lyric. 
 
 Theme. The subject of a composition. 
 
 Theorbe (tfror'bS), Ger. 1 An ancient in- 
 
 Theorbo (the-dr'bo), .Enff. J strument of the 
 luLe species. See Archlvte. 
 
 1 beoretical musician. One who is acquaint- 
 ed with the essence, nature, and properties 
 of music, considered as science, and as art. 
 
 Theoretiker (te-o-rfti-kfir), Ger. \ A theoret- 
 
 Tlreoricien (ta-6-re'si-anh), Fr. j ical mu- 
 sieiun, a theorist. 
 
 Thcoria (t8-o'rl-a),£a(.) The science of mu- 
 
 rheorie (ta'6-re'), jFr. > sic ; the principles 
 
 Theory (the'o-ry), Eng. ) of sound, as re- 
 gunis concords and discords; the system of 
 liarmonical and melodial arrangement for 
 the purpose of musical expression. 
 
 Thesis (tha'sls), Gr. Downbeat; theaccented 
 part of the bar. 
 
 Theurgic hymn's. Songs of incantation, such 
 as those ascribed to Orpheus, performed in 
 the mysteries upon the most solemn occa- 
 sions. These 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-play- 
 lug. 
 
 Thirteenth. An interval comprising an oc- 
 tave and a sixth. It contains twelve dia- 
 tonic 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 thei r 
 figural number, reckoning from the actual 
 bass note (not necessarily the root). Hence 
 the term" thoroughbass "is often employed 
 as synonymous with " liarmony." Tnis no- 
 tation was first invented for accompanying 
 recitative, and afterwards used in scores for 
 facilitating reading. 
 
 Three-eighth measure. A measure haying 
 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 (thrS-no'di-ii), tat. 1 An elegy, a 
 Threnodie (thre no'de), Or. j funeral-song. 
 
 Threnody. Lamentation, a song of lamenta- 
 tion. 
 
 Thrice-marlced octave. The name given in 
 Germany to the notes between the on the 
 second added line above the treble staff and 
 the next B above, inclusive ; these notes are 
 expressed by small letters, with three short 
 strokes. 
 
 Tibia (te'bl-a), Lot. 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'bl-a ma-yor), Lat. An organ- 
 stop of 16-feet tone, the pipes of which are 
 stopped or covered. 
 
 Tibiae pares (te'bi-a pifrfis), Za( 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'bl-ii oot-rikoo-la'ri-a), 
 Lat. Name by which the bagpipe was 
 known among the ancient Romans. 
 
 n, & add, a, ale, 6 end, e eve, 1 ill, lisle, 6 old, 6 odd, oo moon, but, ii Fr. taand, kh Oer. eft, nh nasal. 
 
TIB 
 
 DICTIONARY OF MUSIC. 
 
 Ton 
 
 Tibicen (te'bi-tsSn), Lot. 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), Oer. Deep, low, profound. 
 
 Tieter (te'fSr), Ger. Deeper, lower ; 8va tiefer, 
 octave below. 
 
 Tieftonend (tef'to'nfind), Ger. Deep-toned. 
 
 Tierce (ters), Fr. A third ; also the name of 
 an organ-stop tuned a major third higher 
 than the fiitecnih. 
 
 Tierce de picardie (ters dflh pl-kar'de), Fr. 
 Tieroeof JPicurdy ; aterm applied toamajor 
 third, when introduced in the last chord of 
 acompiisitionin a minor mode; the(Ustom 
 wassupposed to haveorigiiiated in Picardy, 
 and formerly was quite common. 
 
 Timbaie (tanh-bal'), Fr. \ . i,„n.,„j„,„ 
 Timbairo (tem-bal'16). It. | ^ kettledrum. 
 
 Timbalier (tanh-bali-a), Fr. A kettledrum- 
 mer. 
 
 Timbalies (lanh-bftl), Fr. pi. Kettledrums. 
 
 Timbre (ta.nh-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-ml-d6t'sa kon), //, With 
 timidity. 
 
 Timorosamente ( te - mo-ro - za - mgn' t6 ), It. 
 Timidly, with fear. 
 
 Timoroso (te-mo-ro'zo). It. Timorous, with 
 hesitation. 
 
 Timpani (tim-pa'ne). It. pi. \ The kettle- 
 Timpani (lim-pa'ue), Sp. pi. J drums. 
 
 Timpano (tim'pii-no), Jt. Drum, timbrel, la- 
 bor. 
 
 Tintement (tanh-t'-manh), Fr. Tingling of a 
 bell; Vibration, or ringing sound. 
 
 Tintermeil. An old dance. 
 
 Tintinnabulary. Having, or making, the 
 sound of 11 bell. 
 
 Tintinnabulum (tin-tin-na'bqo-loom), Lat. 
 
 Tintinnabolo (tin-iln-na'bo-lo). It. 
 
 Tintinnabulo (tiu-tIn-na'boo-16), /(. 
 A litt e bell. 
 
 Tintinnamento (tin-tln-na-men'to). It. Tink- 
 ling of small bells. 
 
 Tiorba (te-or'bii), It. Theorbo. 
 
 Tipping. A disiinctarti^tilation given to the 
 tones of a flute by placing Itie end of the 
 tongue on the root of the inouth. See Doa- 
 hle-tuiKjm^ivfj. 
 
 Tirasse (ti-rass'l, Fr. The pedals of an organ 
 which act on the manual keys bypulling or 
 drawing thtm down. 
 
 Tirata (te-ra'ta). It. A term formerly applied 
 to any number of notes of etjual value i r 
 length, and moving in conjoint degrees. 
 
 Tirato (te-ra'to), Jt. Drawn, pulled, stretched 
 out ; a downbow. See, also, Tirasse. 
 
 Tira tutto (te'ra tnnt'to), /(. 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-lirer(t6-rale-ra), Fr. To sing like a lark. 
 
 Toccata (tok-ka'ta). It. A purely instrumental 
 form, of which we hear already in thelaiti'r 
 
 Sart of the sixteenth century. The name is 
 erived from tocare, to touch, to play. In 
 its older form the toccata is a prelude con- 
 sisting of a few chords and cohirature, or a 
 sometniugbetweeu a preludeand afantasia, 
 made up of runs, ariicggios, and short aper- 
 pu.s. A characteristic of the toccata is that 
 it has the appearance (»f an improvisation. 
 Although very diflfei ent, the modern toccata 
 shares yet to a greater or less extent the 
 chief characteristics of its predecessor. Itis 
 generally constiucted out of a nimble figure 
 which is kept up throughout; melodic efTu- 
 sions are excluded, and technical display 
 and rhythmical movement are mainly 
 aimed at. In short, the modern toccata nnr- 
 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 boll for 
 the purpose of alarm. 
 
 Todesgesang: (to'dSs-gS-zang), f^^ \ A dirge, 
 
 Todeslied (t8'des-led), ''^- ] a fu- 
 
 neral-song. 
 
 Todtengliiclfchen ( tod' t'n - glok' kh'n ), Ger. 
 Funeral-bell. 
 
 Todtenlied (tod't'n-led'), Ger. Funeral-song 
 or anthem. 
 
 Todtenmarsch (t6d't'n-marsh'),(Jfr. Funeral 
 march. 
 
 Tolling. The act of ringing a church bell in 
 a slow, measured manner. 
 
 Tome (torn), Fr. Volume, book. 
 
 Tomtom. A sort of drum used by the natives 
 in the East Indies. 
 
 Ton (Iftnh), Fr. 
 Ton (ton), Ger. 
 Tone (to'nSl, Ger. pi. 
 Tone (to'no), Sp. 
 Tons Fr. pi. 
 
 Tone, sound, voire, 
 melody; also accent, 
 stress ; also the pinh 
 of any note as to its 
 acuteness or prnvity; 
 
 also the key or mode. Le ton d'ut, the key 
 of C. See, also. Tune. 
 Tonadica (to-nfi-de'ka), „ 1 A song of a live- 
 Tonadilla (to-nadel'va), ''• J ly and cheerful 
 character, generally with guitar accompe- 
 niment. 
 Tonae fichti (to'n6 fich'iei. Int. The trans- 
 posed ecclesiastical modes. 
 Tonalitat (ton'ill-i-tit'l. Oer. 1 „, 
 Tonalite (ton-al-i-ta), i'>. j 'duality. 
 Tonality. Relation in key. 
 
 aa^m^aa^id, aale, 6eftd, eeve,iiU,lisle,o old, 6odd, oo moon, iibut, u Fr. sound, kh(?c/'. ch.nhtiasdL 
 
 (220) 
 
TON 
 
 DICTIONAEY OF MUSIC. 
 
 TON 
 
 Tonart (ton'art), Qer. Mode, scale, key. 
 Tonbildung (ton-WMoong), Ger. 
 
 Ton de volx (t6nh dOh vwSl), Fr. Tone of 
 
 voice. 
 Tondichter (ton-dIkh't6r), Ger. Poet of sound, 
 
 a composer of music. 
 Tondichtuns; (ton'dllih-toong), Qer. Musical 
 
 composition of a high character. 
 Tondo (ton'do). It. Round, or full, as regards 
 
 tone. 
 
 Tone. A musical sound. Its characteristic 
 is the possession of a determinate pitch. In 
 this it differs fromi noise. Sometimes Im- 
 properly employed as a name for the Inter- 
 val of the whole step, or a major second. 
 
 Tonen (to'nen), Ger. To sound, to resound. 
 
 Tiinend (tiynSnd), Ger. Sounding. 
 
 Tonfall (ton'fall), Ger. A cadence. 
 
 Tonfarbe(t6n'far-bS),Cfer. Tone-color. Timbre. 
 
 Tonfolee (ton'fol'ghS), Ger. A succession of 
 sounds. 
 
 Tonfiihrune (ton'fu'roong), Ger. Tone-carry- 
 ing. Melodic and harmonic progression. 
 
 Tonfuss (ton'toos), Ger. Metre. 
 
 Tongang (ton'gang), Gir. Tune, melody. 
 
 Tongattung (ton'gilt'toong), \ „ 
 
 Tongeschlecht (ton'gg-shlSkhf), J ''^'^■ 
 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 (t6nh zha-na-ra-Wlr), Fr. The 
 TUlinK, or principal, key in which a piece is 
 written. 
 
 Tongue. In the reed pipe of an organ a thin, 
 elastic slip of metal, somewhat bent, and 
 placed near the reed. 
 
 Tongulng, double. A mode of articulating 
 quick notes, used by flutists 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. 
 
 Tonlque (t6nh-ek'),Fr. ) 
 
 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 
 (principally 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 worlc 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 musltfal 
 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 fe, 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 initialoc- 
 cupies a time-space, the tone extends one 
 beat ; when two Initials occupy the space, 
 the tones are half-beats. When a tone 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 s : — 
 
 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 Curwen, who 
 is the present head of the movement. 
 
 Tttnkunst (ton'koonst), Qer. Music ; the art 
 and science of music. 
 
 Tonliiinstler (ton'kiinst'lfir), Ger. Musician. 
 
 Tonkunstscliule (ton'koonst- shoo' ]£), Ger. 
 School of music. 
 
 Tonlehre (ton'la'rS), Ger. Acoustice; tones. 
 
 Tonleiter (ton-li'tSr), Ger. Scale, gamut. 
 
 Ton majeur (tOnh mazhQr), J^V. Major key. 
 
 Tonmalerei (ton-ma'lS-ri'), Ger. Tone-paint- 
 ing. 
 
 Tonmass (ton'mas), Ger. Measure, time. 
 
 Tonmesser (t6n-m6s'sSr), Ger. A mouochord. 
 
 Ton mineur (tOnh me-nflr). Ft. Minor key. 
 
 Tonos (to'nOs), Gr. Tone. 
 
 Tonsatz (ton'sats), Ger. A musical oomposi* 
 tion. 
 
 Tonschluss (ton-shloos'), Ger. A cadence. 
 
 Tonscliliissel (ton-shlus's'l), Ger. The key ; 
 keynote. 
 
 Tonschrift (ton' shrift), Ger. Musical notes. 
 
 Tons de I'eglise (tOnh ddh I'a-glez), Fr. 
 Church modes, or tones. 
 
 Tons de la trompette (tOnh dOh lii trom- ) 
 pat'). /-Fr. 
 
 Tons du cor (t6nh dil kor), ) 
 
 The additional crooks of the trumpet, and 
 horn for raising or lowering the pitch. 
 
 ^ arm, ft add, a ale, 6 end, e eve, i Ul, I isle, 6 old, 6 odd, bo moon, iilmt,u Fr. sound, kh Ger. ch, nh nasol- 
 
 (221) 
 
TON 
 
 DICTIONARY OF MUSIC. 
 
 TE>, 
 
 Tonsetzer (t6ii-s8t'ts6r), Ger. A composer ; a 
 less flattering term tbau tondichter. 
 
 Tonsetzerkoonst (ton-sfit'tsfir-koonst), Ger. 
 The art of musical composition. 
 
 Tonsetzung (t6u-Bet'tsDong),^„ 1 A musical 
 
 TonstUtk (ton-stiik), ""'J piece, or 
 
 composition. 
 
 Tonsilbe (ton-sil'b6), Ger. Accented syllable. 
 
 Tons.overt (tons o-var), Fr. Open tones. 
 
 Tonspiel (ton'spel), Ger. Music, a concert. 
 
 Tonspieler (ton-spe' ISr), Ger. Musical per- 
 former. 
 
 Tonstufe (tou-stoo'fS), Ger. Tone-step. 
 
 Tonsystem (ton' sis -tarn'), Ger. System of 
 toues or sounds; the science of harmony; 
 the systematic arrangement to musical 
 tones or sounds In their regular order. 
 
 Tonumfang (ton-oom'fang), Ger. Tone com- 
 pass. 
 
 Tonveranderung (ton'v6r-an'd6-roong), Ger. 
 Modulation. 
 
 Tonverhalt (t6n'v6r-halt'), Ger. Rhythm. 
 
 Tonwerk (ton'wark), Ger. A musical com- 
 position. 
 
 Tonwerkzeug ( ton-vilrk'zoig), Ger. A mu- 
 sical apparatus ; au instrument ; the human 
 voice. 
 
 Tonzeichen (ton'tsi'kh'n), Ger. Accent. 
 
 Tonwissenschaft(lon'vls's'n-shaft), Ger. The 
 soienctf of tones. 
 
 Toph (tof), Heb. 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. 
 
 Teste (tos'to). It. Quick, swift, rapid. See, 
 also, Piu tosto. 
 
 Touch. Style of striking, or pressing, the keys 
 of ah organ, pianoforte, or similar instru- 
 ment; the resistance made to the fingers 
 by the keys of any instrument, as when the 
 keys are put down with difHculty, 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. In speak- 
 ing of the mechanism and results of touch, 
 several compounds are of frequent occur- 
 rence: Finger touch, a touch made by the 
 fingers ohly; staccato touch, a touch iu 
 which the tones are not connected, but 
 separated; legato touch, a touch iu which 
 the fingers cling to the keys, so that the 
 successive toues are fully connected. A 
 similar efTect 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. 
 
 Teurs de force (toor dtih fors), Fr. Bravura 
 passages, roulades, divisions, etc. 
 
 Tout ensemble (toot ahh-sauhbl), Fr. The 
 whole together; the general eflrect. 
 
 Town pipers. Performers on the pipe, for- 
 merly retained by most of the principal 
 towns in Scotland to assist in the celebra- 
 tion ol particular holidays, festivals, etc. 
 
 Toys. A name formerly given to little tri- 
 llng air6 or dance tunes. 
 
 Tp. Abbreviation of Timpani. 
 
 Tr. Abbreviation for trumpet. 
 
 Trachea (tra'ka-a), Lat.- The windpipe. 
 
 Trackers, Thin strips of wood connecting 
 organ-ke^s and valves. 
 
 Tractus (trS.k'toos), Lat. Tracts are melodies 
 of sorrowful expression suug between the 
 Graduale and AUelnjah, during Lent, in 
 the requiem mass, and npon some other 
 occasions. The words are taken from the, 
 Psalms. 
 
 Tradolce (tra-dol'tshej, J(. Very soft; sweet 
 
 Tradotte (trii-dot'to), J/. Translated, arranged 
 adapted, fitted to. 
 
 Tragedie en musique (tra-zha'de anh mii-zek ( 
 Fr. A serious, or tragic, opera. 
 
 Tragedy. A dramatic poem, representluf; 
 some signal action performed by illustrioufi 
 persons, and generally having a fatal issue i 
 
 Tragedy, lyric. A tragedy accompanied bt 
 singing ; tragic opera. 
 
 Traine (tra-na), Fr. Slurred, bound, linger- 
 ing, drawn along. 
 
 Trait (tra), Fr. Passage, run ; a phrase. 
 
 Trait de chant (tra dtlh shanh), Fr. A me- 
 lodic passage, or phrase. 
 
 Trait d'harmonie (tra dar-mo-ne), Fr. Suc- 
 cession of chords ; a sequence. 
 
 Traite (tra-ta'),ii'r. A treatise on the practice, 
 or the theory, of music. 
 
 Tranquillamente (tran-kwil-la-m6n'tS). 11. 
 Quietly, calmly, tranquilly. 
 
 Tranquillezza (tran-kwil-16'tsa;, ) Tran' 
 
 Tranquillita ((riiD-kwIl-lI-ta'), It. }- quillity, 
 
 Tranquilie (tran-kwll'16), J calm- 
 
 ness, quietness. 
 
