EDUCATIONAL MUSICAL WORKS BY I H. A. CLARKE, Mus. Doc. i- ■ . ■ — I Theory Explained to Piano Stvdents, - - $0.50 A System of Teacliing Harmony, - - 1.25 Key to "A System of Harmony," - - .60 Counterpoint, Strict and Free, - - - 1.25 The Art of Pianoforte PlayiniJ, - - - 1.50 Pronouncms Dictionary of Musical Terms, 1.25 Pronovncinfi Musical Dictionary (PocKct Ed.), .30 B Jerusalem, A Grand Oratorio, - - - 1.50 PRONOUNCING DICTIONARY OF MUSICAL TERMS GIVING THE • MEANING, DERIVATION, AND PRONUNCIATION IN PHONETIC SPELLING OF ITALIAN, GERMAN, FRENCH, AND OTHER WORDS; THE NAMES WITH DATE OF BIRTH AND DEATH AND NATIONALITY OF THE LEADING MUSICIANS OF THE LAST TWO CENTURIES ENGLISH VOCABULARY, WITH EQUIVALENTS IN ITALIAN, GERMAN, AND FRENCH A L'ST OF THE MOST CELEBRATED OPERAS. WITH THE COMPOSERS' NAMES BY H. A. CLARKE, Mus. Doc. PROFESSOR OF MUSIC, UNIVERSITY OF PENNSYLVANIA PHILADELPHIA THEODORE PRESSER CO. 1 712 CHESTNUT STREET Copyright, 1896, bv Theo. Presser 2371 PREFACE This Dictionary has been undertaken with the object of putting into the hands of every student of music, in convenient shape, a work in which may be found the meanings, derivations, and pronunciations of the English, Italian, German, and French words used in musical works ; also the names, nationality, and dates of birth and death of the leading musicians of the eighteenth and nineteenth centuries. A feature of especial value is the list of English words with their Italian, German, and French equivalents. The author's design has been to produce a usetul work. He has therefore omitted many Greeic and Latin terras which are never met with, except in obsolete treatises ; the admission of such words would only serve to swell the size ot the volume, without, in the least degree, adding to its value. H. A. CLARKE. \ DIRECTIONS FOR PRONUNCIATION. All Italian, French, and German words are written out phonetically, on tht following system : A as inyar, represented by ah. The Continental e has the sound of a in fare ; it is represented by eh. The Continental i has the sound of e in deer ; it is represented by ee. The following vowel sounds have no equivalents in English : French e, when not accented, something like the vowel sound in love. German o {o modified, or Umlaut) has nearly the same sound. German ii is about half-way between the sound of o in love and e in deer. O and u have the same sound as in English, the u sound being represented by oo, as in cool. Italian ae has the sound of long / in English. German a is the equivalent of a in air. German eu is sounded like oi, as in toil. The following consonantal sounds have no English equivalents : German hard guttural ach and soft guttural ag. The French sound of y is represented by zh as nearly as possible. The French nasals an, en, in, on, can be repre- sented but very unsatisfactorily in English only by adding a final g. Whenever ch is found it is to be sounded like ch in chair. C always has this sound in Italian when followed by / or e. The Italian ch, on the contrary, always has the sound of k, or c hard, and is thus represented. The Italian zz has the sound of ts or ds, and is thus represented. With this explanation of the phonetic system adopted to represent the foreign sounds, it is believed that the reader will find no difficulty in acquiring their proper pronunciation. PRONOUNCING DICTIONARY OF MUSIC TERMS A. The 6th of the normal major scale ; the 1st of the normal minor scale ; the standard liy which the orchestra is tuned, given by the oboe. A, A (It. and I'"r. ) ( Accelerando Accel" J Ace S Accom V Accompaniment Accomp ) Accres Accresciamento Adg" or ad' .... Adagio Ad lib. ::;::} ^*' '"'""™ AflTett" Affettuoso Affrett" ...... Aflfrettando An" ) Agit«." : : : : ; | Agitato All" Allegro Allgtt" Allegretto Air ott 1 All' .. All' 8'. 1^" °»*^'» Al seg Al segno And"" Andantino And" Andante Anim" Animato Arc Coll arco, or arcato Ard" Ardito Arp" Arpeggio At ) A tem V A tempo A temp J Aug By Augmentation f Bass (voice) B -I Bassoon ( Contre bass B. C Basso continue Brill Brillante C. B Col basso CD CoUa destra C. S Colla sinistra Cad Cadence Cal Calando Can Cantoris Cant Canto Cantab Cantabile Cello Violoncello Cemb Cembalo Ch Choir organ Chal Chalameau Clar Clarinet Clar'*" Clarinetto Clar , . Clarino Co. so Come sopra Col C Col canto Col ott* Coir ottava Col. vo Colla voce Con esp Con espressione Cor Comet or horn Cresc." '.'.'.'.'. }<^'«scendo C. S Colla sinistra C. 8" Coir ottava C I"" Canto primo Co. I™" Come primo C" Concerto D Destra, droitc D. C Da cajK) Dec. Decani Decres Decrescendo Delic Delicamente Desf Destra Diap Diapasons Dim By diminution Dim Diminuendo Div Divisi Dol. Dolce Dolcis Dolcissimo Dopp. ped Doppio pedale D. S Dal segno Energ Energicamente Espies". :::;:} ^spressivo F. or for Forte Fag Fagotto Falset Falsetto Ff. or Fff. Fortissimo Fl Flauto F.&g.: : : : :}f">i organ P°" JForzando G Gauche G. 1 G. Org V Great Organ Gt J Gr Grand Grand" Grandioso Graz" Grazioso Hauptw 1 Hptw \ Hauptwerk H. W J Haut Hautboy H. C Haute contre Intro Introduction Inv Inversion L Left Leg Legato Legg" Leggiero L. H Left Hand Lo Loco Luo Luogo Lusing Lusingando M -j Main V Manual Mano j Maest" Maestoso Magg Maggiore ABBREVIATION ABBREVIATION Man Manuals mIS : : : : : }Mancando Marc Marcato ( Mano (liritta M. D ] Main droite ( Mann destrfl G Main gauche Maelzel's Metro- M. M. M. M J= 92 M. (^ nome The beat of a (juar- ter note is e<|ual to the pulse of the pendulum of the Metronome said to be Maelzel's, with the weight set at 92. P Mezzo piano ^„ ( Manuscript or ' \ Mano sinistra Men Meno Mez Mezzo Mf. or MAT. .... Mezzo forte Mod"* Moderato Mus. Bac Bachelor of Music Mus. Doc Doctor of Music M. V Mezzo voce Ob Oboe, or Hautbois Obb Obbligato Oberst Oberstimme olT . : : : : l^'^--^'^ Oh. Ped Ohne Pedal Org Organ |, ; lOttava 8'* alta Ottava alta 8'* bas Ottava bassa P Piano Ped Pedal Perd Perdendosi P. F Piu forte Piang Piangendo Pianiss Pianissimo Pizz Pizzicato pp V Pianissimo PPP. !!!.!!) p. ... pppp > Pianississimo I"* Prima (volta) !"• Primo 4"« Quartet S"« Quintet Rail Rallentando Raddol Raddolcendo Recit Recitative Rf., rfz., or rinf. . . Rinforzando R. H Right Hand Ritar Ritardando Riten Ritenuto S Senza ^ A Sign Schtrr Scherxando 2"'» Setonda (volta) 2^ Second© Seg Segue Sem If. ,. V Seninre Semp J ' 7" Septet 6" Sestet Sfz Sforzando Sinf. Sinfonia Smorz Smor/.ando S. Int Senza interruzione r,' ' ■ ', > Sensa sordini b. sord J ^. i > Sostenuto Spir Spiritoso S. T Senza tempo Stacc Staccato St. Diap Sto|>|>ed Diapason String Slringendo Sw Swell (Jrgan Sym Symphony rp f Tenor, tutti, tempo^ \ tendre T. C Tre corde Tern Tempo Tem. 1" Tempo primo Ten Tenuto Timb Timballes Timp Timpani Tr Trillo Trem Tremolando 3» Trio Tromb . Trombi Tromb Tromboni T. S Tasto solo U Una U. C Una corde Unis Unisoni V Voce V Volti Va Viola Var Variation Vcllo Violoncello Viv Vivace Vo 1 Vno y Violino Viol» J V. S Volti subito VV. ''.'.'.'.'. p'«''"' There are other abbreviations employed in manuscript or [)rinted music, the chief of which are as follows : — In time, a dash with a figure above signi- fies the length of the pause in bars, e. g. : — ■ 24. ABBREVIATION 10 ACCOMPAGNAMENTO In notes, the trouble of writing a passage in full is saved by the use of abbreviations, e. g. :— Written. Written. P -«>- Played. Repetition phrases are thus shortened : — Abbreviations, by signs, of musical graces: — The Turn. ec Written. The back Turn, Written. Z. Passing shake. Written. m Sung. Sung. Sung. f P • - Beat, ^ Written. ^ Sung. =a=?: Shake, ir Sung. lf=t=- ^^=w Written. Written, Played. Ej-J_y_ Abgestossen (Ger.) [ap-geh-stoss-en) [from abstossen, to knock ofi ] . Detached ; stac- cato. Absolute Music. Music inde^iendent of words, scenery, acting or "programme;" the highest class of instrumental music. Accelerando (It. ) [at - chel ■ leh - ran - do). Hastening the movement (tempo). Accent. The stress which recurs at regular intervals of time. Its position is indicated by upright strokes called bars. The first note inside a bar is always accented. When the bars contain more than one group of notes, which happens in compound time, other accents of lesser force occur on the first note of each group; these are called secondary or subordinate accents, whilst that just inside the bar is termed the primary or principal accent. Other accents can be pro- duced at any point by the use of the sign ■-= - or sf. The throwing of the accent on a normally unaccented portion of the bar is called syncopation . A proper grouping of accents will produce rhythm. It is con- sidered a fault if an accented musical note fallb on a short syllable. Acciacatura (It.) (at-cheea-ca-too'-ra). A short grace note, written thus : " takes the place in the harmony of the note it precedes ; is played rapidly. [From Acciaccare [at- chee-ac-ca'-reK), to crush or jam together.] Accidentals. All signs for raising or de- pressing letters that are not found in the signature. Accolade (Fr.) [ac-co-lahd). A brace en- closing two or more staves. •! [Fr'^m Latin aer the notes play octave higher than written, when under, an octave lower. In orchestral scores it means that one instrument is to play in octaves with another. Air unisono. At unison. Alia (It.). Written Al. or All. before words beginning with a vowel. Like ; in the style of. Alia breve. The value of one or two whole notes in the measure, with rhythm of two beats. Indicated by 0. In modern music, chiefly used in rapid tempo. Jjee A capella. Alia caccia (It.) {cat-chia). In hunting style. Alia camera (It.) (ca^ -meh-rah) . In cham- ber-music style. Alia capella. In church style. See A ca- pella. Alia deritta. By degrees. Alia hanacca {ha-nak-ka). In the manner of a han.icca. Alia marcia {mar'-chee-a). In march style. Alia mente (men-tek). Extemporaneous. Alia militate [mee-lee-tali-reh). In military style. Alia moderno. In modern style. Alia Palestrina. In the style of Pale.strina, /. e. , strict C. P. without instrumental accom- paniment. Alard, Delphin (nh-lard, del-feen). Violin- ist ; France. B. 1815; d. 1888. Alary, Guilio Eugenio Abrama [ah-lak-ree, jii-lio eu-}fh-ne-o ah-bra-mak). Composer; Italy. B. 1814. • Alia polacca. Like a polacca or polonaise. Alia quinta. At the fifth. Alia rovescio [ro-veh' -shee-o). By contrary motion or reverse motion, as when a phrase is imitated with the movement of the inter- vals inverted. Example : — ¥=^ if^ Alla siciliana {see-chee-lee-ah' -nah). In the style of a Siciliana, q. v. Alia stretta. Like a stretto, q. v. Allu turca. In Turkish style. Alia zingaro. In Ciiypsy style. Alia zoppa. Lamely ; halting. AUegramente (It.) (al-leh-grah-men' -teh^. Joyfully. Allegretto (It.) {al-leh-gret'-to). Dimind- tive of Allegro. (l) Slower than Allegro. (2) A movement in this time. AUegrettino (It.) (al-leh-gret-tee' -no). Di- ' minutive of Allegretto. (l) Not so fast as Allegretto. (2) A short Allegretto move- ment. AlHgro (It.) [al-leh-gro). (Lit. , joyful. ) Quick, lively. The word is occasionally employed to describe a whole movement of a quartet, sonata, or symphony. In music it is sometimes qualified as : — Allegro agitato (It.) Quick and in an excited manner. Literally, fast enough. A quicker motion than simple alle- gro. An easy, graceful allegro. Quickly and with spirit. Rapidly and with fire. With sustained joyfulness. Joyfully and with spirit. A movement full of executive dif- ficulties intend- ed to exhibit the capacity of the singer or player. Exceedingly quick. Albani, Marie ^.ouise Emma C6cilie (al-bah- nee). Soprano singer; Canada. B. 1850. Alboni, Marietta (al-bo-nee, maryet-ta) . Con- tralto; Italy. B. 1814; d. iSoi. assai commodo or comodo con brio }•■ " con fuoco " " con moto " " con spirito '• " di bravura " " di molto " ALLEMANDE 13 ANDACHTIG oso ma non presto ma non tanlo ma non " veloce *' vivace " vivo Allegro furioso (It.) Rapidly and with fury. " giusto " In quick but steady time. " ma grazi- 1 ,, Lively and with / graceful motion. 1 „ Rapidly, but not / too fast. 1 ,, Quickly, but not ) too much so. ),, Lively, but not too troppo J fast, moderato " Moderately quick, molto " Very quick. . risoluto " Lively and with firmness and de- cision. *' Lively and with speed. '• Lively and brisk. " Quick and lively. AUemande (Fr.) {a/main, alleniais^ne). A German dance (or some authorities say French), originally in duple time. Adopted as one of the movements in the Suite by Bach, Handel, and others, and written in X time. Allentamento (It.) {al-len-tah-men-to), Al- lentato (It.) (al-len-tah-to), Allentando (It.) {al-len-lan i/o). Giving way ; slack- ening the time. Allmahlig (Ger.) [all-may-lig). Gradually; by degrees. Alpenhorn or Alphorn. A wooden horn slightly curved, 4 to 8 feet long, used by the Swiss herdsmen. Alt (Ger.). The alto voice or part. \lt-Clarinette. Alto clarionet. Its pitch is a 5th below the ordinary clarionet. Alt-Geige. The viola. Alt-Oboe. Oboe de caccia, q. v. Alt-Posaune {po-zcw-neh). Alto trombone. Alterato (It.) {al-teh-rah'-to), Altfert (Fr.) (al-teh-reli). Changed; altered. Altered. Said of intcivals, the normal con- dition of which in a scale or chord is changed. Alternativo (It.) (al-(er-nah-tee' -vo). An alternate. A part of a movement to be played alternately with others. This name is frequently given to the second trio of a Scherzo in chamber music when (as is un- usual) a second trio is added. Albrechtsberger, Johann Georg [al-brechts- berger, yo-hann G.). Composer and theo- rist ; Germany. B. 1736; d. 1809. Atnati, Andreas {a-mahtee, A,). Italy. B. 1520; d. 1577. Amati, Antonio. Italy. B. 1550. Altissimo (It.). The highest. Alto (It.). High, loud. Originally applied to high male voices, now generally to the lowest female voice. Also applied to the viola (or tenor violin). Alto Clef. The C clef on the third line, used for the viola, alto trombone, and (in Europe) for the alto voice. Altra, Altre, Altri, Altro (It.) (mascuUne and feminine forms in the singular and plu- ral). Other, others. Amabile (It.) {ah-mah'-bee-leh). Amiably, sweetly, tenderly. Amarevole (It.) (iih-mah-reh' -vo-lth). Sad, bitter. Amateur (yx.)(a-mah-toor'). A lover of art. Generally applied to one who does not fol- low it professionally. Ambrosian Chant. The system of church music introduced by Ambrose of Milan in the fourth century. Ambrosian Hymn. A name given to the Te Deum on account of the belief — now known to be erroneous — that it was written by Ambrose of Milan. Ame (Fr. ) {am). Soul. The French name for the sound-post of instruments of the violin family. American Organ. The English name for American reed organs, in which the air is drawn through instead of being forced through the reeds, as in the usual Euro- pean system. A moll (Ger.). A soft, i. e., A minor. Amorevole (It.) [a-mor-eh' -vol-eh), Amore- volmente (It.), Amorosamente (It.), Amoroso (It.). Lovingly ; tenderly ; am- orously. Amusement (Fr.) (a tnooz-mong). A light composition ; a divertimento. Anche (Vr.) {ottsh). A reed of org.in-pipe, or mouth- piece of oboe, clarionet, etc. Jeu-d'anche, reed-stop. Ancia (It.) (an-chee-ah). Italian form of the same word. Anche (It.) {(in-keh). Also; yet; still. Anche piu moto. Still or yet faster. Ancor (It.). Also; yet; still; used in the same way as Anche. Ancora (It.). Again. Fr., encore. Andachtig (Ger.) {an-daych-tig). Devoutly. Am'ati, Geronimo (Jeh-ro' -nee-mo). Italy. B. , d. 1635. Sons of Andrea.s. Am' .i, Nicolo {nee-eo-io). Italy. B. 1596; d. 1684. Son of Geronimo. Violin makers of Cremona. Ambros, August W. Historian and pianist; Germany. B. i8i6; d. 1876. ANDAMENTO 14 ANTIPHONY Andamento (It.) (an-damen' -to). Move- ment ; the coda to a long fugue theme frequently dropped in the " working out." Andante (It.) [from andare, to walk or go slowly]. A slow movement ; quiet, peace- ful tenip^. Andante affettuoso. Slow, with tenderness. Andante cantabile [can-tah'-beeUh). Slow and singing. Andante con moto. Slow, but with a little motion. Andante grazioso. Slow and graceful. Andante maestoso. Slow and majestic. Andante non troppo or ma non troppo. Slow, but not too slow. Andante pastorale. Slow, in pastoral style. Andante sostenuto (It.) [sos-teh-noo'-to). Slow, with smoothness. Andantemente (It.). Like an Andante. Andantino (It.) {an-dan-tee' -no). A dimin- utive of .,4«rf'a«/(f. A little faster than Andante (some say slower, but the Italian diction- aries say faster). Anelantemente (It.) {ah-neh-lan-teh-men' • tell). Ardently; eagerly. Anfang (Ger.). Beginning. Anfangsgrunde (Ger.). Rudiments. Anfangs-Ritornel (Ger.). Introductory sym- phony. Angenehm (Ger.) {an'-geh-nehm). Pleasing; agreeable. Anglaise (Fr.) (pn-i^lehs), Anglico (It.) {an'- ^iee-ko). The English country dance. Angelica (Lat.). The vox angelica. AngeHque (Fr.) {on-jeh-leek). Voix an- gelique, angel voice, name of an organ- stop. Also called Voix Celeste (Fr.) (%'o-a sek-kst). Celestial voice. Angosciosamente (It.) {an-go-skee-o-sa- men'-teh), Angoscioso (It.) {an-go-shee- o'-so). Painfully ; with anguish. Anhang (Ger. )[^(tnha»gen, to hang to] . Coda. Anima (It.) (o/i'-ttee-mah), Animato (It.) [ahtieemah'-to), A^nimandiO (It.). Soul; spirit ; life ; lively with animation. Animosa). Absolute. Applied to the leading singers of an opera troupe, as Prima donna assoluta, first lady absolute ; Prima uomo assoluto, first man absolute. Attacca (It.) {al-tak'-k.) (og-niong-teh). To increase in force. Same as Crescem/o. Ausarbeitung (Ger.) {ows'-ar-bye-toonk). Development ; the working out of a fugue or sonata, etc. Ausdruck (Ger.) [drook). Expression. Ausdrucksvoll (Ger.). With expression; literally, full of expression. Ausfiihrung (Ger.) {feeroonk). Execu- tion ; manner of performance. Ausweichung (Ger.) {veich-oonk'). later- ally, evasion ; modulation ; change of key. Authentic. The Ambrosian scales. A melody that lies between the keynote and its octave is called authentic. One that lies between the fourth below and the fifth above the key- note is called plagal. These terms are only used in the ecclesiastical modes. Authentic. The church scales beginning and ending on any given tonic (except B). Authentic Cadence. Tonic preceded by dominant Autoharp. A modern instrument resembling a zither, of easy performance. The plec- trum ij drawn across all the strings at once, and those that it is not desired to sound are silenced by a series of dampers controlled by the left hand of the player. Auxiliary Note. Clracenote; appoggiatura. Auxiliary Scales. Related scales. soa es-pree). Oiiera composer; France. B. 1784; d. 1871. Audran, Edmond [o-drong). France, B. 1842. Auer {our), Leopold. Violinist; Germany. B. 1845. Avison, Charles. Composer; England. B. 1710; d. 1770. B m BARCAROLE 5 B. The seventh or leading tone of the nat- ural major scale; in German, the note or key of Bb, Bjj being calleJ II. Baborak or Baboracka. A Bohemian dance. Backfall. An ornament in harpsichord or lute music, written r played ^ "T" Badinage (Fr.) {bah-dee-naje). Banter; rail- lery. Bagatelle (Fr.) [bah-gah-tell). A trifle; a name frequently given to short pieces of music. Bag-pipe. An instrument consisting of a leather bag into which air is forced either from a bellows or by the mouth of the player; furnished with from two to four pipes, one pipe with double reed pierced with holes upon which the r.ielody is played, called in .Scotland the chanter; the remain- ing pipes with single reeds, called drones, sound continuously the first and fifth of the scale or first fifth and octave. Bajadere or Bayadere {by-a-dehr). East Indian dancing girl. Bakkia {bak-kee-ak). A Kamskatdale dance. Balabile (It.) {bahlah-bee'-leh). Any piece of music written for dancing purposes. Ballad. A simple song, originally a song to accompany dancing ; derived from the low Latin word ballare, to dance ; in its French form, ballade, it is used by modern com- posers as a title for extended lyric compo- sitions, as the ballades of Chopin. Balladenmassig (Ger.) (bal-la'-den-meh- sich). In ballad style. Ballad-opera. An opera made up of simple songs, and without recitative. Balafo {bahlah-fo). An African instrument resembling the xylophone ; a South Ameri- can variety is called the marimba. Balalaika (Russ.) {bah- lah-lye'-ka). A Russian guitar with three or four strings, the body triangular. Ballata (It.). A ballad. Ballerina (It.) (bal-leh-ree'-nah). A female ballet dancer. Bach, Johann Sebastian. Composer; Ger- many. B. 1685; d. 1750. Bach, Carl Philipp Emanuel. Inventor of the sonata; Ciermany. B. 1714; d. 1788. Bach, Johann Christoph Friedrich. Organ- ist; Germany. B. 1732; d. 1795. Bach, Wilhelm Friedemann. Organist ; Ger- Ballet (Eng.), called also Fa-la. An old form of part song in simple counterpoint. Ballet (Fr.) {bal-Uh). A combination of music and dancing, designed to tell a story in pantomime. Balletto (It.) [bal-let'-to). A ballet. Used as a name for a movement by Bach. Ballo (It.). A dance; a ball. Ballo in maschera imas-keh rah). Masked ball. Band. (l) A company of instrumentalists. (2) The term is used to distinguish the vari- ous groups of instruments in the orchestra ; as, string band, wood band, bruss l)and. (3) The commonest use of the word is as ap. plied to a company of players on brass instruments. (4) A band composed of wood and brass instruments is called a harmony band. Band (Ger.) {bont). A volume ; apart. Banda (It.) [ban-dah). A band. Bandola {ban-do' -lah). A variety of man- dolin. Bandora (Fr. ) [ban - do' - rah). Bandore (Eng.), Pandoura (Gk.). An obsolete instrument oT the guitar family. Bandurria (Span.) {ban-door-ree-ah). A variety of guitar with wire strings. Banger, Bania, Banja, Banjo. An instru- ment resembling a guitar, with a circulai body, consisting of a broad hoop of woo838; d. 1896. Bamett, John. Composer. B. iSo2;d. 1890. Basse taille (Fr.) {tah-ee). Baritone voiccr Bass-bar. A strip of wood glued to the belly of instruments of the violin family under the lowest string. Bass Clef. The F clef on the fourth line. Bass-Flote (Ger.) {fla-teh). A low-pitch flute. Bass-Geige (Ger.). The violoncello. Bass-Pommer (Ger.). An obsolete ancestor of the bassoon. Bass-Pusaune (Ger.) {po-zow-neh). Bass trombone. Bass-Schliissel (Ger.) [schlis-sel). Bass clef. Bass-Stimme (Ger.) {stim-meh). Bass voice or part. Bass Tuba. A brass instrument of low pitch. Bass Viol. The largest viol of a set or " chest " of viols. Bass Voice. The lowest male voice. Basset Horn. A variety of the clarionet, ranging from F below bass staff to C above treble staff; rich quality of tone; a favorite of Mozart, who used it in several of his operas and in his Requiem Mass. Basetto (It.). An eight- or sixteen-foot reed- stop in the organ ; obsolete name for viola. Basso (It.). The lowest part ; a bass singer. Basso buffo (It.). A comic bass singer. Basso cantante (It.) {can-tan' -teh). A vocal or singing bass. Basso concertante (It.) {con-cher-tanf -teh). The principal bass that accompanies solos and recitatives. Basso continuo (It.). A figured bass. Basso obbligato (It.) {obblee-gah'-to). An essential bass; one that may not be dis- pensed with. Basso ostinato (It.) {os-tee-nah'-to). Liter- ally, obstinate bass ; a continuously repeated bass with constant variation of the upper parts ; generally used as the foundation of that member of the suite called the Passa- caglia. Basso profundo (It.). A very deep, heavy bass voice. Basso ripieno (It.) {ree-pee-eh'-no). A " fill- ing up" bass. 