 Transcr)ptl6n. 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 
 meaut to be taken, but which are used as 
 passing chords. 
 
 Transitio (tran se'tsi-o), Lat. \ Passing sud- 
 
 Transition. J denly out of 
 
 one key into another without preparation 
 for or hinting at another key; or without 
 making use of chords comifion to both 
 keys. 
 
 a arm, & add, a ale, 6 end, e eve, i ill, i isle, 6 old, 6 odd, oo moon, ti but, u Fr. sound, kh Qer. ch, nh nasal. 
 
 (222) 
 
TEA 
 
 DICTIONARY OF MUSIC. 
 
 TRl 
 
 Transltus (trao'sl-toos), Lat. A passiug note. 
 
 Transitus Irregularis (tr&n'sl-toos ir'rSg-oo- 
 la'rls), TMt. Irregular passing notes. See 
 Changing notes. 
 
 Transitus regularis (tran-sS-toos rS-goo-!a'- 
 rls), Lat. Passing notes placed on the un- 
 accented parts of the bar. 
 
 Transpose. To chauge the pitch of a com- 
 position into a higher or lower key. This 
 is done by substituting for each of the tones 
 of the compoiiition the corresponding scale 
 tone of the desired key. Thus the tone do is 
 answered by the do of the new key, re by 
 re, etc. Accidentals are sometimes changed, 
 sharps in some oases being changed to nat- 
 urals, and naturals to flats. But in every 
 correct transposition tbe melodic and har- 
 monic effects are unchanged. 
 
 Transposed. Remoyed, or changed into an- 
 other key. 
 
 Transposer (triinhs-po-za), Fr. \ Change 
 
 Transponiren (trans-po-ng'ren), Oer. j of key ; 
 removing a piece into another key. 
 
 Transposing instruments. The orchestral 
 instruments which are not written In 
 scores as they sound, 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 E\>" a minor third higher than written. 
 
 Transverse flute. The German flute; the 
 flauto iraverbo. 
 
 Traquenard (tra-kS-nard), Fr, A brisk sort of 
 dauce. 
 
 Trascinando (tr^-shi-nan'do), Tt. Dragging the 
 lime. 
 
 Trdscritto (tril-skret'lo), /(. Copied, trau- 
 scribed. 
 
 Trattato (trat-tii'to). It. Sec Traili. 
 
 Trauergfesang: (trou'er-g6-sang'),(?cr. Mourn- 
 iug-siuug, dirge. 
 
 rrauerniarsch(trou'Cr-marsh'), Ger. Funeral 
 march. 
 
 Traurig(trou'rig),G'«'. Heavily, sadly, mourn- 
 fully. 
 
 Traversiere (tra-vSr-sI-ar'), Fr. \ Cross, across; 
 
 Traverse (tra-vfr'so), It. j applied to 
 
 the transverse, or German, flute, to distin- 
 guish it from the flilte t bee. ~ 
 
 Travestie (tril'fSs-te'), Oer. Parody. 
 
 Travestiren (tra'fes-tir'6n), Oer. To parody. 
 
 Tre (tral. 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'dfi), It. Three strings; in 
 pianoforte music this means that the soft 
 pedal must no longer be pressed down. 
 
 Treibend (tri'bSnd), Oer. Hurrying, pre.ssing, 
 urging. N 
 
 Tremando (tra-man'do). It. See Tremolando. 
 
 Tremblant (tranh-blanh), Fr. Shaking. See 
 Iremulani. 
 
 Tremblement (tiiinhbl-manh), Fr. A trill, or 
 shake. 
 
 Tremolando (tr6m-6-lftn'dS), "i Trembling, 
 
 Tremolate (trfim-o-la'tS), „ I quivering; 
 
 Tremolo (tra'mo-lo), f a note, or 
 
 Tremulo (tra'moo-lo), J chord, re- 
 
 iterated with great rapidity, producing a 
 tremulous kind of effect. 
 
 Tremolant. \ An orgai-stop which 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'rS), „ 1 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-ii). It. A funeral dirge. 
 
 Tris (tra), Fr. Very, most. 
 
 Tr£s-anlme (tra san-i-ma), Fr. Very animated, 
 very lively. 
 
 Tresca (trfis'ka), It. A country dance. 
 
 Trescone (tr6s-k6'n6), It. A species of dance. 
 
 Tris fort (tra for), Fr. Very loud. . 
 
 Tris lentement (tra l^nht-manh), Fr. Very 
 slow. 
 
 Trte piano (tra pea-no), Fr. Very soft. 
 
 Tris vif (tra vef), Fr. Very lively, very brisk. 
 
 Tr^s vlte et impetueux (tra vet a £lnb-pet-oo- 
 liz), Fr. Very quick and impetuous. 
 
 Treter (tra'tfirl, ffer. Treader of the bellows 
 in German organs. The blower. 
 
 Trp volte (tra vol'tfi), /(. 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 and a per- 
 
 i, arm, i ada, a ale, i end, e eve, I ill, i isle,6 old,6 odd, oo moon, a but, u Fr.sound, kh Qer. cA, iih naeol, 
 
 (22S 
 
?^RI 
 
 DICTIONARY OF MUSIC. 
 
 TEI 
 
 feet fifth, and imitations of it upon other 
 degrees of the scale, where many strange in- 
 tervals arise. For instance, in the major 
 scale the triads of the tonic, fourth, and 
 fifth are natural and complete. I hose of 
 the second, third, and sixth are minor, hav- 
 ing a minor third and a perfect fifth, and 
 that of the seventh degree having a minor 
 third and diminished fifth, is called di- 
 minished, lu the minor scale several other 
 triads arise: Upon the first and fourth, 
 minor triads ; upon the second and seventh, 
 diminished triads ; upon the third an aug- 
 mented triad, and 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 uf the 
 triad is bass. 
 
 The root of a triad is its greatest common 
 measure. In 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 
 contradictory elements are present, at least 
 two roots being represented. The absence 
 of easy agreement is the source of the ap- 
 pealing effect in luinor and all other less 
 agreeable triads. 
 
 The proper fundamentals of any two tones 
 sounding togethet are the combination 
 tones generated ifl the low bass. Thus, C 
 and E|j together generate A b in the bass ; C 
 and K or E and C g^erate C ; G and B|? gen- 
 erate Et>. 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 in good 
 tune, can always be heard. 
 
 Triad, augmented. Consisting of a root, ma- 
 jor third, and augmented fifth. Its natural 
 place is upon the third degree of the minor 
 
 Triangle. A small three-sided steel frame, 
 which is played upon by being struck with 
 a rod. 
 
 YA. triangle. 
 
 The 
 
 Triangolo (tre-au-go-lo). It. ") 
 
 Triangulo (tre an-goo-lo), So. J- 
 Triangulum (trl-an'goo-loos), Lat.) 
 
 Trias deficiens (tre-as dg-fe-si-Sns), Lat. 
 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. 
 
 Trlclnlum (tre-tsi'ni-oom), Lat. A composi- 
 tion in three parts. 
 
 Tridiapason (tre' dl- a- pa' son), Gr. A triple 
 octave, or twenty-second. 
 
 
 Trigon. A three-stringed instrument resem- 
 bliug the lyre used by the ancient Greets. 
 
 Trigonum, or triangular harp. An instru- 
 ment 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. ) 
 
 Triller (trll'lSr), Oer. [ A shake; a trill. 
 
 Trillo (trel'16). It. J 
 
 Trillerkette (tril'ier-kfit'tfi), Qer. A chain, oi 
 
 succession, of shakes. 
 Trillern(trIl'lSrn),Go-. To trill; toshake; to 
 
 warble. 
 
 Trillette (Irll-iet'tei, Fr. } A short trill, ot- 
 Trilletta (trel-iet'tiii.. It. > shake ; a short 
 
 Trilletto (trellSt'to), /(. ) warble. 
 
 Trillettino (trel-lCt-te'no), It. A soft shake, a 
 soft trilling. 
 
 Trill, imperfect. A trill, or shake, without a 
 turn at ihe close, 
 
 Trillo caprine (trel'-lo ka-pre'nO), /(. A false 
 shake. 
 
 Trimeters. Ancient lyrical verses of a six- 
 feet measure. 
 
 Trinkgesang (trinkgg-zang), „„ 1 A bac- 
 
 Trinklied(irink-led), '^"'^- j chana- 
 
 liau, or drinking, song. 
 
 Trinona. An organ-stop of open e'ght-feet 
 small scale, and pleasant, gamba-like tone. 
 
 Trio (tre'6),7i!. 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 also the second movement to a 
 menuetto, march, waltz, etc., and always 
 leads back to a repetition of the first, or 
 principal, movement. 
 
 Triole (tri-6'16). Gcr. > A triplet; a group of 
 
 Triolet (trI-6-la), J*V. J three notes to be 
 
 - played in the time of two. 
 
 Triomphale (tre-6nh-fal1, Fr. \ Trinmohal 
 
 Trionfale (tre-on-fa'lS), /(. j i"»"»pnai. 
 
 Triomphant (tre-Onh-fanh), Fr. \ Triumph- 
 Trionfante (tre-on-lan'tfi). It. j ant. 
 
 Tripartite. Divided into three parts ; scores 
 
 in three parts are said to be tripartite. 
 Tripeltakt(tri'p'l-takt), Ger. Triple measure. 
 Triphony . Three sounds heard together. 
 Tripla (tri'pla). It. Triple measure. 
 Triple. Threefold, treble. 
 Triple concerto. A concerto for three solo 
 
 instruments with accompaniment. (Very 
 
 unusual.) 
 Triple counterpoint. Counterpoint in three 
 
 parts, invertible ; that is, so contrived that 
 
 each part will serve indiflTerently for either 
 
 bass, middle or upper part. 
 Triple croche (triplkrosh), J'r. A demisemi- 
 
 quaver. 
 
 a arm, & add, a ale, 6 end, e eve, iiU,! isle, 6 old, 6 odd, oo moon, Q bui, ii Fr. sourtd, kh Qer. ch. nh nasal. 
 
 (224) 
 
TEI 
 
 DlCTIONARy OP MUSIC. 
 
 TEO 
 
 Triple-dotted note. A note whose lengtU is 
 increased seven eightlis 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 th.rd subjects have 
 been Invented as counterpoints tu 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 ol parts in a bar, as three, nine. 
 
 Triplum (trip'loom), Lat. Formerly the name 
 ol the treble, or highest, part. 
 
 Trisagion (tri sa'ghi-On), Gr. 1 The sano- 
 
 Trlsaglum (tr!-sa.-ghi-oom), Lai. ) tus. 
 
 Trlsemitonium (tre'semi-t6'nI-oom),ia(. The 
 
 lesser, or minor, third. 
 Tristezza (tris-tSt'sS.), It. Sadness, heaviness, 
 
 pensiveness. 
 Triton (tre-t6nh). Ft. 1 A superfluous, 
 
 Tritone (tri-ton), Eng. [ or augmented, 
 Tritono (tre-to'no), /(. f fourth, contain- 
 Tritonus (tri-to'noos),La(. J ing three whole 
 
 steps. 
 Triton avis (tre'ton a'vis). Lit. 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— aud capable 
 of sounding them all at the same time. 
 Tritt (tritt), Ger. Step, tread, treadle. 
 
 Trittbrett (trttt-brfitt), f,„ 1 The board upon 
 
 Trittholz (trltt-holts), ""[ which the bel- 
 lows- ireader steps in blowing an organ. 
 
 Triumphirend (tri-oom-fe'rSad), Oer. Tri- 
 umphant. 
 
 Triumphlied (trl-oomf'Ied), Ger. Song of tri- 
 umph. 
 
 Trochaisch (trokhalsh), Oer. Trochaic. 
 
 Trochaus (trokha'oos), 6cr. Trochee. 
 
 Trochee (tro' ka), Lat. A dissyllabic mu- 
 sical foot containing oue long and one 
 short syllable, — — . 
 
 Trois (triTa), Fr. Three. 
 
 Tromba (trom'ba). It. A trumpet; also an 
 
 8-feet reed organ-stop. 
 Trombacelloclyde. A B\, ophicleide. 
 
 Tromba cromatlca (trom'ba kro-ma'ti-ka). It. 
 
 The modern valve trumpet, upon which 
 
 semitones can be produced. 
 Tromba di basso (trom'ha de biis'so), It. The 
 
 bass trumpet. 
 Trombadore (tr6m-bard6'r6), It. A trumpeter. 
 
 Tromba marina (trdm'ba ma-re'na). It. See 
 
 trumpet, marine. 
 Tromba prima (trom'ba, prS'ma), /(. First 
 
 trumpet. 
 
 Tromba seconda (tr6m'ba sa-kfln'da), It. Sec- 
 ond trumpet. 
 
 Tromba spezzato (trom'ba spS-tsa'td), It. An 
 obsolete name for the bass trombone. 
 
 Trombe sorde (trom'be s6r'd«), It. pi. Trum- 
 pets having dampers. 
 
 Trombetta (trom-b6t'ta), It. A small trum- 
 pet. 
 
 Trombettino (trom- b6t- te' no), It. A trum- 
 peter. 
 
 Trombone (trom-bo'nS), It. 1 A very powerful 
 
 Trombone (trflnh-bon). Ft. J 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 uom- 
 pass from the small c or e to the one-lined a 
 or two-lined c, and 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 iu the tenor clef. 
 
 Tromboni (trom-bo'ni). It, pi. Trombones. 
 
 Trommel (trom'm' 1) , Ger, The military drum. 
 
 Trommelboden (trom'm'l-bo'd'n), Ger, Bot- 
 tom of a drum. 
 
 Trommellcasten (trom'm'l-kiis-t'n), Oct. The 
 body of a drum. 
 
 Trommeiklopfel {trom'm'lklop-ffill, ) a„ 
 
 Trommeischlagel (trom'm'l-shla'ggl), / "^• 
 Drumsticks. 
 
 Trommeln(trom'm61n),ffer. To drum; drum- 
 iijg ; beating the drum. 
 
 Trommelstiicl< (trom'm'l-stiik'), Ger. A tam- 
 bourine; a tabor. 
 
 Trompe (trOnhp), Fr. A trumpet; also a 
 reed stop iu an organ. 
 
 Trompe de beam (tr5nhp dilh ba-^rn). Ft. 
 The jew's-harp. 
 
 Trompete (trom-pa'te), GeT. A trumpet; also 
 a reed stop in au organ. 
 
 Trompetenzug ( trom-pa't'n- tsoog'), Ger. 
 Trumpet stop, or register, io an organ. 
 
 A trum- 
 peter. 
 
 Trompette (trOnh-pat), Fr. A trumpet; also 
 a trumpeter; also a reed-stup in an organ. 
 
 Trompette h clefs (trOnh-pat il kla), Fr. The 
 
 keyed trumpet. 
 Trompette k pistons (tronh-pat a. pes-tSnh), 
 
 Fr. The Valve trumpet. 
 
 Trompette harmonique (trOnh-pathiir-m&nh- 
 ek), Fr, Harmonic trumpet, a roed-stop in 
 an organ of 8 or 16 feet. Bee Harmonic flute. 
 
 Troppo (trop'po), /(. Too much ; non troppo 
 allegro, not too quick. 
 
 Trompeter (trom-pa'tSr), Ger. 1 
 Trompeteur (tr6nh-pa-t(ir), Fr. j 
 
 S, arm, & add, a ale, S end, e eve, I ill, I isle, 6 old, 6 odd, oo moon, a im(, ii Fr. sound, kh Ger, cA, nh nasal, 
 15 (225) 
 
TRO 
 
 DICTIONAEY OF MUSIC. 
 
 TUE 
 
 Troubadours (troo-tHrdoor), ) The 
 
 Trouveres (troo-var), Fr.pl. > bards, 
 
 Trouveurs (troo-var), ) and 
 
 poet-musicians of Prorence 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 (tr6-va-to'r6), It. A minstrel. 
 
 Trugschluss (troogh-shloos'), Oer. 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 iu turning the circle each 
 pipe could, iu 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),Z.a^ A trumpet; also the name 
 of a powerful reed-stop in an organ. See 
 Ophicleide. 
 
 Tuba clarion (too'ba klii'ri-on), Lai. 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 ductifis. 
 
 Tuba ductilis (too'ba dook- te* Us), Lat. An 
 ancient trumpet of the curvilinear form. 
 
 Tubare (too-ba'r6), Lat. To blow the trumpet. 
 
 Tu ba major (too'ba ma'yor) j ^ \ An 
 
 Tuba mirabilisttoo'biimi-ra'be-lis),-^ ■ |8-feet 
 reed-stop, ou a high pressure of wind, first 
 Introduced into the Birmingham Town 
 Hall organ, and invented by William Hill. 
 See OpMcleide. 
 
 Tuba stentorofonica (too'ba stSn-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'bl-tsSn), La(. A trumpeter; one 
 who plays on the trumpet. 
 
 Tubular Instruments. Instraments formed 
 of tubes, straight or curved, of wood or 
 metal. 
 
 Tucket. A flourish of trumpets. 
 
 Tuiau d'or£:ue (twe-o dorg), Fr. .See Tuyau 
 d'orgue. 
 
 Tumultuoso (too-mool'too-6'z6),Ji!. Tumultu- 
 ous, agitated. . 
 
 Tunable. An epithet given to those pipes, 
 strings, and other sonorous bodies which, 
 from the equal density of their parts, are 
 capable of beiug perfectly tuned. 
 
 Tune. An air, a melody; a succession of 
 measured sounds agreeable to the ear, and 
 possessing a distinct and striking charac- 
 ter ; to bring into harmony. 
 
 Tuned. Put in tune. 
 
 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 coue of metal or horn used 
 in tuning organ-pipes. By pressing it in 
 the end of the pipe tne pitch is slightly low- 
 ered, or by pressing it over the end of the 
 pipe it is slightly contracted, whereby the 
 toue is sharpened. 
 
 Tuning-fork. A small steel Instrument hav- 
 ing two prongs, which, upon being struck, 
 gives a certain fixed tone, used for tuning 
 instruments, and for 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 ecclesiastic! (too-o'ni 6k-kla-zi-as-ti'- 
 tshi). It. pi. Kccleslastical modes or tones. 
 
 Tuoni transportatl (too-o'ni trans-por-tii'ti), 
 It. pi. Transposed tones or melodies. 
 
 Tuorbe (tworb), Fr. See Tlieorbo. 
 
 Turbo (tdr'bo), Gr. A seashell anciently em- 
 ployed as a trumpet. 
 
 Turca (toorka), 1 Turkish; alia 
 
 "Turchesco (toor'-ka-sko),J(. 1-TMrca, in the 
 
 Turco (toor'ko) ) style of Turkish 
 
 music. 
 
 Turdion (toor-di-6n'), Sp. An ancient Span- 
 ish dance. 
 
 Tiirkisli (tiir'kish), Ger. See Turca. 
 
 Turkish music. See Jamischarenmtmk. 
 
 a arm, & add, a,ale,e end, e eoe, iiU,liel£,6old,6 odd, oomoon,ilbut,n Fr. sound, kh Oer, cli. ;ih naeal. 
 
 (226) 
 
TUR 
 
 DICTIONARY OF MUSIC. 
 
 UNO 
 
 Turn. An embellisJiment formed of appog- 
 
 glaturas, consisting of the written. Playea . 
 
 note on which the turn is 
 
 made, the note ahove, and 
 
 the semitone below it. b± 
 
 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 consisting of the note 
 
 above the principal note, the principal 
 
 note, and the semitone below It. 
 Tusch (toosh), Ger. A flourish of trumpets 
 
 and kettledrums. 
 Tute (too'tS), Ger. A cornet. 
 
 All, the whole; entirely, 
 quite. 
 
 Tutta tana {toot-ta for'tsai, jf 1 The 
 
 Tutta la forza (toot'ta la lor'tsa), ) whole 
 
 power ; as loud as possible ; with the ut- 
 most force aud vehemence. 
 Tutte (toot'tfi), f. \ All, the entire band or 
 Tutti (toot'ti), f chorus ; in a solo or 
 
 concerto it means that the full orchestra^ 
 
 is to come in. 
 Tutte corde (toot'tS kor'dS), /(. AH the 
 
 Tutta (toot'ta). „ 
 Tutto (toot'to), -"■ 
 
 strings; In pianoforte music this means that 
 the pedal, which shifts the action, or move- 
 ment, taust no longer be pressed down. 
 
 TutO unUoni (toot'ti oo-ne-zo'nl), It.pl. All 
 in unison. 
 
 Tutto arco (toot'to ar'iio). It. With the whole 
 length of the bow. 
 
 Tuyau d'orgue (tu-yo dorg), Fr. An organ- 
 pipe. 
 
 Twelfth. An Interval comprising eleven 
 conjunct degrees, or twelve sounds; also 
 an org&n-stop tuned twelve notes above the 
 diapasons. 
 
 Twice-marked octave. The name -^ 
 given In Ger- | J? _ n 
 many to the (jU r n and 
 notes between \J — 
 inclusive ; these are expressed by small let- 
 ters with two short strokes. 
 
 Twitter. To make a succession of small, 
 tremulous, intermitted tones. 
 
 Tympani (tlm'pgrne). It. pi. Kettledrums. 
 
 Tympanista. See TimpanUta. 
 
 Type, music. Notes of music cast in metal, 
 or cut In word tor the purpose of printing. 
 
 Tyrolienne (ti-ro-U-Sn), Fr. Songs or dances 
 peculiar to the Tyrolese. 
 
 u 
 
 Ueberblasen (a'b'r-bla-s'n),ffcr. To overblow. 
 
 Uebergang: (ii'bgr-gang), Ger. Transition, 
 change of key. 
 
 Ueberleitung (ii'b'r-li-toong), Ger. Leading 
 over. A passage leading across to some- 
 thing else of greater Importance. 
 
 UebermMssig (ii'bgr-mas'slg), Qer. Augment- 
 ed, Superfluous. 
 
 Ueberschlagen (ii'bgr-shla'g'n), Ger. Cross- 
 ing over (the hands in piano-performance). 
 
 Uebersetzen (iit'r-set-z'n). Ger. Setting over. 
 The passing of a finger over the thumb, or 
 of one foot over the other, in pedal-playing. 
 
 Uebung(u'boong),Ger. An exercise; a study 
 for the practice of some peculiar difficulty. 
 
 Uebungen (ii'boon-gfin), Qer. pi. Exercises. 
 
 Ugab (oo-gab), B(S&. An organ. 
 
 Uguale (oo-gwa'16), It. Equal, like, similar. 
 
 Ugualita (oo-gwall-ta). It. Equality. 
 
 Ugualmente (oo-gwal-mSn't6), It. Equality, 
 alike. 
 
 Umana (oo-ma'na), jf 1 Human; voct 
 Cmano (oo-ma'no), J the human 
 Umfang (oom'fang), Ger. Compass, extent. 
 
 voce umana, 
 voice. 
 
 A, an, one. 
 
 Umfang der Stimme (oom'fang dSr stim'mS), 
 
 Qer. Compass of the voice. 
 Umkelirung (oom'ka-roong), Oer. Inversion. 
 Umore (oo-mffrS), It. Humor, caprice. 
 
 Umschreibung (oom'shri-boong), Ger. Cir- 
 cumscription, limitation. 
 
 Umstimmung (oom'stim-moong), Ger. Be- 
 
 tunlng, a change of tuning. 
 Un. Abbreviation of Unison. 
 
 Un 
 
 Una 
 
 Uno 
 
 Una altera volta (oo'na al't§-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. 
 
 > (oo'na). It. V 
 
 > (oo'no), J 
 
 a arm, & add, a ale, & end, eeve,iiU,l isle, 6 old, (>odd,oomoon,Xi. but, 11 JFr. sotMid, kh Ger. ch. nh natal 
 
 (227) 
 
UNC 
 
 DICTIONARY OF MUSIC. 
 
 UNS 
 
 Un canto splanato (oon kan'to spe-a-na'to), 
 It. A vocal composition, the notes of which 
 are peculiarly distinct from one another. 
 
 Und {oond),Ger. And; .Aria and CAor, air and 
 chorus. 
 
 Unda maris (oon'da ma'ris), Lat, Wave of the 
 9aa; 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 
 wiih two mouths, the one a little higher 
 than the other. 
 
 Undecima (oou-da'tsl-ma), Lai. The eleventh. 
 
 Undeclmole (oon-d6-tshi-m6'lS), 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 another 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-find'li-kh'r ka'non), 
 Ger. Endless canon, a canon which goes on 
 indefiuitely ; a round. 
 
 Unequal Temperament. That method of 
 tuning the- twelve sounds included in an 
 octave, which renders fome of the scales 
 more in tune than the others. See Equal 
 temperamtnt. 
 , Unear (oon'gar), ^ 1 Hungarian; 
 
 Unearisch (oon-ga'rish), j in the Hunga- 
 tian Style. 
 
 Ungeduldis (oou'gfi-dool'digh), Oer. Impa- 
 tient. 
 
 Ungerade Taktart (oon -gS-ra'dg lakt'art). 
 tier. Triple time ; uneven time. 
 
 Ungestiim (oon'gfi-stiim), Ger. Impetuous. 
 
 Ungezwungen (oon'gfi-tswoon-gh'n), ",Oer. 
 Easy, natural. 
 
 Ungleicher Contrapunkt (oon'gll-kh'r kon'- 
 tra-poonkt'), Oer. Unequal counterpoint; 
 counterpoint in which the notes are not 
 of the same value as those of the cantus 
 fermus. 
 
 Ungleichschwebende Temperatnr (oon'glikh- 
 shwa'b'u-d6 tfim'pfi-ra-toor'), Ger. Unequal 
 temperament. 
 
 Unharmonischer Querstand (oon'har-mo'ui- 
 sh6r kwar'staud), Ger. A falke relation. 
 
 Unichordum (oo-ni-kor'donm), Lat. A mono- 
 chord. The marine trumpet. 
 
 Unison (oon-i-s5nh), i^'. One sound; unison. 
 
 Unison. An accordance, or coincidence, of 
 one sound, 
 
 Unlsonant. 1 Being in unison ; having the 
 
 Unisonous, j same degree of gravity or acute- 
 11 ess. 
 
 Unison, augmented. A semitone on same 
 
 degree of staff. 
 Unisonl (oo'ne-zo'ni), It.pl. L'nisons; 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-ui-so'n6), Ji!. 1 A unison; in 
 Unisonus (o6-nl-s6'ijoos),Xn(. / unison, two 
 
 or more sounds having the same pitch. 
 Unita (oo'nl-la), „ I TT„,.f„j ;„■„ j 
 Unito (oo'ui-to), ^'- I United, joined. 
 
 Unitamente (oo-ni-ia-m6n'tS), It. Together 
 jointly, unitedly. 
 
 Unite (u-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 jireponderance of a sin- 
 gle Idea, in composition, upon the prepon- 
 derance of a s\;igle motive. 
 
 Unmeasured recitative. Recitative without 
 definite measure. 
 
 Unmusical. Not musical, not harmonious 
 ur agreeable to the ear. Unmusical sounds 
 are thosfe produced by irregular vibrations. 
 
 Uno (oo'no), „ 1 n„„ 
 Una (oo'na), ^^- | 0"«- 
 
 Uno a uno {oo'no a oo'no), It. One by one • 
 
 one after another. 
 Un peu (iinh pdh), Fr. Alittle. 
 
 Un peu lent (iinh pfih lanh), Fr. Rather 
 
 slow. 
 Un peu plus vite qu 'andante (iinh pflh plu 
 
 vet k'anh-danht), Fr. A little quicker than 
 
 andante. 
 
 Unpociiettino(oonpoket-te'n6), „ 1 A little, 
 Un pochina (oon p6-ke'na), -''• f a very 
 
 little. 
 Un pociiina piu mosso (oon po-ke'na pe'oo 
 
 mos'so), /(. A very little more lively. 
 Un pOco (oon po'ko). It. A little. 
 Un poco allegro (oon po'ko al-la'gro). It. A 
 
 little quick, rather quick. 
 Un poco piu (oon po'ko pe'oo), It. A little 
 
 more. 
 Un poco piu presto (oon po'ko pe'oo prSs'to), 
 
 It. A little quicker. 
 
 Un poco ritenuto (oon po'ko re-tfi-noo'to), /(, 
 
 Gradually slower. 
 Un recitativo spianato (oon r«-tshI-ta-te'vo 
 
 spi-a-na'to). It. A recitative having notes 
 
 distinct from each othtr. 
 Unrein (oon'rin), Ger. Impure; out of tune. 
 Unruhig (oon'roo-hig), Ger. Restless; in- 
 quiet. (Manifested mainly iu nuances of 
 
 the tempo rubato.) 
 Unschuidig(oon'shool'd'Igh), Oer. Innocent, 
 
 simply. 
 Unsingbar (oon-sing'bar), Ger. Impossible to 
 
 be sung. 
 Unstrung. Relaxed in tension; an intru- 
 
 meut from which the strings have been 
 
 taken. 
 
 aarm, ft add, a aie, 6 end, e eve, \ ill, i isle, 6 old, 6 odd, oo moon, ii but, \i Fr, sound, kh Ger, ch, iih 'laaal 
 
uxs 
 
 DICTIONARY OP MUSIC. 
 
 VAL 
 
 Un style aise (ua stel a-za), Fi: A tree, easy 
 
 style. 
 Unter (oon'tSr), Oer. Under, below. 
 
 Unterbass (oon'tfir- biiss), Ger. The double 
 bab:^. 
 
 Unterbrechune (ooB'ter-bre'khoong), Ger. 
 luierrupliuu. 
 
 Unterbrochene Cadenz (o,on-t6r-br6'kh' nC 
 ka-d6nz), Ger. Interrupted cadence. 
 
 Unterdominante (oon'tSr-do-mi-n&n'te), Ger. 
 Under dominant. The subdomiuaut. 
 
 Unterhalbton (oon'tfir-hiilb'ton), Grr. A half- 
 step below. 
 
 Unterhaltungsstiick (oon't6r-hal' loonga-stilk) , 
 Ger. Entertainment, short play, short piece 
 of music. 
 
 L'ntermediant (oon'tfir-ma'di-iintl, Ger. The 
 submediant ; the third below the tonic. 
 
 Unterricht (oon'tSr-rlkht), Ger. Instruction, 
 information. 
 
 Untersatz (oon'16r-satz), Qer. Supporter, 
 stay ; a pedal register, double-stopped bass 
 ot 32-feet tone, in German organs. See 
 Subbourdon. 
 
 Untersetzen (oon'lSr-B8t-z'n),Ger. Passing the 
 thumb under a finger iu piano-playing; 
 passing one foot under another in pedal- 
 playing. 
 
 Unterstlmme (oon't6r-stim-m8),(Jcr. The un- 
 der voice; lowest voice in u composition. 
 
 Untertasten (oon't6v-ta<!-t'n),(3cr. The lower, 
 or white, keys of the piauofurte or organ. 
 
 Un terzo dl battuta (onn ter'zo de bat-too'tii), 
 /(. A third part of the bar. 
 
 UntSnend (oon-to'nSnd), Ger. Not sonorous ; 
 void lit tone. 
 
 Untunable. Incapable of being tuned. 
 
 Untune. To put out of tune ; to make dis- 
 cordant. 
 
 Untuned. Not tuned; discordant, 
 
 Unverziert (oon'fSr- zert ), Ger. Unorna- 
 mented. 
 
 Unvollkommen (oon'voU-kom-mfin), Ger. In- 
 complete. Applied generally to cadences 
 and closes. 
 
 Uomo (oo-6-m6). It. A man. Prima iwmo, a, 
 male soprano. 
 
 Up beat. The raising of the hand, or baton, 
 iu beating, or marking, time. 
 
 Up-bow sign. A mark used iu violin music, 
 bhowing that the bow is to becarried up, >. 
 
 Upinge ioo-pin-ghS), Ger. The name of a 
 song consecrated by the ancient Gre^s lo 
 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. 
 
 Uranlon, An instrument in make similar to 
 a harpsichord, or pianoforte. 
 
 Uscir dl tuono (oos-tsher de too-o'no), It. To 
 get out of tune. 
 
 Usus (oo'stts), 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 Guldo to the note C, or do. 
 
 Ut b^mol (oot ba'mol), Fr. The note C\,. 
 
 Ut diese (oot dl-az), Fr. The note Cf. . 
 
 Ut dlese mineur (oot dl-az m§-nar), Fr. The 
 key of C^ minor. 
 
 Ut mineur (oot me-nflr), Fr. C minor. 
 
 Ut queant laxis (oot kwa'd,nt l&xis). Lot. The 
 commencing words of the hymn to 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-trlk'oo-ia'r!s te'be-a), IM. 
 The name given by the Komans to the bag- 
 pipe. See that wdrd. 
 
 Ut supra (oot soo-pr£). Lot. As above, as be- 
 fore. See Come aopra. 
 
 v., or VI. Abbreviations for Violini. 
 
 Va (va). It. Go on. 
 
 Vaccilando (vat-tshl-ian'do). It. Wavering, 
 uncertain, irregular in the time. 
 
 Va con spirito (va kon spe'ri-to). It. Continue 
 in a spirited style. 
 
 Va crescendo (va,kr6-sh«n'd6), /(. Go on in- 
 creasing the tone. 
 
 Vagans (va'gans), Lot. Vague. A term ap- 
 plied 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 opportunities, and 
 could be written as second alto or second 
 tenor. 
 
 Vago (ya'gS), It. Vague, rambling, uncertain, 
 ajs to the time or expression. 
 
 Valce (val'tshS), It, \ A waltz, a dance in 3-4 
 
 Valse (vais), Fr. j time. 
 
 Valeur (vfi-lur), Fr. \ The value, length, or 
 
 Valore (yS/l&ti), It. | duration, of a note. 
 
 ii arm , & add, a,ai^,6 end, e eve, I Ml, I iale, 6 old, 6 odd, oo moon, ti intt, <1 Ft. som4, kh Qer. eh, ab nnnO, 
 
 (229) 
 
VAL 
 
 DICTIONARY OF MUSIC. 
 
 VER 
 
 Valse k deux temps (vals a dii tSiih), Fr. A 
 modern quick waltz, in which the dancers 
 make two steps in each measure. 
 
 Valves. Contrivances tor admitting or shut- 
 ting oif wind. Found in organs, reed or- 
 gans, and especially in brass instruments, 
 where they serve to admit air or cut it oft 
 irom what are 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. I 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-mSn't6), ^, 1 1n a varied, 
 Variamento (va-re-a-mSn'to), j free style 
 
 of performance or execution. 
 Variationen {fa-re-a-tse-0'n6n), Ger.pZ. l Varia- 
 Variazioni (va-re-a-tse-o'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 d iffers from that in variation 
 work in the following particulars ; lu the- 
 ., matic work (souata 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 
 it 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 iu 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, .Opus 26, are 
 strong examples ; of formal variations those 
 in the second movement of Beethoven's So- 
 nata Appassionata are notable. 
 