'Ae.t. Ripieno. Bassoon, Basson (Fr.), Fagotto (It.), Fagott (Ger.). A wood wind instnimtiit with double reed; the bass of the wild Bamett, John Francis, nephew of above. Composer and pianibt; England. B. 1837; d. 1898. Bartholomew, Mrs. Ann. Organist and composer; England. B. 1811 ; d. 1S91. Bartlett, Homer N. Composer; U. S. A. B. 1846; d. 1920. BASSON QUINTE 19 BINARY FORM band ; compass from 3^2 lielow bass staff to Bt? in treble staff (two or three higher notes are possible). Basson quinte (Fr.) {kangt). A bassoon a fifth higher than the preceding. B&ton ( Fr. ) . ( I ) The stick used by a conductor; also, figuratively, his method of conducting. (2) A pause of several measures, signified thus 12 in modern music, viz.: one or two heavy diagonal lines with figures over to indicate the number of bars rest. Batterie (Fr.) {batteh-ree). (i) The roll on the drum. (2) Repeated or broken chords played staccato. (3) Striking instead of plucking the strings of the guitar. Battuta (,It.) {bat-too' -tah). A measure or bar. Bauerpfeife (Ger. ) (bcnver-pfifeh). An 8-foot organ-stop of small scale. Baxoncillo (Sp.) {bah-hon-theel' -yo). Open diapason. Bayadere. See Bajadere. Bayles (Sp.) (bahl-yehs). Comic dancing songs. Bearings or Bearing Notes. The notes first tuned by an organ- or piano-tuner as a guide to the rest. Beat, (i) The motion of the hand or baton by which the time (rate of movement) of a piece is regulated. (2) The equal parts into which a measure is divided. (3) The throbbing heard when two sounds not ex- actly in unison are heard together. (Beats are also produced by other intervals.) Bebung (Ger.) (beh-boonk). Trembling; an effect obtained on the obsolete clavichord by rapidly vibrating the finger up and dowi» without raising it from the key ; the tremolo stop in an organ. Batiste, Antonio Edward [ba-teest). Organ ist and composer; France. B. 1820; d 1876. Beethoven, Ludwig van [bay-to-fen). Com poser; Germany. B. 1770; d. 1827. Bellini, Vincenzo (bel-Ue-nee, vin-chent-so) Opera; Italy. B. s8o2 ; d. 1835. Benda, Geor^. Composer; Bohemia. L 1721; d. 1795. Bendel, Franz. Pianist and composer; Bo hemia. B. 1833; d. 1874. Bendix, Otto. Composer and pianist ; Coper hagen. B. 1850. Benedict, Sir Julius. Composer and piania' ; Germany. B. 1804; d. 1885. Becken (Ger.). Cymbals. Begeisterung (Ger. ) [be -geW - te • reonk). Spirit ; excitement. Begleitung (Ger.) [be-glei' -toonk). Accom- paniment. Bell, (i) A cup-shaped metal instrument. (2) The cup-shaped end of brass and som? wood instruments. Bell Diapason, Bell Gamba. Organ-stops with bell-shaped mouth. Bellezza (It.) [bel-Ut'-za). Beauty of ex- pression. Bellicosamente (It.) [bel-le-co-sa-men'-teh). In a warlike manner ; martially. Belly. The upper side of instruments of the violin and guitar families. Beklemmt (Ger.) [beh-kUmt'). Anxious; oppressed. B6mol (Fr.) [beh-mol). The sign l». Ben (It.) [behn). Well; as, ben marcato, well marked. Bene placito (It.) [beh-neh pla-chee' -to). At pleasure. Bequarre or Bicarre (Fr.) [beh-kar). The sign Jj. Berceuse (Fr.) [behr-soos). A cradle-song ; luUaliy. Bergomask or Bergamask. A lively dance in triple time. Bes (Ger.) [beAs). B double flat. Bestimmt (Ger.). With energy; con ener gia. Bewegt (Ger.) [bek-vehgt ' ). Moved; with emotion ; con moto. Bewegung (Ger.) [beh-vJi'-goonk). Motion. Bien-chant^ (Fr.) [be-ang-shong-teh). Liter- ally, well sung ; smoothly ; cantabile. Bifara (Lat.). An organ -stop ; same as V'ox angelica ; two pipes not in perfect unison. Binary Form. A movement founded on two principal themes. Bennett, Sir Wm. Sterndale. Composer and pianist; England. B. 1816; d. 1875. Berg, Conrad M. Pianist; Alsace. B. 1785; d. 1852. Beriot, Ch. Auguste de [beh-ree-o). Violinist; France. B. 1802; d. 1870. Berlioz, Hector [behr-lee-o). Composer; France. B. 1803 ; d. 1869. Bertini, Henry I. [ber-tee-nee). Pianist; England. B. 1798; d. 1876. Best, Wm. Thomas. Organist ; England. B. 1826, d. 1897. Beyer, Ferdinand. Pianist ; Germany. B. 1803 ; d. 1863. Biletta, G. Emanuele [bee-let-ta). Composer; Italy. B. 182^. BINARY MF:ASURE 20 BRAVURA Binary Measure. A measure with two beats. Bind. A tie. Tlie same sign, when over two or more notes on different degrees, is called a slur. Bis (Lat.). Twice. When placed over a short i)assage, inclosed thus, Bis signi- fies that it is to be played twice. Bit. A small piece of tube used to lengthen the trumpet or other brass instrument to alter the pitch. Bizzarramente (It.) {biilzarra mettte), Biz- zaria (It.) (Si<;v;c'c'- Brumm-Stimmen (Ger. ). Humming voices; con bocca chiusa. Bruscamente ( It. ) ( broo!: - ka-men'tch ). Roughly ; strongly accented. Brustwerk (Ger.) {broost-t'ehik). The pipes in the organ belonging to the swell or choir organ. Buca (It.), Schall-Loch (Ger.). The sound- hole of a guitar, mandolin, etc. Buccolica (It.) {buk-ko'-li-ka), Bucolique (Fr. ) (liooko-leek). In a rustic style. Buffo (masc. ), Buffa (fem. ). A comic opera, or air, or singer. Bugle, (i) A straight or curved hunting horn. (2) A keyed horn, generally made of coi)per. Chiefly used for military signals. Burden. Old name for the refrain or chorus to a song. Burletta (It.). A musical farce. Busain. .A l6foot reed-organ stop. Buck, Dudley. Comjjoser, organist ; U.S. A. B. 1839; d. 1909. Bull, "Ole" Bornemann. Violinist; Nor- way. B. 1810; d. 1880. ! Bijiow, Hans von [behl-o). Pianist, com- [loser; (iermany. B. 1830; d. 1895. Burchard, Carl. Pianist; Germany. B. 1820; li. 1S96. Burgmiiller, Johann Friedrich {boort:;-iiieel- ler). Pianist, composer ; (jermany. B. 1801 ; d. 1874. Burmeister, Richard. Pianist ; Germany. B. i860. C. The first note in the natural major scale. Middle C, the C lying between the fifth line of the bass staff and first line of the treble staff; the C clef or iNI always signifies this C. Cabaletta (It.). (" A little horse," so called from the rapid trijilet accompaniment gener- ally used with it. ) A vocal rondo, the theme often repeated with elaborate variations. Cabinet-d'orgue (Fr.) {ca-beenehJ'org). Organ case. Cabinet Organ. A reed organ (American) in Caccini, Guilio {calch-ee-nee, julio). Opera; Italy. B. 1558; d. 1640. which the air is drawn instead of forced through the reeds. Cabinet Piano. An old-style lofty upright piano. Caccia (It.) (cat' -ch'ui). Hunting chase. Cachucha (Sp.) (cachoo'-cha). The same as Bolero. Cadence [from Lat. cado, to full]. The end of a i)lirase, part, jiiece. Tlie ])rincipal cadences are as follows: whole, or perfect, dominant to tonic; half, or imperfect, tonic to dominant; dece])tive, dominant to sub- dominant or subniediant. " Cafarelli," Gaetano Majorano [ca-fa-rel-Ue, gah eh-ta-no mah-yo-rah-no). Sop.''aniSt; Italy. B. 1703; d. 1783. y. , - ^...••: "- CADENZ 22 CANON (P :ft -s»^ -j^ % ::# azi ■s -«>- ^ Perfect. Plagal. EiHESal iYa^. Deceptive. Plagal cadence, subdominant to tonic. In the perfect cadence the dominant is generally preceded by the 6-4 of the tonic; in the half cadence the 6-4 of the tonic before the domi- nant which is the final ; half and deceptive cadences are used in the course of a piece; perfect and plagal at the end. The Phrygian cadence consists of the following chords : — A long, brilliant, vocal or instrumental flour- ish introduced just before the close, or before the return of the principal theme, is also called a cadence (in Italian, cadenza). Cadenz or Kadenz (Ger. ). Cadence. Cadenza (It.). A cadence. The Italian word is generally used when applied to the kind of passage described above. Qa-ira (Fr.) {sah-era). That will do; lit., that will go. A revolutionary =ong in France. Caisse (Fr.) (case). A drum. Caisse claires [dare). Kettle drums. Grosse Caisse, large drum. Caisse roulante. Side or snare drum. Cal''amus (Lat.). A reed. From this are derived the words Chalumeau (Fr.) [s/ia- loo-mo) , the first register of the clarionet, and Shawm, an obsolete reed instrument used in the Uible as the translation of a Hebrew instrument. Calan^do (It.) [from calare, to go down or decrease]. Getting both slower and softer. Calkin, James. Composer. B. 1786; d. 1862. Calkin, James Baptiste, son of preceding. Pianist, composer; England. B. 1827; d. «905- Callcott, John Wall. Composer. B. 1766; d. 1821. Calandrone (It.) [calandra, a lark], A small reed instrument resembling the clari- onet. Cala''ta (It.). A lively dance in \ time. Calcan''do (It.) [from ca/c(tre,to tread u[)on]. Hurrying the time. Call. A military signal, given by drum or bugle. Calma (It.). Calm, quiet. Calma''to (It.). Calmed, quieted. Calore (It.) {kal'oreh). Warmth, passion. Caloro^so (It.). Warmly, passionately. Cambiata (It.) {canib-ya'-tn) [from cavt- biare, to change]. Nota cambiata, chang- ing note ; a dissonant struck on the accent. Camera (It.) [ka'-meh-rti). Chamber. Mu sica di camera, chamber music. Camminan'do (It ) [from caiiitiiinare, to travel or walk]. Walking, flowing. .Same as Aniiiinte. Campa^na (li.). A bell. Campanello (It.) {kampahnel' -lo). A small bell. Campanet'ta (It.). Instrument consisting of a series of small bells tuned to the musi- cal scale, played either with small hammers held in the hands, or by means of a key- board. Campanology. The art of making and using bells. Canaries. A lively dance in J time, of Eng- lish origin. Can'crizans [Lat. cancer, a crab]. A term applied to a canon in which the " follower " takes the theme backward. Canon (Gk.). Law or rule. (i) The measurement of the ratios of intervals by means of the monochord. (2) A musical composition in which each voice imitates the theme given out by the leading voice ; this imitation may be at. any interval above or below, or may begin at any point of the theme. There are many varieties of the canon. The following are the most import- ant, if any importance attaches to such dry productions : Close Canon, the entrance of the voices indicated by a sign ; the parts not written out. Open Canon, the re- verse of this; i.e., written in full. Finite Canon, one with an ending. Infinite Canon, one without an ending. There are also canons by augmentation, by diminution, by inversion, by retrogression (cancrizans), etc., etc. Callcott, William Hutchings, son of preced- ing. Composer. B. 1807 ; d. 1882. Campagnoli, Bartolomeo [cam-pan-yo-lee). Violinist; Italy. B. 1751 ; d. 1827. Camporese, Violante [cam-po-reh-seh). So- prano; Italy. B. i>^gj; d. 1839. CANONIC IMITATION 23 CATGUT Canonic Imitation. See Canon. Cantabile (It.) (cantah'-bceleh) [from can- tare, to sing]. In a singing style. Cantan^do (It.). Singing. Canta'ta. (i) A mixture of aria and recita- tive for one voice. (2) A short oratorio, or a secular work in oratorio form, sung with- out costume or action. Cantatore (It.) (can-ta-to'-reh). A singer, male. Cantatrice (It.) (can-tatree' -cheh). A singer, female. CantJlina (Lat.). (i) .-V folk-song. (2) A solfeggio. (5) A smooth flowing melody. (4) Anciently the Cantus tirmus. Canticle (Lat.). (l) .\ song of praise. Cantico (It.), Cantique (Fr.) [kanteek), Lobge- sang ((-ier.) (/o/>e-;'^zanif). (2) The parts of Scripture — Te Deum and Benedicite Omina ()pp('a — that form the chief part of the musi'-iil service of the Protestant Epis- copal Church. Cantino (It.). See Chanterelle. ' Canto (It.). The air; the melody; upper part. Canto a capella (It.). Sacred music. Canto fermo (It.). Cantus firmus. Canto figura^to (It.). Florid melody ; melody with variations. Canto primo (It.). First soprano. Canto recitativo (It.). Declamatory sing- ing. Canto ripieno (It.) {ree-pe-eh'-no). Addi- tional soprano chorus parts. Canto seconda (It ). Second soprano. Cantor (Lat.), Kantor (Ger.). A precentor. Cantore (It.). A singer; chorister. Cantoris (Lat.). The side of a cathedral choir (the north) where the cantor sits is called the cantoris ; the opposite side is called the decani side, where the dean sits. Cantus (Lat.). Song. Cantus ambrosia^nus (Lat.). Plain song. Cantus mensura''bilis (Lat.). Measurable song ; the name given to music when first written with notes of definite length. Canzona (It.) (ff7;//-jo'-Mrt). (1) A part song in popular style. (2) An instrumental com- position in the old sonata form. (3) An in- dication of lively, rapid movement. Canzonette (Fr.) {can-so-net), Canzonetta (It.), Canzonet (It.). A short part song. Caradori, Allan Maria C. R. {ca-ra-do ree). Soprano; Italy. B. 1800; d. 1865. Carafa, Michael H. F. {cah-rah-fah). Com- poser; Italy. B. 1785; d. 1872. Carey, Anna Louise. Contralto ; U. S. A. B. 1846; d. 1921. Capella (It.). Church. Alia capella, io church style. Capellmeister (Ger. ) {ka -pel' - meis' - ter). Master of the chapel ; the head of the mu- sical establishment of a noble or princely house. Capellmeister-Musik (Ger.). Music made to order without inspiration is 'jo called in Germany. Capo (It). Head; beginning. Da capo, from the beginning. Capodastro (It.). Same as Capo taUo. Capo tasto (It). Head stop. A clamp which is screwed on the finger-board of the guitar, so as to " stop" all the strings, thus raising the pitch to any degree desired. Capriccietto(It.) [ca-pree-chee-et' to). A little caprice. Caprice (Fr.) {ca-prees'), Capriccio (It.) (ca- prit'-chio). A whim; freak; composition without form. In German, Grille. Caricato (It.) {ca-ree-ca'-to). Overloaded with display. Carillon (Fr. (car-ee-yon:^). (i) A set of bells played by hand or by machinery. (2) A mixture-slop in the organ. Carilloneur(Fr.) {ca-ree-yo-nure). One who plays the carillon. Carmagnole (Fr. ) (car-man-yole). A wild song and dance of the P'rench Revolution. Carol. .\ song of praise, usually sung at Christmas and at Easter. Carola (It.). See Carmagnole. Carree' (Fr.). A breve. Carressant (Fr.) {ra-ressawnt), Carrez- zando (It.) [car-retz-zan'-ilo), Carrezze- vole (It. ) {car-retz-zeh' -vo-leh). In a caress- ing manner. Cassa grande (It.). The large drum. Cassatio (It.) [cas-sa-shio). A suite; cas- sation. Castanets, from castagna (It. castanya, a chestnut), Castagnette (It.) (cas-tan-yet- teh), Castanettes (F'r.) [las-tan-yet), Cas. taAuelas (Sp. ) (cas-tan-yu-eh-las). Small wooden clappers used to mark the rhythm. Catch. A species of canon so contrived that the meaning of the words is distorted. Catena di trilli (It.) {cat-teh-na dee triltee). A chain or succession of trills. Catgut. The usual name for gut-strings, made in reality from sheeps' intestines. Carissimi, Giacomo (cah-ris-see-mee). Com- poser; Italy. B. 1582; d. 1671. Carreiio, Theresa {car-rehn-yo) , Pianist; U. S. A. B. 1853; d. 1917. Catalani, Angelica [cah - tah - lah - nee). So. prano; Italy. B. 1783; d. 1849. CATLINGS u CHEST OF VIOLS r Catlings. The smallest lute strings. Cattivo tempo (It.^ {cal-tee-vo). The weak beat ; literally, bad lieat. Cauda (Lat.). The tail or stem of a note. Cavalet'ta (It.). See Cabaletta. Cavalefto (It., little horse), (i) Small bridge. (2) The break in the voice. Cavatina (It.) {cah-vah-tee' -nah). A short air ; a song without a repetition of the iirsv. member. C Clef. See Clef. Cebell. A theme consisting of alternate pas- • sages of high and low notes, upon which "divisions" or variations were played on the lute or viol. C.t^^\^{\\..) {cheh'-leh-reh). Quick; rapid. Celerita (It.) {che-kh'-ree-tah), con. With speed. Celeste (Fr.). Celestial. The soft pedal of the piano. 'Cello (It.) {chel-lo). Abbreviation of violon- cello. Cembalo (It.) (chein'-ba-lo). Harpsichord; jjiano. Cembalist (It.) (chem-ba-list). A pianist. Cembanella or Cennamella (It.). A flute or fliifjeolet. Cercar la nota (It.) {cher-car la tio-ta). To slur or slide from one note to the next. Same as Portamento. Ces (Ger.) (fsehs). CJ2. Chacona (Sp.) [clia-ro'-tta), Ciaconna fit.) {cheii-ccn'-iia), Chaconne (Fr. ) [sha-con). A slow dance in \ time, written on a ground bass of eight measures, sometimes introduced in the suite. Chair Organ. Choir organ. Chalameau {shah-lah-mo) or Chalumeau (Fr. ). f^e.^ Calamus.^ Chamber Music. Vocal or instrumental music suitable for performance in small rooms. Generally a])plied now to sonatas, trios, quartets, etc., for instruments. Change of Voice, (i) Passing from one register to another. (2) The change from the child's to the adult's voice in boys. Gen- erally occurs between fourteen and seventeen years of age. Changes. The various melodies produced by the various ways in which a chime is rung. Change Ringing. The art of ringing chimes. Changing Chord. A chord struck with a bass that is not a member of the chord. Changing Notes (nota cambiata. It.). Dis- sonant notes struck on the beat or accent ; appoggiaturas. Chanson (Fr. ) {shan-song). A song, apart song : formerly a part song resembling a madrigal. Chansonnette (Fr.) (shan-son-net). A little song. Chant. A form of composition in which re- citing notes alternate with phrases sung in time. There are two forms of chant, Angli- can and Gregorian. The Anglican chant may be single, i. e., with the reciting notes and two inflections (phrases in time) or double, that is, the length of two single chants. The Gregorian chant consists of : (l) The intonation. (2) The dominant or reciting note. (3) The mediation (analogous to the inflection, but not in strict time). (4) The dominant again. (5) Ending or cadence. The chant was undoubtedly first sung to metrical words, therefore was as rhythmic as a modern melody This rhythmic character has been lost by adapting prose words to it. Chant (Fr.) [shawnt). Song; melody; tune; vocal part. Chantant (Fr.) {shong -(fau'tth. Caf6 chantant, a cafe^-wh?re part of the entertainment. Chanter, (i) .\ singing priest, melody pipe of the bagpipe. Chanterelle ( Fr. ) {shons^-rell) . The high- est string of the violinr^iola, and violon- cello ; also of the guitar ami lute. Chadwick, Geo. W. B. 1854. Composer; U. S. A. Singing, singing is (2) The Chanteur (Fr.) (!ihong-lture).\ A smger (male). Chanteuse (Fr.) {shong -ffoose\ A smger (female). Chant pastoral (Fr.). Shepherd's song. Characters. The signs used in written music. Characterstimme (Ger.). Lit., character voice ; any solo-stop on the organ. Characterstiicke (Ger.) (ka-ra/c'-ter-stee-ke). Character |)ieces ; descriptive music, as the pastoral symphony. Chasse, a la (Fr.) {a la s/iass). In the hunt- ing style. Chef d'attaque (Fr.) (s/ief d'at-tak). The chorus leader, or leading instrument of any division of the orchestra. Chef d'oeuvre (Fr.) (she/ d'oovr). Master- work. Chef d'orchestre (Fr.) {she/ d' or-kestr). Conductor of the orchestra ; leader. Chest of Viols. A " chest" containing two trebles, two tenors, and two basses. Called also " consort of viols." Chaminade, Mile. C. (sha/i-niee-uad). Pian- ist, composer ; France. B. i860. CHEST TONE SB CIRCULAR CANON Chest Tone. The lowest register of the voice — male or female. Chevalet (Fr.) [she - va • leh). Bridge of string instruments. Chiara (It.) [ke-ah-rah). Clear, pure. Chiaramente ( It. ) (ke- ah - rah - tuen' - teh). Clearly, distinctly. Chiarezza (It.) {keah-ret'-za), con. With clearness. Chiarina (It.) {/ce-ah-ree'-na). Clarion. Chiave (It.) (ke-ah'-veh). Key or clef. Chica (S]).) {(hi-e-kii). Old Spanish dance. The original of Giga, Jigue, and Jig. Chiesa (It.) {ke-eh'-ui). Church. Concerto da chiesa, a church concert. Sonata da chiesa, a church sonata. Chime. A set of bells, generally five to ten. To chime; to play a set of bells by striking them with hammers or by swinging their clappers. Chime Ringing is to swing the bells themselves. Chirogymnast, Chiroplast. Obsolete ma- chines for strengthening the fingers of pian- ists and keeping them in position. Chitarra (It.) (kiU^i'-rak). Guitar. Choeur ( Fr. )c.(^£2i:}r^ Chorus, choir. Choir, (i) A company of church singers. (2) The part of the church appropriated to the singers. In English churches (.Anglican) the choir is divided into two parts, called the decani, or choir on the dean's side, and cantori, or ciioir on the car or's side. When cliaiiting, they generally sing anti- phnnally, joiningiii the "t,doria." In anthems the words decani and cantoris are printed to indicate which side is to sing a given part. Choir Organ. One of the divisions of the organ, the manual for which is generally the lowest. Was originally called chair organ ; called in I'Vance prextanf. Chor (Ger.) {koir). Chorus, choir; a num- ber of instruments of the same kind. Choragus ((Jk.). (i) Leader of a chorus. (2) A musical official at Oxford College, England. Choral, (i) For a chorus. (2) An old form of psalm-tune. Choral Service. .\ service of which singing is the most prominent part. Chord, Akkord (Ger.), Accord (Fr.), Ac- cord (It.). A combination of three or more Chappell, Wni. Historian; England. B. fSog; d. 18S8. Cherubini, Maria Luigi C. S. {kehroo-bee- ncc). Composer and thec'st; Italy. B. 1760; d. 1842. Chev6, Emile J. M. {sheh-veh). Inventor of simplified system of music ; France. B. 1804; d. 1864. sounds — common or perfect chord, or triad. Consists of any sound with its third and fifth ; it is called major when the interval from one (or root) to three contains two whole tones ; minor, when it contains a tone and a half; diminished, if there are three whole tones from one to five ; augmented, if there are four whole tones from one to five. A chord is inverted when its root is not at the bass ; chords with more than three letters are dissonant chords, called chords of the seventh if they contain four letters, chords of ninth if they contain five letters, etc., etc. Chords bear the name of the degree of the scale upon which they are written : First, tonic ; second, supertonic ; third, mediant ; fourth, subdominant ; fifth, dominant ; sixth, submediaiit ; sev- enth, leading note or diminished chord. Chorister. A chorus- or choir-singer; a precentor. Chorus. (i) A company of singers. (2) The refrain of a song. (3) A composition for a company of singers. (4) The mixture- stops in an organ. Chromatic, Chromatisch (Ger.), Chroma- tique (Fr.), Cromatico (It.), (i) Sounds foreign to the key. (2) A scale, consist- ing of half-tones. Chromatic chord, one including foreign sounds. Foreign to the key; chromatic interval, one not found in the major scale ; chromatic half-tone, chang- ing the pitch without changing the letter, as C, C#. Church Modes. The scales derived from the Greek, in which Gregorian music or plain songs are written. Cimbal. A dulcimer ; harpsichord. Cimbali (It.) {chimha-lee). Cymbals. Cimbalo (It.) (chim'-ba-lo). See Cembaio, Al.so a tambourine. Cimbel ((Jer.) (tsitn-bel). A mixture-stop in the organ. Cink (Ger.) [tsink]. Cinq (Fr.) [sank). A small reed-stop in the organ. Cinque pace (Fr.) {sank poce). An old French dance. In old English, sink a pace. Circular Canon. One which ends a half-tone higher than it begins, conse(|uently will, if repeated often enough, go through all the keys. Chickering, Jonas. I'iano maker; L'. S. A. B. 1798; d. 1S53. Chopin, Frederick F. {sho-fi in treble staff; third to C .hove treble staff; fourth the rest of the compass. Clarinetto (It.), Klarinette (Ger.), Clari- nette (Fr.). The clarinet. Clarino (It.) {clah-ree-nd). Clarion or trum- pet ; an organ -stop; four- foot reed. Claviatur or Klaviatur (Ger.) [kla-fee-a- toor*). Keyboard. Clavicembalo (It.) {clavee-chem'-balo), keyed dulcimer ; the harpsichord. Clavichord. An instrument resembling a square piano. The strings were vibrated by forcing wedge-shaped pieces of brass called tangents against them. By depressing the Cimaresa, Dominico {ihee-mah-ro-sah). Com- poser; Italy. B. 1749; d. 1801. Clapisson, Antonie I-. {clah-pee-song). Com- poser and pianist ; Italy. B. 1808; d. 1866. keys, the tangent acted both as a means of vibrating the string and as a bridge. When the finger was raised, the string was damped by a piece of woolen cloth wrapped rotmd it, between the tangent and the pin-block. The chief interest in this obsolete instr .nent is the £act that it was th t favorite of J. S. Bach. Clavi^on (F"r.) {cla-vee-soong) [from Lat. clavis, a key]. The harpsichord. Clavicjrtherium. A variety of harpsichord. Clavier or Klavier (Ger.) {klah-feer'). (i) Keyboard. (2) Used as a name for the piano- forte. Clavier (Fr.) {klah-vee- eh). An organ manual. Clavierauszug (Ger.) (klah-feer-ows-tsoog), A pianoforte score or edition. Clef [from Lat. clavis, a key]. A sign placed on the staff to indicate the i.ames and pitch of the sounds. Three clefs are used in modem music: (l) The treble or G clef, Ft V also called violin clef; this is now always placed on the second line. Cclef:— (2) The this clef, when on first line, is called soprano clef; on second line, mezzo-soprano clef; on third line, alto clef, also viola or alto trombone clef; on fourth line, tenor clef; used also for upper notes of violoncello and bassoon. The C clef always signifies middle C ; that is, C that lies between the fifth line bass staff and first line treble staff. Bass or F clef, 0» placed on the fourth line, oc- ca.sionally on the third, when it is called the baritone clef; used for bass voices and all bass instruments. Cloche (Fr.) {clash). A bell. Clochette (Fr.) {closhet'). A small bell. Close Harmony. When the sounds forming the chords are drawn together as much as possible. ZSr -JSr. -(9- TSL -JSl I 2 No. I , close harmony ; No. 2, open har- mony. Clarke, Hugh A. Theorist and composer; Canada. B. 1839. Clay, F>ederick. Composer; England. B. 1840; d. 1889. CODA m CONCITATO ^da (It.). "Tail." A passage added after the development of a fugue is finished, or after the " form " of a sonata, rondo, or any other composition has been completed, to produce a more satisfactory close. Codetta (It.). A short coda. Cogli stromenti (It.) {col-yee stro-men'-tee). With the instruments. Coi {coee). Col, Coll', Colla, Colle, CoUo (It.). With the. Col arco. With the bow. Used after the direction "pizzicato." Col basso. With the bass. Col canto. With the melody. Col legno (It.) [col-lane-yo). With the wood ; a direction to strike the strings of the violin with the back of the bow. CoUa parte. With the principal part. Colla voce. With the voice. In score writ- ing, to save the labor of re-writing a part which is to be played by two or more in- struments. It is usual to write the part for one instrument, for instance, the violin, and write the words col 'liolino on the staff ap- propriated to the other instrument. Colophony. Rosin. Colorato (It.) {co-lo-rah'-to). Florid. Coloratura (It.) {co-h-rah-too' -rah). Florid passages in vocalization. Come (It.) (coh-meh). As; like. Come prima (It.) [coh'-meh pree'-mah). As at first. Comes (Lat.) {co nies). The answer to the subject, dux of a fugue. Dux means leader ; comes., follower. Comma. The difference between a major and a minor tone. Commodamen^te, Commodet^ta (It.). Quietly ; leisurely ; without hurry. Commodo (It.) {com-mo'-do). At a con- venient rate of motion. Common Chord. The combination of any sound (called the root) with its major or minor 3d and perfect 5th. Common Metre, or Ballad Metre. A stanza, consisting of alternate lines of four and three iambuses ; as. How blest is he who ne'er consents By ill advice to walk. Common Time. Two beats, or any multiple of two beats, in the measure. The signs \ , C, (p, \ {\, ?, il rare) indicate simple com- Clementi, Muzio {cleh-men-tee, mootsio). Composer and pianist ; Italy. B. 1752 ; d. 1832. mon time; \, \, ',', indicate compound common time, \ being compounded from two measures of J; J from two measures of }; and ^^ from four measures of \ time. Compass. The complete series of sounds that may be produced by a voice or instru- ment. Compiacevole (It.) {com-pea-cheh'-vo-Uh'). Agreeable; pleasing; charming. Complement. The interval which being added to another, will make an octave. A complementary interval is found by inverting any given interval that is less than an octave. Composer, Componista (It.), Componist or Komponist (Ger.). One who composes music. Composi'ion. The sounds that make up the series' of a mixture- or other compound or- gan-stop. Composition Pedal or Knob. A mechanism worked by the foot or by pressing a button with the finger, which throws on or off cer- tain combinations of stops in the organ. Compound Intervals. Intervals greater than the octave. Compound Times. Those formed by adding together several measures of simple time. \i \^ V> V ^""^ compound common, having an even number of beats ; \,\ are compound triple, having an odd number of beats. Con (It.). With. Concert. Any musical performance other than dramatic. Concertante (It.) {con-cher-tan'teh). A composition in which two or more parts are of equal importance. Concerted Music. Music for several voices or instruments, or for voices and instruments combined. Concertina. A small free-reed instrument somewhat like the accordion, but far su- perior. Concertmeister (Ger.). Concert master; the leader vrconductor of the orchestra. Concerto (It.) {con-cher'-lo), Conzert (Ger.), Concert (Fr. ) {con-sehr). A composition designed to display the capabilities of one instrument accompanied by others. Concert spirituel (Fr.) {con-sehr spiri-too-fl). An association in Paris for the jierformance of sacred music, vocal and instrumental, founded 1725. Concertstiick (Ger.) {steek). Concert piece ; concerto. Concitato (It.) [con-chee-tah' to). Agitated. Concone, Giuseppe {con-coneh, jeiv-sep-peh). Teacher and composer; Italy. B. 1810: d. l86i. ? CONCORD 28 COUCHED HARP Literally, chording (2, Fr.) Concord. Agreeing, with. Concordant, (i) Agreeing with The baritone voice. Conductor. The director or leader of a chorus or orchestra. Cone Gamba. An organ-stop with bell- shaped top. Conjunct (I.at. , con-jimctus). Joined to- gether. Adjacent sounds in the scale. Conjunct Motion. Moving by steps. Conseculive. Two or more of the same in- tervals in succession. Consecutive Fifths. Two voices or parts moving together a fifth apart. Consecutive Octaves. Two voices or parts moving together an octave apart. Consecu- tive fifths and octaves are forbidden by the laws of composition, but the prohibition is frequently disregarded by the best writers. Consequent. The answer to a fugue subject ; conies. Consolante (It.) {con-so-lan'-teK). Soothing. Consonance. Literally, sounding together. Those intervals that enter into the compo- sition of the common chord and its inver- sions, viz., major and minor 3d and 6th, perfect 4th and ^th, and octave. The major and minor 3d and 6th are called imperfect consonances, bt ing equally consonant whether major or minor. The perfect 4th, 5th, and 8th are called ])erfect because any alteration of them produces a dissonance ; i. e., an interval that requires resolution. N. B. — This definition of consonance ap- plies only to the modern tempered scale. Con sordini (It.) {sor-dee'-nee). With the mute. (l) In piano music, with soft pedal. (2) Instruments of the violin family: a di- rection to fasten on the bridge a small im- plement of wood or metal which has the effect of deadening the tone. (3) Brass instruments : a direction to place a cone- shaped ]iiece of wood covered with leather in the bell, which has the same effect. Consort. A chest of viols. Contra (It.). Against; in compound words, means an octave below, as contra-bass, contra- fagctto. Contra danza (It.). Country dance. Contralto (It.V The lowest female voice, usually called alto. Contraposaune. A 16 or 32-foot reed-organ stop. Converse, C. C. Composer; U. S. A. B. 1832; d. 1918. Corelli, Arcangelo {cor-rel-Ue). Violinist; Italy. B. 1653; d. 1713. ContrapuntaL Belonging to counterpoint. Contrapuntist. One skilled in counter])oint, or who writes on the subject of counterjjoint. Contratenor. The highest male voice. Contra violone (It.) (vee-o-lo'-neh), Contra basse (Fr.). Double bass. Countertenor. The developed falsetto. See AUo. Convict of Music. An institution for musi- cal instruction. [Lat., convictiis, an asso- ciate, from convivere, to live together.] Cor (Fr.). A horn. Cor Anglais {o»j^-/ay). English horn ; a variety of the hautboy, sounding a fifth lower. Corale (It.) [co-rah' -Uh). A choral. Coranto (It.), Courante (Fr.). An old dance in triple time, used as a movement in the suite. Corda (It.). String. Una corda. Due corde, Tre corde or Tutte corde, one string, two strings, three strings, all the strings, are directions for the use of the pedal in Grand /. /. that shifts the action so as to strike one, two, or all of the strings allotted to each key. Cornamusa (It.) {corna-moo-sa), Corne- muse (Fr.) [corn-moos). Bagpipe. Cornet, Cornetto (It.), Zinke (Ger.). (i) Originally a coarse-toned instrument of thft haut-boy family. (2) A compound stop in the organ. (3) Cornet-a-piston, a biass instrument of the trumpet family. (4) Echo cornet, a compound organ-stop with small scale pipes, usually in the swell. Corno (It.). Horn; the French horn, or Waldhorn (Ger.). The horn of the or- chestra. Corno alto. High horn. Corno basso, low horn. Corno di basetto. Basset horn. Corno di caccia. Hunting horn. Corno Inglese. Cor Anglais. Cornopean. Same as Cornet (brass) ; a reed* stop on the organ, 8-foot tone. Coro (It.). Chorus. Corona (It.). " Crown ; " a pause. Corrente (It.) (cor-ren'-teli). C* ran to. Cottillion (Fr., Cottillon, lo-tee-yon'). A dance with numerou < figures, originally rather lively, now much the same as the Quad- rille. C- uched Harp. The spinet. Corri, Domenico (cor-ree). Composer; Italy. B. 1746; d. 1825. Costa, Sir Michael. Composer and conduc- tor; Italy. B. 1810; d. 1884. COUNT 29 CZIMKEN Count. The beats in the measure are called counts, from the practice of counting the lime. Counterpoint [from Latin contia-punctus, against the point]. Notes were originally called points, hence when another set of points were added above or below the points of the theme, they were called counterpoints. In modern use counter- point may be defmed as die art of making two or more parts move together with such freedom that they seem to be independent, each one with a design of its own. Counter-subject. A theme employed in conjunction with the principal theme in a fugue. Coup d'archet (Fr.) {coo d'ar-shay). A stroke of the bow. Coupler. A mechanism in the organ, by means of which the keys of two manuals are joined so that the de[)ression of the keys of one causes the depression of the correspond- ing keys of the other. Pedal Coupler joins pedal keys to one of the manuals. Octave Coupler causes the octave above or below each key struck to sound either on the same or on another manual. Couplet (l''r.) (coo-ploy). Stanza; ballad. Couplet (Eng. ). A pair of rhyming lines. Two notes played in the time of three of the same denomination. Cracovienne (Fr.). Polacca. Cremona. (l) A town in Italy celebrated for its violin makers. (2) A violin made in Cremona. (3) A soft 8 ft. reed organ stop (corrupted from A'nimmhorn). Couperin, Armand Louis. Organist. B. 1600; d. 1665. Couperin, Francois (koo-pch-raitg). Called le Grand. Composer and improver of sys- tem of fingering; France. 15. i658 ; d. 1733- Cowen, Frederick H. Composer; England. 15. 1852. Cramer, John Bardist [crah-mer). Pianist and composer; Germany. 15. 1771 ; d. 1858. Crescentini, Girolamo (crfsJicn-tee'-ttee). So- pranist and composer ; Italy. 15. 1766; d. 1S46. Cristofori, Bartolomeo di F. {cn's-to-fo-ree). Inventor of the jiiano; Italy. B. 1651 ; d. 1731- Crescendo (It.) (cray-shcn-iio). Abbrevia- tion, crcs., sign : ~ to increase in loudness [from It. crescerc, to increase]. Crescendozug (Ger. , hybrid of It. and Ger.). The swell bo.\ of the organ. Croche (Fr. ) [crosh). An eighth-note. Crotchet. A ([uarter-note. Crowd, Crouth, Crood, Crooth. An an- cient string instrument played with a bow. Of Celtic origin. Crush Note. Ap[)oggiatura, Cue. The last notes of one voice or instrument, written in the part of another as a guide to come in. Cuivre (Fr.). Brass. Faire cuivrer {fare koo-e-vreh), a direction to produce a rattling metallic note on the horn by insert- ing the hand partway in the bell. Cuvette (Fr.) (koo-vef). The pedal of a harp. Cyclical Forms. Forms of composition in which one or more themes return in pre- scribed order, as sonata, rondo, etc. Cymbals [Becken, Ger., Piatti, It.). (l) Discs of metal clashed together or struck with drumsticks, used in the orchestra and in military music. (2) A shrill compound stop in the organ. Czakan {cha-katt). A cane flute. Czardas (char-dash). A Hungarian dance with sudden alterations of tempo. Czimbel {chini-bcl). A dulcimer strung with wire strings ; a national instrument in Hungary. Czimken {chim-kcii). A Polish dance. Crivelli, Domenico {cree-vel-Le). Teacher of singing; Italy. B. 1794; d. 1856. Cross, Michael II. Composer, organist ; U. S. A. 15. 1833; d. I8q7. Crouch, Frederick N. Ballad writer; Eng- land. B. 1808; d. 1896. Cui (roo-^^), Cesar A. Pianist; Poland. 15. 1835; d. 1918. Curschmann, Karl F". [kooischmon). Com poser; Germany. B. 1S05 ; d. 1S4I. Curwen, Rev. John. Inventor of (urwen's system; England. B. 1S16; d. 18S0. Cusins, Sir \Vm. G. Pianist, composer. 15. 1833; d. 1893. Cuzzoni, Francesca {coo(zo-iiee). .Sojirano; Italy. B. 1700; d. 1770. Czerny, Karl (chur-neh). Composer and pi- anist ; Austria. B. 1791 ; d. 1857. 80 DEMI-BATON D D. Second letter in the natural scale ; the third string of the violin ; second string of viola and 'cello ; abbreviation of Da or Dal ; from D. C, da capo, D. S., dal segno. Da (It.). From. Da ballo (It). In dance style. Da camera (It.). Chamber music. Da capo (It.). From the beginning; ab- breviated D. C. Da capo al fine. From the beginning to the word fine [fee-neh), the end, or a double bar with /t\ over it. Da capo al segno (It.) {se/in-yo). From beginning to the sign )f. D. C. al jf! e poi la coda. From the begin- ning to the sign, then the coda. D. C. senza replica (It.) [sehntza reh'-plee- calt). From the begiiming without repeat- ing the parts. D. C. senza repetitione {rehpchtee-shee- o-neli) means the same as above. Da capella (It.). Church music. Daina or Dainos. A Lithuanian love-song. Damper. A mechanism in the piano to stop the vibration of the strings when the finger is raised from the key. Damper Pedal. The miscalled loud pedal, a mechanism controlled by the foot for raising all the dampers at once from the strings. Danse. A piece of music meant to accom- pany rhythmical movements of the body. Darabookka. An Arabian drum. Dash, (i) A line drawn through a figure (^) in figured bass .signifies the note must be raised chromatically. (2) A short stroke over a note, signifying it is to be played staccato. Daumen (Ger.) (dfe). Eighth-rest. Derivative. Any chord of which the root is not at the bass; an inverted chord. Des(Ger.). I) flat. Descant or Discant. (i) The earliest at- temi)ts at adding other parts to a cantus were called descant. (2) The highest part (so- prano) in vocal music. Des dur (Ger.). D]i major. Desiderio (It.) {ileh-see-i/ee'-rio). Longing. Des moll (Ger). D|? minor. Dessus (Fr.) [des-soo). The soprano part in vocal music. Destinto (It.) (^deh-stin-to). Distinct. Desto (It.). Sprightly; briskly. Destra(It.). Right. Manodestra, the right hand. Mano sinistra, the left hand. Colla destra, with the right. A direction in piano music. Ditache (Fr.) {deh-tash-eh). Detached ; - staccato. Determinato (It.). Resolutely; with de- termination. Petto (It.). The same. II detto voce, the same voice. Development. [In German, Durchfiih- nnigj\ ( I ) The technical name of that part of a sonata form which precedes the return of the principal theme. In the develop- ment both the themes are used in fragments mixed with new matter, the object being to present the musical thought in every possible aspect. (2) The working out of a fugue. Devoto (It.). Devout. Devozione (It.) (deh-vot-see-o'-neh), con. With devotion. \y\ [\\..) {dee). By, with, of, for. Di bra- vura, with bravura. Literally, wifh bravery. Diana (It.), Diane (Fr.). A morning seren- ade ; aubade. Diapason (Gr.). (i) An octave. (2) An organ-stop of 8-foot pitch, open or closed (stopped). (3) The standard ])itch, A = 435 vibrations per second, not yet universally adopted. Diatonic. (l) The major and minor scales. Strictly speaking, the modern harmonic De Reszke, Eduard {rets-ka\'). Baritone; Poland. B. 1855. De Reszke, Jean {rets-kay')^ his brother. Tenor. B. 1852. minor is not purely diatonic, owing to the presence of the augmented 2d between 6 and 7. (2) Diatonic chords, melody, pro- gressive modulation, are those in which no note foreign to the scale in which they are written a|)pears. [From Gr. dia-teinu, to stretch; referring to the string of the canon or monochord.] Di colto (It.). Suddenly. Diecetto (It.) {dee-chetto). A composition for ten instruments. Diese (Fr.) {liee-ehs). A sharp. Difficile (It.) [dif-fee' ■chee-leh), Difficile (Fr.) (dif-fi-seel). Difficult. Di gala (It.). Merrily. Diluendo (It.) [(///«^;v, to dilute]. Wasting away ; decrescendo. Diminished. (l) Intervals less than minor or perfect. (2) A chord with diminished 5th, as on the 7th of the scale or the 2d of the minor scale. (3) Diminished 7th chord, a chord composed of three superimpcsed minor thirds, as B D F A^ Diminuendo (It.). Same as Decrescendo. Diminution. In canon and fugue, when the answer (comes) is given in notes of half (or less) the value of those in the subject (dux). Di molto (It). Very much. Allegro di molto, very fast. Direct, (i) A sign /W^ placed at the end of a staff to indicate what is the first note on the next page. (2) In MS. nmsic it indicates that the measure is completed on the next line. Direct Motion. Both (or all) parts ascending or descending together. Dis (Ger.). D sharp. Discant. See Descant. Discord. Cacojjhony; noise. Used incor- rectly for dissonance. Dissonance is musi- cal, l)Ut discord never is. Disinvolto (It.). Free; naturally; easily. Disjunct Motion. Moving by skips. Dis moll (Ger.). D}J minor. Disperato (It.), Con disperazione [dis- peh-ratz-eo'-neh'). Desparingly; with dec peration. Dispersed Harmony. When the members of the chords are separated widely. Disposition. (l) Of a chord, the order in which its menil)ers are arranged. (2) Of a score, the order in which the instruments Devrient, Ed. P. {deh'-',.) (doobl crosh). A six- teenth-note. Double Diapason. An organ-stop of 16- foot tone. Double Drum. A drum struck at both ends. Double Flat, ^2, depresses a letter a whole tone. Double Main {>nang). Octave-coupler in the organ. Double Sharp, JjJ, raises a letter a whole tone. Double Stop. In violin music, playing simultaneously on two strings. Double Tongueing. Playing repeated stac cato notes on the flute, cornet, etc., by a movement of the point of the tongue against the roof of the mouth. Double Touche [toosh). A contrivance for regulating the depth of the descent of the keys of the harmonium. Doublette (Vr.){tfoo-hlet). A two-foot organ- stop, the 15th, or a compound stop of two ranks. Doucement (Fr.) (doos-iiiong). Sweetly, .softly. Doux (Fr.) {(ioo). Sweet, soft. Dowland, John. Madrigalist and lutenist. B. 1562; d. 1626. Dragonetti, D. [drah -go-net' -tee). Double bass player; Italy. B. 1755; d. 1846. Down Beat. The first beat in the measure; the principal accent in (he measure. Down Bow. In instruments of the viclin family, the motion of the Ixjw from the nut to the point. The sign is H or A. In French the word ///rs [tei-reh), draw. Doxology [from (ireek Uoxa, praise ; Ic-go, to |)roclaim]. A short ascription of praise to the Trinity, metrical or otKerwi.se. Drammatico (It.), Dram>naticamente (It.). Dramatic; in dramatic style. Dr^ngend ((Jer.) {drayn'-gent). Hurrying; accelerating. Dritta (It.). The right hand. Droit or Droite (Fr.) (liioa). Right hand. Drone. The pipe that sounds one note con- tinuously in the bagpipe. Drum. An instrument of percussion, the bmly hollow, made of wood or metal, one or both ends being covered with vellum or parch- ment drawn tight by braces. Three kinds of drum are used in modern music: (i) The kettle drum ; this is the only one that may be tuned to dehnite pitch ; a pair are generally used in the orchestra, tuned usu- ally to the 1st and 5th of the key. (2) The snare drum or side drum, with parchment at both ends ; that at one end is crossed by several thick gut-strings that rattle when the drum is struck on the other end by the pair of drumsticks. (3) The long drum, double drum, grosse caisse, used chiefly in military music i struck on lx)th ends. Drum Slade. A drummer. Due (It. ) {doo-eh). Two. A due, by two; that is, divide, when marked over a string part in the orchestra ; but when over a wind instrument part it means that both of the pair are to play the notes. Due corde (It.). Two strings. In violin music, means that the note is to be played on the open string and as a stopped note simultaneously. The only notes that may be so played on the violin are: — 1 I f P sometimes signified by writing them as above. Duet, Duo (Fr.), Duetto (It.). .\ compo- sition for two voices or instruments or for two performers on the piano or organ. I Duettino (It.) (dooet-tfe'-no). A little duet. Dulciana. A soft, o|3en, 8-foot organ-stop; flue pipes ; in some foreign organs, a soft reed-stop. Dressel, Otto ((/;Y^-«ir/). Pianist; Germany. H. 1826; d. 1890. Dreyschock, Alex, {dry-shock). Pianist 5 Germany. B. 1818; d. 1869. DULCIMER 84 ELEVATO Dulcimer. (l) An instrument consisting of an ol)lonR or scjiiare box strung with wire strinj^s, struck by small hammi held in the han(ls of the performer. (2) A small toy instrument, in which strips of glass or metal are used instead of wire strings, played in the same way. Duolo (It.) (tioo-o'-lo), con doloroso (It.), con dolore (It.) {do-lo'reh). Plaintively; mournfully. Duple. Double. Duple Time, two beats in the measure. Dur (der. ) (t/.v,*r). Literally, hard ; major. Dur (Fr.). Hard; coarse; rough. Duramente (It.) {doo-ra-men'-teh). Roughly. Durchfiihrung (Ger.) {doorch'-f(e->oonk). Dulcken, Terdinand Q. {dool-ken). Com- poser, jiianist; IJermany. H. 1837. Dulcken, Marie Louise. Pianist; Germany. H. I8li; d. 1850. Duschek or Dussek, Franz. Comix)ser; Hungary. W. iTi('>\ d. 1799. Duschek or Dussek, Johann L. Pianist. B. 1761 ; d. 1812. Dussek, Sophia, wife of last. Pianist, singer, harpLst ; Scotland, li. 1775; d. 18 — . The working out ; development of a sonata or fugue. See Development. Durchkomponirt (Ger.) [doorch'-kompo- neert). Composed through. Applied to a song that has a separate setting for each stanza. Durezza (It.) (doo-retz-n), con. With stern- ness, Dur-moU Tonart (Ger.). Major-minor scale or mode; a diatonic scale with major 3d and minor 6th. Dure (It.), Durate (It.). Harshly. Diister (Ger.) {defstehr). (jloomy; mourn- ful ; .sad. Dux (Lat.). Leader; the theme of a fugue. Duvernoy, Jenn 15. (doo-vertioy). Pianist, teacher; France. 15. 1802; d. 1880. Dvorak, Anton {tfor-shak). Composer; Bohemia. B. 1841 ; d. 1 904. Dwight, J. S. Critic; U. S. A. B. 1813; d. 1893. Dykes, Rev. J. B. Hymn writer; England. B. 1823 ; d. 1876. E. (l) The third of the natural major scale, fifth of the natural minor. (2) The first or highest string (chanterelle) of the violin. (3) The fourth or lowest string of the double bass. E (It.) {ch). And; when the word that fol- lows begins with a vowel, ed (chd). Ebollimento or Ebollizione (It.) {ch-hol- litz -ec-o'- iti'/t ) . Boiling over ; sudden expression of passion. Ecclesiastical Modes. The scales called also Amhrosiaii and Gregorian, in which plain song and plain chant are written. They differ from the modern diatonic in the position of the half-tones; their position depends upon the initial note of the scale. Echelle (Fr.) [e/i-s/iel). A scale. Echo Organ. A set of pipes in old organs enclosed in a box. Eclat (Fr.) {r/i-flaw). Fire; spirit. Eclogue or Eglogue (Fr.) [from Greek f«/f}n, to select]. A pastoral; a poem in which shepherds and shepherdesses are the actors. Eberl, Anton {eh'-herl). Composer, pianist ; Austria. B. 1766; d. 1817. Ecole (Fr.) {eh-colc), A school or style of music. Ecossais (Fr.) (ei-eos-se/t) or Ecossa.'se (ek-cos-saze). (l) In the Scotch style. (2) A lively dance. Eguale (It.) (f//-^7w»/«-/M). Equal; steady. Egualmente. F^qually ; steadily. Einfach (Ger.). Simple. Einfachheit, simplicity in construction. Einfalt (Ger. ). Simplicity in manner. Mit Einfalt, in a simple, natural manner. Einleitung (Ger.) [ein-lei-toonk). Leading in ; introductory. Einschlafen (Ger.). Diminish in power and movement. Eis (Ger.) [eh-is). E sharp. Eisteddfod (Welsh) {ice-stelh'-fod). In modern usage a musical contest for prizes. Eleganza (It.) {eh-lee-gantza), con. With grace. Elegy. A mournful poem commemorating the dead. Elevato (It.) {eh-lch-vah'-to). Elevated; exalted. Eddy, Hiram Clarence. B. 1851. Organist ; U. S. A. ELIGIAC 35 ESPRESSIONK Eligiac. In the style of an elegy. Embellishment. Tlie ornaments of melody, as trill, turn, mordent, etc. Embouchure (Kr. ) [omboo shoot), (i) The mouth i)iece of a wind instrument. (2) The position and nuinagement of the mouth and lips of llie player. E moll (Ger. ). E minor. Empater les sons (l'"r.) [om-pahteh leh son\^). Literally, to strike the sounds together; to sing extremely legato. Empfindung ( Ger. ) ( emp fin - doonk ). Emotion ; passion. Emport^ (I'r. ) {ompor-leh). Empress^ (Fr. ) (om-pres-si'h). Hurried; eager; pas- sionate. Encore (Fr.) (oni^-core), Ancora (It.). Again ; a demand for the re-appearance of a performer ; the piece sung or played on the re-appearance of the performer. Energia (It.) {ehnur -jfa), con. With energy. Energico, Energicamente, Energisch (tier.). Energetic; forcibly. Enfatico (It.) {en/a'-tee-ko). Flmphatic ; decided. Enfasi (It.) [en-fah'-see), con. With em- ])hasis. Engelstimme (Cier. ). Angel voice; a soft organ-stop; vox angelica. Enharmonic. In modern music, a change of the letter without changing the pitch, as, Enharmonic Modulation. A modulation in which the above change takes place, as. '^ -^^ Ensemble (Fr.) {ont^-somlil). Altogether. (i) The union of all th . performers. (2) The effect produced by this union. (3) The manner in whiiii a composition for many iierformers is " put together." Entr'acte (Fr.) (on-trakf). ISetween the acts ; music performed between the acts of a drama. Entrata (It.), Entree (Fr.). Entry; intro- duction, prelude ; the first movement of a serenata. Eichberg, Julius. Composer ; Germany. B. 1824; d. 1893. Elson, Louis C. Critic, historian; U. S. A. 15. 1848; d. 1920. Elvey, Sir George J. Organist, composer ; England. U. 1816; d. 1893. Elvey, Stephen, brother of preceding. B. 1805 ; d. i860. I Entschlossen (Ger.) [entshlos-sen), Reso lute; ri'soluteiy. Entusiasmo (It.) [ehntoo'-seeas-mo), con. With enthusiasm. Eolian or /Eolian. (l) One of the Greek and ecclesiastical scales. (2) A species of harp played on by the wind. Epicede (Fr), Epecedio (It.) {ip-ee-che- ili'e-o). \ funeral dirge. Epinette (Fr. ). A spinet. Episode. The parts of a fugue that inter- vene between the repetitions of the main theme. Epithalamium. A wedding song. E poi (It.). And then; after. Equabile (It.) {eh- qua -bee- hh). Equal; steady. Equabilmente. F'(|ually; steadily. Equal Voices. A composition is said to he for equal voices when written for men's only or women's only. When male and female voices are combined the music is said to be for mixed voices. Equisono (It ). lujual sounding; unison. Equivocal Chords. Dissonant chords that are common to two or more keys, or that may be eidiarmonically substituted for each other, as the diminished 5th chf)r(l, dimin- ished 7th chord, and augmented 6th chord. Ergriffen (Ger.). Affected; moved. Ergriffenheit. Emotion. Erhaben (Ger.). I.ofty ; sublime. Erhabenheit. Sublimity. Ermattet (Ger.). F^xhausted. Ernst (Ger. ). Earnest; serious. Eroica (It.) {eh-ro'-ee-ka). Heroic. Erotic. Amatory. [Gr. Ercs., Cupid.] Ersterbend (Ger. ). Dying away ; morendo. Es (Ger.). E (lat. Es dur (Ger). E flat major. Es-es (Ger.). E double flat. Es moll (Ger.). li flat minor. Espagnuolo (It.) {ehs-pan- yu-olo). I.i Sjjanish style. Espirando (It.). Dying away. Espressione (It.) (ehs-pres-sce-o-neh), con. With expression. Emerick, Albert G. C)rganist ; U. S. A. H. 1817. Emory, Stephen. Theorist; U. S. A. B. 184I ; d. 1893. Epstein, Abraham, b. 1855; Epstein, Mar- cus, b. 1857, brothers. Four-hand pianists ; U. S. A. Erard, Sebastian. Piano maker ; Paris. B. 1752; d. 1831. ESI'RESSIVO FANDANGO iSspreSBivo (It.). Expressive. Bssrntial Dissonances, 'i'hose that are addeii to the (lominant chord. Auxiliary notes ot ill kinds are non-essential disso- nances. Essential Ha'-mcny. The harmony inde- pendent of all melodic ornaments, etc. Estinguendo (l< ) {es-tin-guen do). As soft as |)ossiblc. Estinto (It.). Dyinjj away ; extinguishing, Estravaganza (It.) (fsimh vuh-gantza). A fanciful composition ; a burlcs(|ue. Etofr6(Fr.). Full ; sonorous. Etouffte (Fr). Stifled ; damped. Etude (Fr.) [eh-tood). A study, lesson. Etwas ((jtr.) (et-vos). Somewhat ; as, etwas langsam, somewhat slow. Euphonium. A large brass instrument of the saxhorn family, used in military l)ands ; a free reed-stop in the organ, sixteen-foot pitch. Euphony [Clr., eti, good; phone, sound]. Well-sounding ; agreeable. Exercise. (l) A study designed to overcome some special difficulty or strengthen s|)ecial muscles. (2) A lesson in harmony, counter- point, or composition. (3) A composition written as a thesis for the obtaining of a de- gree. Ernst, II. W. Violinist, composer; Ger- many. B. 1814; d. 1865. Exposition. The giving out of the subject and answer by all the voices in turn at the opening of a fugue. Expression. The performance of music in such a manner as to liring out all its emo- tional and intellectual content. Intelligent, appreciative performance. Expression (Fr.). The name of a harmo- nium stop. Extempore (I.at.) {fxtem'poreh). The gift of playing music composed as it is played. Extemporize. To play unpremeditated music. Extended Harmony. Reverse of close har- mony, q. V. Extension, (i) Vit)lin playing, to reach with the fourth or first finger beyond the " posi- tion " in which the hand may be. (2) In piano music, spreading the hand beyond the "five-linger" position. Extraneous Modulation. A modulation to a distant or non-related key. Extreme. The outside parts, as bass and so- } pi i'no. Extreme. Used by many writers on harmony j in the sense of augmented ; as, extreme 2d I or 5th or 6th. Essipoff, Annette. 1850;, d. 1914. Pianist ; Ru.ssia. B. F. The fourth or subdominant of th-» natural I major or minor scale. ' Fa. The fourth of the syl'ables adopted by Guido, called the Aretinian syllables. In , ' ' Movable Do ' ' system the fourth of any ^ scale. Fabemol (Fr.). F flat. Fa burden, Falso bordone (It.), Faux bourdon (Fr.). (l) An ancient species of harmonization, consisting of thirds or sixth.s added to the cantus. (2) A drone bass like a bagpipe. Facile (Fr.) (fa-seel). Facile (It.) {fah-chee- leh). Easy. Facilment (Fr.) [fa-seel-mong), Facilmente (It.) {fa-cheel-tnen-teh). Easily; fluently. Facility (Fr.). Made easy ; an easy version of a difficult passage. Facture (Fr.) (fak-toor), Fattura (It.) {fat- too-rah). Literally, the making. The con- struction of a piece of music ; the scale of organ-pipes. Fa ditae (Fr.) {dee-ehs). F sharp. Fagotto (It.), Fagott (Ger.). Bassoon (so called from its resemblance to a fagot or bundle of sticks). A double-reed instrument of great utility in the orchestra. Compass, three octaves (and over) from BJ2 below the boss staff. Fagottone (It.) {fag-got-to' -neh) . Double bassoon. Faible (Fr.) {faybl). Weak. Temps faible, weak beat. False Cadence. A deceptive cadence. False Fifth. A name for the diminished fifth. False Relation. When a note sounded by one voice is given in the next chord, altered by #, b, or jj, by another voice, thus : — Falsetto (It.). The highest register of the voice. Fandango (Sp.). A rapid dance in triple time. FANKAR.5 37 FINALE Fanfare (Fr.), Fanfara (It.)