 Variato (va-re-a'to), /(. 1 Varied, diversified, 
 Varie (va-re-a'), Fr. J with variations. 
 
 > 
 
 Variazione (va-re-a-tse-6'nS), It. Variation. 
 
 Varsovienne (var-so-vi-anh), Fr. A slow Pol- 
 ish dance in ; -4 measure. 
 
 Vaudevil. A ballad, a song, a vaudeville. 
 
 Vaudeville (v6-dS-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-mSn'tS), It. Vehement, forcible. 
 
 Veemenza (va-m8n'tsa), It. Vehemence, force. 
 
 Velata(va-la'la), „ 1 Veiled; a voice sound- 
 
 Velato(va-la'to), / ing as if it were cov- 
 ered with a veil. 
 
 Vellutata (vfil-loo-ta'ta), „ 1 In a velvety 
 
 Vellutato (v61-loo-ta't6), J manner ; in . a 
 soft, smooth, and velvety style. 
 
 Veloce (vS-16'tshe), 1 „ , 
 
 Velocemente fve-io-tsh«-m6n'te), J-"' 
 Swiftly, quickly, in a rapid time. 
 
 Velocissimamente (ve-16-tshes-se-ma- 
 mfin'tS), 
 
 Velocissimo (vfi-lo-tshes'si-mo), 
 Very swiftly, with extreme rapidity, 
 
 Velocita (vS-16-tshe'ta), /(. Swiftness, rapidity 
 
 Venezlana (vS-na-tsi-a'na), /(. Venetian, th? 
 . Venetian style. 
 
 Ventil (fSn'til), Oer. 1 Valve, in modern 
 
 Ventile (vSn-te'l«), /(. J wind instruments, t->t 
 producing the semitones ; also a valve fiv 
 shutting off the wind in an organ. 
 
 Vepres (vapr), Fr. Vespers, evening' prayer. 
 
 Veranderung^en (-fSr-an'dSr-oong-Sn), Oer. pi 
 Variations. 
 
 Verbindung (f6r-bln'doong), Ger. Combina 
 tion, union, connection. 
 
 Verblndungszeichen (fSr - bind' oongs - tsl' 
 kh'n), Oer. Binding-marks, i. e., ties. 
 
 Verdeckt (f6r-d6kt), Ger. Hidden. (Octavei), 
 fifths, etc.) 
 
 Verdoppelt (fSr-dop'p61t), Oer. Doubled. 
 
 Verdoppelung (fgr-dop'pfil-oong), Ger. Don 
 bling. 
 
 Vergellen (ffir-gglTu), Oer. To diminish 
 gradually. 
 
 Verger. The chief officer of a cathedral ; a 
 pew-opener or attendant at a church. 
 
 Vergliedern (f?r-gle'dSrn),6er. To articulate. 
 
 Vergrosserung (f6r-gr6s's6r-oong), Ger. Aug- 
 mentation. 
 
 Verhallen (f6r-halTn), Ger. To diminish grad- 
 ually. 
 
 Verhallend (f&hal'iend), Ger. Dying away. 
 
 Verilay. Eustie ballad, a roundelay. See 
 VauaevilXe, and, also. Freemen' s &ongs. 
 
 Verkehrung (ffir-ka'roong), Ger. Inversion ; 
 contrary motion in imitation. 
 
 Verkleinerung (ffir-kli'n6r-oong), Qer. Dimi- 
 nution. 
 
 Verlagsrecht (fSr-lags'r6kht'),Ger. Copyright. 
 
 . arm, i, add, a, afe, 6 end, e eve, I iU, i isie, 6 old, a odd, oo moon, H but, u Fr. sound, kh Ger. ch, nh naeal. 
 
 (230j 
 
VER 
 
 DICTIONARY OF MUSIC. 
 
 VIE 
 
 Yeriiischend (fSr-lo'shSnd), Ger. Extinguish- 
 ing. 
 
 Vermlndert (ffir-min'dSrt) , Ger. Diminished ; 
 diminished interval. 
 
 Vers (Krs), Ger. Verse, strophe, stanza. 
 
 Verschiebung (ffir-she'boong), ffer. A " shift." 
 The soft pedal of a piano. 
 
 Verschwlndend Cf6r-shwin-d6nd), Ger. Dying 
 away. 
 
 Verse. That portion of au anthem, or serv- 
 ice, intended to be sung hy one singer to 
 eaeh 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), „ 1 A short, or little, 
 
 Versetto (ySr-s6t'to), J verse; a strophe. 
 
 Versette (fSr-sSt't6), „,_ 1 Short pieces for 
 
 Versetten (fSr-s6t't'n), ""^ J the organ, in- 
 tended as preludes, interludes, or postludes. 
 
 Versetzen (fSr-s6t'ts6n), Ger. To transpose. 
 
 Versetzung (f6r-s6t'tsoong), Ger. Transposi- 
 tion. 
 
 Versetzungszeichen (fSr-sfit'tsoongs-tsi'kh'n), 
 Ger. The marks of transposition, the sharp, 
 the flat and the natural. 
 
 Versicle. A little verse. 
 
 Versikel (Ifir-slk'l), Ger. A versicle. 
 
 Versmass (fSrs-mass), Ger. The measure of 
 the verse ; the metre. 
 
 Verso (vfir'so), It. Verse. 
 
 Verspatung (fSr-spa'toong),(Jer. Eetardation, 
 delay. 
 
 Verstimmt (fSr-stlmf), Ger. Out of tune. 
 
 Verte (v6r't6), Lat. Turn over. 
 
 Verte sublto (vSr'tS soo'bi-to), Lai. Turn the 
 leaf quickly. 
 
 Vertonen (f6r-to'n6n),(ier. To cease sounding, 
 to die away. 
 
 Verwandt (f6r-wandt'),(Jcr. Related, relative 
 keys, etc. 
 
 Verwechselung (fSi-w6kh' sSl-oong), Ger. 
 Changing, mutation, as to key, tone, etc. 
 
 Verweilend (f6r-wn6nd), Ger. Delaying, re- 
 tarding the time. 
 
 Verwerfung (f6r-wSrf'oong), Ger. Transpos- 
 ing. 
 
 Verziert (f6r-tsirt'), Ger. Embellished, dec- 
 orated. 
 
 Verzierung (ffir-tse'roong), Ger. Embellish- 
 ment, ornament. 
 
 VerzHgerung (f6r-ts6'g«-roong), Ger. Eetard- 
 ation. 
 
 Verzweiflungsvoll (t«r-tswl'floongs-f61), Ger. 
 Full of despair. 
 
 Vesper (fgs'pSr), Ger. } 
 
 Vespero (vSs'pe-ro), Jt' 'f Vespers. 
 
 Vespro (v6s'pr6), /(. J 
 
 VespersB (v6s'p6-ra),io(. Vespers, or the even- 
 ing service in the Koman Catholic Church. 
 
 Vesper bell. The sounding of a bell about 
 half an hour after sunset in Bomau Catho- 
 lic countries, calling to Vespers. 
 
 -Vesper hymn. A hymn sung in the evening 
 service of the Soman 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-tso za-m6n't6). It. Tender- 
 ly, softly, gracefully. 
 
 Vezzoso (v6t-tso'z6), /(. Graceful, sweet, ten- 
 der. 
 
 Vibrante (ve-bran't6), It. Vibrating, a trem- 
 ulous, quivering touch, full resonance of 
 tone. 
 
 Vibrate (ve-bra'tS), « 1 A'strong, vibrating, 
 
 Vibrato (vebra'to), (full quality of tone; 
 resonant. 
 
 Vibratipn. The tremulous or undulatory mo- 
 tion of any sonorous body by whicii the 
 sound is produced, the sound being grave 
 or acute as the vibrations are fewer or more 
 numerous in a given time. 
 
 Vibratisslmo (ve-bra-tes'sl-rao), It. Extreme- 
 ly vibrating and ti emulous. 
 
 Vibrato molto (ve-bra'to mol'to). It. Ex- 
 tremely rapid. 
 
 Vibrazione (ve bra-tsl-o'nS), It. Vibration, 
 tremulousne&s. 
 
 Vicenda (ve-tsh6n'da). It. Alternation,change. 
 
 Vicendevole (ve-tshSn-da'vo-lS), It. Alternate- 
 ly, by turns. 
 
 Videl (fld'61), Ger. A fiddle. 
 
 Viel. An old name for instruments of the 
 
 violin species. 
 Viel (fel), Ger. Much, a great deal ; mit vieterti 
 
 T(me, with much tone. 
 Vielchorig (fel'liorlgh), Ger. Many-choired. 
 
 For several choirs. 
 Vielfacher kontrapunkt (fel'fii-kh'r kon-tra- 
 
 poonkt), Ger. Polymorphous counterpoint. 
 Vielle (vel), Fr. The hurdygurdy. 
 Vielleur (ve-yilr), Fr. Hurdygurdy-player. 
 Vielstimmig (fel'stim'mig), Ger. For many 
 
 voices. 
 Vielstimmiges Tonstiick (fel'stlm'ml-ggs ton- 
 
 stiik), Ger. A piece for several voices, a 
 
 choral piece, a glee. ^ 
 
 VieltSnig (fel -to 'nigh), Ger. Multisonous, 
 
 manysounding. 
 
 itrm, a add, a ate, S end, e eve, i id, i isle, 6 old, 6 odd, oo moon, H but, iX Fr. sound, kh Ger. ch, nh nasal. 
 
 (231) 
 
VIK 
 
 DICTIONAEY OF MUSIC. 
 
 VIO 
 
 Vier (fer), Qer. Four. 
 
 VierfacK (fer'fakh), Gtr. Fourfold ; of four 
 
 raaks of pipes, etc. 
 Vierfiissle (fertus-slg), Qer. Four-feet (of 
 
 orgau-pipts aud pitch). 
 VIergesang (fer'gS-zang), ffer. Song for four 
 
 voices. 
 Viergestrichene Note (fer-g6-stri'kh'n6 no' 
 
 t6j, Gut. A dcmiseniiquayer. 
 Viergestrichene Octave (fer'gfi-strl'kh'ne ok- 
 
 ta'vS), Gee. The four-marked octave. 
 
 Vierhandig (fer-han'digh), Qer. For four 
 
 haudii. 
 Vierhandiges Tonstiick (fer-han'di-gMs ton'- 
 
 stiik), Ger. A piece for four hands. 
 
 VIerklang (fer'klang), Qer. A chord of four 
 
 tones. 
 Viermassi^ (fer -ma' sigh), Ger. Containing 
 
 four measures. 
 Viersaitig (fer'sai-tigh), Ger. Four-stringed. 
 
 Vlerstimmig (fer'stim-migh), Ger. Four- 
 voiced ; in four parts ; for four voices or in- 
 struments. 
 
 Vierstlmmiges Tonstiick (fer'stlm-mi-ghSs 
 tou'siilk), Ger. A quartet. 
 
 Vlerstiick (fer-stilk), Qer. Quartet ; for four 
 performers. 
 
 VIerte (fer'tfi), Qer. Fourth. 
 
 Vtertelnote (fer't'lruo'tfi), Ger. Quarter note ; 
 a crotchet, the fourth part of a semibreve. 
 
 Viertelton (fer't'1-ton), Ger. A quarter tone. 
 
 Vierandsechzlgstel ( fer - oond - sSkh' tsigh - 
 st«l), Qer. Hemidemisemiquavers. 
 
 Vlervierteltakt(fer-fer'tl-takt), Qer. Common 
 time of four crotchets. 
 
 Vierzebn (fer-tsan), Qer. Fourteen. 
 
 VIerzehnte (fer'tsan-tS), Qer. Fourteenth. 
 
 Vierzwelteltact (fer-zwl'tSl-takf), Qer. Time 
 of four minims. A measure composed of 
 half notes, Four-two measure. 
 
 Vietato (ve-a-ta'to), U. 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; quick, sprightly. 
 
 Vigorosamente (ve-g6-r6-za-m6n'te). It. Vig- 
 orously, with energy. 
 
 Vigordso (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-la-zhwa), Fr. Rustic; ci la vil- 
 lagevUe, in a rustic style. 
 
 Villancico (vel-yiln-thl'ko), ^j^ ) A species 
 Villancio (vel-yan'thI-6), ^' / of pastoral 
 poem or sung. 
 
 Villanella (va-la-na''la). It.) Ati old rustic 
 Vlilanelle (vel-ya-n61), Fr. /Italian dance, 
 
 accompanied "with singing. 
 Vinareccio(vIl-la-r6'tshi-o), 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-nS'ta), /(. A vintage-song. 
 
 Vinetta (ve-nSt'ta), It. Diminutive of Vinata. 
 
 Viol. An old instrument somewhat resem- 
 bling the violin, of which it was the origin, 
 but with a flat back ; it had six strings, with 
 frets, and was played with a bo w. The con- 
 tra bass is the only surviving representa- 
 tive. 
 
 Viola. Atenorviolin; an instrument similar 
 in tone and formation to the violin, but 
 larger in size and liaving a compass a fifth 
 lower. 
 
 Viola bardone (Ve-6'la bar-do'nS), 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 resonation. Haydn wrote about sixty 
 compositions for this Insltrument. 
 
 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. 
 
 VIolad'amore (ve-o'la da-mo'rS), It. I Anin- 
 Violad'aniour (ve-ol' da-tnoor'), Fr. f strU- 
 ment a 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 pom-po'za). It. An en- 
 larged viol or viola of the ^ame compass as 
 the violoncello, but with the addition of a 
 fifth string. 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 p»iod between the de- 
 cadence of the lute and the certainty that 
 four strings were sufficient for all demands. 
 Viol, bas6. 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-ol da gam'ba), j. )Leg 
 Viol di gamba (ve-ol 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, S end, e eve, till,! isle, 6 old, 6 odd, oo moon, H but, (i Fr. sound, Ich Ger. ch, uh nastd. 
 
 (232) 
 
VIO 
 
 DICTIONARY OF MUSIC. 
 
 VIT 
 
 smaller than the violoncello, furnished with 
 frets and five or six strings, and held be- 
 tween the knees in playing, hence its name. 
 Viol, double-bass. -The largest and deepest- 
 toued of stringed instruments. 
 
 Viole (fe 6'IS), fier. 1 „j^e viola 
 Vlole {ve 61'), Fr. / ^"^ ^""*- 
 
 Viole alt (Ie-6'1« alt), Oer, The tenor violin. 
 
 Violentemente (veo-16n-t6-m6n'tfi), /(. Vio- 
 lently, with force. 
 
 Violento (ve-6-l?n't6). It. Violent, vehement, 
 boisterous. 
 
 Violenza (ve-o-lSn'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. 
 
 Violinboeen (fe-o-Un'bo'g'n), Oer. A violin- 
 bow. , 
 
 Violine (fe-6-le'nS), Ger. The violin ; also an 
 organ-stop of eight, four, or two feet. 
 
 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'z6-nI), It. 
 The violins in unison. 
 
 Violino (ve-o-le'no), It. The violin ; it at- 
 tained its present shape, with four strings, 
 in the sixteenth century. 
 
 Violino alto (ve-o-le'no al'to), It. Counter 
 tenor viol, or small tenor viol, on which the 
 alto may be played. 
 
 Violino picclolo (ve-o-le'no pet'tshi-o-lo), 1 
 
 Violino piccolo (v8-6-le'no pek'ko-lo), V It. 
 
 Violino pochetto (ve-o-le'no p6-kh8t'to), ) 
 A small violin, tuned a fifth higher than the 
 common violin. 
 
 Violinb pompdsO (ye-o-le'no p6m-p6'z6), It. A 
 viola with an additional higher string. It 
 was tuned c, g, d, a, e. 
 
 V iolino primo (ve-6-le'n6 pre'mo), 
 
 \ iolino prindpale (ve-o-le'no pren-tshi- 
 pa'ie). 
 
 The first, or principal, violin part ; the lead- 
 ing violin, or chef d'attaque. 
 
 Violin-principal. An eigh^ or four-feet or- 
 gan-stop, with an agreeable and violin-like 
 tone. 
 
 Violinsaite (fe-o-lin'si'tfi), Ger. Violin string. 
 
 Violinschllissel (fe-o-Un'shliis's'l), 1 f,„ 
 
 \ iolinzeichen (fe-o-lin'tsi'kh'n), f "="^- 
 The treble clef used for the violin. 
 
 Violino secondo (ve-o-le'no sa-kon'do), /(. Sec- 
 oud violin. 
 
 Vioiinschule (le-6-lIn'shoo'l«), Ger. School for 
 the violin. 
 
 Violinspieler (fe-o-Hn'spe'16r), Oer. A violin- 
 player. 
 
 li-l/i. 
 
 Vioiinsteg (le-o-IIn'stfigh), Ger. Violin bridge. 
 Viollnstlmme (fe-o-Hn'stim'mS), Ger. Part for 
 
 the violin. 
 Violin-tenor. A violin of low tone. 
 Viollnvirtuosln (fe-o-lln'flr-too-o'zin), Ger. A 
 
 flrst-class violinist ; a virtuoso on the violin. 
 Viol, leg. The viola di gamba ; the bass viol. 
 
 Violon (vI-6-16nh), J^. The French name for 
 
 the violin. 
 Violon (fe-Q.'lon), Ger. The double bass. See, 
 
 also, Violone. 
 Violoncell (fe-6-16n'ts611), Gfr. ) The large, 
 Violoncelle (vI-o-I6nh-sal), Fr. J-ov bass, vi- 
 Violoncello (ve-6-lon-tshei'ld). It.) oliii; the 
 
 name is also applied to an organ-stop of 
 
 small scale and crisp tone. 
 Violoncellist. A player on the violoncello. 
 
 Violone (ve-o-lo'n6), t^ 1 The name origiu- 
 
 Violono (ve-o-lo'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 virela}' is, under no such 
 restriction. The name is derived 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 atable when played upon. 
 It is supposed to have been the origin of 
 the spinet as the latter was of the harpsi- 
 chord. 
 
 Virtuose (fer-too-6'z6),G'er. 1 A skillful per- 
 
 Virtuoso (ver-too-o'zd), Jt. J foriherupon 
 some instrument. 
 
 Virtuositat (fir' too- 6- zl- tat'), Ger. Remark- 
 able proficiency, fine execution; applied 
 both to singers and players. 
 
 Vis-4-vis (v!z-arve'), 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-n^Sn'tfi), r, 1 Quickly, 
 
 Vitamente (ve-ta-man'tS), J swiftly, 
 
 briskly, immediately. 
 
 Vite (vet), p 1. Quickly, swiftly; 
 
 Vltement (vet-manh), J un peu plus vite, 
 a little more quickly. 
 
 a arm, & add, a ale, Send, e eve, i Ul, I isle,6 old,6 odd, oo moon, d but, il Fr.soimd, kh Ger. ch, nh nasot. 
 
 (233) 
 
VIT 
 
 DICTIONARY OF MUSIC. 
 
 vol 
 
 Vitesse (ve-t8ss), Fr. Swiftness, quietness. 
 
 Vivace (ve-va-tsh6), „ 1 Lively, 
 
 VIvacemente ve-va-tsha-mSn'te), ' ) brisk- 
 ly, quickly. 
 Vivace ma non troppo presto (ve-va-tshS ma 
 lion trop'po prfis'to), /(. Lively, but not too 
 quick. 
 VIvacetto (ve-va-tshSl'to), /(. A little lively, 
 
 somewhat quick, 
 VIvacezza (ve-vartsh6t'sa), ,. 1 Vivacity, live- 
 Vivacita tve-va-tshi-ta), i liness. 
 
 Vlvacissimo (ve- va-tsiies'si-mo). It. Very 
 lively, extreme vivacity. 
 
 VIvamente (ve-va-mSn' tfi), J(. lu a lively, 
 brisk manner. 
 
 Vive (vev), Fr. Lively; brisk, quick, spright- 
 ly- 
 
 Vivente (ve-vfin'te), /(. Animated, lively. 
 
 VIvezza (ve-v6t'tsa), It. Vivacity, liveliness. 
 
 VIvldo (ve'vi-do), It. Lively, brisk. 
 
 Vivo (ve'vo), /(. 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 (vo-ka'16). It. Vocal, belonging to the 
 voice. 
 
 Vocalezzo (vo-ka-16t'ts6), 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'rS), /(. To vocalize ; 
 
 to sing exercises for the voice. 
 Vocalizzo (v6-ka-l6t'tso), 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 vi)ice parts, placed in their proper order 
 under each oiher. 
 
 Voce (vo-tsh6). It. The voice. 
 
 Voce angelica (v6-tsh6 an-jfill-ka). It. \ Angel 
 Vox angelica (vox an-g61'i-ka), iai. j -voice. 
 The name of an organ-stop of delicate reed 
 tone. 
 Voce di bianca (vo'tshg de be-aq'ka), /{. 
 " White voice." Applied to pure and color- 
 less tones, such as the voices of young 
 women and children. 
 
 Voce di camera (v6'tsh6deka'mS-ia), It. Voice 
 
 for the chamber ; one suited for privt^te 
 
 rather than public singing. 
 Voce di gola (vo'tshs'de go'la). It. The throat 
 
 voice; also a gutteral voice. 
 Voce di petto (vo'tshfi de pgt'to), /(. The chest 
 
 voice, the lowest register of the voice. 
 Voce di ripenio (vo'tshfi de re-p6-ne'6), /(. A 
 
 voice-part written in to fill up the harmony. 
 Voce di testa (vo'tshS de t&'tii). It. The head 
 
 voice, the falsetto, or feigned voice; the up- 
 per register of the voice. 
 Voce flebile (vo'tshS fla'bi-16). It. A doleful 
 
 voice. 
 Voce granita (vo'tshg gra-ne'ta), /(. A firm, 
 
 massive voice, round and full. 
 Voce Intonata (vo'tshg in-tona'ta). It. A pure- 
 toned voice. 
 Voce mezza (vo'tshg mSttsa), It. Half llic 
 
 power of the voice; a moderate, subducil 
 
 tone, rather soft than loud. 
 Voce pastosa (vo'tshfi pas-to'za), It. .\ soil, 
 
 flexible voice. 
 Voce |>iacente (vo'tshfi pe-a-tsheu'tfi). It. .\ 
 
 pleasing voice. 
 Voce princlpale (vo'tshS prin-tshi-pa'16), /(. 
 
 Principal voice. 
 Voce rauca (vo'tshg ra'oo-ka). It. A hoarse, 
 
 rough voice. 
 Voce sola (vo'tshg so'la), It. The voice alone. 
 
 Voce splanata (vo'tshS spe-a-na'ta), It. Drawn 
 
 ■ out ; an even, smooth, sustained voice. 
 
 Voce splccata (v6'tsh6 spek-ka'ta). It. A clear, 
 distinct voice, well ardculated. 
 
 Voce umana (vo'tshS oo-ma'na), 7<. The hu- 
 man voice. 
 
 Vociaccia (v6- tshi- a- tshi- a). It. A bad, disa- 
 greeable voice. 
 
 Vocina (vo-tshe-na). It. A little, thin voice. 
 
 Vogelflote (fo-g'l-flo'te), Ger. Bird-flute. 
 
 Vogelgesang (fo'g'l-gg-zang), Ger. Singing 
 of birds ; an accessory stop in some very 
 old German organs, producing a chirping 
 effect by some little pipes standing in a 
 vessel with water, through which the wind 
 passes to them. 
 
 Vogelpfeife (fo-g'1-pfi'fS), Oer. Bird-call, fla^ 
 geolet. 
 
 Voglia (vol'yi-a), /(. 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 
 
 ii arm, & add, &ale,6 end, eeve,l iU, I isVs, o old, 6 odd, oo moon, 11 but, il Fr. sound, kh Ger. ch, nh nasai, 
 
 (234) 
 
vol 
 
 DICTIONARY OF MUSIC. 
 
 VOL 
 
 tenoir, tue oompa^s usually extending from 
 Bl> to O. 
 
 Voice, bass^ The gravest, or deepest, of the 
 male voices. 
 
 Voice, chamber. A voice suited to the per- 
 formance of parlor music. 
 
 Voice, chest. The reglsterof the chest tones. 
 
 Voice, falsetto. Head-voice, feigned voice; 
 
 certain notes in a man's voice which are 
 
 ' ahove its natural compassr 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 
 orgau-pipe for the purpose of giving it its 
 proper pitch and its peculiar character of 
 sound. 
 
 Voix (vwil), Fr. The voice. 
 
 Voix aigre (vwa sagr), Fr. Harsh voice. 
 
 Voix angeiique (vwasan-jfil-ek). See Vox An- 
 gelica. 
 
 Voix argentine {vwa sar-zhauh-ten), Fr. A 
 clear-toaed voice, a silvery voice. 
 
 Voix celestes (vwa sa-l£st), Fr. Celestial 
 voice, an organ-stop of French invention, 
 formed of two dulciana«, one of which tias 
 the pitch slightly raised, which gives to the 
 stop a waving, undulating character ; also 
 a soft stop on the harmonium. 
 
 Voix de poitrine (vwa dilh pwa-trenn), Fr. 
 Chest voice, natural voice. 
 
 Voix de tete (vwa dilh tat), Fr. Head voice, 
 falsetto voice. 
 
 Voix eclatante (vwa sa-kla-tanht), Fr. Loud, 
 piercing voice. 
 
 Voix giapissante (vwa gl£-pe-sanht), Fr. A 
 shrill voice. 
 
 Voix grele (vwa gral), Fr. A sharp, thin 
 voice. 
 
 '/oix humaine (vwa, hii-mauh), Fr. See Vox 
 humana. 
 
 Voix percante (vwa pgr-sanht). Ft. Shrill 
 voice. 
 
 Voix perlee (vwa p6r-la'), Fr. A pearly voice. 
 
 Voix ronde (vwa rOnhd), Fr. A round, full 
 voice. 
 
 Voix trainante (vwa tra-nanht), Fr. A drawl- 
 ing voice. 
 
 Voiante (v6-lan-tfi), /(. Flying; a light and 
 rapid series of notes. 
 
 Volata (vo-la'tsi). It. A flight, run, rapid series 
 of notes, a roulade, or division. 
 
 Volate (vo-l!i't6), /(. pi. See Volata. 
 
 Volatina (v5-larte'na). It. A little flight, etc. 
 See Volaia. 
 
 Volatine (v6-la-te'n8). It. pi. Short runs. See 
 Volata. 
 
 Ger. 
 
 Volee (vo-Ia'), Fr. A rapid flight of notes. 
 
 Voilcsgesang (fSlks'gS-sang'), i 
 
 Vollcslied (folks'led), > 
 
 Vollcsstiicltchen(f61ks'stiik'kh'n),> 
 Folksong. The simple and natural melodies 
 which common people And 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 are simplicity, 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. Poster 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. 
 
 Volliston (folks-ton), Qer. Resembling peo- 
 ple's songs. 
 
 Voii (foil), Ger. Full ; mil voUem Werde, with 
 the full organ. 
 
 Voiler (fol'lSr), Ger. Fuller, louder. 
 
 Voiles Werk (fol'lgs wark), Ger. The full or- 
 gan. 
 
 Vollgesang (foU'gS-sarig'), Ger. Chorus. 
 
 VolHcommen (foU'kom'mfin), Ger. Perfect, 
 
 complete. 
 Voilstimmig (foll'stim'mlg), Ger. Full-toned, 
 
 full-voiced. 
 
 Volistimmigkeit (f511-stlm'mig-kit),ffer. Full- 
 ness of tone. 
 
 VolItSnend (f611't6'n8nd),ffer. Full-sounding, 
 sonorous. 
 
 Volitonige Stimme (foll'to'nl-gS stTm'mg), 
 Oer. Full-coned, sonorous voice. 
 
 Volonte (v6-10nh-ta), Fr. Will, pleasure; S 
 volants, at will. 
 
 Volta (vol'ta), J<. 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 (vol-ta'rfi), /(. To turn, to turn over. 
 
 Volta secbnda (vol'ta sa-kon'dfi). It. The sec- 
 ond time. 
 
 Volte (vol'tS), /(. ) An obsolete dance in 3-4 
 Volte (volt), /"r. j measure, resembling the 
 
 galliard, and with a rising and leaping kind 
 
 of motion. 
 
 Voiteggiando (vol-tsd-jl-an'do), /(. Crossing 
 the bauds, on the pianoforte. 
 
 Voiti (vol't«). It. The plural of Volta. 
 
 Volteggiare (vol-t8d-ji-a'r6). It. To cross the 
 
 hands in playing. 
 VoIti (vol'tl), Jt Turnover. 
 
 a arm, i add, a oZe, £ end, e eve, I iU, I isle, 6 old, 6 odd, oo moon, il Imt, u Fr. sound, kh Ger. ch. nh Tuual. 
 
 (235) 
 
VOL 
 
 DICTIONARY OF MUSIC. 
 
 WAL 
 
 Voltl, segue la seconda parte (vol'ti Ba-gwS 
 la s6-k6n'da par'tS), It. Turn over, the sec- 
 ond part loUows. 
 
 Volti subito (vol'ti sooTji-to), It. Turn over 
 quickly. 
 
 Volubilita (v6-loo-be'lI-ta), „ 1 Volu- 
 
 Volubilmente (v6-loo-belm6n't«), ■"■ ) 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 iu two or three movements, calcu- 
 lated to display the capabilities of the in- 
 strument and the skill of the performer. 
 
 Volver a la misma canpion (Tol'var a la mes'- 
 
 ma kiLn-thi-on'), Sp. To return to the old 
 
 tune. 
 Vom Anfane (tom an'fang), Ger. Prom the 
 
 beginning. 
 Vom Blatte (fom blat'tS), Ger. From the 
 
 page ; at first sight. 
 
 Von (fon), Ger. By, of, from, on. 
 Vorausnahme (for-ous'na-mfi), Ger. Antici- 
 j, patlon. 
 
 Vorbereitung (f6r'b6-rl-toong), Ger. Prepara- 
 tion, of discords, etc. 
 
 Vorbereitungsunterrlcht (for' hS - rl' toongs- 
 oon'tgr-rikht'), Ger. Preparatory lesson, ele- 
 mentary instruction. 
 
 Vorgeiger (for'gi-ghfir), Ger. The first vio- 
 lin, the leader of the violins. 
 
 Vorgreifung (for'gri-foong), „„ 1 Anticipa- 
 VorgriH (for'grlflf), "^- f tiou. 
 
 Vorhalt (tor'halt), Ger. A suspension, or syn- 
 copation. 
 
 Vorher (for'hgr), Oer. Before. Tempo me vor- 
 her, the time as before. 
 
 Vorig ( fo' righ ), Crer. Former, preceding. 
 Voriges ZeUraaoA, in the preceding tempo. 
 
 Vorsang (for'sang), Ger. Leading off in the 
 song ; act of beginning the tune. 
 
 Vorsanger (for'sen-gSr), Ger. The leading 
 singer in a choir ; a precentor. 
 
 Vorschlag (for'shlag), Ger. Appoggiatura, 
 
 ' beat. 
 
 Vorspiel (for'spel), Ger. Prelude; introduc- 
 tory movement. 
 
 Vorspleler (for'spe-Tr), Ger. Leader of the 
 band ; the principal, primo performer upon 
 any orchestral instrument. 
 
 Vorsteller ( for'stiSl-l'r), Ger. Performer 
 player. 
 
 Vortrag (for'trag), Ger. Execution, mode 01 
 executing a piece ; delivery, elocution, die- 
 tiou ; the act of uttering, or pronouncing. 
 
 Vortragsbezeichnungen (for' trags- b€- tsikh'. 
 noon-g6n), Ger. Marks of expression. 
 
 Vorzeichnung (for'tsikh-noong), Ger. The 
 signature; also a sketch, or outline, of li 
 composition. 
 
 Vox (vox), Lot. Voice. 
 
 Vox acuta (vox a-koo'ta), Lat. A shrill, or 
 high, voice. In the ancient mu^ic, the high- 
 est note in the bisdiapason, or double oc- 
 tave. 
 
 Vox angelica (vox an-g€li-ka}, Lai. Angelic 
 voice. See Voxcdeslee. 
 
 Vox antecedens ( vox ilu' tS- tsa' dSns ), Ijit. 
 The antecedent voice. The voice propos- 
 ing a subject for another voice to imitate. 
 
 Vox consequens (vox kon-s6'kw6ns), iai. The 
 consequent voice. The voice performing 
 the imitation. 
 
 Vox gravis (vox grii'vis), Lat. A grav^ or 
 low, voice. 
 
 Vox humana (vox hoo-ma'na), Lat. Human 
 voice. Au organ reed stop of 8-feet tone, 
 intended to imitate the human voice; which 
 it sometimes does, though very imperfectly. 
 
 Vox nasalis (vox na- sa' lis), Lat. A nasal 
 voice. 
 
 Vox retusa (vox rS-too'sii), Lat. An 8-feet 
 organ-stop. 
 
 Vuide (vwed), Fr. Open. On the open string. 
 
 VuotO (voo-6'to), It. Open, e. g.,a.n open 
 string. 
 
 V. S. Abbreviation for Volti subito. 
 
 W 
 
 Waits. An old word, meaning hautboys; 
 also players on the hautboys. See, also, 
 Wayghjtea. 
 
 WaldflSte (wald'fl6'l«),eer. Forest-flute, shep- 
 herd's flute ; an organ-stop with a full and 
 powerful tone. 
 
 Waldhorn (waid-hom), Ger. 
 also winding-horn. 
 
 Forest-horn ; 
 
 Wals (wals), Dv,t. A waltz. 
 
 Walz (waits), Ger. 1 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- 
 legretto. 
 
 Walzer (wal-tsfir), Ger. Waltz, national Ger- 
 man dance. 
 
 a arm, i, add, a, ale, S.end, e eve, \iU,\ iflf, old, odd, qo moon, ti Imi, ii /V, sound, kh Ger. cA, nl; nanA 
 
 (236) 
 
WAN 
 
 DICTIONARY OF MUSIC. 
 
 WIR 
 
 Wankend (wan'kfind), Qer. Wavering, un- 
 steady, hesitating. 
 
 WarWe. To quaver the sound : to sing in a 
 manner imitating that of birds. 
 
 Warme (wftr'mS), Oer. Warmth. 
 
 Wassail. An old term signifying a merry or 
 convivial song. 
 
 Wasserorgel (was'ser-or'g'l), Qer. 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. See, also, Watte. 
 
 Way, lyra. One of the two modes of notation 
 in the ancient Greek system. 
 
 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 length, 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" Eh., (39^ Eng.) 
 
 Wechselchor (wSk's'1-khor'), Oer. Alternate 
 chorus or choir. 
 