- A brilliant trumpet call or fluurisli ; a brass band. Fantasia (It.), Fantasie ((ier.), Fantaisie (Fr. ). A r.:i„,)()sition that is not in any t>f thf regular forms; often used of pianoforte arranj^emcnts of lliemes from oper;is. Fantasia, Free. TIr- name sometimes given to that part of a sonata that come.s after the double bar; tlie Durchfiliirung or develop- ment. Fantasiren (Ger.) {fanta-see-ren). To im- provise. Fantastico (It ), Fantastique (Fr.). Fan- tastic; grotescjue. Farandola (It.), Farandole or Farandoule (Fr.). A rapifl dance in J time, Southern France and Italy. Fascia (It.) {/askiah). A tie. /""N F Clef. See CVr/. F dur (Ger.). F major. Feierlich (Ger.). Festal; pompously; grandly ; solemnly. Feld (Ger.). Field; open air. Feldmusik. Military music. Feldton. The key of FJ?, often used for mili- tary band music. Fermata (It.) [from fermare, to stay]. A pause. ). Fire. Feuerig (Ger.). Fiery. F-holes. The openings in the l)elly of in struments of the violin family ; so called from their sha|ie, /. Fiacco (It.) (/.r./X-' -<■<')• Weak: faint. Fiasco (It.). A failure; breakdown. Lit- erally, " a flask." Fiato (It.). Breath. Fiddle. This word and "violin" both come from the same root — the Low Latin word vilulit. Fidicen (Lat.). A harp or lute player. [From Lat. Jiiies, a string, and omo, to sing.] Fidicinal. A general term for string instru- ments. Fiedel (Ger.). Fiddle. Fieramente (It.). Proudly; fiercely. Fiero (It.) {/ee-,h-ro), Fier (Fr.) {/ee-eh). proud ; fierce. Fife, Fifre (Fr.), Piflfero (It), Querpfeife (Ger.) (kvchrpfeiffh). A .small Hute with- out keys, an octave higher than the Hute, used in conjunction with drums for military purposes. Fifteenth. An organ-stop of 2-foot pitch ; open ; metal. Fifth. (l) A., interval which includes five letters. (2) The dominant of '.lie key. Figure. (l) A form of accompaniment maintained without change. (2) A re- peated melodic phrase. (3) Secjuence. Figured Bass, Basso figurato (It), Basse chiffre (Fr.V A bass with figures over it (or under it) to indicate the chord each note is to bear. Invented as a species of musical short-hand it has been retained as a means of teaching harmony, although its warmest ad- vocates admit its inadi |Uacy to the indication of modern harmony. Filar la voce (\\..) [fednr-lavocheh'). Filer la voix (Fr.) {fee leh-la-vo(i]. To sustain a sound with even tone. Literally, to spin like a thread. Fin (Fr.) (/««!,'). Fine (It.) {fee-neh). End. Finale (It.) (fee-nahUK). Final. The last movement of a sonata or symphony or of the act of an opera. Fesca, F. E. Composer; Ciermany, B. 1789; d. 1826. Fitis, F. J. ( feh-fees). Essayist, composer ; France. B. 1784; d. 1871. Field, John. Pianist; Ireland. B. I782;d. 1837- Fillmore, J. C. Pianist, essayist ; U. S. A. B. 1843; d. 1898. FINGERBOARD 88 FORLANA Fingerboard. The ui)]ier sicie of the neck of string instruments, fjencrally a thin strip of ebony against wliich the strings are pressed by the lingers of tlie left iiand. Fingering. The art of Ujing the fnigers systematically when playing an instrument; the marks or figures that indicate what fuigers are to be used. Fingersetzung (Ger. ). Fingering. Finto (It.). A feint ; applied to a deceptive cadence. Fioretto (It.) {fee-o-n-t-to). An ornament. Fiorito(It. ) {/ee-o-ree-to). Florid. Fiorituri (It.) [fee-o-ree-too-ree). Embellish- ments ; florid passages. Fis (Ger.). F sharp. Fisfis or Fisis, Y double sharp. Fis dur. F sharp major. Fis moll. F sharp minor. Fixed Do. Do used as the name of C ; movable Jo is do used as the keynote of any scale. Flageolet. A small pipe blown at the end ; an organ-stop of 2-foot pitch Flageolet Tones. The harmonic sounds pro- duced by touching lightly the strings of violin, etc. Flat. The sign of depression (I?) lowers the letter a half-tone. Flautando, flautato (It.). Flute-like; in violiii playing, a direction to produce flageo- let tones. Flautino (It.). (JIau-fee-no). A small flute ; a piccolo. Flue Stops. Organ sto])s, the pipes of which are constructed on the same principle as the 'vhistle or flageolet. J-liUC-Flauto (It.) {/laiito), Flote ((ier.) ^atejfy' (i) One of the most important oTorchestral instruments ; a cylindrical tube blown at a hole in the side called the em- bouchure. The modern flute, constructed on the lioehm system, is very much superior to the older instrument in both tone and tune. Its compass is from (2) An organ-stop of 8 or 4- foot pitch; in French organs a general name for flue stops. f .nek, H. T. Essayist. H. 1854. Fioravanti, V. (fee-orahvan-tee). Com- jx)ser; Italy. \i. 1770; d. 1837. Flotow, F. F. A. Opera comjwser; Ger- many. H. 1812 ; d. 1883. Poerster, Adolph M. Composer ; U. S. A. B. 1854. There are many varieties of the flute, the major part of which are now either obsolete or used as names for organ-stops, as flauto traverso, transvere or tierman flute; llute d'amour, a soft-toned organ-stop ; flute bar- m<)ni(|ue, an overl)lown flute, the pipe of which is twice the length necessary to pro. duce the sound it is made to give. F moll. F minor. Foco (It.). Fire. Con foco or fuoco, with tire. Focoso. Fiery ; ardently. Foglietto (It.) [fol-yef -to). The part used by the leader of the violins in the orches- tra, containing cues, etc., of the other in- struments, soniftimes used by the conductor in place of a score. Fois (Fr.) {foa). Time; as, premiere fois, tirst time. Folia (.Sp.), Follia (It.). A Spanish dance. Elaborate variations are called Follias de Es]jana, in French, Foiies de'Esjiagne, meaning " follies of .Spain " (a pun on the word folia), which has become a proverbial expression for trifles. Fonds d'orgue (Fr.) {fond-dorjr). The S- foot flue-stops of the organ. The foundation stops. Foot. (l) A poetic measure or meter. (2) A drone bass. (3) The unit used in de- termining the pitch of organ pipes, the standard being 8-foot C, the lowest note on the manuals of the modern organ. An open pipe must be eight feet long to produce this sound, if closed it must be four feet long. Ap]3licd to other instruments it signifies tliat their pitch corresponds with that of the organ diapasons, that is, it is the same iis the written note. All the violin family are of 8-foot pitch, except the double bass, which is of 16- foot pitch, that is, the notes sound an octave lower than written. The flute, hautiioy, clarionet, and bassoon are also of 8-foot pitch. Of brass instruments, the cornets, trumpets, and tromlMjnes are of 8-foot pitch. The high horn in C is 8-foot, but the low horn in C." is 16 foot jiitch. Forlana ( It. ), Fourlane (Er.) (foor-lan). A dance somewhat similiar to the tarantella. Foote, Arthur. Composer; U. S. A. B. Forkel, Johann N. Organist ; Germany. B. 1749 ; d. 1818. Formes, Karl (for-nuhs). Basso; Germanj, B. 1810; d. 1889. FORM 39 FREDEZZA Form. The number, order, and key relation of the several themes that are combined to make an extended composition, such as the sonata, rondo, syin|)hony, concerto, etc. The lyric or dance form is the germ from which all varieties of instrumental music have been developed. The simplest form of lyric melody may be thus divided : Motive, two measures; .Section, two mo- tives; Phrase, two sections; Sentence, two phrases ; Period, two sentences, making sixteen measures in all. The lyric form may be extended indefinitely by the addition of new periods in related keys. One of the most usual is the addition of a new period in the key of the dominant, sul)dominant, or relative minor, followed by a repetition of the first period. This is callecl the Aria Form. It was formerly largely used in vocal music, and is now one of the most usual forms for the lighter class of piano music. The following outlines of sonata and rondo forms give their main character- istics. The sonata form is the form of the symphony, and of the trio, f[uartet, etc., for string instruments, or for piano with strings, or other instruments. The same is the case with the rondo ; this form is frequently used for the final movement. Outline of Sonata Form in Major Key. FIRST HALF. 1st Theme. 2d Theme. Tonic key. Dominant key. * SECOND HALF. 1st Theme. 2d Theme. Development. Tonic key. Tonic key. Sonata in Minor Key. FIRST HALF. 1st Theme. 2d Theme. Tonic. Relative major. SECOND HALF. i 1st Theme. 2d Theme. Development. Tonic. Parallel major, j Frequent deviations may be found from the ! foregomg schemes. The intervals between the themes are filled with transition passages i or modulations so constructed as ta heighten \ the effect of the theme that follows ; codas are frequently added after both appearances of the second theme. Alodern Rondo Form, Major Key. FIRST HALF. 1st Theme. 2d Theme. 1st Theme. Tonic. Dominant. Tonic. Foster, .Stephen. Song writer ; U. S. A. B. 1826; d. 1864. Franchomme, A, {fransh-om\. 'Cellist; France. U. 1808; d. 1884. SECOND HALF. 3d Theme. 1st Theme. 2d Theme. Coda. Sub-dom. Tonic. Tonic. Made Rel. minor. from 1st Parallel minor. theme or all the themes. For an example of this kind see IJeethoven's No. 2 Sonata of the three dedicated to Haydn, last movement. Same Form of Rondo in Minor Key. 1st Theme. Tonic. FIRST HALF. 2d Theme. Relative major. 1st Theme. Tonic. SECOND HALF. 3d Theme. 1st Theme. 2d Theme. C'oda. Sub-dom. Tonic. 'I'onic Minor, and relative major, major. See last movement of Sonata Patheticjue — Beethoven. Forte (It.) (/yr-/f//). Loud. Fort(I-'r.), Stark (Ger.). Meno forte, less loud. Mezzo forte (M. K.), half loud. Piu forte, louder. Poco forte, a little loud ; rather loud. Sempre forte, always loud. Forte stop, a mechanism worked by the feet or the knee, or a draw-stop, by means of which the whole jxiwer (jf the har- monium, organ, etc., may be put on at once. Forte possibile (It.) {pos-see'-bee-leh). For- tissimo (It.). Loud as possible. Fortemente (It.). Loudly; forcibly. Forza (It.) (fortsa), con. With force. Forzando (It.) {f>r/sandi>). Forcing the sound ; emphasizing a rert.iin note, indi- cateil by <, /\, /;, sfz. Forzato (It.) {fortzafo), Sforzando, Sfor- zato. .Ml have the same meaning as Forzando. Fournit.:re (Fr). A mixture-stop in the organ . Fourth. (l) An interval embracing four letters. (2) The subdoniinant of llic scale. Fran9aise (Fr.) [frotit^says ). A dance in triple time. Francamente (It.) ( frank - a - tnen'-teh). I'rankly ; boldly. Franchezza (It.) (/;), Giocondezza (It.) [Jee-o-con- t/etza). Joyful; merry; sportive; happy; mirthful. Gioja (It.) {jeo-ya), con. With joy. Giojante (It.) [jeo-yan-teh), Giojosamente (It.) {/(•()-iw-<7-wi?«-/f'/r),Giojoso (It.) [jeo- yo-so). Joyous ; mirthfully. Gioviale (It.) ( jeo-ve-ah' -Mi). Jovial. Gernsheim, F. {gurns-heini). Pianist, com- poser, conductor ; Germany. B. 1839. Gerster, Etelka {ge/irs-tfi). Soprano; Hun- gary. H. 1S55; d. 1920. Gibbons, Orlando. Composer, organist ; England. B. 1583 ; d. 1625. Gibbons, Christopher, his son. Organist ; B. 1615; d. 1676. Gilchrist, W. W. Composer; U. S. A. B. 1846; d. 1916. Gilmore, P. F. Conductor; Ireland. B. 1829; d. 1890. Giordani, Tomaso (jee-or-dah-nee). Com- poser and singing teacher ; Italy. B. 1744; d. 18—. Q'\\ig\\n\,A. (Jeul-ee-nee). Tenor; Italy. B. 1826; d. 1865. Gladstone, F. E. Organist, composer ; Eng- land. B. 1845 ; d. 1892. Glareanus, H. {ghh-reh-ah-nus). Theorist; Germany. B. 1488; d. 1563. Giovialita (It.) [jeo-vee-ah-lee-tah), con. With joviality. Gis (Gir.) (gkiss). G sharp. Giubilio (It.) [jew-bee-leo). Jubilation. Giubilioso (It.) {jew-bee-lee-oso). Jubilant. Giustezza (It.) {jews-tet'-za), con. With exactness. Giusto (It.) (jewsto). Strict ; exact. Glee. A composition for three or more voice without accompaniment. The glee differs from the madrigal, its predecessor, in being constructed more on the harmonic than the contrapuntal system ; /.f., admits dominant, dissonances, and second inversions. The glee is the most distinctive form of English music. The best glees belong to the eigh- teenth century and the first part of the nine- teenth. They have been largely superseded by the part-song. Gli (It.) [lee). The. Glide. ( I ) To connect two sounds by sliding. (2) A modem variety of the waltz. Glissando, Glissato, Glissicato, Glissi- cando (It.). To play a scale on the piano- forte by drawing the finger along the keys. Only possible in the natural scale. In violin playing, to slide the finger rapidly from one " slop" to the next. Gliss6 (Fr.) [glis-seJi). See Glissando. Glisser (Fr.) (glis-se/i). To slide. Glockenspiel (Ger.). Bell play; a small in strument consisting of bells tuned to the diatonic scale, played by small hammers or by means of a keyboard. .Steel bars are sometimes used in place of bells. Gong. A pulsatile instrument consisting of a disc of bronze, struck with drumstick with soft head. Gleason, F. Grant. Composer ; U. S. A. B. 1848; d. 1903. Glimes, J. B. J. de [gleem). Pianist; Brus- sels. B. 1814; d. i8Si. Glinki M.I. Composer; Russia. B. 1804; d. 1857. Glover, C. W Composer of songs ; Eng- land. B. 1806 ; d. 1863. Glover, .Stephen. Composer of songs ; Eng- land. B. 1812 ; d. 1870. Glover, Sarah A. Founder of tonic-solfa method; England. B. 1785; d. 1867. Glover, William H. Composer, journalist ; England. B. 1819; d. 1875. Gluck, Ch. W. von. Opera compo.ser; Aus- tria. B. 1714; d. 1787. Godard, Ben. L. P. (go-dahr). Composer, violinist; France. B. 1849; d. 1895. Goddard, Arabella. Pianist; England. 6. 1836. GORGHEGGI 43 GREGORIAN CHANT Gorgheggi (It.) ij^or-ghed' -je). Florid sing- ing, with runs, trills, etc. Grace Note. See Appoggitxtura . Graces. The ornamental notes first used in harpsichord playing ; they are now nearly all obsolete, or if used are written in full by the composer. Gracieux (Fr.) [grah-sec-oo], Gracieuse (F"r.) {grah-see-pps), Gracile (It.) {gra-ckee-leh). Graceful; delicate. Gradevole (It.) (grah-iieh'-voleh). Grate- ful. Graduellement (It.) {grah-doo-el-mong). By degree?. Gran cassa (It.). Great drum ; long drum. Gran gusto (It.), con. With grand expres- sion. Gran tamburo (It.). The big drum. Grand barr^ (Fr.). See Barri. Grand jeu (Fr.) {zheu), Grand choeur (kppr). Full organ. Grand Piano. Properly, the long, wing- shaped pianoforte with keyboard at the wide end ; commonly applied to all varieties of piano with three strings to each key. Grande orgue (Fr.) [org). Great organ. Grandezza '^it.) {gian-det'-za), zon. With grandeur. Grandioso (It.) [gran-de-o'-so). Grandly. Grave [Fr., grahv; It., grak-veh'\. Deep in pitch ; slow ; solemn. Godefroid, Felix [i^pde-froa). Composer, harpist; France. 15. l8lS ; d. 1897, Godfrey, 1). Dance writer, band-master; Fngland. H. 1831 ; d. I903. Goetz, H. Composer; Germany. B. 1840 ; d. 1876. Goldbeck, Robert. Composer, pianist ; (iermany. B. 183S ; d. 1008. Goldmark, Karl. Composer; Germany. B. 1832; d. 1915. GolJschmidt, Otto. Conductor and com- poser, husband of Jenny Lind ; Germany. B. 1829; d. 1907 Gollmick, Adolf. Composer, pianist; Ger- many. B. 1825; d. 1883. Goltermann, G. E. Violoncellist; Germany. B. 18:4; d. 1898. Goovaerts, A. I. M. A. {gPo-7'eh>\'s). Com- poser; Netherlands. B. 1847. Goria, A. K. {i:^o'-rir-ah). Pianist; France. B. 1823; d. 'i860. Goss, Sir John. Composer, organist ; Fng- land. Bl 1800; d. 1880. Gossec, F. J. [gps-sek). Composer; France. B. 1733; d. 1829. Gottschalk, L. M. Pianist; U. S. A. B. 1829; d. 1869. Gravecembalum (Lat.),Gravicembalo (It.^ [gra-vee-ihemluilp). The harpsichord. Gravement (Fr. ) [gra/iv-mong). Grave- mente (It.) {grah-veh-men-teli). Slowly; seriously. Gravita (It.) (^'■ra-wf-A///), con. With dig- nity. Grazia (It.) {grat-se-a), con. With grace; elegance. Grazioso (It.) [giat-si-oso), Graziosamente {grat-si-osa-tneti-teh ). Gracefully ; ele- gantly. Great Octave. The sounds from S Great Organ. The division of an organ that contains the most powerful stops, generally operated by the middle keyboard or manual, the upper being the swell organ, the lower the choir organ. Greater. Major; as, greater third, greater sixth. In old usage the major scale is called the scale with the greater third. Greek Music. The Greek system of music is still a subject of controversy about which very little is known. The best attempts at its elucidation may be found in Chappel's " History of Music" and Munro's " Greek Music." Its interest is purely antiquarian. Gregorian Chant. See Plain Song. Goudimel, Claude {goo'-dee-mel). Composer; France. B. 15 10; d. 1572. Gounod, Ch. F. { gop - hp'). Composer; France. B. 1818; d. 1893. Gouvy, Theo. [gpo'-vee'). Composer; France. B. 1819; d. 1898. Gow, Neil. Violinist, dance writer; Scot- land. B. 1727; d. 1807. Grancino, G. [t^ran-chfe-no). Violin maker; Italy. Grancino, P. Violin maker. B. 16 — ; d. 17—- Graun, J. G. Composts; Germany. B. 1698; "d. 1771. Graun, Karl II., his brother C'omposer. B. 1701 ; d. 1759. Greatorex, Th. Organist, composer; Fng- land. B. 1758; d. 183 1. Gretry, \. E. {grfh-lree). ('(niiposer ; I'.cl giuni. W. 174I ; d. 1S13. Grieg, l.u. {g>'^(g^- Com[)()st'r, iiiaiii.t; Norwegian. B. 1843; il. i(;o7. Griepenkerl, I". C. ( gree ■ p,-u - kerl ). Tlii'oiist ; (Jerniany. B. 1782; d. 1849. Grisi, Mine. { i:;ree-see). Soprano; Italy. B. 1 81 2; d. 1869. Grove, Sir tJeorge. Author of dictionary; Fngland. B. 1820; d. 1900 GROPPO 44 HALF-TONE Groppo (It.), Groppetto (It.). A turn ; a group. Grosse (Ger.) {gros-seh). (i) Major, ap- plies to intervals. (2) Great or grand, as, grosse Sonate. (3) An octave below stand- ard pitch, as, grosse Nazard, an organ stop an octave below the twelfth. Grosse-caisse, Gros tambour. See Drum. Grosso (It.). Great; large; as, grosso con- certo. Grottesco (It.) {grot-tes'-ko). Grotesque; comic. Ground Bass. A bass of four or eight bars, constantly repeated, each time with varied melody and harmony. The ground bass was generally used as the basis of the cha- conne and passacaglio. Group, (i) A series of rapid notes grouped together. (2) One of the divisions of the orchestra, as string group, brass group, wood group. Gruppo, Grupetto. See Groppo, Groppetto. G-SchlUssel (Ger.) (gay-shlues-sel). G clef. Guaracha (Sp.) [ gioak-rah' -chak) . A lively Spanish dance in triple time. Guerriero (It.) {gioer-reeh' -ro). Martial; warlike. Guida (It.) {gwee-dah). Guide ; the subject of a canon or fugue. Guidonian Hand. A diagram consisting of a hand, with the syllables written on the tips of the fingers and on the joints, in- Griitzmacher, F. {greetz-ntiicher). Violon- cellist; Germany. U. 1832; d. 1903. Guarnerius, A. {i^var-tieh-ree-us). Violin maker; Italy. B. 1683; d. 1745. Guglielmi, P. { gool-yef-mee). Composer; Italy. B. 1727; d.'i8o4. Ctwidio[g7vee-Jo), Theorist; Italy. Eleventh century. Guilmant, F. A. (gefZ-mong). Organist, composer; France. B. 1837; d. 191 1. tended to assist in memorizing the hcxa- chord scales. Guidonian Syllables. The syllables applied by Guido to the notes of the hexaciiorci, «/, re, mi, fa^ sol, la. When the octave scale was adopted si was added for the seventh note ; ut was changed to do as a belter syl- lable for vocalizing. Guitar. A string instrument with fretted fingerboard, played by plucking the strings with the fingers of the right hand, one of the oldest and most widespread of instru- ments. It probably originated in Persia, where it is called tar or si-tar, passed from thence to Greece, and to the rest of Europe and North Africa. The guitar now in gen- eral use is called the Spanish guitar. It has six strings tuned thus : — f i^ but their actual sound is an octave below the written notes. Gusto (It.), con. With taste. Gustoso. Tastefully. Gut. The material (sheep's entrails) of which violin, guitar, and other strings are made, commonly called catgut. Gut (Ger.) {goot). Good. Guter Taktteil, lit. , good bar part ; the accented part of the bar. Guiraud, E. {i;7vee-ro). Composer; France. B. 1837; d.'i892. Gungl, J. {gooftgl). Dance writer; Bo- hemia. B. 1810; d. 1889. Gurlitt, C. Pianist, composer; Germany. B. 1820; d. 1901. Gutmann, A. Composer; Germany. B. 1818; d. 1882. Gyrowetz, A. {gee-ro-velz). Composer; Bohemia. B. 1763; d. 1850. H H. Abbreviation for Hand. Hah (Ger.), the note Bjj, B^Z being called B [bay). It is this system of nomenclature that makes possible the fugues on the name of Bach, written by Bach, Schumann, and others: — -^- is: ^El i9- B A C H Hackbrett (Ger.). Literally, chopping-board. The dulcimer. Halb (Ger.) {halp). Half. Halbe Cadenz (Ger.). Half cadence. Halbe Note. Half-note. Half-tone. r Halber Ton Half-Note. Half-Rest. Half-Sbift. On the violin, the position of the hand between the open position and the first shift. Half.Step. Half- Tone. music. Half-tone. The smallest interval in modem HALLELUJAH 45 HARMONIUM Hallelujah (Heb.). The Greek form Alle- luia is often used. "Praise ye Jehovah." Hailing. A Norwegian dance in triple time. Hals (Ger.). Neck, as of violin, guitar, etc. Hammerklavier (Ger.). A name for the P. F. (used by Beethoven in the great sonata, Op. lo6). Hanacca. A Moravian dance in | time, somewhat like the p)oIonaise. Hardiment (Fr.) {har-dee-?iwng). Boldly. Harmonic Flute. See Flute. Harmonic Scale. The series of natural harmonics; the scale of all brass instru- ments without valves or pistons. Harmonic Stops. Organ -stops with pipes of twice the standard length pierced with a small hole at the middle, causing them to sound the first overtone instead of the sound that the whole length would produce. Harmonica. (l) An instrument invented by Benjamin Franklin, the sounds of which were produced from glass bowls. (2) An instrument consisting of plates of glass struck by hammers. (3) A mixture-stop in the organ. Harmonic! (Gr.) {kar-mon-i-kee). The followers of Aristoxenus, as opposed to the Canonici {kanonikee), the followers of Pythagoras. The former taught that music was governed by its appeal to the ear, the latter that it was a matter for mathematical and arithmetical study only. Harmonicon. A toy instrument with free reeds, blown by the mouth. Harmonics, Overtones, Partial Tones. (l) The sounds produced by the division of a vibrating body into equal parts ; it is upon the presence or absence and relative in- tensity of the overtones that the quality of the sound depends. Open pipes, strings, brass instruments, and instruments with double reed (bassoon and hautboy) give the following series : — 123456 789 C C G C E G Bb C D E, etc. generator J J J J . s 7 s 9 I'o Closed pipes and beating reeds (clarionet) Habeneck, F. A. Violinist, conductor; France. B. 1781 ; d. 1849. Haberbier, Ernst (hah'-behr-beer). Pianist, composer; Germany. B. 1813 ; d. 1S69. Hale, Adam de la (Jiahl). Troubadour; France. B. 1240; d. 1287. Halevy, J. F. {hah-leh-vee). Composer; France. B. 1799; d. 1862. Halle, Sir Ch. {hal-leh). Pianist, conductor; Hagen. B. 1819; d. 1896. Halm, A. {^hahni). Pianist, composer. B. 1789; d. 1872. Hamerik, Asgar. Composer; Denmark. B. 1843; d. 1923. omit all the even numbers in this series. (2) The sounds produced on the violin by touching the string lightly at one of the points of division ; those produced by thus touching the open string are called natural harmonics. Artificial harmonics are pro- duced by stopping the string with the lirst finger and touching it lightly with the fourth, at the interval of a fourth above; the resulting harmonic is two octaves alx)ve the stopped note. In writing music this is indicated by writing thus : — J i J I r=f s Effect. Flayed. The lozenge-shaped notes indicate the notes to be lightly touched. Natural harmonics are frequently used on the harp, guitar, and mandolin. Harmonie-Musik (Ger.). Harmony music ; music for wind instnmients. A band com- f)osed of brass and wood instruments is called a harmony band. Harmonist. One who is an expert in the art of harmony. Harmonium. A keyboard instrument with free reeds. It differs from the reed organ in that the air is forced through instead of drawn through the reeds, giving a stronger, rougher quality of tone. In harmonium music, published in Europe, the stops are in- dicated by figures placed in a circle. Each stop is divided at the middle. The figure in circle, placed below the bass staff, refers to the lower half of the stop; above the treble staff, to the upper half. The cor an- glais and flute form one stop, marked fO below for cor anglais, fij above for flute. 2 means bourdon, below ; clarionet, above. 3 " clarion, " piccolo, " 4 " bassoon, " hautboy, *' Handel, G. F. Composer; Germany. B. 1685; d. 1759. Hanslick, Kd. Critic; Bohemia. B. 1825 ; d. 1904. Hardegen, J. von. Composer, pianist ; Aus- tria. B. 1834; d. 1867. (Jules Egghard.) Hartnock, Cari E. Pianist. B. 1775; d. 1834. Hartog, Edward. Pianist, composer ; Hol- land. B. 1828. Hartvigson, Anton. Pianist, composer ; Swe- den. B. 1845; d. 1911. Hartvigson, P'ritz. Pianist, composer; Swe- den. B. 1841. HARMONY 46 HKPTACUORD Harmony [from Gr., haitno, to join]. The art of combining sounds. The study of harmony in its fullest extent is that which treats of the combination of sounds, conso- nant and dissonant, and their succession. The so-called laws of harmony have all been arrived at empirically, hence have been sub- ject to chanj^e, each new composer of suffi- cient originality and genius modifying them to suit his purposes. Harmonic combitia- tio!is may be either consonant or dissonant. The consonant combinations consist of the common (perfect) chord and its derivatives. The dissonant combinations all include some dissonant interval, viz., 7th or 2d, augmented 4th, diminished or augmented 5th, augmented 6th or diminished 3d, or 9th. The movement of consonant combi- nations is perfectly free; that of dissonant combinations is subject to the rules govern- ing tiie resolution of the dissonant sounds they contain. Two classes of dissonances are recognized : (i) Those that belong to the overtone series, called essential; (2) those that result from the employment of suspen- sions, retardations, changing and passing notes. Harp. A string instrument of very ancient origin, probably first suggested by the bow. The earliest fornisof Egyptian harps resemble that weapon, the front bar or support being wanting. The modern harp, by means of conirivances for altering the tension of the strings, controlled by pedals, has the com- plete cliromatic scale. The harp is exten- sively used in the modern orchestra ; its clear, "glassy" tones form a striking and effective contrast to the rest of the orchestra. It is most effective when used to give " ar- peggios," or broken chords, particularly in soft passages. Scales are ineffective on the harp, and the chromatic scale is impossible. The compass of the modern li.irp extetids from the second C[? below tin; bass staff to Haslinger, Tobias. Composer, puljlislier ; Austria. 