 Wechselgesang (wSk's'l-gS-sang'), Qer. Al- 
 ternative, or antipnonai, song. 
 
 Wechselnoten (wSk' s.'l - no' t'n), Qer. pi. 
 Changing notes ; passing notes, no^s of ir- 
 regular transition, appoggiaturajs. 
 
 Wehmuth (wa'moot), Qer. Sadness. 
 
 Wehmiithlg (wa-mii'tigh), Qer. Sad, sorrow- 
 ful. 
 
 Weiberstimme' (wnier-stlm'me), Qer. A fe- 
 male voice, a treble voice. 
 
 Welch (wikh), Qer. Minor, in respect to keys 
 and mode. 
 
 Weihnachtslied (wl-nakhts-ledO, Qer. Canti- 
 cle at Christmas ; Christmas hymn or carol. 
 
 Welnend (wl'n6nd), Qer. Weeping. 
 
 Welse (wi'zfi), Qer. Melody, air, song. 
 
 Weisse Note (wi'sfi no'te), Qer. White note ; 
 minim. 
 
 Weite Harmonic (wl't6 har-mo-ne'), Qer. Dis- 
 persed or open harmony. 
 
 Welsh harp. See Harp. 
 
 Weltlich (wflt'llkh;, Qer. Secular. 
 
 Weltliche Lleder (weit'lIkh-8 le'd6r), Qer. Sec- 
 ular songs. 
 
 WenlK(wa'nigh),Oer. Little; einwenig stark, 
 
 a little strong, rather loud. 
 Werk (v&ik), Qer. Work, movement, action. 
 
 See Mauptwerk and Oberwerk. 
 
 Wesentllch (wa's€nt-llkh), Qer. Essential. 
 
 Wesentliche Septime (wa'sSut-Ukh-fi sSpte'- 
 
 , m6), Qer. Dominant seventh. 
 
 Wettgesang (wfit'g«-sang), Qer. A singing- 
 match. 
 
 Whistle. A small, shrill wind instrument, 
 in tone resembling a fife, but blown tit me 
 end like an old English flute. 
 
 Whole note. A semibreve. 
 
 Whole rest. A pause equal in length p^-J^ 
 to a whole note. h H 
 
 Whole shift. A violin shift on tjie eigluh 
 line, or A. See Ymlin shift. 
 
 Whole tone. Inelegant and unscientific term 
 for a large second ; a whole step. 
 
 Wieder anfangen (we'dSr iin'fan-g'n), Gcr. To 
 begin again, to recommence. 
 
 Wiederholung (we'dfir-ho'loong), Ger. Repeat- 
 ing, repetition. 
 
 WIederhoIungszelchen (we'dSr-ho'loongs-tsi'- 
 kbe,n), Ger. Signs of repetition. 
 
 Wiederklang (we'dSr-klang'), /3„ lEcho, re- 
 
 Wiederschall Cwe'dfir-shall'), "^- J sound- 
 ing. 
 
 Wieder schnell (we'd'r schnSU), Ger. Again 
 quick. 
 
 Wieder zurlickhalten (we'd'r tzoo-riick'hal- 
 I'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 born. 
 
 Wind band. A band composed of wind in- 
 struments. 
 
 Wlndchest. 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 {or all 
 instruments the sounds of which are pro- 
 duced by the breath or by the wind of bel- 
 lows. 
 
 Windharfe (wlnd'hiir'fg), JEolian harp. 
 
 Windlade (wind-la'dS), Qer. Wiudchest in an 
 organ. 
 
 Wlndmesser (wlnd-mgs'sSr), Qer. Anemome- 
 ter, windgauge. 
 
 Wlndstock (wind'stok), Qer. Cover of organ- 
 pipes. 
 
 Wlndtrunk. A large passage in an organ 
 through which air is conveyed from the bel- 
 lows to the wlndchest. 
 
 WIndzunge (wind'tsoon'ghS), Qer. Tongue 
 of an organ-pipe. 
 
 Wlnsellg (win's6-llg), Oer. Plaintive. 
 
 Wlnselstlmme (win's'l-stIm'me),G'er. A plain- 
 tive voice. 
 
 Wlrbel (wir'b'l), Oer. !Peg of a violin, viola, 
 etc.; the stopper in an organ-pipe. 
 
 Wirbelkasten (wlr-b'l-kas't'n), Oer. That part 
 of the neck of a violin, etc., which contains 
 the pegs. 
 
 a arm, & add, & tile, i end, 6 eve, liB, I isle, 6 oM, 6 odd, oo moon, H 6«<, ii JV. mimd; kh Ger. eh, ah nmol, 
 
 (237) 
 
WIR 
 
 DICTIONARY OF MUSIC. 
 
 ZAU 
 
 Wirbelstock (w!r-b'l-st3k'), Oer. A sound- 
 board. 
 
 Wogend (wo'ghSnd), Ocr. Waving. 
 
 WohlklanB(vvol'klang),Go'. Agreeable sound, 
 harmony. 
 
 Wohlklingend (wol'klIng-8nd), Ger. Harmo- 
 nious, sonorous. 
 
 Wohllaut (wol-lout), Ger. Euphony, har- 
 mony. 
 
 Wolf. Name commonly applied to the dis- 
 agreeable beating and snarling o£ two organ- 
 pipes when almost in perfect tune. The dis- 
 sonances of the tempered scale are equally 
 distributed in 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 lo the 
 general idea of a passage of poetry. 
 
 Wortklang (wort-klangj.Ger. Accent, tone. 
 
 Wrest. An old name for a tuning-key. 
 
 Wrestpins. Movable pins in a piano, about 
 whicn one end of the string is wound, aud 
 by turning which the instrument Is tuned. 
 
 Wrestpiank. The plank into which the tun- 
 ing-pins are driven. A wrestpiank is glued 
 up of several layers of wood, and must be 
 very solid. 
 
 Wristguide. A contrivance for steadying the 
 wrisis of young piano-players in order to 
 prevent unbecoming oscillation. While ac- 
 complishing the result intended, these ap- 
 paratuses are unnecessary. 
 
 Wiichtig (wiikh'tigh), Ger. Weighty. 
 
 Wunderllcli (woon'd'r-likh),Gc)-. Odd, capri- 
 cious. 
 
 Wunderstimme (woon-d*r-stim'm6), Ger. A 
 
 wonderful, extraordinary voice. 
 Wiirde (wiir'dfi), Oer. Dignity. 
 
 Wurdevoll (wur'de-fol), „„ lT.,„„-fl^j 
 WUrdig (wiir-dlgh), '' Ger. | Dignified. 
 
 Wuth (woot), Ger. Madness, rage. 
 
 :xi-^s' 
 
 Xanprpiiika (ksan-or'fi-kS.), Ger. A German 
 iustrumeut having a violin-bow and keys; 
 a $eyed violin. 
 
 XenJDrphlca. An instrument of the harpsi- 
 ch|>rd and pianoforte class. 
 
 Xyllfarmonicon ( ksil- bar- mo' ni- kOn), Gr. 
 Tj^e wooden harmonica, invented in 1810 
 by Uthe, au organ-builder at Sangerhausen. 
 An instru- 
 Tmcnt com- 
 
 XylorganOn (ksil'6r-ga-non),,,„ 1 
 Xylophone (ksU'o-fon) j "'^- { i 
 
 posed of bars of wood lying upon bands of 
 straw. Each piece o^ 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. 
 
 X 
 
 Za. A syllable formerly applied by the 
 French, in their church music, to Bl>, to dis- 
 tinguish it from BS, called Si. 
 
 Zampogna (tsam-pon'ya), n \ An ancient 
 
 Zampugna (tsiim-poon'ya), ' J pipe, or bag- 
 Itipe, now nearly extinct, with a reedy tone, 
 resemMing, but much interior to, the clar- 
 inet. See Comamusa and Chalumeau. 
 
 Zampognare (tsiim-pon yii'rel. It. To play on 
 thupipfs. 
 
 Zampognatore (tsam-pon-yii- to'rfi), /(. A 
 piper. 
 
 Zampognetta (t am-pon-y$t'ta), n ) A small 
 
 Zampognino (tsam-pon-ye'nd), J bag- 
 
 pipe. 
 
 Zapfenstreicli (tsa'pf'n-strikh'), Ger. The 
 
 tattoo. 
 Zarge (tsar'ghS), Ber. The sides of a violin, 
 
 guitar, etc. 
 Zart (tsiirt),_ ,, \ Tenderly, softly. 
 
 Zartlicli (tsart'likh), ""■■ } delicately. 
 
 Deli- 
 
 Zarte Stimmen (tsar'tS stlrn'mfin), Oer. 
 cate stops ; init zarieti Stimmen. 
 
 Zartflote (tsiirt'flo-tS), Ger. Soft-flute; an or- 
 gan-stop of the fiuie species. 
 
 Zarzuela (tbar-thoo-a'la), />p. A short drama 
 with incidental music, something similar 
 to the vaudeville. 
 
 Zaulier (tsou'b'r), Ger. Magic. 
 
 it arm, & add, a, ale, i end, e eve, I ill, I isle, o old, odd, oo moon, ti but, ii Fr. soimd, kh Ger. ch, nh nasal, 
 
 (238) 
 
ZAU 
 
 DICTIONARY OF MUSIC. 
 
 ZUR 
 
 Zauberlied (tsou'b'r-led), Ger. A charming 
 
 song. 
 Zauberstlmme (tsou'b'r-stim'mfi), Ger. A 
 
 charming voice. 
 Zehn (tsau), Ger. Ten. 
 Zehnte Usan'tfi), Ger. Tenth. 
 Zeitmass (tat'mas), Ger. Time measure. 
 Zeitmesser (tsit'mSs-sSr), Ger. Time-measure, 
 
 uieironume. 
 Zele (zhal), JV.I „ , ^ enerev 
 Zelo (tsa'16), It. j ^^' ^^'^°^' energy. 
 
 Zelosamente (tsa-ld-za-m€n'te), It. Zealously, 
 ardently. 
 
 Zeloso (tsirlo'zo), It Zealous, ardent, earn- 
 est. 
 
 Zeng (tsgng), Per. The Persian cymbals. 
 
 Zerstreut (tsSr-stroif), 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. 
 
 Zie Harmonica (tse har-mo'ui-ka), Ger. The 
 accordion. 
 
 Ziemlich (tsem^ikh), Ger. Tolerably, moder- 
 ately. 
 
 Zlemlich langsam (tsem'likh laug'sam), Ger. 
 Tolerably slow. 
 
 Zierathen (tse-ra't£n), Ger. Ornaments. 
 
 Zierliches Singen (tser-likh-6s sing'gn), Ger. 
 
 Modulation. 
 Ziffern (tsif'f'rn), Ger. Figures, namely, Ara- 
 bic numerals. 
 Zigeunerartig (tse-goin'Sr-ar'tigh), Ger. In 
 
 gypsy style. 
 Zigeunermusik (tse - goin' 6r - moo - sek'), Ger. 
 
 (iypsy music. 
 Zillo (tseno), It. Chirp, chirping. 
 Zimbel (tsem'bgl), Ger. Cymbal. 
 Zincke (tsluk'S), Ger. See Zinke. 
 Zinfonia (tsen-fo-ne'a), It. A symphony. 
 Zingana (tsen-ga'na). It. Ballad ; Bohemian 
 
 fong. 
 Zingaresa (tsen-ga-ra'za), It. In the style of 
 
 gyp.sy music. 
 Zingaresca (tsen-ga-rfis'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), Z>«(. To sing; singing. 
 Zinkblaser its!nk'bla'z6r),(Jer. Cornet-player. 
 
 Zinke (tsink'6), ^„ 1 Small cornet, 
 
 Zinken (tsln'k'n), pi. J species of horn or 
 
 trumpet of very ancient date, now almost 
 obsolete. It was made either of wood or the 
 small branches on the heiad of the deer. 
 Also the name of a treble stop in German 
 organs, which is sometimes a reed and at 
 others a mixture stop. 
 
 Zither ;tslt'«r\(3er. A cither. (1) The old Ger- 
 man zither was an instrument consisting of 
 a soundbox, a ueck with a fretted finger- 
 board, and eight, ten, twelve,or more strings, 
 two and two tuned in unison, which were 
 plucked with a quill or piece of whalebone 
 (2) The modern either consists of a low, flat 
 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 themoverspun. 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 plucks with a plectrum at- 
 tached to his right-hand thumb ; the rest of 
 the strings he plucks with the other fingers 
 of the same hand. 
 
 Ger. 
 
 Lame, halting. See Syn- 
 copaiion. 
 
 Zitherspleler (tsit^gr-spe'lSr), 1 
 
 Zithersch lager (tsIi'er-shla'gSr), i 
 Guitar-player. 
 
 Zltternde Stimme (tsit't^ru-de stim'mS), Ger. 
 A trembling voice. 
 
 Zittino (tslt-te'no), It. Silence. 
 
 Zogernd (tso'ghemd), Ger. A continual re- 
 tarding of the time. 
 
 Zolfa (tsol'fii), /(. See Self a. 
 
 Zoppa (tsop'pa), 
 
 Zoppe Its6p'p6), It. 
 
 Zoppo(tsop'pd), 
 
 Zornig (tsor'nigh), Ger. Angry, wrathful. 
 
 Zu (tsoo;, Ger. At, by, in, to, unto. 
 
 Zufallig (tsoo-fal'llg), Ger. Accidental sharp, 
 flat, etc. 
 
 Zufolo (tsoo-fo'lo). It. Flageolet, small flute, 
 or whistle. 
 
 Zufolone (tsoo-fd-lo'ng). It. A flute, a large 
 *histle. 
 
 Zug (tsoog), Ger. Draw-stop, or register, in 
 an organ. 
 
 Ziige (tsfl'ghfi), Ger. pi. See Zug. 
 
 Ziigegliickchen (tKii'ghS-gl6k'kh6n),ffer. The 
 passing bell ; a knell. 
 
 Zugtrompete (tsoogh'tr6m-pa't6), Ger. Slide- 
 trumpet. The soprano trombone. 
 
 Zugwerke (tsoog-war'ke), It. Organ mechan- 
 ism. 
 
 Zukiang (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, formed of reeds. 
 
 Zunehmend (tsoo-na'm^nd), Ger. Increasing. 
 
 Zunge (tsoon'ghS), Ger. The tongue of a reed 
 
 pipe. 
 Zungenblatt (tsoon'ghSn-blaf), Ger. The 
 
 clarinet reed. 
 Zuriickblasen (tsoo-nik'bla'zgn), Ger. To blow 
 
 a retreat. 
 
 ' arm, & add, a ote, 6 end, e eve, iiU,i isle, 6 old, 6 odd, oomoon,ii but, il Fr, sound, kh Ger, eft, nh nasal. 
 
 (239) 
 
ZUR 
 
 DICTIONARY OF MUSIC. 
 
 ZYM 
 
 Zuriickgehend (tsoo-riik'ga-Snd), Oer. Going 
 back to the original tempo, after an accele- 
 rando or ritardando. 
 
 Zuriickhaltung;(tsoo-ruk'hal'toong), Qcr. Re- 
 tardation ; keeping back. 
 
 Zariicktonen (tsoo-riik-to'nen), ^„ 1 To 
 
 ZurUcktreiben (tsoo-ruk'tri-b'n), ''"^- ) re- 
 sound, to reverberate. 
 
 Zusammen (tsoo-zam'm'n), Ger. Together. 
 
 Zusammengesetzt ( tsoo-zam'm'n-ge-sgtst' ), 
 
 Ger. Compound, condensed, compound 
 
 time. 
 Zusammenklang (tsoo-sam'm'n-klang), Oer. 
 
 Harmony, cousonance. 
 Zusammenlaut ( tsoo-sam'm'n - lout), Ger. 
 
 Harmony, consonance. 
 Zusammenschlag (tsoo-sam'm'nshlag), Ger. 
 
 ZuSammensingen(tsoo-sam'm'n-sin'gSn),Gcr. 
 To sing together. 
 
 Zugammenstiipmig; (tsoo - sam' mgn - stim'- 
 migh), Oer. Harmonious, concordant. 
 
 Zusammenstimmune (tsoo- sam' mSn - stbn'- 
 mooug), Oer. Harmony, concord, conson- 
 ance. 
 
 Zutrautich (tsDO-trou'likh),6er. Confidently. 
 
 Zuverslcht (tsoo'£6r-8lkht'), Ger. Confidence. 
 
 Zwanzig (tswSn'tsIgh), Ger. Twenty. 
 
 Zwanzlgste (tswan'tsIgh-stSj.Ger. Twentieth. 
 
 Zwei (Iswi), Oer. Two. 
 
 ZweichSrig ( tswi' kho - righ ) , Ger. T w o- 
 choired. 
 
 Zweifach (tswi'takh), ^„ 1 Two-fold, of 
 
 Zweifaitiy(tswl'faragh), '''^•Jtwo ranks, in 
 organ pipes ; compound, speaking of inter- 
 vals, such as exceed the octave, as the 9th, 
 16th, etc. 
 
 ZweifUssi^ (tswi-fils'slg), Ger. Of two feet 
 
 (organ-pipe and pitch.) 
 Zweigesang (tswl' g6 - zang*), Ger. For two 
 
 voices ; a duet. 
 Zwelgestrlchen ( tswi - .c6- stri' kh'n ), Ger. 
 
 With two strokes ; applied to C on the third 
 
 space in the treble, and the six notes above. 
 
 See Tvnce-marked octave. 
 Zweiglied (tswIglBd), Ger. A sequence of two 
 
 links or chords. 
 
 Zweihalbertaktftswi'hal-ber-takt'), Oer. Two 
 half-note measure, 2-2 measure. ' 
 
 Zwelhandige Uebungsstiicke (tswl- ban' di- 
 ghe u-boongs-stiik'S), Ger. Exercises for 
 twb hands. 
 
 Zweiklang (tswi'klang), Ger. A chord of two 
 sounds 
 
 Zweimal (tswl'mal), Ger. Twice. 
 
 Zweistimmig ftswl'stim'mlg), Oer. For two 
 voicei., or parts ; a duet. 
 
 Zweispiet (tswl'spel), Ger. A duet. 
 
 Z^veite (tswi'te), Oer. Second. 
 
 Zweites IWal (tswi'tfis mal), Ger. Second time. 
 
 Zweltes Manual (tswi'tgs ma-noo-al), Oer'. 
 The second manual. 
 
 Zweiunddreissigstel ( tswl'oond-dri'slgs-tei ), 
 Ger. A demisemiquaver. 
 
 Zweiunddreissfgstel Pause (tswi'oond-drf- 
 slg-stei pow'z8),(T«r. A demisemiquaver rest. 
 
 Zweiviertelnote (tsw!-Jer't61-n6't6), Ger. A 
 minim. 
 
 Zwelviertelpause (tswi-fer'tei-pow'zS), Oer. A 
 minim rest. 
 
 Zweivierteltakt (tswl-£er't61-takt), Ger. Time 
 of two crotchets, 12-4. 
 
 Zweizwelteltakt (tswi-tswi't'l-takt),eer. Time 
 of two minims, 2-2. 
 
 Zwerchflotc (tsw6rkh'fl6-tS),CCT. Transverse 
 fluto, the German flute. 
 
 Zwerchpfeife (tswarkh'pfi-fS), Ger. Trans- 
 verae pipe, the fife. 
 
 Zwey (tswi), Ger. See Zu-ci. 
 
 Zwischenakt (tswi'shgn-akf), Ger. Between 
 acts : au intermezzo. 
 
 Zwischengesang (fswl'shfingg zang'),i 
 Zwischenhandlung ( tswi' shfin - haud'-> Oer. 
 
 looug), ) J 
 
 An episode. 
 Zwischenharmonie (tswi' shSn - har' mo- ne'), 
 
 fftr. Between harmony; the connectingf 
 
 harmony in afugue. 
 Zwischenraume (tswi'shSn- roy'mfi), 6er.pl 
 
 The spaces between the lines of the staflF. 
 
 Zwischensatz (tswi'shgn-sats), Ger. Inter 
 mezzo, parenthesis, episode. 
 
 Zwischenspiel (tswi'shen-spel), Ger. Inter 
 lude played between the verses of a hymn 
 
 Zwischenstllle ( tswi'shgn-stil'lS), Ger. A 
 
 pause. 
 Zwischenstimme (tswi'shen -stim'mg), Get 
 
 Middle voice ; high tenor or alto. 
 Zwischenton (tswl' shSn- ton), Oer. luterme 
 
 diate tone. 
 Zwiilf (tswolf), Oer. Twelve. 
 
 Zwolfachteltakt (tswolt-akh't'l- takt'), Oer. 
 12-8 measure. 
 
 Zymbel (tsim'b'l), Ger. Cymbal*. 
 
 aarm, a add, a ale, fi end, S eve, 1 ill, i igle, 6 old, 6 odd, oo moon, H but, ii Fr. sound, kh Ger. eh, nh nasai. 
 
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 (ato-la)— 
 
 ACHENBACH (akh'6n-bakh)— 
 
 ADAM— French, born 1803; died 1856. 
 
 AHLSTROM Cal'strom)— 
 
 ALARY (a-la're)— French composer, born 1814 ; died 1891. 
 
 ALBERTI (al-bar'te)— 
 
 ALBRECHTSBERGER (ill'brgkhts-bar'gSr)— 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')— Frendh composer, born February 28, 1825 ; died April 8, 1889. 
 ARDITI (Sr-de'te)— Italian composer, born July 22, 1822. 
 ASANTSCHEWSKY (asslnt-shSv'Bki)— Russian composer, born 1838. 
 ASCHER (a'shSl-)— German composer, born 1831 ; died June 3, 1869. 
 ATTENHOFER (a'tSn-ho'Kr)— Swiss composer, bom May 5, 1837. 
 AUBER (o-bar')— French composer, born January 29, 1782; died May 12, 1870. 
 ALARD (a-lar")— French violinist, bom March 8, 1815; died February 22, 1888. 
 ARNE— English composer, born 1710; died 1778. 
 
 BACH (bakh)— German composer, bom March 21, 1685; died July 28, 1750. 
 BADARZEWSKA (ba-dart-sev'ski)— Polish female composer, T)orn 1838 ; died 1862. 
 BAERMAN (bar'man)— German composer, born February IV, 1784; died June 11, 
 
 1847. 
 BAILLOT (ba-e-6')— French- composer, born October 1, 1771 ; died September 15, 1842. 
 Sf-LFE— English, bora 1808; died 1870. 
 
 BARGIEL (bar-zhe'61)— German composer, bom October 3, 1828. 
 BAENBY— Englisfh composer, born 1838; died 1896. 
 BATTMAN (bat'man)— French composer, born August 25, 1818. 
 BAUMFELDER (boum'Kl-d6r)— German composer, born May 28, 1836, 
 BAZIN (ba-za')— French composer, born September 4, 1816; died July, 1878. 
 BAZZINI (bat-ze'nl)— Itallap composer, born November 11, 1818. 
 
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BEE DICTIONARY OF MUSIC. CHA 
 
 BEETHOVEN (bafho-vfin)— German composer, born December 16, 1770 ; died March 
 
 26, 1827. 
 BEHR (bar)— German composer, born Julj 22, 1S37. 
 BEEEN3 (b6r'6nz)— German composer, bom 1826 ; died May 9, 1880. 
 BEEG (barg)- Pianist, born 1785; died 1852. 
 
 BERGER (bar'ggrj— German composer, born April 18, 1777; died February 16, 1839. 
 BEEIOT (bar"! o)— Belgian composer, born February 20, 1802; died April 8, 1870. 
 BERLIOZ (bar'li-6)— French composer, born December 11, 1803 ; died March 9, 1869. 
 BERTINI (bar-te'nl)— French composer, born October 28, 1798; died October 1, 1876. 
 BEVIGNANI (bfiv-in-ya'nl)— Italian composer and conductor. 
 BEYER (bi'6r)— German composer, born July 25, 1803 ; died May 14, 1863. 
 BIAL (be'al)— 
 
 BIEDERMANN (be'dSr-man)— 
 
 BIEHL (bel)— German composer, born August 16, 1833. 
 BILLEMA (beyS-ma)— 
 
 BIZET (be-za')— French composer, born October 25, 1838 ; died June 3, 1875. 
 BLOMBERG (blombarg)— 
 
 BLUMENTHAL (bloo'm6n-tal)— German composer, born October 4, 1829. 
 BOCCHERINI (boklie-re'ni)— Italian composer, bora February 19, 1743 ; died May 
 
 28, 1805. 
 BOIELDIEU (bw61'di-iS)— French Composer, born December 16, 1775 ; died October 
 
 8, 1834. 
 BOITO (bo'i-to)— Italian composer, born February 24, 1842. 
 BONAWITZ {bo'niivltz)— German composer, born December 4, 1839. 
 BORDESE 'bor-da'za)— Italian composer, born 1815 ; died March, 1886. 
 BOKDOGNI (bor-don'ye)— Italian composer, born 1788 ; died 1856. 
 BR ADSKY (brad'sl£l)— Bohemian composer, born January 17, 1833 ; died August 9, 
 
 1881. 
 BRAG A (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 (broolih;— German composer, born January 6, 1838. 
 BRULL (brel)— German composer, born November 7, 1846, 
 BUCK, DUDLEY-American composer, born 1839. 
 BULOW (be'lo)— German composer, born January 8, 1830; died, 1894. 
 BURGMtJLLER (boorg'mll-ier)— German composer, born 1806 ; died February 13, 
 
 1874. 
 BELLINI (bgl-le'ni)— Italian composer, born November 1, 1801 ; died September 24, 
 
 1835. ^ 
 
 BENDEL (ben'dSl)— German composer, born March 23, 1833; died July 3, 1874. 
 BOHM (bom)— German composer, born September 11, 1844. 
 BOTTESINI (hot-tg-ze'nl)- Italian composer, born December 24, 1823 ; died April 7, 
 
 1890. 
 CAMPAGNOLI (kam-pan-yo'li)— Italian composer, bom September 10, 1751 ; died 
 
 November 6, 1827. 
 CAMPANA (kam-pan'a)— Italian composer, bom 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, bom February 10, 1770 ; died 1841. 
 CHADWICK, GEO. W.— American composer, born November 13, 1854. 
 CHAMINADE (sham-l-na'd«), CECILE— French contemporary composer, bom Au- 
 gusts, 1861. 
 
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CHE DICTIONARY OF MUSIC. EGG 
 
 CHERUBINI (ka-roo-bS'nl) — Italian composer, born September 14, 1760; died 
 
 March 16, 1842. 
 CHOPIN (Bho-paO -Polish composer, born Marcli 1, 1800 ; died October 17, 1849. 
 CHWA.TAL (shva-tal')— Bohemian composer, bom June 19, 1808; died June 14, 1879. 
 CIMAROSA (tshe-ma-ro-za)— Italian composer, born December 17,1749; died Janu- 
 ary 11, 1801. 
 CLAUSS (klouss), WILHELMINE— German pianist, born December 13, 1834. 
 CLEMENTI (kla-m6n'tl)— Italian composer, born 1752; died March 10, 1832. 
 COENEN (k6'6-neu), FRANZ— Dutch composer, born December 26, 1826. 
 
 " " WILLEM— Dutch composer, born NoTcmber 17, 1837. 
 
 CONCONE(k6n-k6'na)— Italian composer, born 1810; died June, 1861. 
 COSTA (koss'ta), SIR MICHAEL— Italian composer and conductor, born February, 
 
 1810 ; died 1884. 
 COUPERIN (koo-pe-rS')— French composer, born November 10, 1668 ; died 1733. 
 CO0RVOISIER (koor-vwa'zi-a)— Swiss composer, born November 12, 1846. 
 CRAMER (kra'mfir) — German composer, born February 24, 1771 ; died April 16, 1858 
 -CRISTOFORI (kris'to-fo'rl)— Italian ; inventor of the piano ; born 1651 ; died 1731. 
 CDRSCHMAN (kooish'mau)— German composer, born June 21, 1805; died August 
 
 24, 1841. 
 CZERNY (tsar'ni)- German composer, bom February 21, 1791 ; died July 15, 1857. 
 CZERWINSKI (zar-vlu'ehl). 
 
 CZIBULKA (ze-bool'k a)— Hungarian composer, born May 14, 1842. 
 DAMM (dam) — German composer, born January 25, 1830. 
 DANCLA (dank'la) — French composer, born December 19, 1818. 
 DAVID (da'vid'), F. C— French composer, born April 13, 1810 ; died August 29, 1876. 
 
 " _ " F.— German composer, bornJanuary 19, 1810; died July 18, 1873. 
 DELAHAYE (dfil-a-ha') 
 
 DELIBES (dSl-eb')- French composer, born 1836; died January 16, 1891. 
 DEPROSSE (de-pr5s')— German composer, born May 18, 1838 ; died June 23, 1878. 
 DESORMES (daz-6rm'). 
 
 DESSAUER (dSs-sour')- Bohemian composer, born May 28, 1798 ; died July, 1876. 
 DIABELLI (de-a-bet'll)- German composer, born September 6, 1781 ; died April 
 
 7, 1858. / 
 
 DOHLER (dS'lSr)- Italian pianist, bom 1814 ; died 1866. 
 DONIZETTI (don-i-tsfit'ti)- Italian composer, born November 28, 1795; died April 
 
 8, 1848. 
 DOPPLER (dop'plSr)— 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, bom December 27, 1860. 
 DROUET (droo'a)— Dutch composer, born 1792 ; died September 30, 1873. 
 DULCKEN (dool'kSn)— German composer, born 1837. 
 DUPONT (doo-pa')— Belgian composer, born February 9, 1828 ; died December 17, 
 
 1890. 
 DURAND (doo-ra')— French composer, born July 18, 1830. 
 
 DUSSEK (doo'sSk)— Bohemian composer, bom February 9, 1761 ; died March 20, 1812. 
 DUVERNOY (doo-var-nwa)— French composer, born 1802 ; died 1880. 
 DVORAK (d8v-6r-zhak)— Bohemian composer, born September 8, 1841. 
 ECCARD (gk-kar') —German composer, born 1553; died 1611. 
 EGGHARD (Sg'gard)- German composer, bom April 24, 1834 ; died March 22, 1867. 
 
 a arm, S, add, a die, 6 end, e eve, I ill, I iile, 6 old, a odd, oo moan, ou our, kh On-. cA, nh naial. 
 
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EIC DICTIONARY OF MUSIC. HEN 
 
 EICHBERG (ikh'barg)— German composer, born 18:8 ; died January 19, 1893. 
 
 ENCKHAUSEN (Snk'hou-zfin)— German composer, born August 28, 1799; died Jan- 
 uary 16, 1885. 
 
 FAHRBACH (fftr'bakh)— German composer, born August 25, 1804 ; died 1883. 
 
 FAURE (fo'fir)— French composer, born January 15, 1830. 
 
 FAUST (foust)— German composer, born February 18, 1825 ; died 1892. 
 
 FAVAEGEE (fS-var-zha')— ^rench composer, born 1815; diedil868. 
 
 FLOTOW (flo'to)— German opera composer, born 1812 ; died 1883. 
 
 FEANZ (friinte)— German coippOEer, born June 28, 1815 ; died October 24, 1892. 
 
 FETIS (fa'ti)— French composer, born 1784 ; died 1871. 
 
 FOOTE — American composer, born 1853. 
 
 FORMES (for'mS^— German tasso, born 1810 ; died 1889. 
 
 FOSTER— American songwriter, born 1826 ; died 1864. 
 
 FRESCOBALDI (Ms'oo-bal'di)— Italian composer, born 1683 ; died 1644. 
 
 GADE (ga'da)— Danish composer, born February 22, 1817; died December 21, 1890. 
 
 GANSBACHER (g^nz'bakh-er)— German composer, born 1778; died 1844. 
 
 GANZ (giints)— German composer, born 1830. 
 
 GARCIA (gar'thl-ah)— Spanish teacher, born 1805. 
 
 GENEE (zha-na')— German composer, born February 7, 1823. 
 
 GENEE (zha-na') DANTZIG— Born 1824; died 1896. 
 
 GILCHRIST— American composer, bom 1846. 
 
 GILMORB— Irish, conductor, born 1829 ; died 1890. 
 
 GIOEDANI (je-or-da'ni)— Italian composer, born 1744; died 18—. 
 
 GLT7CK (glook)— German opera composer, born 1714 ; died 1787. 
 
 GODARD (go-dahr')— French composer, born 1849 ; died 1895. 
 
 GODDARD— English pianist, born 1836. 
 
 GOUDIMEL (goo'di-mel)— French composer, born 1510 ; died 1572 
 
 GOUNOD (goo'no')— French composer, born 1818; died 1893. 
 
 GRETRY (gra'tre)— Belgian composer, born 1741 ; died 1813. 
 
 GEIEG (greg)— Swedish composer, born 1843. 
 
 GEISI (gre'sl)— Italian soprano, born 1812; died 1869. 
 
 QUAENERIUS (gwar-neh'rl-oos)- Italian, born 1683 ; died 1745. 
 
 GCTIDO (gwe'do)— Italian theorist, eleventh century. 
 
 GUILMANT (gel'mong)— French organist, born 1837. 
 
 HABEEBIER(ha'b6r-beer), ERNST— German composer, born October 5, 1813 ; died 
 March 12, 1869. 
 
 HALEVY (ha'le-vS)- French composer, born May 27, 1799; died March 17, 1862. 
 
 HALLE (hal'la), CHARLES- German conductor, bom 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, bom August 12, 1810 ; died July 4, 1891. 
 
 HAUPTMANN (houpt-man), MOEITZ— 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. 
 
 HEN8ELT, ADOLF— Genpan composer, born May 12, 1814 ; died October 10, 1889. 
 
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HER DICTIONARY OF MUSIC. LAV 
 
 HilROLD (ha'rold)— French composer, born January 28, 1791 ; died January 19, 
 1833.. 
 
 HILLER, FERD.— German composer, 'born October 24, 1811 ; died May 10, 18S5. 
 
 HtJ^fTEN, (hen'tSn) FRANCOIS— German composer, born December 26, 1793 ; died 
 Feljruary 22, 1878. 
 
 JACOBSOHN (ya'cob-eon)— German Tiolinist, born 1839. 
 
 JADASSOHN (yft'dils-Son)— German composer, born August 13, 1831. 
 
 JAELL (ya'61)— Austrian pianist, born March 5, 1832; died February 22, 1882. 
 
 JENSEN (ygn'sto), ADOLF— German composer, born January 12, 1837 ; died Janu- 
 ary 23, 1879. 
 
 JOACHIM (yo'a-khim), JOSEF— Hungarian violinist, born June 28, 1831. 
 