15. 1787 ; d. 1842. Hasse, F'austina {has-sek). Soprano ; Italy. U. 1700; d. 1783. Hasse, J. A., her husband. Composer; Sax- ony. 13. 1699; d. 1783. Hatton, John L. Composer; England. B. 1809; d. 1886. Hauck, Minnie (^howk). Soprano; U. S. A. B. 1852. Haupt, Carl [hoiv/if). Tlieorist, organist; Germany. \^. 1810; d. 1891. Hauptmann, M.ori\.z {hcwpt-m.m). Theorist, teacher; Ciermany. B. 179; ; d. 1868. Haweis, Rev. H. R. Essayist; England. B. 183S ; (1. I90I. Haydn, Josef {/lii^hdn). Composer; Austria. B. 1732; d. 1809. the second I'lz above the treble staff, six and one-half octaves. The natural harmonics, produced by touching the middle of the string ligluly with one hand, are extremely effective in very soft passages. Harpe (Kr.), Harfe (Ger.). The harp. Harpsichord, Harpsicol, Clavicin (Fr.), Cembalo (It.), Clavicembalo (It.), Fliigel (Ger.). A string instrument with keyboard, in shape like the modern grand piano. The .sound was produced by pieces of (]uill, leather, or tortoise-shell, which scratched across the strings when the keys were struck. Harpsichords were often made with two rows of keys and with stops, bj means of which the tone might be modi- Hed. Haupt (Ger.) [how/'t). Head; chief; prin- cipal. Hauptmanuel. Great organ. Hauptnote. Essential note in a turn, mor- dent, etc. Hauptsatz. I'rincipal theme in a sonata or rondo, etc. Hauptwerk. Great organ. Hautbois (Fr.) {kote-boa). See Oboe. Hautbois d'amour. A small variety of the hautboy. H dur (CJer.). B major. H moll (Ger.) (hah moll). B minor. Head. The membrane of a drum ; the peg- box of violin, guitar, etc. Head Voice. See Voice. Heftig (Ger.). Impetuous. Literally, heav- ily. Heimlich ((Jer.). Mysteriously; secretly. Heiss (Ger.). Ardent. Heiter (Ger. ). Clear; calm. Heptachord [(ir. , hepta, seven; korde, string]. A scale or lyre with seven diatonic sounds. Haydn, Michael. Composer; Austria, B. 1737; d. 1806. Hayes, Catherine. Soprano; Ireland. B. 1825; d. 1861. Hegner, Otto. Pianist. B. 1877; d. 1915. Heller, Stephen. Pianist, composer; Pesth. B. 1814; d. 1888. Helmholtz, H. L. F. Acoustician ; (Ger- many. B. 1821 ; d. 1894. Henkel, H. Pianist, teacher, composer. B. 1822; d. 1899. Hennes, Aloys. Teacher, pianist; Germany. B. 1827; d. 1889. Henrion, Paul {honff-rec-otig). Composer, pianist; France. B. 1819. Henschel, Geo. Composer, singer, conduct- or; Germany. B. 1850. HERABSTRICH 47 HYMN TUNE Herabstrich or Herstrich (Ger.). Down bow. Heraufstrich or Hinaufstrich (Ger). Up bow. Hidden Fifths or Octaves. Called also concealed. These occur when two parts or voices take a 5lh or 8th in parallel motion. The rule forbidding; hidden 5ths and 8ths is now very little regarded. His (Ger.). B sharp. Hoboe, Hoboy. See Oboe. Hochzeitsmarsch (Ger.) [hoch-tseits). Liter- ally, high time. A wedding march. Hohlflote (Ger.) {hole-fla-teh). Hollow flute; an organ-stop of 8-foot tone, soft, full ([ual- ity ; a stop of the same character a fifth above the diapason is called Hohlquinte [kvin- teh). Holding Note. A sustained note ; a pedal pc'int. Homo'' phony, Homo'phonic, Homo'- phonous [Gr. , homo, one or single ; phonos, sound]. Music in which one part (melody) is the most important factor, the remaining parts being entirely subsidiary, that is, simply accompaniment. Horn [It., Corno ; Fr., Cor; tier., I/orn or WaU/iont]. A generic term for instruments of brass or otlier metal, wood, or animal ^enselt, A. Composer, pianist; Germany. B. 1814; d. 1889. Hering, Carl G. Teacher, pianist ; Germany. B. 1765 ; d. 1853. rterold, Ix)uis J. F. (heh-rold). Composer; France. B. 1791 ; d. 1833. Herz, Henry (Jierts). Pianist ; Austria. B, 1806; d. 1888. Hesse, Ad. F. {hes-seh'\. Organist; Ger- many. B. 1809 ; d. 1863. Heuschkel, J. P. {hoysh-kel'). Pianist, teacher; Germany. B. 1773; d. 1853. Hiller, Ferd. Composer, conductor, pianist ; Frankfort. B. 1811 ; d. 1885. Hiller, Johann A. Conductor, composer; Gorlitz, B. 1728; d. 1804. Himmel, F. H. Composer; Germany. B. 1765; d. 1814. Hofmann, H. Composer, pianist; Germany. B. 1842; d. 1902. horns sounded by means of a cup-shaped mouth-piece. In modern usage applied only to the orchestral horn, called al>o French horn. A brass instnnneiit with a long, nar- row tube bent into a immber of circular curves, with a large bell. The moderti horn is provided with pistons, which make it a chromatic instrument. The custom is now almost universal of using the horn in !•', the part for which is written a fifth higher than the actual sound.s. Before the application of pistons to the horn its jiart was always written in C, and the key was indicated by writing: Corni in Bj^or Et?, etc., as the case might be. Many composers retain this method of writing, i)ut the horn-players generally transpose the part , , vista to suit the F-horn. Horn Band. In Russia, a band of performers, each one of whom plays but one sound on his horn. Hornpipe. An old English dance of a lively, rapid character. Horn-Sordin (Ger.). A contrivance placed in the mouth of the horn to deaden the tone. Humoresque (Fr.)(oo-wo-;r.f/f), Humoreske (Ger). A caprice ; humorous fantastic com- position. Hunting Horn [Fr., Cor de Chasse ; It., Corno di Caccia\. The horn from which the orchestral horn was developed. Hymn Tune. A musical setting of a religious lyric poem, generally in four parts. Hofmann, Joseph. Composer, pianist ; Ger many. B. 1877. Hoi, Richard. Composer, pianist. B. 1825 d. 1885. Horsley, Wm. Composer; I'ngland. B 1774; d. 1858. Horsley, Ch. E., his son. Composer; Eng land. B. 1821 ; d. 1876. Huber, Hans. Pianist, teacher; (iermany B. 1852. Hucbald. Theorist ; Flanders. Tenth cen tury. Hullah, John P. Teacher of singing, com poser; England. B. 1812; d. 1884. Hiillmandel, N. (^h eel-man-del ^. Pianist, composer; Alsace. B. 1751 ; d. 1823. Hummel, J. N. Composer, pianist ; Press- burg. B. 1778; d. 1837. Hiinten, Franz. Composer, teacher; Ger- many. B. 1793; d. 1878. IDfeE FIXfeE 48 INSTRUMENT [die fixte (!•>.) {e deh fixfh). Fixed idea; a name f^iveii hy 15erlioz lo a sliort themo used as llie priiieij)ai motive of an extended composition. Idyl [!•>., Jiiyllc; dr., Ei.iulliofi']. A .small iniajje or form ; a short, tender piece of music generally of a pastoral character. II piu (It.) {eel />eu). The most. II piu forte pcssibile, as loud as possible. Imitando (It.). Imitating; as, Imitando la voce, imitating the voice ; a direction to the instrumentalist to imitate the vocalist. Imitation. A device in counterpoint ; a musical phrase being given by one voice is immediately repeated by another voice. There are many varieties of imitation : (l) 15y augmentation, when the imitating part is in notes of twice or four times the value of those in the theme. (2) Hy diminution, when the value of the notes is reduced one- half or one-fourlh. (5) Hy inversion, when the intervals are given by the imitating part in inverted order. Imitation is called Can- onic \,.hen the order of letters and intervals is exactly repeated, thus : — C D E 1'" G A HC Strict, when the order of letters only is re- peated, as : — C I) E K A H C D Free, when the theme is slightly altered, hut not enough to destroy the re.semblance. The theme is called the antecedent ; the imitation, the conseciuent. There are other varieties of imitation, but they are now gen- erally obsolete, being more curious than musical. Immer ((Jer.). Ever; continuously; always. Impaziente (It.) [im-pah-tse-en-teh). Im- patient ; restless. Impazientemente (It.). Vehemently ; im- patiently. Imperfect Cadence. Same as Half Cadence. Imperfect Consonance. Major and minor thirds and sixths. Imperfect Fifth. The diminished fifth. Imperioso (It.). Imperiously; with dignity. Impeto (It.) {im'-peh-to), con. With impetu- osity. Impetuoso (It.), Impetuosamente (It.). Impetuously. Implied Intervals. Those not expressed in the figuring. Incledon, Ch. B. 1763 ; d. 1826. Tenor; England. B. Imponente {\\..)(im' -po-nen-teh). Emphatic; pompous. Impromptu. (l) An extemporaneous per- formance (2) A piece of nnisic having the character of an extemporaneous perform- ance. Improvisation. Unpremeditated music. Improvise. To play unpremeditated nuisic, Improviser (Er. ) [im-pro-vec-seh), Improv- visare (It.). To extemp.orize. Improvvisatore (It.). An improviser (male). Improvvisatrice (It.) (im - prov-vi ■ sa-tree- cheli). An improviser (female). In alt (It.). The notes in the first octave ai)ove the treble staff. In altissimo (It.). All notes above the octave in alt. In nomine (I. at.). In the name; a sort of free fugue. Incalzando (It.) (in-cal-tsan-do). To chase; pursue hotly, with constantly increasing vehemence. Indeciso (It.) {indeh-chee-so). With inde- cision ; hesitating. Infinite Canon. See Canon. Inganno (It. ). Deceptive. Cadenza inganno, deceptive cadence. Inner Parts. The parts that are neither at the top nor the bottom, as the alto and tenor in a chorus. Inner Pedal. A sustained note in an inner part. Innig (Ger.). Heartfelt; fervent. Innigkeit (Ger.), mit. With fervor; intense feeling. Inniglich (Ger.). See Innig. Inno (It.). Hymn. Innocente (It.) {in-no-clien'-teh), Inno- centemente. Innocent; natural. Innocenza [inno-c/icni'-sa/i), con. With artlessness. Inquieto (It.) (/«-^«£V-«7/-/'y). Unquiet; rest' less. Insensibile (It.) (in-sfnsid>ee-lf/i), Insen- sibilmente (It.). By imperceptible degrees; gradually. Insistendo (It.), Instante (It.), Instandig (Ger.). Urgent; pressing. Instrument. Any mechanical contrivance for the production of musical sounds. Instruments are classified as follows : String instruments, wind instruments, pulsatile in- Isouard, Nicolo {e-soo-ar). Composer; Malta. B. 1775; d. 1818. INSTRUMENTATION 49 INTRODUCTION strumcnts. String instruments are divided into ijuw instruments, violin class; instru- ments the strings of which are plucked by the lingers — harp, guitar, etc. ; i)lt ctral, /. e. , the strings struck by a nxl or ihin strip of W(K)d, metal, etc., as mandolin, zither; strings struck by hammers held in the hand — cymbal ; strings struck liy hammers op(.rated by keyboard — piano-forte. Wind instru- ments are divided as follows: (I) Vibrat- ing column of air — Ihites and fluestO|)s of organ. (2) Single reed — clarionet, saxo- phone, basset horn, reed-stops in the organ. (3) Double reed — oboe, bassoon. (4) hiee reed — harmonium, vocalion, cabinet organ. (5) brass instruments in which the lip of the player acts as a reed — trumpet, horn, etc. Pulsatile instruments — drums, triangles, cymbals, bells, xylophone. The small or chamber orchestra includes the following instruments: String — first violins, second violins, violas, violoncellos, contrabass!. Wood-wind — pair of tlutes (It., flauti), pair of hautboys (It., oboi), pair of clario- nets (It., clarionetti), pair of bassoons (It., fagotti). Brass- wind — pair of trumiiets (sometimes omitted) (It., clarini), pair of horns (It., corni), pair of kettle-drums (It., timpani). The addition of three trombones changes this to the full or grand orchestra, which is often augmented by the addition of the following instruments : Wood- wind — piccolo or octave tlute, Kng- lish horn (It., corno Inglcse), alto or bass clarionet, double bassoon (It., contra fa- gotto). In the brass quartet the horns are increased to four, and the alto, tenor, and bass trombones are added and the bass trombone reinforced by the bass tuba. Three or more kettle-drums are frequently employed, also the following |)ulsatile instruments: large drum, snare drum, tri- angle, and cymbals. The harp has almost become an essential in the modern orchestra, whetiier large or small. Instrumentation. The art of using a num- ber of instruments in combination ; the manner of arranging music for the orches- tra. Instrumento or Stromento (It.). An instru- ment. Instnimento or Stromento di corda (It.). String instrument. Instrumento or Stromento di fiato (It.). Wind instrument. Interlude, Intermede (Fr.) [in-ter-niaiie), Intermedio (It.) {itt-ter-meJi-iieo). A short piece of music between the acts of a drama or the verses of a hymn. Intermezzo (It.) [in-ter-mcdzo). An inter- lude ; a short movement connecting the larger movements of a symphony or sonata. Interrupted Cadence. See Cadence. 4 Interval. The difference in pitch betweett two .sounds, 'i'he name of an interval is determined by the number of letters it includes (counting the one it begins with and the one it ends with). Seconds may be minor (K, I-'), major ( ll, V^), augmented ( K|?, Yf,). 'I'hirds m.ay be minor (K, Ci), major (K, ()#), diminished ^ lO, (it?). Fourths may be perfect (F, .\), augmented (E, A#), diminished ( K, At?). The inversion of an interval jjroduces one of the opposite kind except when it is per- fect. Inversion of minor 2d |)roduces major 7th, and since all intervals lie within the octave, and the octave con- tains twelve halftones, it follows that an interval and its inversion must together make an octave or twelve half-tones. In- tervals are further divided into consonant and dissonant, the consonant into perfect and imperfect. The perf('ct consonances are the 4th, 5th, and octave. They are called perfect , 3cau.se any alteration of them pro- duces a dissonance. I'he imperfect conso- nances are the major and minor 3d and 6th, called imperfect because e(|ually con.sonant whether major or minor. All other inter- vals are dissonant, that is, one or both the sounds forming them must move in a cer- tain direction to satisfy the ear. If the dis- sonant is minor or diminished the sounds must ai)proach each other (except minor 2d) ; if major or augmented they must sep- arate (except major 7th, which may move either way). Intervals are augmented wlien greater than major or ]>erfect. Intervals are diminished when less than major or perfect. The prime or unison is often called an in- terval and if altered, as, (,' CS, is called an augmented unison or |irime; it is more properly a chromatic semitone. Natural intervals are those found in the major scale. Chromatic intervals are those found in the harmonic minor scale and in chords that include sounds foreign to the scale or key. Intimo (It.) [in'-tt-e-mo). Heartfelt; with emotion. Intonation, (i) The correctness or incor- rectness of the jiitch of sounds produced by the voice or by an instrument. (2) The notes which ijn.'cede the reciting notes of the CJregorian chant. Intoning. In the Anglican Church the sing- ing of prayers, etc., in monotone. Intrada (It.). An introduction or interlude. Intrepido (It.) {in-tre-pfe-do\, Intrepidezza, con (It.) (in-trt'h-pcfdftza), Intrepida- mente (It.) \in treh-pec-da men-teh). Bold- ly ; with daring ; dashingly. Introduction. A preparatory movement to a piece of music, symphony, oratorio, etc., sometimes very short, sometimes a long, elaborate movement in free style. INTROnUMONE 60 Introduzione (It.) {in-troJoo-tse-onth). In- troduction. Introit. A short anthem sun); before the ad- ministration of tiu: communion in the I'ro- testant Kpisco|)al Church ; in tiie Ronian Calhohc Church before the celebration of the mass. Invention. A name jjiven by Hach to a set of tiiirty pieces in contrapuntal style. Inversion, (i) of intervals. See ////^rrw/. (2) Of chords, when any member of the chord but the root is used as a bass. (3) Of themes. .See Imitation. Ira (It.) [erah], con. With anger. JUST INTONATION Irato (It.) (t-rak'to). Angrily. I Irlandai8(Fr.) (/>-/salterion by means of plectra attached to tiiiniblcs. Kantate (Ger.). Cantata. Kanzone (Ger.), Kapodaster (Ger.), Capo- tasto, Kassation (Ger.), Kavatino(Ger.). See same words under C. Kapellmeister (Ger.). The leader of a liand or chorus attached to a royal or noble house- hold. Kapellmeister-Musik (Ger.). A contempt- uous term for music that is dull and un- orij^inal but correct and pedantic. Keckheit (Ger.). Holdness. Mil Keckheit, with boldness. Kehrab or Kehraus (Ger.). Lit., turn out. The last dance at a ball. Kent Bugle. A wind instrument generally made of copper, with cup-shaped mouth- piece, furnished with keys. Keraulophon [from Gr. , keras, horn; aulas, llute; and phone, sound]. A soft tlue-stop of 8-foot |)itch. Keren. A Hebrew trumpet. Kettle-drum. A half sphere of copper, the head made of vellum, which may be tight- ened or loosened by means of screws or braces. The kettle-drum is the only drum from which sounds of definite pitch may be obtained. They are generally used in pairs in the orchestra, and are tuned to the tonic Kafka, J. C. Violinist ; Austria. B. 1747 ; d. 1800. Kafka, J. N. Comjx)ser and pianist ; Bohe- mia. B. 1819; d. 1886. Kalkbrenner, F. W. M. { kalkhrenner). Pianist, composer; Germany. B. 1 784; d. 1849. Kalliwoda, J. \V. {kal-Iee-vo'-dah'). Com- poser, violinist ; Bohemia. B. 1800 ; d. 1867. Kastner, J. G. (ias/-ner). Composer; Alsatia. B. 1810; d. 1867. K^ler B61a, A. von {keh-ler heh-ld). Com- poser, band-master ; Germany. B. 1820 ; d. 1882. and dominant of the key, but mtxlern writers a(io|)t various other methods of tun- ing ; it is also quite usual now to use three drums. The larger drun» may be tuned to any note from W The smaller ^^ ^ =-^«^' In old scores the drum part was always written in C and the sounds wished were indicated by writing rim|)ani in F, BJ?. etc. The modern custom is to write the actual sounds. Key, (l) A series of .sounds forming a major or minor scale. See Scalf. (2) \ piece of mechanism by means of which the ventaj;es of certain wind instruments, as tUite and clarionet, are closed or opened. (3) .V lever by which the valves of the organ are opened or the hammers of the | lano- forte put in motion. (.•/ Table of Signatures aud Xiimes of all the Major and Minor Keys on the following page, ) Keyboard, Klavier (Ger.) {kla-feer). The rows of keys of the organ or piano ; those for the hands are called manuals, for the feet, pedals. Keynote. The sound or letter with which any given scale begins ; tonic. .See Scale. Kinderscenen (Ger.) ( kinder - stsa ■ nen ). Child-pictures ; a name given by Sclnnnaim to a collection of little pieces for the piano. Kinderstiick (Ger.). Child's piece. Kirchenmusik (Ger.). Church music. Kirchenstil. Church style. Kirchenton. Ecclesiastical mode. Kellogg, Clara Louisa. Singer; U. S. A. B. 1842; d. 1916. Kerl, J. C. {kerl). Composer, organist; Bavaria. B. 1628; d. 1690. Kiel, Fredk. {keel). Composer; Germany, B. 1821; d. 1885. Kiesewetter, R. G. von. Essayist ; (Jer- many. B. 1773 ; d. 1850. King, Julie Rive. Pianist; U. S. A. B. 1856. Kircher, A. Historian; Germany. B. 1602; d. 1680. Kirnberger, J. P. {keern-behr-ger). The- orist; Germany. B. 1721; d. 1783. KIT KNEE-STOP TABLE OF SIGNATURES AND NAMES OF ALL THE MAJOR AND MINOR KEYS. Key-«;8na. g^^,;^^ C-major A-minor German. Cdur A moll G dur E moll Ddur H moll A dur French. Ut majeur La mineur Sol majeur Mi mineur Re majeur Si mineur La majeur Italian. Do maggiore La niinore Sol maggiore Mi niinore Re maggiore Si minure La maggiore harp minor Fis moll Fa diese mineur Fa diesis niinore iE-maior E dur Mi majeur Mi maggiore C-sharp minor Cis moll Ut diese mineur Do diesis niinore '"Jt } n-major H dur Si majeur Si maggiore * ( G-sharp minor Gis n oil Sol diese mineur Sol diesis minora , ^ f F-sharp major Fis dur Fa diese majeur Fa diesis maggiore $ — \ D-sharp minor Dis moll Re diese mineur Re diesis minore A-k-t>— /G-flat major Ges dur Sol bemol majeur Sol bemolle maggiore -flat minor Es moll Mi bemol mineur Mi bemolle minore ^— — f D-flat major Des dur Re bemol majeur Re bemolle maggiore fc|i:zz \ B-flat minor B moll Si bemol mineur Si bemolle minore ( A-flat major As dur La bemol majeur La bemolle maggiore ";=^ 1 F-minor F moll Fa mineur Fa niinore .(SLh= :z |c-mi -flat major nor ^ f B-flat major \ G-minor ML;^£z={d -major minor Es dur C moll B dur G moll F dur D moll Mi bemol majeur Mi bemolle maggiore Ut mineur Do minore Si bemol majeur Si bemolle maggiore Sol mineur Sol minore Fa majeur Re mineur Fa maggiore Re minore Natural key. Keys with sharps. Keys with flats. Kit, Pochette (Fr.), Taschengeige (Ger.). A small pocket-fiddle used by dancing- masters. Klangfarbe (Ger.). Lit., sound-color. (Quality of tone; timbre (Fr. . tambr). Klavier or KlaviLtur (Ger.) {kla-feer\ klah- fcea-toor'). Keyboard. Klavierauszug. Pianoforte arrangement. Klaviermassig. Suited to the piano. Kittl, T. F. Organist; Bohemia. B. 1806; d. iAr.8. Kjerulf, Ilnlfdan {keeroolf, hofiiati). Com- poser; Norway. B. 1815 ; d. 1868. Klein, Michel R. [kline^meechel). Pianist; Silesia. B. 1 846. Klaviersatz. In piano-forte style. Klavierspieler. Pianist. Klein (Ger.). Small; minor. I'lein gedeckt. Small stopped diapason. Knee-stop. A lever controlled by the knees of the performer, used in the harmonium or cabinet organ either to operate the swell or to put on or oft" the full jxiwer of the instrument. Klengel, A. A. Composer, pianist. B. 1784; d. 1852. Klindworth, C. (klint--.i/(tsh'). Basso; Na- ples. B. 1794; d. 1858. Lachner, Franz (/), brother of above. Composer, conductor; Bavaria. B. 1807; d. 1895. Lacrimoso or Lagrimoso (It.) [from /«• ^;;';-/w(/, tear]. Tearfully; mournfully. Lamentabile, Latnentabilmente, Lamen- tando, Latnentevolmente, Lamente- vole, Lamentato [It., from tamcntare, to lament |. .Mournfully; compIainin},'ly. Lachner, Vincenz (laih'>iehf\, brother of jiriceding. Organist, conductor; Bavaria. 1;. 181 1 : (1. 1X95, La Grange, .Anna {lah i^ronzh). Soprano; Paris. B. 1825. Lalo, Edward {!). Composer, violinist ; France. B. 1S2; ; d. 1S92. Lambillote, \.ri\\\^{/(iiiibtY-y<>te). Comixjser; France. B. 1797 ; d. 1855. Lamoureux. Ch. (/n/i/no-roo). Violinist, conductor; I'"rance. B. 1834; d. 1899. Lampeni, V. (/iiM/ifAr^-ffe). Singer; Italy. B. 1813; .1. i8q2. LANCERS 64 LEGGIADKAMENTE i Lancers. The name of a variety of the contra dance. Liindler (Ger.) \laynJ-lei). A slow waltz of South German origin. Langsam (Ger. ). Slow. Etwas langsam, rather slow (poco adaf;io). Ziemlich {tseem- liih) langsam, nuxier.'Ucly slow (andante). •Sehr langsam, very slow (adagio). Language. The dia|)hragm of a flue-pipe. Languendo ( It. ) ( ian - ^wen'- do ) , Lan- guente (It.) {lnn-gT.uen'-leh) [from Ian- f^uire, to languish], Languemente (It.) (Jan-g7veh-men' -tfh). In a languishing style. Largamente (It.). Broadly; slowly; with dignity. Largando (It.). Gradually slower and broader. Largement (yx.^[larzh-»iong). Largamente. Larghetto (It.) {lar get-to). Rather slow. Larghissimo ^It.) (far-gis-sim-mo). Slowest possible time. Largo (It.). Lit., large; broad. Very slow, stately movement is indicated by this term. Largo assai. Slow enough. Largo di molto. Very slow. Largo ma non troppo. Slow, but not too much so. Larigot (Fr.) {laiigo). An organ-stop of l]/^- foot pitch, that is, a twelfth-stop. Lauftanz ( Ger. ). Running dance ; the coranto. Launig (Ger. ) {/o7v-ntg). Gay ; light ; facile. Lavolta (It.). An old Italian dt -"e resem- bling the waltz. Lay [Ger., Lied; Fr. , l(ii\. A song. Leader. Conductor ; pr incipal violini^^ in {ii;i "ijhrilrr ; principal clarionet in a wind uaiid ; jirincipal cornet in a brass band. Leading Motive. In Gennan, Leitmotiv^ q. 7'. Leading Note. The 7th note of a scale ; in the major scale the 7th is naturally a half- tone below the keynote, in the minor scale Lang, lien. J. Composer, pianist, conductor; U. S. A. B. 1840; d. 1909. Lange, Gustav { lattg' -eh). Composer, ]iianist; (lermany. B. 1830; d. 1889. Lanner, Jos. V. K. {Inn'-ner). Composer; Austria. B. 1801 ; d. 1843. Laport, Ch. P. {In fi -port). Composer; Paris. B. 1781 ; d. li 39. Lessen, Eduard. Composer ; Denmark. B. 1830; d. 1904. Lavalee, Calixa (Jah-vah-leh). Composer, pianist; Canadn. B. 1842; d. 1888. ,Le Carpentier, .Xdolphe C, {U cur - pong- tee- fh). Composer, oianist; Paris. B. 1809; d. 1869. it is naturally a whole tone below, and must be raised by an accidental (see Minor Scale); called also sub-tonic. Leaning Note. See Appoggialura. Leap. To move from one tone to another more than one degree distant ; the reverse of diatonic or chromatic. Lebendig (Ger.) (leh-l>en'-dig), Lebhaft (i^^t.) [lehb'-hahft). Lively; with anima- tion. Ledger Line. See Leger Line. Legato (It.) {leh-gah'-td), Legando (It.) Ueh-gan' -do) [from legare, to tie or bind]. Passages thus marked are to be played with smoothness, without any break between the tones. Legatissimo, as smooth as possible, the tones slightly overlapping. Legato is indicated by this sign - called a slur. The proper observance of I .egato is of the utmost Importance in phrasing. Legatura (It.; {leh-gali-too' -ra). A tie. Legatura di voce (lie-vo-cheh). A group of notes sung with one breath ; a vocal phrase, Legend, L6gende (Fr.) {leh-zhend ), Le- gende (Ger. 1 Uchghen' -deh). A name given to an extended lyric composition, somewhat in the manner of " program music." [6/; Chopin's Legendes.] Leger, Legere (Fr.) {leli'-%hehr). Light. Leger Line. Short lines used for notes which are above or below tlie staff. Legerment {leh-zhehr-mong). Lightly. Leggeramente ( led • jehr • a - men' - teh ). Lightly. Leggerezza (It.) (led-jeh-ret'-za). Lightness. Leggero (Jed-}eh-ro), Leggiero [led-jee-ro). Light ; rapid. Leggiadramente (It.) {Jed-jahdrah men'- teh), Leggiaramente {led-jahrah men' teh), Leggiermente {led -jeer- men' -teh). All these terms (derived from the same root — leggiere, light, quick, nimble,) indicate a light, rapid style of performance without marked accent. Liclair, Jean M. (/eh-elnre). Composer, violinist; F'rance. B. 1687; d. 1764. Lecocq, Alex. Ch. (le-kok). Composer; Paris. H. 1832; d. 1911. Lecouppey, I'elix {le-eooppnv). Composer, pianist; Paris. B. 1814; d. 1887. Le Due, Alphonse. Composer, jiianist; France. B. 1804; d. 1868. Lef6bure-W61y, Louis J. A, ( lefeh-boor- veh-lee). Composer, organist; Paris. B. 1817; d. 1869. Lemmens, Nicholas J. Organist; Holland. B. 1823; d. 1881. Lemoine, Henri. Composer, pianist ; I'ari*. B. 1786; d. 1854. LEGNO 86 I/ISTESSO Legno (It.) (!ehn-yo). Wood. Col legno, with the wood. A direction in violin play- ing to strike the strings with the wooden part of the bow. Leicht (Ger. ). Light ; easy. Leichtbewegt (Ger.) ( beh • vehgt ). Light ; with motion. Leidenschaft (Ger.). Passion; fervency. Leidenschaftlich (Ger.). Passionately. Leierkasten. Barrel-organ. Leiermann. Organ-grinder. Leise (Ger.) [lei' seh). Soft ; piano. Ltiter (Ger.). Ladder. Tonleiter, tone- ladder ; scale. Leitmotiv (Ger.). Leading motive ; a name given by Wagner to certain striking phrases used to indicate certain emotions, characters, or situations. Leitton (Ger.). Leading note. [Note, —ti in German is sounded like eye in English.] Lenezza (It.) (Jeh-net'-za). Gentleness. Leno (It.) [leh'-no). Faint ; feeble. Lentamente {len-tah-mcn-teh). Slowly. Lentando. Growing slower ; retarding. Lentezza {len-tet-za). Slowness. Lento (It.). Slow, between adagio and grave. Lesser. Minor is sometimes so called, as key of C with lesser third ; C minor. Lesson. A name used in P^ngland for the suite, or the various members of it. Lesto (It. ) (/c^'-.s/o). Lively; brisk. L etter Nam^. The letter used to designate a degree of the scale, key of piano or organ, line or space of the staff. Levi (Fr.) {leh-veh). Raised; up-beat. Leyer or Leier (Ger.). Lyre. Liaison (Fr.) {lee-eh-song). A tie. Libellion. A variety of music-box. Liberamente (It.) {lee-beh-ra-men'-teh'), Librement (Fr. ) [leebr-mong). Freely. Lemoine, Jean B. (le-mo-ane). Composer; France. B. 1751 ; d. 1796. Leschetitsky, Theodor {Icli-shay-tit'-skee). Coniijoser, pianist; Austria. B.i83i;d.i9i5. Leslie, Henry D. Composer, conductor; London. H. 1822; d. 1896. Leybach, Ignace {li'-barh). Composer, pi- anist ; Alsace. B. 1817; d. 1891. Lickl, J. G. Composer, organist; Germany. B. 1769; d. 1841. Liebling, Kmil (/<'<'/i-//>;(,'-). Pianist; Silesia. B. 185 1; d. I9'i4. Lille, (iaston de [if^l). Composer; France. B. 1825. Libretto (It.) {lee-bret to). Little book ; the book of an opera or oratorio, etc. License, Freiheit (Ger.), Licence (Fr.), Licenza (It.) {tee-chentza). An intenlional disregard of a rule of harmony or k.c unter- point. \Az^o {\\..) (Jee-cheh'-o). Lyceum; academy of music. \M {^'r.) {lee-eh). Tied; l)ound ; legato. Lieblich (Ger.). Sweet; lovely. Lieblich gedacht. Stopped diapason. Lied (Ger.) (feed). Song. Durchkom- poniertes Lied (all through composed), a song with different melody, etc., to every stanza. Strophenlied, the same melody repeated with every stanza. Kunstlied, art song ; high class of song. Volkslied, people's song ; national song. Lieder-Cyclus. Song-circle (as Schubert's MUllerin). Liederkranz. A singing-society. Liederkreis. Song circle ; collection of .songs. Liederspiel. Song-play ; operetta ; vaude- ville. Liedertafel (song-table). A social singing- society. Ligato. See Legato. Ligature. A tie. See Legatura. Ligne (Fr.) {leeti), Linea (It.) {lee' neh-ah), Linie (Ger.) [lee-nee-eh). Line. Lingfua (It. )(/m^-w/a^'). Tongue; reed of organ-pii)e. Linke Hand (Ger.). Left hand. Lip. The upjier and lower edges of the mouth of an organ pipe. To lip, the act of blowing a wind instrument. Lippenpfeife or Labialpfeife (Ger.). A Hue pipe-c jan. Lira (It.) [lee'-ra). Lyre. Lirico (It.) ijee' -reeco). Lyric. Liscio (It.) (lee'-sko). Smooth. L'istesso (It.) {lis-tes'-so). See fstrsso. Lind, Jenny. Vocalist ; Sweden. B. 1820 ; d. 1887. Lindley, Rob. Violoncellist; England. B. 1776; d. 1855. Lindley, Wm., son of R. Violoncellist; England. B. 1802; d. 1S69. Lindpaintner, Peter J. von. Composer, Coblenz. B. 1 791 ; d. 1856. Linley, George. Composer; England. B. 1798; d. 1865. Linley, 'ITiomas. Composer ; England. B 1732; d. 1795. Linley, William. Composer; England. B. 1767; d. 1835. LITANY 66 MACHINE HEAD L'.tany [from Gr., litaino, to pray]. A form of prayer consisting of alternate petitions and resjionses by priest and people, fre- quently sung or chanted. Livre (Fr.) [leevr). Book. A libre ouvert, " a» open book ; " to sing or play at sight. Lobgesang (Ger. ). Song of praise. Loco (It. ). Place; play as written. Usee' after 8va. Lontano (It.), Da lontano. As if from a distance. Losung or Auflosung (Ger.) [lay-soonk) [from Ger., losen, to free]. Resolution. Loud Pedal. A name for the damper-pedal. Loure (Fr. ) {loor). (l) A slow dance in * or I time. (2) An old name for a variety of bag-pipe. Lour6 {Vt.) {looreh). Legato; slurred. Low. (l) Soft. (2) Deep in pitch. Lugubre [Fr., ho-goolr ; It., loo-goo-breh^ Mournful. Lullaby. Cradle song ; berceuse. Lunga (It.) Long. Lunga pausa, long pause. Luogo (It.). See Loco. Lusingando (It.) (loos-in-gan'-do'), Lusin- gante (It.) \loo-sin-gan'-te/i), Lusinghe- volmente (It.) {loo-sing-eh-Tol-men'-teh), Lusinghiere (It. ) {loo - sin -gee - eh - reh). Coaxing ; caressing ; seductive. [From It., lusingare, to coax or flatter.] Lustig (Ger.) (/wi-/?;^'-). Merry; gay ; lively. Lipinski, Karl J. {lip-in' -skee'). Violinist; Poland. 15. 1790 ; d. i86l. Lisle, Rouget de (/fd-/). Composer; France. J5. 1760; d. 1836. Listemann, B. F. {lis'-teh-man). Violinist; Germany. B. 184I; d. 1917. Liszt, Franz {list). Composer, pianist; Hun- gary. B. i8ri ; d. 1886. Litolff, Henri C. {lee'-tolf). Pianist ; Eng- land. B. 1818; d. 1891. Logier, J. B. (/tJ-yV^;-). Composer; Germany. B. 17S0; d. 1846. Lortzing, Gustav A. (lorl-zing). Composer; Gennany. B. 1803 ; d. 1851. Lute, Luth ((Jer.) {lool). A string instru- ment of the guitar family of very ancient origin. It was brought into Furcpe by the Moors. In shape it resembled the mando lin, and was strung with from six to twelve or more strings of gut. The bass strings were wire-covered and did not pass over the fingerboard. lor several centuries the lutes held the foremost place as fashionable instruments. They were made of several sizes. The larger varieties were called Theorbo, Arch Lute, or Chittarone. Music for the lute was written in a system of nota- tion called tablature, . ; /Vu tria. B. 1S41; d. 1908. Lully, Jean Bap. de {lul-lee). Composer ; Italy. B. 1633; d. 1687. Lumbye, Hans C. {loom' -bee). Composer; Denmark. B. 1808; d. 1874. Lysberg, Ch. S. {lisberg). Composer, pian- ist ; Switzerland. B. 1821 ; d. 1873. M M. Abbreviation for Mano or Main, the band. M. D. Abbreviation for Main Droite or Mano Destra, the right band. 2A. F. Abbreviation for Mezzo Forte, half loud. M. G. Abbreviation for Main Gauche, left hand. M. M. Abbreviation for Maelzel's Metro- nome. M. V. Abbreviation for Mezzo Voce. Ma (It.). But. Machine Head. The screw and wheel con- trivance used instead of pegs in the guitar, etc. MADRE 87 MARCATISSIMO Madre (It.) {mah'-dreh). Mother; the I Virgin Mary. Madrigal. A word of uncertain origin. A j name given to contrapuntal compositions in I any number of parts. They differ from the ' motet only in being written to secular words, [ generally amatory. This style of com- position was cultivated with great success in England in Elizabeth's reign. Maesta (It.) [mah'-es-ta), con, Maestade {muh'-es-tahdeh), con, Maestevole {viah'- es - ta -vo - leh), Maestevolmente ( tv/- mente), Maestosamente {mah' -es-tosah- men' -tell). All mean the same thing: — Dignitied ; with dignity. Maestoso (It.) (tnah-es-to' -so). Majestic; with dignity. Maestrale (It.) {mah-es-trah-leh). " Mas- terful ; ' ' the stretto of a fugue when writ- ten in canon. Maestro (It.) {mah-es-tro). Master. Maestro al cembalo. Old term for conduc- tor of orchestra, so called because he con- ducted seated at the cembalo, or harpsi- chord. Maestro del coro. Master of the chorus or choir. Maestro del putti [del pool' -tee). Master of the boys (clioir boys). Maestro di capella. Ma.ster of the church ; choir-master ; also conductor of the music in the household of a great personage. Magadis (dr.). A string in.strument tuned in octaves. Magas (Gr. ). A bridge. Maggiolata (It.) { madjo-lah' -tali). A spring song (from Maggio-May). Maggiore (It.) [madjo'-reh), Majeur (Fr.) [fiiah-zhoor), Dur (Ger.) [diihr). Major. Maggot. Old F^nglish name for a short, slight composition of fanciful character. Magnificat ([.at.). Doth magnify; opening word of the hymn of the Virgin Mary. lAa.\n{Vr.) (ni(ing). Hand. M. D. or droite, right hand; M. G. or gauche, left hand. Maitre (Fr.) (wehtr). Master. Maitrise (Fr. ) [mck-trees). A cathedral mu- sic school. Maas, Louis. Composer, pianist ; Germany. H. 1852; d. 1S89. MacDowell, Ed. A. Composer, pianist; U. S. A. B. 1861 ; d. 1908. Macfarren, Sir G. A. Composer, theorist ; London. H. 1813; d. 1887. Macfarren, Walter C. Composer, pianist ; London. IJ. 1826; d. 1905. McKenzie, A. C. Composer, violinist ; Scot- land. B. 1847. Majestatisch (Ger.) [niah-yestay'-tish). Majestically. Major (Lat.). Greater. Major Chord or Triad. One in which the third over the root is major, i.e., two whole tones above the root. Major Scale. One in which the third of the scale is a major third above the keynote. Major Key, or Mode, or Tonality, has the same meaning. Malinconia ( It. ) (mak-lin-co-nee' -a), Malin- conico, Malinconoso, Malinconioso, Malinconicamente. Melancholy ; in a sad, melancholy manner. Mancando (It.) [from tuancare, to want; fail]. Decreasing; dying away in loudness and speed. Manche (Fr. ) {mansh), Manico ( It. ) [niah'' nee-ko). Handle ; neck of violin, etc. Mandola (It.), Mandora. A large man- dolin. Mandolin, Mandclino (It.) (niun-do-lee-tio). A string instrument of the lute family, strung with eight wire strings tuned in pairs ; the tuning same as the violin ; played by n.eans of a small plectrum ; fingerboard fretted like the guitar. Mandolinata (It.). Resembling the man- dolin in effect. Manichord [from Lat., matins, ha.n{\., chorda, string]. Supposed to lie the earliest form of a string instrument, with keyboard, pos- sibly the same as the clavichord. Manier (Ger.) {mak-neer'). A harpsichord grace. Maniera(It. ) (vian-yeh'-ra). Manner; style. Mannerchor (Ger. ) [man'-tter-kor). A men's clu)rus. Mannergesangverein. Lit., men's song- union. Mano(It.). Hand. D. or destra, right hand ; S. or sinistra, left hand. Manual [from Lat. , mantis, hand]. An organ keylio;ir(l. Marcando, Marcato. Decided ; marked, with emi>hasis. Marcatissimo. As decided as possible. Maelzel, J. N. (male-tsel). Inventor of the metronome ; France. B. 1772 ; d. 1838. Maggini, G. P. {mad - jee'-nee'). Violin- maker; Italy. B. 1581 ; d. 1632. Malibran, Maria F. {mah' lee-bran). So- prano; r.iris. B. 1808; d. 1836. Marches!, Mathilde de C. [mar • keh' - see). Soprano; Germany. B. 1826; d. 1913. Maretzek, Max. Composer, conductor; Brunn. B. 1821; d. 1897. MARCH » meistersAnger March, Marche (Fr.) {mars A), Matcla (It.) {niiir-chee-a), Marsch (Ger. ) [marsh). A composition with strongly marked rhythm, designed to accompany the walking of a body of men. Marches vary in tempo from the slow, funeral march to the "charge." The following are the principal varieties : Parade March (Ger. , Paraden- Alarsch ; Fr. , pas-orciinaire); Quick-march or Quick- step (Ger., Gescliwind- Marsch ; Fr. , pas reJottbli) ; Charge (Ger. , Slurm-Marsch ; Fr. , pas-de-char^i^e). The funeral march and parade march are generally in J time ; the quick marches often in | time. Mark, A sign, q. v. Markiert (Ger.) [mar'-keert), Marqu6 (Fr.) (tnar-kay). See Marcato. Marseillaise (Fr. ) (tnar-sel-yase). The French national song, composed by Rouget di Lisle. Martel* (Fr.) (war-/<'/-/<'>4'),Martellato(It.) {mar-tel-lah' -to). Hammered. In piano mu- sic indicates a heavy blow with stiff wrist ; in violin music, a sharp, firm stroke. Marziale (It.) (niart-se-a^-leh). Martial. Maschera (It.) [mas-kay^-ra). A mask. Mascherata (It.) [tnas-iay' -ra-ta). A mask. Masque. Mask. A species of musical and dramatic entertainment founded on mythical or allegorical themes. Mass, Missa (Lat.), Messa (It.), Messe (Fr. and Ger.). The communion service in the Roman Catholic Church. In music, that portion of the service consisting of the Kyrie, Gloria, Sanctus, and Agnus Dei, which are sung. The word mass is gener- ally explained as being derived from the words '■'■ Ite missa est,'' used to dismiss non-communicants before the service. High Mass is used on feasts and festivals. Low Mass on ordinary occasions, sometimes without music. Mario, G. {niah' -ree-o). Tenor; Italy. B. 1812 (?) ; d, 1883. Marmontel, A. F. Pianist, composer ; Prance. B. 1816; d. 1898. Marpurg, F. W. Composer ; Germany. B. 1718; d. 1795. Marschner, H. [niarsk^-nehi-). Composer, conductor; Germany. B. 179S ; d. 1861. Martini, G. B. [mar-tee' -nee). Composer, theori.st ; Italy. B. 1706 ; d. 1784. Marx, Ad. B. Theorist ; Germany. B. 1799; d. 1865. Mason, Lowell. Composer, writer ; U.S.A. B. 1792; d. 1872. Mason, William (son of L.). Composer, pianist; U. S. A. B. 1829; d. I908. Massenet, Jules V. E. {mas-sehneh). Com- poser; France. B. 1842; d. 191 2. Missig (Ger.) [may'-sig). Moderate; mod- erato. Massima (It.). Whole note. Master Chord. The dominant chord. Master Fugue. One without episodes. Master Note. The leading note. Masure (tnah-soo-re), Masurek, Masurka, Mazurka. A Polish dance in \ time. Matelotte (Fr. ). A sailors' hornpipe dance in \ time. Matinee (Fr.) {ma-tee-neh'). A monnng concert. Mean. Old name for an inner part in music for voices ; also for inner strings, of viol, lute, etc. The C clef was also called the mean clef. Measure. (l) Old name for any slow dance. (2) The portion of music enclosed between two bars. (3) Rhythm. (4) Tempo. Mechanism, Mecanisme (Fr. ), Mechanik (Ger.). (I) A mechanical appliance. (2) Technical skill. Medesimo (It.) {mee -deh'- see-mo). The same as. Medesimo tempo, the same time. Mediant. The third degree of the scale. Mediation. That part of a chant (Anglican) between the reciting note and the close. Meisterfuge (Ger.). See Master-fugue. Meistersanger (Ger.). Master-singers; the successors of the minnesingers or Trouba- dours ; the most renowned was Hans Sachs, of Nuremberg, the hero of Wagner's ojiera, " Der Meistersanger." The meistersSnger first appeared in the 14th century. They were for the most part workingmen, differ- ing in this respect from their predecessors, the minnesingers, who numbered royal and noble singers in their ranks. The meister- sanger only became extinct in 1839, when their last society in Ulm was dissolved. Materna, Amalie. Soprano ; Germany. B. 1847. Mathews, W. S. B. Writer, pianist ; U. S. I A. B. 1837; d. 1012. I Mattel, 'l'ito(wa/-/t7/'-tV, /<■<■'-/«). Composer, j pianist; Italy. B. 184I; d. 1914. Maurel, Victor (;;/o-ral nicHles : Ooriuii (tiic standard mode) I), i'hryyiaii K. I,y(>, beneath, as Hypolydian C#, llypoi)iirygian li, Hypo- dorian A. The succession of sounds was hke that of the natural scale of A minor. Church (or ecclesiastical), or c;re{jorian, or Ambrosian modes were derived from the Greek modes, but discarded tlie chromatic sounds. 'I'lius the Dorian and l'hryt.;ian were the same, that is, had the same initial sounds, but the Lydian began on K instead of l'"#. There are other diflerences between theOreek and the Church modes, viz. : The first four are called authentic ; those the initial notes of which are below the Dorian are called plaj^al ; each plagal mode is con- sidered as the relative of the authentic mode, beginning a 4th above it. The final of a ]ilagal is always made on the initial note of its related authentic mode. If the interpretation of the (ireek modes is to be trusted, the church modes seem to have arisen from a misunderstanding of the ( J reek modes. Moderatamente [moii-e-rah - tah • men'-teh). Moderately. Moderatissimo {mod-e-rah-tis' -see-mo). Very moderate. Moderato (It.) [mod-e-rah' -to). Moderate. Moderazione (It.) [mo-deh-rat-se -o'-neli), con. With moderation. Modificazione (It. ) (/«()-(/(r-/ff-M/-j^-o'-«^A). Modification ; light and shade. Modinha (Port.) {iiio-deen' -yd) . Portuguese love-song. Modo (It.). Mode; style. Modulation. (l) Gradation of sound in intensity. (2) Change of key or tonality. Diatonic modulation moves from one key to another by means of chords from related keys; chromatic motlulation, by means of chords from non-related keys ; enharmonic modulation, by substituting # for I2, or the reverse. A passing or transient modulation is one followed by a (|uick return to the original key; the signature is not changed in a modulation of this kind. A final moil- ulation is one in which the new key is retained for some time, or i)ermanently ; it is generally indicated by a change t>f signa- ture following a double bar. Modus (I.at.). Mode; scale. Moll (Ger.) [Lat., mollis, soft]. Minor. Moll-Akkord. Minor chord. Moll-Tonart. Minor key or mode. Moll-Tonleiter. Minor scale; literally, tone-ladder. MoUe (I,at.). Soft; niedix-val name for ife Hjl being called H durum (hanl). The German words for minor and major (rnoll, dur) are derived from these terms, also ll-.e French and Italian names for tlie tlat sign, viz., French, bimol ; Italian, bemollt-. MoUemente (It.) [mol-kh-men-teh). Softly; sweetly. Molto (It.). Very much. Di molto, ex- ceedingly ; as Allegro di molto, exceed- ingly rapid. Monferina (It.) {mon-feh-ree' -nah). Italian peasant dance in \ time. Monochord [Gr. , motios, one; chorda, string]. An instrument consisting of a single .string stretched over a sound board, on which is a graduated scale giving the proportionate divisions of the string reer.). A sign /yV^ indicating a single rapid stroke of the auxiliary note below the princi- pal followed by a return to the principal. Thus — A^/ Plaved. When the sign is used without the dash through it, thus /VV it is called an Inverted Mordent, or Pralltriller, and con- Molique, B. {tno-leek'). Composer, violinist ; ; Morgan, G. W. Organist ; Kngland. H. Havaria. 15. 1803 ; d. 1869. Molloy, J. L. Composer; Ireland. H. 1837; d. 1909, Monteverde, C. {mon-tehver' -deh). Com- poser ; Italy. P.. 1568 ; d. 1643. 1823 ; d. 1895. Moscheles, Ignaz {mosh'-e-h-hs'). Composer, I)ianist ; Bohemia, Germany. B. 1794; d. 1870. MO REN DO MUTIG sists of the principal and the auxiUary note above. Thus — A/V Played. 2 The Mordent proper is not used in modern music, and the word MorJent is now hy common usajje applied to the inverted Mor- dent, or Pralltrilier. Morendo (It.) [from tnorire, to die]. Dying away ; gradually growing softer and slower. Morisca (It.). Morris dance. Mormorando, Mormorevole, Mormorosa (It.). Murmuring. Morris Dance. A rustic dance of Moorish origin. Mosso (It.). Moved. Piu mosso, faster. Meno mosso, slower. Mostra (It.). A direct /VV^^. generally used in manuscript music to indicate ai unfinished measure at the end of a brace. Moteggiando(It.) {tno-ted-jan'-Jo). Hanter- ing ; jocose. Motett, Motetto (It.). A vocal c""Tiposition to sacred words, written in strict contra- puntal style. The mailrigal differs only in being set to secular words. Many modern compositions to sacred words (not metric) are called motetts, but would more properly be called anthems. Motif (Fr.), Motivo (It.), Motiv (Ger.). Motive. (i) A short, marked musical phrase. (2) A theme for development. See Leitmotiv. Motion, Moto (It.). Conjunct Motion, movement by degrees. Disjunct Motion, movement by skips. Direct, Similar, or Parallel Motion, when two parts ascend or descend together. Contrary Motion, when two parts move in opposite directions. Oblique Motion, when one part is station- ary while the other moves. Mouth. The opening in the front of an organ flue-pipe. Mouth-organ. The harmonica ; Pandean pipes. Mouth-piece. In brass instruments the cup- shaped part applied to the lips ; in oboe, clarionet, etc., the part held between the lips. \y X., embouchure ; \\.., imboccatura ; Ger., Mundstiick.'\ Movement, Mouvement (Fr.) [miwe montf). (1) Tempo. (2) One of the members of a Moszkowski, M. {mosh-koiv^-skee). Com- (X)ser, pianist ; Poland. B. 1854. Mozart, Leopold [mo'tsart). Violinist ; Austria. H. 1719; d. 1787. Mozart, Wolfgang A. (son of L.). Com- poser, pianist; Austria. B. 1 756; d. 179I. sonata, symphony, etc. (3) The motion of a part or parts. Movimento (It.). Movement ; tempo. Dop- pio movimento, double movement ; when a change of time signature from * to ^ occurs, and it is desired to preserve the same rate of movement, or tempo, /'. e., the quarter-note beat becomes the half-note beat. Munter (Ger.). Lively; brisk; allegro. Murky. An old name for a piece of harpsi- chord music with a bass of broken octaves. Musars. Troubadour ballad singers. Musette (Fr.). (i) A bagpipe. (2) An old dance. (3) In the suite the second part or " trio" of the gavotte, etc., i frequently so called, and is written in imitation of bagpipe music. (4) A soft reed stop in the organ. Music, Musica (Lat. and It.), Musique (Fr. ), Musik (Ger.) [from Gr., iiiotisike, from mousa, muse]. Originally any art over which the Muses presided, afterward restricted to the art that uses sound as ;.„ material. Music Box. An instrument in which steel tongues are vilirated by means of pins set in a revolving cylinder. Musical Glasses. An instrument consisting of a number of goblets, tuned to the notes of the scale, vibrated by passing a wetted finger around the edge. Musician. (l) One who makes a livelihood by playing, singing, or teaching music. (2) A member of a regimental or naval band. (3) A composer of music. "Musician" is a very elastic term ; it includes every grade from the drummer and fifer to Mozart. Musikant (Ger.). A vagabond musician. Musiker, Musikus ((Jer.). A musician. (Generally used in a derogatory sense.) Mutation Stop. Any organ-stop not tuned to the diapason or any of its octaves, as the tierce, quint, twelfth, larigot, etc. Stojis of this kind (also mixtures, cornets, sesqui- alteras) are used for the purpose of " filling up" the volume of tone and giving it greater brilliancy. Mute [It., sordino; Fr. , sourdine; Ger., Dampfer'\. A small contrivance of wood or metal placed on the bridge of the violin, etc., to deaden the sound ; a cone or cylinder of pasteboard, leather, or wood plnced in the bell of a brass instrumtnt for the same purpose. Mutig (Ger.) {moo-tig). Bold; spirited; vivace. Mozart, W. A. (son of preceding). Com- poser, pianist. B. 179I ; d. 1844. Murska, lima de. Soprano; Croatia. B. 183s; d. 1889. Mysleweczek, J. [tnis' -leh-veh-thek) . Com- poser ; Bohemia. B. 1737 ; d. 1781. NACAIRE 63 NINETKENTH N Nacaire (Fr.) [ttahkehr'). A large drum. Nacchera (It.) (tiak-keli'-rah). Military tlium. Nach (Ger.). After; according to; resem- bling. Nach Belieben. At pleasure ; ad lihitum. Nach und nach. Hy degrees; pocoapoco. Nachahmung. Imitation. Nachdruck. Emphasis. Nachlassend. Retarding. Nachsatz. Closing theme ; coda. Nachspiel. I'ostlude. Nachthorn (Ger.). Night-horn. An organ - stop; large-scale closed pipes, generally 8- foot tone. Naif (Kr. ), masc. («<;//-//), fern. Naive {nah- fTf). Simple; natural; unaffected. Naiv (Ger. ) {nahif). See A^ quadratum, i. e., square H. In our modern music the.se have been retained as the signs for flat and natural. Natural Horn or Trumpet. Those with- out valves or slides. The sounds produced are called natural harmonics, and are the same as may be produced by touching lightly a vibrating string at any point that ; will cause it to divide into equal parts, as 2, ! .3. 4, t'tc. Nageli, J. G. {nay' -ge - lee). Composer, writer; Switzerland. "li. 1768; d. 1836. Naumann, Emil {no'v-maint). Composer, writer ; Germany. B. 1827 ; d. 1888. Neefe, Ch. G. {ueh'-feh). Organist, com- poser; Saxony. H. 1748; d. 1798. Neruda, J. H. G. (tteh-roo' -do') . Composer, violinist; Bohemia. B. 1707; d. 1780. Natural Major Scale. The scale of C major. Natural Minor Scale. .\ minor; also any minor scale with unchanged t)th and 7tli. Natural Pitch. The sounds i)ri>(luced by flute, clarionet, etc., without overblowing. The flute, oboe, and bassoon overblow at the octave alxjve their fundamental. The clarionet at the 12th. Naturale (It.) (n->;i/i'-l,/i), Nature! (Fr.) (ttah tooitl'). Natural; unallected. Neapolitan Sixth. A name given to a chord consisting of the subdominant with minor 3d and minor 6tli, as F, AJ2, Dt?; used in both major and minor keys. Neben (Ger.) (neh'-ben). Subordinate ; ac- cessory. Neben-Dominant (Ger.). The dominant of the dominant. Neben - Gedanken (Ger.). Accessory themes. Nebensatz (Ger.). An au.xiliary theme in sonata, etc. Nebenwerk. The second manual of the organ. Neck [Ger., Hah; Yx., manche (mongsh)]. The "handle" of violin, guitar, etc.; on its top is the fingerboard ; at its end, the peg-box. Negli (It.) {nehl-yee% Nei, Nel, Nell, Nella, Nelle, Nello. In the manner of. Negligente (It.) {neg-Ue-gen'-teh). Careless. Negligentimente (It.) {neg-Ue-gen-te-men- teh). Carelessly. Negligenza {neg-lee-geutsa), con. With care- lessness. Nel battere (It.) {battchreh). At the beat. Nel stilo antico. In the antiiiue style. Nenia or Naenia (Lat.). A funeral dirge. Nettamente (It.) {netla-menteh). Neatly; clearly. Netto (It.). Neat ; exact. Neuma, Neumes. Signs used in medireval notation. Nineteenth. An organstoj) ; two octaves and a fifth .nbove the diapason. Neruda, W'ilhelniina (Norman). Violinist; Austria; B. 184a; d. H)H. Neukomm, .S. Chev. {ttoy'koni). Com- poser, pianist; Austria. B. 1778; d. 1858. Nicode, J. L. {iu-e ■ ko - da\'). Comjxjser; Polish Silesia. B. 1853. Nicolai, f)tto (nee-kolie). Composer organ- ist ; Ciermany. B. 1810; d. 1849. NINTH (34 NOVELETTE Ninth. An interval one deKrce beyond the octave, heiiij; the scloikI removed an octave ; it may, Hke the second, be minor, major, or augmented. The minor and major nintlis are essential dissonances, that is, sounds derived from the tundamenial ; with the aiiKnien'ed iiinlh the lower sound is really the ninth, thu., (.'