 JOMELLI (yd-mSl'li) — Italian composer, born September 10, 1714 ; died August 25, 
 1774. 
 
 JOSEFFY (yd-sSPn)— Hungarian pianist, born 1852. 
 
 JULLIEN (zhoolli-anh)- French composer, bran June 1, 1812 ; died 1860. 
 
 JUNGMANN (yoong'man) — Grerman composer, born November U, 1824; died Sep- 
 tember, 1892. 
 
 KALKBRENNER (kalk'br€n-u«r)— German composer, born 1784 ; died June 10, 1849 
 
 KALLIWODA (kSl-livo'da)— Bohemian composer, born March 21, 1800 ; died De- 
 cember 3, 1866. 
 
 KELER BJILA (ka'lfir bS'la)— German composer, born February 13, 1820 ; died 
 November 20, 1881. • 
 
 KJERULF, HALFDAN (ke-roolf, hat'dan)— Norwegian composer, born ISl.'i ; died 
 1868. 
 
 KLINDWORTH (kllnt'wort), C— German pianist, born September 25, 1830. 
 
 KOHLER, (ka'ier) LOUIS— German composer, bom September 5, 1820 ; died Feb- 
 ruary 16, 1886. 
 
 KOSCHAT (ko'shat), THOMAS— German composer, born August 8, 1845. 
 
 KRAUSE (kron'Bg), ANTON— German composer, born November 9, 1834. 
 
 EREHBIEL (kra-bel), H. E.— American critic, born March 10, 1854. 
 
 KREUTZER (kroy'tzSr), KONRADIN— German composer, born November 22, 1780; 
 died December 14, 1849. 
 
 KRUG (kroogh), D.— German composer, born May 25, 1821 ; died April 7, 1880. 
 
 EITLLAK (koo'lak), 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 (liirbiash'), LUIGI— Neapolitan basso, born December 4, 1794 ; died 
 January 23, 1858. 
 
 LACHNER (lakh'nSr), FRANZ- Bavarian composer, born April 2, 1804 ; died Janu- 
 ary 20, 1890. 
 
 LAMBILLOTE (Iftm-bi-yote), LOUIS— French composer, born March 27, 1797 ; died 
 February 27, 1855. 
 
 LAMOUREUX (la-mooro'), CH.— Ereneh conductor, bofn September 21, 1834. 
 
 LAMPERTI (lam-pSr'lI), F.— Italian singer, born March 11, 1813 ; died May 6, 1892. 
 
 LANGE (laug'S), GOSTAV— German composer, born August 13, 1830 ; died July 20, 
 1889. 
 
 LANNER (ia,n'n6r), JOS. F. B— Austrian compose!?, born April 12, 1801 ; died April 
 14. 1843. 
 
 LASSEN, (las'sen) EDUARD— Danish composer, bom April 13, 1830. 
 
 LAVALEE (la-vil-16), CALIXA— American pianist, born 1842 ; died 1888. 
 
 i) arm, Ol add, a ale, £ end, e eve, I ill, i iele, 6 aid, 6 odd, oo moon, ou oitr, kh Oer. dh, nh naaql, 
 
LEF DICTIONARY OF MUSIC. MEH 
 
 LEFEBUEE-WELY (la-fa'boor-va'll), L. J. A.— French composer and organist, born 
 
 November 13, 1817 ; died December 31, 1809. 
 LESCHETITZKY (la-sh6-til'ski), THEODORE— Polish composer, pianist'and teacli- 
 
 er, born 1831. 
 LEYBACH (la-bakh), IGNAOE— French (Alsace) composer, born July 17, 1817 ; died 
 
 May 23, 1891. 
 LICHNER (llkh'nfir), HEINRICH— German composer, born March 6, 1829. 
 LIEBLING (leb^^ng), EMIL— American pianist and composer, born 1851. 
 LINDPAINTER, PETEB JOSEF VON— German composer, born December 8, 1791 ; 
 
 died August 21, 1856. 
 LISZT (list), FRANZ— Hungarian pianist and composer, born October 22, 1811 ; died 
 
 July 31, 1886. 
 LORTZnJG (lort'slng), GUSTAV A.— German composer, born October 23, 1803 ; died 
 
 January 21, 1851. 
 L6W{la-T6), JOSEF— Bohemian composer, born January 23, 1834 ; died October, 1886. 
 LULLY, JEAN BAPTISTE DE— Italian composer, born 1633 ; died March 22, 1687. 
 LWOFF, ALEXIS VON— Russian composer, born May 25, 1799 ; died December 28, 
 
 1870. Author of the " Russian National Hymn. " 
 LY8BEEG (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 (mgl'tsfil), J. N. — German musician and inventor of the metronome, 
 
 bojn August 15, 1772 ; died July 21, 1838. 
 MALIBRAN (ma'H-bran), MARIA F.— Singer, born 1808 ; died 1836. 
 MARCHESI (mar-ka'sl), MATHILDE DE 0.— German teacher and singer, bom 
 
 March 26, 1826. 
 MARETZEK (ma-rSts'fik), MAX— German composer and conductor, born 1821 ; died < 
 
 1897. 
 MARPURQ, (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. 
 MARSGHNEB (marsh'nfir), H.— German composer, born August 16, 1796; died 
 
 December 14, 1861. 
 MARTINI, GIOVANNI BAI'TISTA (mar-te'ni, ge'6-va-nl bap-tis'ta)— Italian com- 
 poser, bom April 25, 1706 ; died October 4, 1784. 
 MARX, A. B.— German composer and theorist, born May 15, 1799 ; died May 17, 1866. 
 MARZO (mar'tsS), EDUARD— Italian composer, born 1850. 
 MASCAGNI (mSa-kan'yl), PIETRO— Italian composer, born 1864. 
 MASON, DR. LOWELL — American composer and teacher, born January 8, 1792 . 
 
 died August \\, 1872. 
 MASON, DR. WILLIAM — American pianist and teacher, born January 24,^1829. 
 M.iSSENET (miis'sfl-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 (ml'sSh-dfir), J.— Austrian violinist, born 1789 ; died 1863. 
 MAZZINGHI (mat-taln'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 am, & aid, a ale, S end, 8 tfoc, i i(2, i isle, o old, 6 o6d, oo Tiwon, ou our, kh Gee. ch, nh nasal. 
 
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MEN DICTIONAEY OF MUSIC. PAU 
 
 MENDELSSOHN, J. L. FELIX B.— German composer and pianist, born 1809; died 
 
 1847. 
 MERCADANTE (m6r-ka-dan't?), S.— Italian composer, born 1795; died 1870, 
 MERKEL, (mfir'kei) GUST AV— German composer and organist, born 1827 ; died 
 
 1885. 
 MERZ (m«rts), CARL— German composer and writer, born 1834; died 1893. 
 MEYER, LEOPOLD VON— Austrian pianist, born 1814 ; died 1883. 
 
 MEYERBEER, G.— German composer, born 1791 ; died 1864. 
 
 MEYER-HELMUND, 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 (mdn-tS-vSr'dg), C— Italian composer, born 15d8; died lOM, 
 
 MOSCHELES (m6sh'«-18hs), IGNAZ-German composer, born 1794 ; died 1870. 
 
 MQSZKOWSKI (mosh-lcov'sld), M.— Polish composer, born 1854. 
 
 MOZART (mo'tsart), WOLFGANG A.— German composer, born 1756; died 1T91. 
 
 MUESKA, ILMA DE— Soprano, Croatia, born 1835; died 1889. 
 
 NAGELI (na'g8-ll), 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; dl«d 1858. 
 
 NICODE (ul-ko-da), J. L.— Polish Silesia composer, born 1853. 
 
 NICOLAI (ni-k6-ia-I), OTTO— German composer, born 1810; died 1849. 
 
 NICOLINI (nl-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), SIGISMUND— Polish composer, born 1846. 
 
 NOVELLO, VINCENT— English composer, born 1781 ; died 1861. 
 
 OBERTHtJR (ffber-ter), CH.— German composer, born 1819. 
 
 OESTEN (as't«n), THEODOR— German composer, born 1813 ; died 1870. 
 
 OFFENBACH, JACQUES (of «n-bah, aback)- French composer, bom 1819 ; died 1880. 
 
 ONSLOW, G.— English composer, born 1784; died 1853. 
 
 PACHMANN, VLADIMIR DE (pash-mang, fla'di-mir da)— Russian pianist, born 1848. 
 
 PACINI (pa-che'nl), G.— Italian composer, born 1796; died 1867. 
 
 PADEKEWSKI (pa-d6r-6vs'kl), IGNATZ JOHANN— Polish composer, born 1859. 
 
 PAER (pa'Sr), 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 (piirl-sl-ei'lO), G.— Italian composer, born May 9, 1741 ;, died June 5, 181^. 
 
 PALADILHE (parlardel'), EMILE— French composer, born June 3, 1844. 
 
 PALESTRINA (pa-lfis-tre'na), G. P. DA— Italian composer, botn 1515; died Febru- 
 ary 2, 1594. 
 
 PALMER, H. R.— American composer, born April 26, 1834. 
 
 PANSERON (pan-s6-rong). A.— French composer and vocalist, born April 26, 1796; 
 died July 29, 1859. 
 
 PAPE (pa'p6h), WM. B.— American composer and pianist, born February 27, ISM. 
 
 PARADIES (pa-ra-des'), MARIA T. VON— Austrian pianist, born 1759; died 1824. 
 
 PAREPA, ROSA— Scottish soprano, bom 1836 ; died 1874. 
 
 PARKER, J. C. D. — American composer and organist, boril June 2, 1828. 
 
 PASDELOUP (pSrde-loo'), J. E.— French conductor, born September 15, 1819 ; died 
 August 13, 1887. 
 
 PATTI, ADELINA— Spanish soprano, bom 1843. 
 
 PATTI, CARLOTTA (sister of A.)— Italian soprano, born 1840 ; died 188». 
 
 PAUER (pou'fir), ERNST— Austrian composer, pianist and Writer, born 1820. 
 
 a arm, S, add, a ale, 6 end, e eve, I tU, 1 isle, d old, odd, oo moon, on our, kh Ger. ch, ub iia^ai. 
 
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PER DICTIONARY OF MUSIC. SAI 
 
 PEKGOLESI (per-go-ieh'bi), G. B.— Italian, torn January 4, 1710 ; 4ied March 16, 1736. 
 
 PIATTI (pe'atti), A.— Italian composer and 'cellist, born January 8, 1822. 
 
 PICCINI (plt-clie'ui), N.— Italian composer, born January 16, 1728 j died May 7,' 1800. 
 
 PINSUTI, GIRO (pln-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 March 3, 1874. 
 
 PLANQtJETTE, KO BEET— French composer, born July 21, 1850. 
 
 PLEYEL, IGNAZ (pli'61, Sg'nats), J.— German composer, born June 1, 1757 ; died 
 November 14, 1831. 
 
 PONCHIELLI Cpon-ki-«r!I), A.— Italian composer, born September, 1834 ; died Janu- 
 ary 17, 1886. 
 
 PONIATOV^SKI (pon ya-tow'sk!), PRINCE J. M. P. X. J.— Polish compose] , born 
 February 20, 1816 ; died July 3, 1873. 
 
 PRESSEL, G. A.— German composer, born June 11, 1827 ; died July 30, 1890 
 
 PORPORA (por-po-ra), NICCOLO— Italian composer, born August 19, 168G; died 
 February, 1767. 
 
 PROCH (prokh), HEINRICH- German comimser and violinist, born July 22, 1809 ; 
 died December 18, 1878. 
 
 PROKSCH (proksh), J.— Bohemian teacher, born 1794 ; died 1864. 
 
 PRUDENT (proodong), E. B.— French composer, born February 3, 1817 ; died May 
 14, 1863. 
 
 PRUME (proom), F. H.— Belgian composer, bom June 3, 1816; died July 14, 1849. 
 
 PURCELL, HENRY— English composer, born 1638 : 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 (ri'u6 k«), CARL— German composer, born June 23, 1824. 
 
 REISSIGER (ns'sl-ggr), C. G. -German composer, born January 31, 1798; died No- 
 vember 7, 1859. 
 
 REMENYI (re-m6n-yl), ED.— Hungaiian violinist, born 1830. 
 
 RHEINBERGER (rin'ber-g6r), J —German composer, born March 17, 1839. 
 
 RICCI (rit'chi), F.— Italian composer, born October 22, 1809 ; died December 10,'l877. 
 
 RICHARDS, BRINLEY— Welsh composer, born November 13, 1817 : died May 1, 1859 
 
 RICHTER, HANS (rlkh'tgr, bans)— Hungarian composer, born April 4, 1843. 
 
 RIEMANN, HUGO (re'man, hoo'go)— German theorist, born July 18, 1849. 
 
 RIES (res), F.— German composer, born 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.-^6erman composer, born February 18, 1770 ; died August 7, 1846. 
 
 RITTER, FRED L— Alsatian composer, bom 1831 ; died 1892. 
 
 ROECKEL (rfik'ei), J. A.— German tenor, born 1783 ; died 1870. 
 
 ROMBERG, ANDRE .4.S (rom-barg, an'drfras)- German composer, born April 27, 
 1767 ; "died November 10, 1821. 
 
 RONCONI, SEBASTIAN (ron-ko'nl, s6-bas'ti-an)— Italian baritone, born 1814. 
 
 ROOT, GEO. F.— American composer, horn August 30, 1820 ; died 1895. 
 
 SACCHINI (sak-ki'nl), A. M. L.— Italian composer, born July 23, 1734; died Octo- 
 ber 7, 1786. 
 
 SAINT-SAENS (sanh-sa-onh), CAMILLE— French composer, born October 9, 1835. 
 
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8 8A1 BICTIONARY OF MUSIC. VIR 
 
 SAINTON (sang-tong), P. P. C— Freuch composer, born June 5. 1813 ; died October 
 
 17, 1890. 
 SALIERI (sarli-a'ri), A.— Italian composer, born August 19, 1750 ; died May 7, 1825. 
 SCALCHI, SOFIA (slcal'lii, so'n-a)— Italian alto, born 1850. 
 
 SCARLATTI (skar-lat'tl), A.— Italian composer, born 1659; died October 24, 1725. 
 SCHARWENKA (shar-vfn'ka), PHILIP— German composer, born Februarj- 10, 1847. 
 SOHARWENKA, 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, 1806. 
 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 189G. 
 SGAMBATI (sgam-ba'ti), G.— Italian composer, born May 18, 1843. 
 SHERWOOD, W. H.— American composer, born January 31, 1854. 
 SMART, HENRY— English organist, born 1813, died 1879. 
 SMETANA (smfi-ta'na), FR.— Hungarian composer, born March 2, 1824 ; died May 
 
 12, 1884. 
 SMITH, SIDNEY— English composer, born July 13, 1839 ; died 1889. 
 S5DERMAN (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. 
 STEFFANI (st6f-fa'nl). A.— Italian composer, born 1655 ; died 1730. 
 STEIBELT (sti'beit), DAN.— German composer, born 1765; -died September 20, 18?3. 
 8TIGELLI {ste-j61'll), G.— German composer, born 1819 ; died 1868. 
 STRADIVARI (stra-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'pS), F. VON— German composer, born April 18, 1820. 
 TARTINI (tar-te'ni), G.— Italian composer, born April 12, 1692; died February 16, 
 
 1770. 
 TAUSIG (touslg), 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-ma, am-bro-az)- French composer, born August 5, 
 
 1811. 
 THOMA (to-ma), F. L. J. — Mauritius composer, born 1850. 
 TITJENS (tel'yens), T. C. J.— German soprano, born 1831; died 1877. 
 TOSTI (tos'tl), F. P.— Italian composer, born April 7, 1846. 
 TREBELLI {trS-b61'lI), LELIA— French alto, born 1838 ; died 1893. 
 TSCHAIKOWSKY (chi-kow'ski), P. I.— Russian composer, born April 25, 1840; died 
 
 1893. 
 VERDI (var'dl), 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. 
 
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VIO DICTIONARY OF MUSIC. ZUK 
 
 VIOTTI (ve-ot'tl), G. B.— Italian composer, born May 23, 1753; died March 10, 1824. 
 
 VIVIER (ve-vi-a'), E. L.— Corsican horn-player, born 1821. 
 
 VOLCKMAR (follL'mar), WIL.— German composer, born December 26, 1812; died 
 
 August 27, 1887. 
 VOLKMANN (folk-man), F. K.— German composer, bor.n 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'18), CARL— Bohemian pianist, born March 17, 1825 ; died June 2, 1883. 
 WIDOR (ve-dor), CH. M.— French composer, born February 24, 1845. 
 WIENIAWSKI (ve-nl-av'ski), H.— Polish composer, born July 10, 1835; died April 2, 
 
 (March 31) 1880. 
 WILHELMJ (w!l-h«l'mi), A. E. D. F. V. -German violinist, born September 21, 1845. 
 YSAYE (e-sa'e), E.— Belgian violinist, born 1858. 
 ZACHAU (tsa'khou), F. W.— German composer, born November 19, 1603; died 
 
 August 14, 1712. 
 ZARLINO (tsSr-le'no), G.— Italian composer, born March 22,1517; died February 
 
 14, 1590. 
 ZEUNER (tsoy'nSr), CH.— German organist, born 1797; died 1857. 
 ZTNGARELLI (t6ln-ga-r61'li), N. A— Italian composer, born April 4, 1752 ; died 
 
 May 5, 1837. 
 ZUNDEL, JOHANN (tsoon'da, yo'han)— German composer, born 1815; died 1882. 
 
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