•, \i, 1), F, A or A\l, .ire overtones of (1, but C, DJt arise from H, 1 )ti, h'n. A, C, chord of ninth. A chord consist- ing; of root major ?, |>er. 5< minor 7, and major or minor ninth may have either major or minor ninth in major keys, but only the minor ninth in mitior keys Hohilc (It.) (>io/>ff/d/i). Noble; grand. Nobilita (It.) {iio-bee'leeta), con. With nobility. Nobilmente (It.) [uobilmtnteh). Nobly. Noch (tier. ). Still ; yet , as, noch schneller, still faster. Nocturne (Kr.) [nortoorn), Notturno (It.), Nachtstiick or Nokturne (Cler.) (nok- toor'-neli). Literally, night-piece ; a <|uiet, sentimental comi)osition, usually in I.yric form, but under the title Notturno im- portant composiiio:;s for several instruments or full orchestra have been written con- taining several movements. Nocturns. Night services in the R, C. Church, at which the psalms are chanted in jjortions, also called nocturns. Node. A line or point of rest in a vibrating body. A node may be ])roduced in a vibrat- ing string by toucliing it lightly. {Cf. under Natural Horn.) The sounds thus prcnluced, called harmonics, are often used on instru- ments of the violin family and on the harp. Noel (Fr.) («fl-^/), Nowell (Eng.). "Good news;" "Gospel." Christmas eve songs or carols. Noire (Fr.) {no-ar), Hlack; quarter note. Nonet \\\..,nonetto ; Ger., Nonett\ A com- position for nine voices or instruments. Nonuplet. A group of nine notes to be played in the time of six or eight of the same value. Normal Pitch. The |)itch of a sound, gen- erally A or C, adopted as a standard. This standard for the sound A, second space, has varied from 404 vibrations per second in 1699 to 455 in 1859. Hy almost uni- versal consent the modern French pitch is now adojited, viz., A — 435 vibrations per second. Nicolini, F". {nik-o-lee'-nee). Tenor; F'rance. B. iSj4; d. 1898. Niedermayer, L. Composer; F>ance. B. 1802 ; d. 1861. Nilsson, Christine. Soprano; Sweden. B. 183T; d. 1921. Notation. The various signs used to repre- sent music to the eye, as staff, clefs, notes, rests, etc. The earliest attempts at the re|)resentation of musical sounds of which we have any knowleilge were made by the Greeks, who used the letters of their al[)ha- bet, modified in various ways to re|)resent the series of sounds they en)i)loyed. Their series of sounds is supposed to have begun on the note A, first space in the bass clef. From this system music has retained the name of A for this sound. 'I'he next develojiment was the adoption of a series of signs called neumiv. These signs, although curiously complicated, were yet very defective in precision, being inferior to the letters as indications of pitch. The great want, both of the letter system and the neumiv, was that neither gave any indi- cation of the duration of the sounds. The next step was the adoption of the staff. At first use was made only of the spaces between the lines, and, as notes had not yet been invented, the syllables were written in the spaces ; this -^ave exactness to the relative pitch of the sounds but no indica- tion of their duration. The next st2p was to use the lines only, indicating the sounds by small square notes called points. The letter names of the lines, of which eight was the number, were indicated by Greek letters placed at the beginning. This, though an improvement on the |jlan of dislocating the syllables, was still wanting in that no dura- tion was indicated. This desideratum was secured by the invention of the notes, attributed to Franco of Cologne. Invention was now on the right track. The expression of pitch and relative duration were now determined with exactness. The system of notation now in use is substantially the same, modified and improved to meet the requirements of modern musical complexity. Note. A sign which, by its form, indicates the relative duration of a sound, and by its position on the stafl' the pitch of a sound. Notenfresser (Ger. ). " Note devourer." A humorous title for a ready sight reader; gen- erally implies one whose playing is more notes than music. Nourri (Fr.) {nour-ree). Nourished; un son norrri, a well-sustained sound. Gener- ally ajiplied to vocal sounds. Novelette. A name invented by Schumann and given by him to a set of pieces with- out formal construction, with numerous con- Nohl, Carl F. L. Author; Germany. B. 1831 ; d. 1885. Nottebohm, M. G. [not'-teh-bome). Com- poser, writer; Germany. B, 1817 ; d. 1882. Nourrii, \^o\3\ance. B. 1780; d. 1831. NOVEMOLE OCTET stantly changitiR themes, ffiving expres- sion to a very wide ran^e of emotions. Novemole (tier.) {noveh ino'-leh). Nonu- |)let. Nuance (Fr. ) (nooonifs). Siuuliiij; ; the variations in force, (luahly, and teni|M), iiy means of which artistic expression is given to music. Number, (i) A movement of a symphony or sonata . (2) A solo, chorus, or otiier sepurate part of an opera or oratorio, etc. (?) A fjiven piece on a concert pro- gramme. (4) The "opus" or place in the list of an author's works as to order of composition. Nunsfiddle [(ler., Non>'enGfi\'f^. Called also Tromba Marina. An instrument with a distant resemhlance to a double bass, fur- Nourrit, Adoljihe (son of L.) (tioor-rn-). Tenor ; France. 15. 1802 ; d. 1839. Novello, Vincent. Composer, organist ; Kngland. B. 1781 ; d. 1861. Novello, Clara A. (^laughter of V.). So- prano; England. H. 1818; d. 1908. nished with one string and a peculiarly con- structed bridge. The harnionic sounds only are used. It ;.;i'ts its name from the fact that it was fornitrly used in (iermany and France in the convents to accompany the singing of the nuns. Nuovo (It.) («(»'-?'<>), Di nuovo. Over again ; repeat. Nut [(Jer.,.S< — . Novello, Jos. A. (.son of V.). Bass; Eng- land. B. 1810; d. 1896. Nunn, John H. Com|X)ser, organist ; Eng- land. B. 1827; d. 1905. O (It.). Or; also written od. Ob. Abbreviation of oboe and obbligato. Obbligato (It.) {ob-blee-gah'-to). An essen- tial instrumental part accompanying a vocal solo. Ober (Ger. ) {o'-behr). Over; upper. Oberwerk. The uppermost manual of an organ. Obligfe (Fr.) (oblee-zheh). Obbligato. Oblique Motion. When one part is station- ary while the other ascends or descends. Oboe (It.) {o-bo-eh), plural, oboi (o-bo-ee); (Fr.) Hautbois (ho boa) ; ( Eng. ) Hautboy or Hoboy [from the French word which means, literally, " high- wood "]. A wind instrument with double reed, formerly the leading instrument in the orchestra, fdl- ing the place now taken by the violins. A p-iir are generally employed in the mod- ern orchestra. The oboe is one of the most ancient and widely disseminated of musical instruments. It is the general opin- ion of students of antiquity that many of the instruments called by the general name " flute" by the Greeks were oboi. Oboe. A reed stop in the organ, of 8-ft. pitch, voiced to resemble the oboe. Oboe d'amore (It.) {dah-mo' -reh). Oboe " of love ;" a small soft -toned oboe. Oakeley, Sir H. S. Composer, organist ; England. B. 1830 ; d. 1903. Oboe di caccia (It.) (cat'-cheea). 01)oe of the chase ; a large oboe, used formerly as a hunting signal. Oboist, Oboista (It.). An oln^e player. Ocarine, Ocarina (It.). A small wind instru- ment of terra cotta, with flute-like quality of tone, — more of a toy than a musical in- strument. Octave, Ottava (It. ),Oktave (tier.). (i)The interval between a given letter and its repe- tition in an ascending or descending series. The diapason of the Greeks. (2) An organ- stop of 4-ft. pitch. Octave Flute. The piccolo. Ottava bassa. An octave lower than writ- ten; the sign : 8va Ba Ottava alta (It.). At the octave above ; in- dicates that the passage is to be played an octave higher than written, indicated by the sign : 8va A return to the natural ]X)sition of the notes is signified by the word loco (place), or fre- quently by the cessation of the dotted line, thus: 8va _ Octet, Octuor, Ottetto (It.), Oktett (Ger \ Octette (Fr.). A composition for eight solo voices or instruments. Oberthiir, Ch. (o'-behr-teer). Harpist, com- poser; Bavaria. B. 1819; d. 1895. OCTO BASSE OPHICLEIDE Octo basse (Ft.). A large double bass go- ing a third lower than the ordinary instru- ment, furnished with a mechanism of levers and pedals for stopping the strings, — an im- portant addii ion to the orchestra. Octuplet. A ijroup of eight notes played in tlie time of six of the same value. Ode Symphoiie (Fr.). Choral symi)hony. Odeon (Gr.), Odeum (lat.). A building in wnich public contests in music and po- etry were held. In modern use as a name for a concert-hall or theatre. Oder(Ger.). Or. C£uvre (Fr.) [oovr). Work; opus. Offen (Ger.). Open. Offertory, Offertorio (It.), Offertoire (Fr.) {offerhvar), Offertorium (Ger. and Lat.). (1) The collection cif the alms of the congregation during the communion service. (2) The anthem or motet sung by the choir at this time. (3) A piece of organ music performed during this time. Ohne (Ger.) {o'-neh). Without, as ohne I'ed. , without pedal. Olio [Sp., olio, from Lat., olla, pot. A mixture of meat, vegetables, etc., stewed to- gether]. Hence, a medley of various airs ; a potjxjurri. Olivettes (Fr.) (o-lee-vet). Dance after the olive harvest. Omnes or Omnia (Lat.). All. Same as Tutli. Omnitonic, Omnitonique (Fr.). All sound- ing, i.e., chromatic ; applied to brass instru- ments. Ondeggiamento (It.) [on-dedjanitn'-to], Ondeggiante (It.) (ott-dedjan'-teh), On- dulation (Fr. ) (oH-doo-Iah-sioiii:;), Ondul^ (Fr.) {on-doo-leh), Ondulieren (tier.) {on- doo- lee' -reft). Waving, wavy ; undulating; tremolo. Ongarese (It.) (on-gah-reh'-seh). Hun- garian. Open Diapason. .See Diapason. Open Karmony. An equidistant arrange- ment of die notes of the chords. Open Noter, (i) The soumls produced by the strings of a violin, etc., when not i)ressed by the finger. (2) The natural sounds of horn, trumpet, etc., i.e., without valves. Open Pipe. An organ-pii)e without stopper. Open Score. One in which each voice or instrument has a separate staff assigned to it. Open Strings. .See Ol^en Notes (l). Oesten, 'I'heodor. ('oniposer, pianist ; tier- many. W. 1S13 ; d. 1S70. Offenbach, Jacques, t oniiK)ser, conductor, violoncellist; Germany. B. 1819; d. 1880. Opera (It.) [from Lat., opus, work]. A combination of music and drama in which the music is not merely an incidental, but the predominant element. The opera originated in an attempt to revive what was supposed to be the manner in which the classic Greek drama was performed. The efforts of the group of musical enthusiasts who made this attempt culminated in the production of " Furidice," in 1600, the first Italian opera ever performed in public. The ground being broken, new cultivators soon appeared, and the new plant grew rapidly. Peri, the comjKiser of " Euridice," was succeeded first by igliano, then by Monteverde, — one of t" -' great names in music. In his hands the opera developed with extraordinary rapidity. Before the close of the 17th century a host of opera- writers appeared, led by Scarlatti. i'he next imjxirtant development in the form of opera was made by Lulli, the court-musician of Louis XIV. No very striking advance was now made until Handel appeared. He did little in the way of developing the form, but in'"used so much genius into the received form that it gave it a new life. In this respect Handel resembled Mo/art, who, at a later stage of the development of the opera, was quite satisfied to take the then received form, which his genius sufticed to make immortal. The first decided depart- ure from the traditional form was made by Gluck, whose theory of dramatic music is strongly akin to the modern theory of Wag- ner. The opera since Mozart has grown with so much luxuriance, in such a diversity of forms, that even a slight sketch of it would be impossible in our limits. Ap- pended will be found the names of the principal varieties. Opera Buffa. Comic opera. (Fr., Opera Bottje. ) Opera Comique (Fr.). Comedy (not comic) opera. Opera drammatica (It.). Romantic opera. Ill modern German usage the term " Musik- drama" has been ado]ited to distinguish the modern from the old form of opera. Opera Seria. Grand opera ; serious opera ; tragic o[iera. Operetta (It.). An opera with spoken dia- logue. Ophicleide, Oficleide (It.) [from Gr. , ophis, snake, and khis, key. Lit., " keyed snake," in allusion to its contorted shape]. A large brass instrument 01" the bugle fam- ily, /'. e., with keys, now little used. The Onslow, (j. Composer; France. B. 1784; d. 1852. Osborne, G. A. Composer, piani.st ; Ireland. li. iSoO; il. 189,^. OPrURE 87 OSTINATO best example of its use by a great composer will be found in Mendelssohn's "Midsum- mer Night's Dream " music. Oppure (It.) (op-poo' -reh). See Ossia. Opus (Lat.). Work; used by composers to indicate the order in which their works were written. Oratorio (It.) [from I>at. , oratorius, pertain- ing or belonging to prayer ; a place for prayer]. A comjxjsition consisting of solos and concerted pieces for voices, the theme of which is taken from the Bible or from sacred history. The name arose from the fact that St. Philip Neri gave discourses intermingled with music in his oratory about the middle of the l6th century. The term Oratorio is also used for secular works written on the same plan, such as Haydn's " Seasons," and IJruch's "(Odysseus," l)ut is manifestly inappropriate. The oratorio is descended from those middle age dramatic performances founded on biblical or moral themes, known as mysteries, moralities, or miracle plays. It took its rise about the same time as the ojiera, from which it differs chiefly in that it affords an oppor- tunity for the highest developments of the contrapuntal art, whereas the opera is essentially moncdic. The oratorio has not gone through the manifold changes and diversities tliat have marked the develop- ment of the opera, nor has it attracted any- thing like the number of comjjosers that have devoted themselves to the opera. The first writer of any prominence in this field was Carissimi. lie was followed by A. Scarlatti; then Ilindel appeared and 3tam|H'd for all time the form of the oratorio. His great contemporary, Bach, equaled, if he did not surpass him, but in a different style. Ulndel has had but two succes.sors worthy to he named with him, — Haydn and Mendelssohn, each of whom has stamped a new character on the oratorio without descending from the high plane on which this class of comjiosition should stand. The taste for the oratorio seems to be on the wane, as no composer of any mark has of late years devotetl bis attention to it. Orchestra, Orchestre (IV), Orchester (Cier. ) [from dr., o>\hestfr, a dancer]. Originally the place where the dancing took place in the (ireek theatre. (l) The place where the instrumentalists are placed. (2) The company of instrumentalists. (?) Tlie collection of instruments used at any performance. See liistnimrnf. Orchestrate. To write music for the orchestra. Osgood, Emma A. Soprano; U. S. A. B. 1849; d. 191 1. Otto, Ernst J. Composer ; Germany. B, 1804; d. 1877. Orchestration. The art of writing for the orchestra. Orchestrion. A mechanicai organ designed to imitate, by means of various stops, the instruments of the orchestra. Ordinario (It.) (or-dee-iuih'-iee-o). Usual; ordinary ; as tempo ordinario. the usual time, used in the sense of moderate. Organ, Organo (It.), Orgue (Er.), Orgel (Oer.) [from Or., organoti, tool, implement, instrument]. An instrument consisting of a large num! er of pipes groujjcd according to their pitch and ({uality of tone into "stops." A large bellows supplies the compressed air or "wind" to the various air-tight boxes called sound -lx>ards, on which the pi|>es are placed. By means of a key mechanism the " wind" is allowed to enter the pipes corresponding to any given pitch at will. The set or sets of pipes it is desired to sound are controlled by means of " registers" which, when drawn, allow the "wind" to enter the pijjes of the "stop," the name of which is marked on the knob of the register. ( )rgans are built with from one to four, and even more, "manuals," or keyboards, placed one above the other. Three manuals is the usual number. ihe lowest is called the " choir organ," the middle the "great organ," the up|)er the *' swell organ." When a fourth manual is added it is called the " r.olo manual," a fifth the " echo organ ; " there is also a key- board for the feet called the " jiedal organ." Organ Point, Point d'orgue (Er.), Orgel- punkt (Ger. ). A succession of harmonies belonging to the key, written over a ])ro- longed holding of the dominant or tonic, or both ; an organ point is generally at the bass. Organetto (It.). Small organ; bird-organ. Organutn (!.at.), Organon (Gr. ). An early attempt at part-writing in which the parts moved in fourths or fifths with "ach other. Orguinette. A small mechanical reed-organ. Orpharion. A lute with wire strings. Osservanza (It.) {o$- ser --'ati'- tm), con. With care ; with exactness. Ossia (It.) [os'-seea). Hr else; otherwise; as ossia piu facile, or else more easily. Ostinato (It.) {oi- teena'-io). Obstinate. Basso ostinato is a name given to a fre- (|uently repeated bass with a constantly varied counterjioint, called also ground bass ; frecpienily used by the old cotnposers as the foundation for the |>assacaglia. Otto, Otto (brother of E.). Com|H)ser; basso; Germany. B. 1806; d. 1842. OublichefT, Alex, von {oo'-bltf-chef). Writer} Germany. B. 1795 ; d. 1856. OTEZ 68 PARALLEL MOTION Otez (Fr.) (o-teh). Take off; a direction in organ music to push in a given register. Ottavino (It.) {^ot-ta-vee-no). The piccolo. Ottavo (It.). See Octave. Ottetto (It.). See Octet. Ou (Fr.) {oo). See Ossia. Ouvert (Fr.) {oovekr). Open. See Open Notes. A livre ouvert, literally, " at open book; " at sight. Overblow. To blow a wind instrument in such a manner a.s to make it sound any of its harmonics. In the organ a pipe is over- blown when the air-pressure is too great, causing it to sound its octave or twelfth. Overspun. Said of strings covered with a wrapping of thin wire. Ouseley, Rev. F. A. G. Organist, writer ; England. R. 1825; d. 1889. Overstring. Arranging the stringing of a piano in such a way that one set crosses the rest diagonally. Overtone. The sounds produced by the division of a vibrating body into equal parts. Overture, Overture (It.), Ouverture (Fr.), Ouvcrture (Oer.). A musical jirelude to an opera or oratorio. inde])endent comjx)- sitions are also written under the name of concert overtures, generally with some de- scriptive title. In its highest form the over- ture is developed in the sonata form without repeating the first part. Many overtures are nothing but a medley of airs in various tempos. Ovvero. See Ossia. P. Abbreviation for piano. Soft (positive degree). PP. Abbreviation for piu piano. Softer (comparative degree). PPP. Abbreviation for pianissimo. Softest (superlative degree). P. F. Abbreviation for pianoforte (when capital letters are used), p. f. Abbrevia- tion for poco forte, a little loud ; or piu forte, louder. In French organ music P. signifies posatif, /'. e, choir-organ. Padouana (It.) {pah-itoo-ah'-nafi), Padu- ana, Padovana, Padovane (Fr.) {pah- no-van). See Pavan. Psean (dr.). A song of triumph, originally 111 ptaisr of Apollo. Paired Notes. A succession of thirds, sixths or eightns on the piano. Palco (It.). The stage of a theatre. Pallet. The valve that controls the admis- sion of " wind " to the jMpes of the organ, harmonium, etc. Pachmann, Vladimir de. Pianist ; Russia. li. 1848. Pacini, C>. {pali -cfiee' - nee). Composer; Italy. H. 1796; d. 1867. Paderewski ( pah-dioof'-skee or pah dref- ik-t-,). Pianist; Pol.iiul. H. Nov. (). 1S59. Paganini, N. {pah-i^ahnet'-nee). Violinist; Italy. H. 1784; d. 1840. Paine, J. K. Comixiser, organist ; f. S. A. H. 1839; d. 1906. Paisiello, (1. (pahe-se-el'-lo). Composer; luly. 13. 1741 ; d. 1816. Pallettes (Fr). The white keys of the piano, etc. The black keys are caWtA feintes (faints). Pandean Pipes or Pan's Pipes. The syrinx ; a series of small pipes made from reeds, sounded by blowing across the open top. An instrument of unknown anti(|uity and universal use. The ancient Peruvians carved them out of stone. The Fijians and the South American Intlians make them with a double set of pipes— one set open, the other closed at one end, tlms producing oc- tave successions. Pantalon (Fr. ). One of the numbers in a set of quadrilles. The old set of quadrilles consisted of five or six numbers called: (l) pantalon ; (2) 6t6 ; (3) poule ; (4) pastour- elle ; (5) finale. If there were six, the other was called tr^nis. Parallel Keys. The major and minor scales beginning on the same keynote. Parallel Motion. When two parts or voices nsccnd or descend together. Paladilhe, Emile (pah-lah-deel). Composer; France. B. 1844. Palestrina, CI. P. da (pafi-les - tree'-nah). Composer; Italy. B. 1515; d. 1594. Palmer, II. R. Composer; U. S. A, B. IS34; d. 1907. Panofka, II. Composer, violinist ; Breslau. B. 1807 ; d. 1887. Panseron, A. (pan-se/i-roi);). Composer, vocalist; France. B. 1796; d. 1859. I Pape, Wm. B. {pah' ■ peh). Com|)oser, I pianist; U. S. A. B. 1850. PARAPHRASE PAVANA Paraphrase. An elaborate arrangement of a ^iece of music for the piano, originally written for the voice, or for some other in- strument. An orch;.stral paraphrase is a like arrangement of a vocal or pianoforte com- position. Parlando, Parlante (It.) i^parlan' Jo, par- Ian' -teh). Declaiming; singing in recita- tive style ; playing in imitation of vocal recitative. Part. (l) The series of sounds allotted to a single voice or instrument, or a uroup of voices or instruments of identical kind in a musical composition. (2) (Jne of the coun- terpoints of a polyphonic composition for piano or organ, as a three- or four-part fugue. (j) One of the divisions of an extended form as indicated by double bars. Part-Song. A composition for equal or mixed voices, unaccompanied, consisting of a melody to which the other parts are sub- ordinated, in this respect differing from the glee and madrigal, which are contrapuntal, i.e., all the parts are of equal importance. Part- Writing. Counterpoint. Partial Tones. See Overtone. • Partita (It.) {par-tee' -tah). See Suite. Partition (Fr.) {par-tee* -syong), Partitur (Ger.) {par tee-tour'), Partitura (It.) {par- tee-too' -rah), Partizione (It.) {par-teetz- eo'-ne/i). [From It., partire, to divide.] In allusion to the division by bars of the page; in English "scoring;" an orches- tral or vocal score. Paspy [from Fr. , passepied^, Passamezzo (It.) (passa-rued'-so). A dance resem- bling the minuet, but more rapid in its movement. Passacaglio (It.) (pas-sa-tal'-yo), Passa- caglia, {pas-sa-cal'-ya), Passecaille (Fr. ) (pass-ca-ee). Passe-rue (Fr.) (pass-roo), Passa-calle (Sp.) {pas-sa-cal'-leh), Gas- senhauer (tier.) {i:;as-sen-houi-er). Liter- ally, '* running the street." An old dance in triple time, generally written on a ground bass. Passage, (i) A musical phrase. (2) The figure of a melodic seejuence. (3) A bril- liant run or arpeggio. Passaggio (It.) (pas-uul'jeo). Passage. Paradies, Maria T. von. Pianist ; Austria. H. 1759; d. 1824. Parepa, Rosa. Soprano ; Scotland. \\, 1836; d. 1874. Parker, J. ^. H. Organist, composer; U. .S. A. 1{. 1828; d. 1916. Parry, *^ • ilubiit 11. Composer; England. U, 1848; d. 1918. Parsons, A. R. Composer, pianist ; U. S. A. B. 1847. Passing Note. An ornamental melodic note foreign to the harmony ; when these notes fall on the beat or the accent they are called changing notes. Passione (It.). Pa.ssion music ; a musical setting of the closing scenes in the life of the Saviour in the form of an oratorio, originally with dramatic action. The Ober- ammergau passion-play is a survival of this custom. Passione (It.) {pas-se-o'-ueh), Passionato (It.) {nah-to), Passionatamente (It.), Passion^ (Fr.) {passi-o'-neh), con. With passion ; intensity ; impassioned ; with intense passion. Pasticcio (It.) {pas -tit'-che-o). Pastiche (Fr. ) (pas-tish). A " composition " made up of airs, etc., borrowed from different sources. Pastoral, Pastorale (It ) {pas-to-rah'-leh). (l) A rustic melody in \ time. (2) Used to designate an extended composition in- tended to portray the scenes and emotions of rustic life, as p.istoral symphony, pastoral sonata. Pastorella (It.) {pas-to-rel'-lah), Pastorelle (P"r.) {pas-to-rel). A little pastoral. Pastourelle. A tigure in the ciuadrille. See Pantalon. Pateticamente (It.) {patch tee-cah-men'- teh), Patetico (It.) {pa-teh'tee-co), Pa- thitiquement (Fr. ) ( pa-tch - teek-mon)^ ), PathAtique (Fr.) {pa-teh-teek). Pathetic; pathetically. Patitnento (It.) {pah-tee-men-to). Suffering. Con espressione di patimento, with an expression of suffering. Patouille (Fr. ) {pah-too-ee). Claquebois; xylophone. Pauke (Ger.) { pow- keh), pi., Pauken. Kettle-drum. Pausa (li.) {paw-sa), Palise (Fr.) {pact's). A rest o; pause ; a bar's rest. Pavan. A stalely dance in \ time. The name is derived either from pa'j'o, a |)ea- cock, in allusion to its stately character, or from paTirna, the al)breviatciivti'-jwix)- 'Ihe bell of a lioni, clarionet, etc. Pavilion chinois (s/ue - tioa). A statT of !>mall bells. Flute & pavilion, an organ stop witli "bell-mouthed" jiipes. Pedal, abbreviated Ped. [from I. at.. />,s, a loot], (i) Any nicclianism controlled by the fool ; in tlie piano, llie contrivance for rai^iiij,' the dampers ; also that for sliiftinj; the action ^una eorda). In s(|nare and np- rijjht pianos, the soft pedal, when de|>ressed, interiKJSes small strips of soft leather be- tween the hannners and strings. The sos- tenuto pedal is a contrivance by means of which one or more sounds in tlit lower register of the piano may he prolonged at will. In the organ, the keyboard for the feet, the levers for opening and closing the swell (swell pedal) and for operating various groups of slops (combination initials). Pedal Check. A mechanism in the organ, controlled by a hand-knob, which prevents the movement of the pedals. Crescendo Pedal, a mechanism in the organ by means of which the full power may l>e put on or olV. Balancing Swell Pedal is one th.it remains in whatever position it may be when the fcKit leaves it. Pedal Harp. The mechanical contrivances by meaii>. of which certain strings are tight- ened or slackened to change the key, as I'tt- l)ed., H{?-peeed and jxjwer. (Alibr., Perd. or Perdcn.) Perfect Cadv?nce. See Cadence. Perfect Concord. and perfect 5th. Perfect Consonances. .See Inlina'.. Pirigourdine ( 1- r. ) ( peh ■ ire - ,t;(>t»' - deen) , Pirijourdine (pehree-z/ioor-deen). An »)ld French dancing-song in j time. Period, Periodc (Fr.) {peh-iee-ode), Periodo (It.) {pe/iree-o do). A ct)mplcte musical sentence, generally e'ght measures. Perle (Fr.) (per-le/i), Perlend ((!er.). " Pearled," like a siring of pearls. A meta- phorical expression for a clear, delicate execution ; also a direction that the passivje is to be played in a "pearly " manner. Pesante (It. ) ( pek - san'- teh ). 1 leavy ; weighty. Petite (Fr.) (/f'//-/^;a Pezzo (It.) {pef^so). A ])icce; phrase. lieiJllioveii uses the followin^j sentence as a (hrcction in one of his |)ianoloi'te sonatas: "(^hiesto |)c//() si (leve traltaie con piu jjran of accent — cres. and de- cres., rail, and accel., ruhato, etc., — and in pianoforte music, the varieties of toucli In vocal music, it refers chielly to the hreathing places; in violin music, to the howing. Phrygian Mode. One of the (Ireek scales, generally sup])osed to he V. — K. In the ecclesiastical scales, the octave scale from ^ Phrygian Cadence. -<^ 1 (i=^ W- Physharmonica. (l) The jiredcces.sor of the melodeon. (2) A free reed-stop in the organ. Piacemento (It.) (pea/it chee-men'to). See Piacfre. Piacere, i (It.) { pe- aht - chee' - t;-h). At pleasure, i. f., the tempo at the will of the performer. Piacevole ( It. ) ( pe ■ aht ■ ch,-h' ■ to - /eh ) . Smoothly ; ([uietly. Piacevolezza (It.) {p,- ahtcheh volet' zn), con. With smoothness. Piacevolmente (It.) (peahtthehvol-me.i'- teh). Smoothly. Pianette (Fr.), Pianino (It.) (peeahtiee- no). A small piano ; upright piano. Piangendo (It.) {pef-anjen'-Jo), Piange- vole (peean-jeh'-voleh), Piangevol- mente {pee-an-jeh-voltnen'-teh). "Weep- ing; " plaintively wailing. Piatti, A. {pee'at-tee). Composer, 'cellist; Italy, li. i8j2; d. i>oi Piano (It.) (pee (in' no). Soft. (.\hhrevi» tion, P.; pianissimo, PP. ) Pianoforte (It.) (for' - l,/i). In common usage, piano, without the forte. An instru- ment strung with steel wire (formerly hrasij wire was largely used), ]>rovided with a keylMiard ; the depression of the keys causes the hammers to strike the strings. The name |>ianoforte was given to it he- cause the volume of sound was under the control of the performer. Three forms of |)ianoforte are made: The grand piano [in I'r., piano li queue, lit., "piano with a tail ; " Vmkt., JlUi^el, in allusion to its wing sha|ie] ; the s(|uare, and the upright. The pianoforte is descended from the dulcimer in the same sen.se that the harpsichord is descended from the psallerion. In form the dulcimer and psaltt-rion were identical, dilfering only in that the former was played hy means of hummers, tiro latter hy means of " |)lectra." The ai\. A small rod of metal, l)one, ivory, etc., or a flat strip of wood or tortoise shell, or a ring with a pro- jecting piece, used to strike the strings of the lyre, Japanese guitar, mandolin, zither, etc. Pleyel, Ignaz J. Composer ; Germany. B. 1757; d. 1831. Pleyel, Marie F. D. M. (wife of above). Pianist; France. B. 1811 ; d. :i875. Pole, Will. Author, theorist ; England. B. 1814 ; d. 1900, PLEIN JEU 73 POTPOURRI Plein jeu (Fr.) [plane zhoo). Full power; full organ. Pneuma ((Jr.). Hreath. See Neuma. Pneumatic Action. A contrivance in large pilMj-organs by means of which a small bellows, called pneumatic bellows, is made to do the work of opening the palettes in place of the lingers. Pochettino (It.) {po-ket-tee-no). Very little. Pochette (It.) (/('--(r/'/o). A little; (not so much as Poco). Pochissimo (It.) {po- kis- see ■ mo). The "least little bit;" as Cres. pochissimo, the least degree louder. Poco (It. ). A little ; rather ; as, Poco lento, rather slow. Poco a poco. Hy degrees ; as, Rail, poco a poco. Poggiato (It.) { pod-je-ah' -to). Dwelt upon ; lit., leaned upon. Poi (It.) {po-ee). Then ; afterward. P. poi f. , soft, then loud. Point (Fr. ) (poanif). A dot (Eng.). A phrase for imitation. Point d'orgue (Fr.). Pedal point. Point* (Fr.) [poaug-teh). Dotted. Poitrine (Fr. ) ( po-a-treen). Chest. Voix de poitrine, chest voice. Polacca. A Polish dance in \ time ; polo- naise. Polka. A dance in \ time, originated among the peasants of Uohemia. Polka Mazurka. A mazurka danced with the polka-step. Polonaise. See Polacca. Polska. Swedish dance in triple time. Polyphonic [from CIr., polits, many; and phone, a voice]. Music written contra- puntally, as opjiosed to music written harmonically with a single melotly. Polyphony. " Many voices." Counter- point in several parts. Pommer. .\ large instrument of the hautboy family ; bombard. Pomposamente (It.) {pompo-sahnun' -teh). Dignified; tnajfstic. Pomposo (It.V Pompous. Ponderoso (It.). Ponderous; strongly marked. Ponticello ( It. ) (pontef-chello). The bridge of the violin, etc. Palko, F.lise. Soprano; Germany. B. l8.}i ; d. 1899. Ponchielli, \. (ponkeeel lee). Composer; Italy. H. iS.u; d. 1886. Poniatowski, Prince J. M. F. X. J. (pone- ya-/i<7v'-skee). Composer, tenor ; Italy. B. 1816; d. 1873. Port de voix (Fr). (i) Portando la voce. (2) An obsolete grace in iiarpNichord music. Portamento (It.) {por-tah-men'to). Sliding or " carrying " the voice from one souml to another; also on bow instruments, sliding the linger along the string from one ])lace to another. Portando la voce. Same as Portamento. Portunal Flute. Organ-stop with wooden pipes which " tlare," i. e., get wider from the mouth to the top. Portunen (Oer.) (por too'uen). The bour- don stop. Posatif (Fr. ) (po-sa-tee/). The choir organ. Posato (It.) [po-sa/i'to), Posiment (Fr.) [poseh-mong). (juict ; sedate; grave. Posaune (Cer. ) {po-toivn eh). The trom- bone; a powerful reed-stop in the organ, of 8-, 16-, or 32-foot pitch. Position. (1) Of chords. The common chord may be written in three |>ositions, called the octave, tierce, and quint. JSl ^ -jsa rBL Octave. Tierce. Quint. As given in this example it is called the close position of the chord ; the following example is called the open position : — a . (i zsz -JBL jSC -«•- ^ 3C zai ::iai jSI (2) On instruments of the violin and guitar family, " Position" refers to the part of the lingerboard on which the left hand is ])la(etriiments played hy drumsticks or l)y clashiiit; tlum logellier ; as drums, cymbals, etc. [Krom Lsit.,/>u/soozheh). Composer; Paris. IJ. 1810; d. 1890. Purcell, Henry. Comjwser; England. 15. 1658; d. 1695. Pyne, J. Kendrick. Tenor ; England. B. 1785; d. 1857. stri|i between two black) around the l)ordef of tlie i)ack and belly of the violin, etc. Pyramidon. An organ sto|) with pipes shaped like an inverted |)yiumid, closed at top. From its peculiar shajie a pipe not three feet long will produce lO-foot C. Pyrophone [from (Jr., ///r, lire, photu, sound]. An instruMicnt tiie snunds of which are produced by gas jets burning just inside of the lower end of glass tubes open at both ends. Invented by Kastrier. Pyne, J. Kendrick, 2d (son of 1st). Com- poser, organist; England. W. iSlo; d. 1893. Pyne, J. Kendrick, 3d (son of 2d). Cora- poser, organist ; England. 15.1852. Pyne, Louisa F. Soprano; England. B. 1832; d. 1904. Quadrate, B quadratum, i. e., B squared. Old name for lib — retained as the sign for a I;. Quadratum (Lat). A breve Q. Quadrible or Quatrible. An ancient species of counterpoint, consisting of a succession of 4ths over a cantus. Quadrille. A " square dance." See /'<;«/« - /on. Quadruple Counterpoint. A four-part counterpoint so constructed that the parts may change places without involving any false progressions. Quadruple croche (Fr.) (crosA). A 64th- note. Quadruplet. A group of four notes played in the same time of three or six of the some value. Quality of Tone [(Jer., Klau)^arbe or Tonfarbe ; Fr. , Timbre; It., 'J'imbnt]. That which enables us to distinguish between different instruments. The character of a tone quality deiiends largely upon the presence or absence and relative intensity of its overtones; thus, the tone of a clario- net differs entirely from that of a violin, although all violins and all clarionets do not sound alike. The dilferences in tone quality that arc found among violins, for example, depend on other factors, as the construction, material, weight of strings, individuality of the ])erforiner, and many more. The tone ([ualities of the voice are dependent largely on the accurate contact of the vocal cords, the size and sha|)e of Quantz, J. J. Composer, flutist; Cierraany. B. 1697; d. 1773. the cavity of the mouth and nostrils, and the management of the breath. Quart. Interval of 4th. [It. and I .at., Quartu.'\ Quart (Fr.) {karl). (Quarter. Quart de soupir {soo-pee). A 16th rest. Quart de mesure (Fr. ) [mfhzoor). A 4th- rest. Quartfagott (G^^r.). A bassoon a 4th lower than the ordinary instrument. Quartflote(Ger.). A llute a 4th higher than the ordinary instrument. Quarte du ton (Fr.) {htrt Joo totig). A 4th of the scale ; subdominant. Quarter Note P. Quartet. A comjiosition for four solo per- formers. String Quartet is comix)sed of first and second violins, viola, and violon- cello. Piano Quartet is composed of violin, viola, violoncello, and |)iano. Vocal Quartet may be either for male or female or mixed voices. Quartett (Ger.) [krarfrt'), Quatuor (Fr.) (c/iia-tooor), Quartetto (It.) [i/iinr f,t'/i']. Quartet in English, .sometimes spelled (piar- tette. Quartole (Ger.) {l-,'iir-/o'-le). (^)ua(lruplet. Quasi (It.) (quiih' s,e). .\s if; in the maimer of; like; as, Quiui nllt-i^io, like allegrt) ; Quasi soiiota, reseniiiling a sonata. Quatre mains (I'r. ) {hilr iniiii^). For four hands. Quatrible. See Quadrible. Quidant, Jo.seph (keedcui;). Pianist, com- poser; France. B. 1815; d. i.So^. QUATTRO MAN I ft RAUSCHQUINTE Quattro mani (It.) {qualtro man-nee). Yo\xt hands. Quatuor. See Quartet. Quaver. An eighth-note. Querflote (Cer.) {kiluous sense of a clumsy, overloaded composition. Rendering. A modern term which is sup- posed to m'-an more than saying one " played " or " sang." Repeat. A double bar with dots, thus 1^ signifies that the part before the double bar is to be repeated. If the dots are on both sides -|l it signifies that the parts be- fore and after the double bar are to be re- peated. Repercussion. The re entry of subject and answer in a fugue, after an episofh -tis-yotg). A rehearsal. Repetizione (It.) {rfh-pehtitzeoh'-neh). Repetition. Replicate. The recurrence of the same letter in an ascending or descending series; the octave repetitions of a given letter. Reply, Ripons (Fr. ) (;•/•///(>/;<,'), R6ponse ( I'"r. ) ( ifh-poiios). Report. The " answer ' ' to a fugue subject or theme for imitation. Reprise (Fr.) (reh-prffs). (l) A repeat. (2) The re-entry of the principal theme in the second jiart of a sonata; also called Rentree (rom^-fn'/i). Reinhold, Hugo. Composer; Austria. 15. 1854. Reinthaler, C. M. (rein'-tnhltr). Com|>oser, organist ; Saxony. 15. 1822 ; d. 1896 Reissiger, C. G. (riie'-see-ger). Composer; Germany. B. 1798; d. 1859. Requieni (Lot.). "Rest." The first word in the mass for the dead, hence called rei(uiem mass. Resin or Rosin. The clarilied gum of the pitch pine. Resolution. The movement of a dissonant to a consonant sound. Rests. .Signs indicating silence of the same duration a.s the notes for which they stand. In all varieties of time the whole rest is used to indicate a silence of one measure. -— ---.rsi. f f; f I Whole Half Uiiarter Kinlilli Six- lliirly- Sixty- Kest. Rest. Rests. Rest, tcciilli second lourth Rest. Rest. Rest. Three forms of quarter-rest are found. No. 1 is generally found in music |)rinted from type, Nos. 2 anr the second : WZ^M-f: g^^ The tirst may Ix' called the essenlial rhythm; it is never destroyed, no matter how much it may l)c divided hy the second or ideal rhythm ; thus the essential rhythm of the following j)assaj;e is l' 2 3; the ideal rhythm varies with each measure: R.'iythm is the first essential of melody; wiihoiit it we have only an aimless risinjj and falling of sounds. The essential rhythm is a fixed ijuantity which will bear very little tampering with. Witness the generally unsatisfactory effect nf those com- positions in which alternate measures of two and three units are used. Its pace may he changed by acceleration or retanlation providei), con. With resoluticm. Risvegliato (It.) (m vehlya-to). Animated ; lively. Ritardando (It.) ii-ee tar dan'-do), Ritar- dato (ree-far-diih'-lo), Ritenuto [ree ten- 00' to), Ritenente {reeten en' teh). Hold- ing back ; retarding. Abbreviation Rit. Ritmo (It.). See Rhythm. Ritmo a due battate. Of two measures. Ritmo a tre battate. Of three measures. The following jias.sagc, which, being written in \ (scher/o) time, looks like a six-bar phrase, is in reality a two-bar phrase, founded on the tri|>le unit : P :^=f: :t=i: i^Sg Ritmo a tre battate SS5 ^f^ written in \ time; or it may be written in \ time with triplets. i'his example is analogous to the oft- quoted one in the scherzo of Beethoven's ninth symphony. Riemann, Hugo {rec'-man). Theorist; Germany. B. 1849; d. 1919. Ries, 1'". (/-<•«). Comjwser; Germany. B. 1784; d. 1838. Righini, V. (r^<'-,i,v^'-M^<'). Comjioser; Italy. B. 1756; d. I8l2. Rimbault, Ed. V. Comjwser, organist, writer; England. B. 1816 ; d. 1876 Rimbault, Stephen F. Composer, organist ; England. B. 1773 ; d. 1837. Rink, J. C. H. composer, organist ; Ger« many. B. 1770; d. 1846. RITORNELLA 80 ROSIN Ritornella (It.) {ree-lornel'la). Interlude; chorus ; burden ; tutli in the old concertos. Robusto (It.) (ri;-^«j'-/(?). Robust; bold. Roger de Coverly. (Jld English country dance in \ time. Rohrflote (Ger.) {rare'Jlateh). Reed-flute; a flute-stop in the organ. Rdle (P"r. ) {roll). The part in an opera or play a.ssigiied to any performer. Roll, Wi.bel (Ger.), Rollo (It.), Roule- ment (Kr. ). The tremolo produced on the drum i)y the rapid alternation »)f blows with the drumsticks. < )n the kettle drum the roll is jiroduced by single alternating blows; on the side drum, by double alternating blows. Romance. (l) A ballad. (2) An instru- mental piece in lyric form, of romantic character ; often used as the slow movement of a sonata, etc. Romanesca (It.) [ro-ma nes'-ca), Roman- esque (Fr.) {romanesk). Same as Gal- Hard. Rom&ntic. A vague term for that form of art in which the emotional content is con- sidered as of more importance than the form. The term " romantic" is often used as opposed to classic ; but the application of "classic" is as vague as is that of "romantic." The element of time seems to be an essential of classicism, the work of a living author never being considered classic. '1 he term nmiantic may be delined as roughly dividing the inusij written on harmonic principles from that written before the principles of harmonic combination and succession were discovered ; but already the romantic St.'iiool has been sub-divided into what may be called the classic -romantic and the new-romantic; but since every " new " thing must in time become "o'd." this last school must, when its day is iisst, give place to a newer romanticism. Rondo, Rondeau (Kr.). One of the forms of ton>|K)sition characterized by the return of the tirsi theme after the presentation of each new theme. The modern rondo par- takes of the character of the sonata form, in that its second theme is repeated in ihe tonic key, having been first given in the dimiinant key. The following schemes exhibit at a glance the usual forms oi the rondo : — Major Kky. —I Th. 11 Th. I Th. II III Th. I Th. II Th. I Th. Tonic. Uom. Tonic Subdom. R'.'l. mill I'ar. mill. Tonic. Tonic. Tonic Minor Key. — ITh. II Th. I Th. II III Th. I Th. II Th. I Th. Tonic. Rel. major. Tonic. Subdom. of rel. major. Tonic. Tonic, major. Tonic Example of Rondo in Major Key, — lasi movement of Op. 2, No. 2 (Beethoven) P^xample of Rondo in Minor Key, — last movement of Sonata l'athetii|ue. Root. The fundamental or generating note coiMposers. Three such of a chord. Rosalia (It.) (ros-al-yn). The repetition of a melodic jjhrase several limes, each time one degree higher or lower than the last. It gets its name from an Italian folk-song, " Rosalia Mia Cara," the melody of which is constructed in this way. Although not considered good writing, many examples may be found in the works of the greatest Ritter, A. (j. Composer, organist ; Germar.^. H. 181 1; d. 1885. Ritter, Ered. I.. Composer, writer; Alsace. B. 1831 ; d. 1802. Ritter, Fanny Raymond (wife of Fred.). Writer; V. S. A. B. 1840; d. 1.S90. Ritter, Theodore. Composer, |iianist ; France. B. 1S41 ; d. 1886. Rochlitz, F. J. Composer, critic; Germany. B. 17(19; d. 1842. Rockstro, Will. S. Composer, writer ; Eng- land. B. iSjo; d. 1895. Rode, J. I*. J- Composer, violinist ; France. B. 1774. il. 1830. Roeckel, ]. A. Tenor; (lemiany. B, 1783; d.1870. coiMposers. I nree sucii repetitions are gtiierally considered allowable. In (Ger- many the Rosalia has (he ludicrous name of .Siliiisli-ijifik (cobbler's patch), also I'et- ter Miihel (C"ousin Michel), from its occur- rence in a well-known V^ilkslied, " Geslern .'\bend war Vetter Michel da." Rose. The sound hole in the belly of the guitar, mandolin, etc. Rosin. See Knin. Roeckel, Ed. (son of J. A.). Com[)oser, pianist; France. B. 1816; d. 1876. Roeckel, J. 1.. (son of J. A ). Composer, pianist; I'.ngland. B. 1838. [j. I.. Roeckel writes under the pseudonym of Edward DornJ ; d. 1908. Romberg, Andreas. ComiKiser, violinist ; (iermany. B. 1767. d. 1821. Romberg, Bernhard. Composer, 'cellist; Cieimany. B. 1767; d. 1841. Ronconi, Sebastian (ronlo'tuf). Baritone; Italy. B. 1814. Rontgen, Julius. Composer, pianist ; (Jer- many. B. 1855. Root, ( Jeo. F. Comiicser, writer ; U. S. A. B. 1830; d. 1895. ROTA 81 SALTATO Rota (Lat.). A round. Rote. Hurdy-gurdy ; vielle. Rculade (Kr. ) {roo-lad). A brilliant run; an oriianieiital llourish. Round. A variety of cumon, the imitation beiii^; always at the 'iva or uiiisuii. Roundel, Round, Roundelay. .\ dance in which a rin^; with joined hands was furmetl. I Koundt'lay also means a poem with a con- stantly reiterated refrain or burden. ' Rubato (It.) ('■('<' /'(///'/(J ). Robbed; stolen, ihe direction Rubato, or Teni|)o Rubato, ! indicates a style of performance in which j the rhyihniic (lev is interrupted by dwellinj; slightly on certain mehMlic notes and slightly hurrying others. This style of i>erformance is used with great effect in the modern i intensely emotit)nal school of music. I Rosa, Carl .\. N. Violinist, conductor; Ger- \ many. IS. 1842; d. 1889. Rosellen, Henri {lo- sel'-Un). Pi.^nist; France. H. 181I; d. 1876. Rosenhain, Jacob [ro' sen-hif^hti). Com- |K)ser, pianist ; Germany. B. 1S13; d. 1S04. Rosenthal, Morifz (ro'-sental). Pianist ; (lemiany. B. 1862. Rossi, l.uigi {ros'-ue). Composer; Italy. B. 15—; d. 16—. Rossini, G. A. (ros-sfe^-nn). Comjxjser, Italy. B. 1792; d. 1868. Rousseau, J. J. (/iw-jo). Composer, writer ; Geneva. " B. 1712; d. 1778. Ruhig (Ger.) [roo' • ij^). Calm; quiet; tranquilly. Rule of the Octave. An old formula fot putting chords to the diatonic scale, major or minor. Run. A passage founded on the scale, gener- ally used in vocal music. The run s generally sung to one syllable. Rusticano (It.) {rusteecah' no). Rustically. Rustico (It.) {rm' tteco). Rustic; pasto- ral. Rutscher((;er.) (/w/'-.f/w). ".Slider." Old name for the galopade. Ruvido (It.) [too' -vee-do). Rough; harsh. Rythme (Fr.) {reethm), Bien rythm* (Fr.), Ben ritmato (It). Well marked ; exact. .— ."^^^^"^ .^^^^^^^^^—^^-^^—^^^.^-^^^.^ Roze, Marie I'. Sojirano; Paris. B. 1846. Rubini, (i. B. (roobft'-nfe). Tenor; Italy. B. 1795; d. 1854. Rubinsteir, Anton G. ComiMjser, pianist; Russia. B. 1830; (1. 1S94. Rubinstein, N. (brother of .\nton). Com- l)osci, pianist ; Russia. 11. l8j5 ; d. 1S81. Rudersdorff, H. .Soprano; Russia. B I.SJ2; d. 18.S2. Rudorff, Krnst F. Composer, pianist ; Ger- many. B. 1840; d. l90-(?). Ruggieri, F. (t\. Saint-Saehs, C. {sunf^t-sa/i-ouf^). Composer, organist, pianist; Paris. B.1835; d. 1921. Sainton-Dolby, I'h. Helen. C'om|M>sier, contralto, soprano; Kngland. B. 1821 ; d. 1885. 6 Sackbut. An old name for a species of the trombone. .Sometimes written Sagbut. Sackpfeife (tier. ). Bagpipe. Saite ((ier.) isy-ffh). A string. Salicional, Salicet, Salcional [from I-nt. , salix, willow]. A soft, open metal organ- StO|). Salonfliigel (Cier. ). Parlor grand piano- forte. SalonstUck (Ger.). Parlor piece; salon music. Saltarello (It.) (ui! tah rel'-lo\ [from saltatr, to leap], \n Italian dance in tri|>letime. Saltato (It). "Springing l)nw" in violin playing. Sainton, P. P. C. {sunt;; toni^] (husband of S. Dolby). ComjM)ser, violinist; France. B. 1813; d. 1890. .Salaman, Ch. K. Com|)o.ser, pianist; Kng> land. B. 1S14; d. i()oi. Salieri, .'\. (uil yr't'-ree). Com|)oser; Italy, B. 1750; d. 1825. SALTO 62 SCALE Salto (It.). A skip. A counterpoint that moved by skip.s was called C. l\ di salto; in I At., C. /'. per siiltem. Sambuca. Cienerally sup|X)sed to be an ancient variety of the harp. Ihe Sabeca, mentioned in the IJible (l)anicl iii : 5, 7, 10, 15), translated "sackbut" in the Knjjlish version, is supposed to be the same . instmnient. The derivation of the word is not known. Sampogna or Zampogna (It.) (sampone'- ya). Hugpipe. Sanft (Ger.). Soft, Sans (Kr.). Without. Saraband, Sarabanda (It.), Zarabarda (Sp.), Sarabande (I'r. ). A slow, s'.ately (lance in \ lime, usetl as the "slow move- ment" in the suite. The Saraband is founded on the following rhythm : — 4- r fci r r One of the finest examples is the song in " Rinaldo, " by Ilflndel, *■* Lascia ih' io piaM^i;(i," which is said to have been written first as a Saraband, and afterward adapted to the words. Sarrusophone. A brass wind instrument with a double reed like hautboy. Satz(Cier.). (l) A theme. Hauptsatz, prin- cipal theme ; Seitensatz, secondary theme ; Nebensatz, aitxiliary theme ; Schluss- Satz, closing theme, or ciMla. (2) Apiece; com|)osition. Saxhorn. A brass instrument with from three to five cylinders or pistons; invented by A. Sax. .Saxhorns are made in seven different keys. A saxhorn band consists of " hijjh horn" (or cornet), soprano, alto, tenor, baritone, bass (or tuba), double bass (or l)ombardon). The "high horn," alto, and bass are in K(3f, the others in \i\f. Saxophone. Itrass instrument with clarionet mouthpiece, invented by A. Sax. Made in seven sizes, corresjionding to the sax- hiiriis, except that there are two of each kind, dilfering by a whole tone in pitch ; Salo. liasparo da. Viohn maker; Italy. I). 1542 ; (1. 1609. Sankey, Ira 1). Vocalist; IJ. S. A. 15. 1S40; d. 1908. Santley, Ch. P.aritone; England. P. 1834. larasate, I'. M. M. Y. N. (.uiAnjAsnA^-f^i). Violinist, composer; Spain. B. 1844} d. 1908. Sarti, (J. {sar'-tef). Com|xiser, organist; Italy. 11. 1729; d. 1802. Satter, Chistav. Comjx>ser, pianist; Austria. H. 1M2 Saviret, I'mile (Mtt/ny). Viv)linist; France. H. 1852; d 920. thus: Sopranino (high saxophone) in F and Ei?, soprano in (..' and Bt?, alto in F and Eb, tenor in C and Bj?, baritone in F and Epi, ba.ss in C and Blz. 'I'he saxophone is extensively used in France in military bands, but has not as yet found its way into the orchestra, as its tone tpiality is not of a character to mix well with the rest of the orchestra. Saxtromba. Brass instrument resembling the saxhorn, but diflering in tone quality from having a narrower tube. Saxtuba. The bass .saxhorn. Sbalzato (It.) (sbalt-zah'-lo). Impetuously; dashing. Scale. (l) A succession of ascending or descending sounds. Major Scale, a series of sounds with a half tone between 3-4 and 7-8, reckoning upward. Minor Scale, a series of sounds with a half-tone between 2-3 and 5-6 in the natural minor, in the MelcMlic Minor, 7-8, ascending. The Melodic Minor on of A.V Composer, pianist; Italy. B. 1683; d. 1757. Scarlat'ti, (i. (sonof D.). Composer; Italy, B. 1712; d. 1777, SCEMANDO 83 SCHOTTISCHE the proportion between the length, weight, and tension of the string, and tlie pitch of tiie sound it is meant to give. Piano builders include many other points in the term "scale;" those given are the most important. Scemando (It. ) {shtiyiiuin'Jo). See Dimin- uendo. Scena (It.) {shaynah). (I) A scene. (2) .\ solo for voice in which various dramatic emotions are expressed. Scenario (It.) {shay uahr'yo). (i) The plot of a drama. (2) The book of stage directions. Scene. (I) See 5rc«rt. (2) A division of a dramatic |)erformance. (J) A stage -setting. Schablonenmusik (Ger.). "Pattern" or "stencil" music, /. «■., correct, but unin- spired. Schaferlied (Ger.) {shay'ferleet). ' Shep- herd song ; pastoral. Schslferspiel (Ger.) [shay' ftrspeel). Pas- toral play. Schallbecken (Ger.). "Sound bowls;" cymbals. Frequently called Becken. Schalmy. See Cholameau. Scharf (lier.). Sharp. A mixture -stop. Schaurig (tier.). Weird; dread-inspiring. Scherz (Ger.) {shfits). Droll; playful. Scherzando (It.) (skertzan'-do), Scher- zante {skertzun'-tih), Scherzevole [sktr- t'.fh'-vo-leh), Scherzoso {skerlzo' so). All derived from scherzo, and signifying a light, playful style of performance or com|K>sition. Scherzhaft ((ier. ). Fuimy ; amusing. Scherzo (It.) {skert'-zo). A "jest." (i) A piece of music of a sportive, jilayfnl charac- ter. (2) A symphony or sonata movement of this character, taking the place of the Schad, |<)s. Comijcser, pianist ; Germany. H. 1812 ; d. 1879. Scharwenka, Philipp (shiir-7a.sso; Germany. II. 1751 ; d. 1812. Schilling, (Justav. Writer; Germany. It. 1805; d. 18S0. Schindler, Anton {shint'- Ier). Germany. n. 17<)6; <1. 1864. Schmidt, Aloys. C'om|)oser, pianist; (ier- many. U. 1789; d. 1866. Schneider, Fr. J. C. Composer, organist, writer; Germany. B. 1786; d. 185J. Schneider, J. G. ('om|mserc organist; Ger- many. U. 1789; d. 1864. minuet. Haydn lirst changed the character of the minuet, while still retaining its name, by giving it a light, jilaytul character and more rapid tempo. Heethoven discarded the name and adopted that of Scherzo, and still further increased the rajiidity of the movement; all that he regained of tlie minuet was the J time. Many com[)o.sers since Ueethoven have made still further departures, .Scherzi being now written in \ and \ time. Schiettamente ( It. ) (ske et fa ■ men' /eh). Without ornament. Schictto (It.) (jXv «'/'/<'). Simjile; neat. Schleppend (Ger ). Draggnig ; retarding. Schluss (Ger. ). Knd ; close. Schlilssel (Ger. ). Key; clef. Schlussfall (Ger.). Cadence. Schlussnote (Ger.). Last note. Schluss-Satz ((ier.). Last movement ; last theme ; coda. Schmeichelnd (Ger). Coaxing; ///(/>/• X'lini/o. Schmelzend (Ger) {schmei' izend). Lit, melting ; morendo. Schmerz (Ger.) (schmeits). Pain; sorrow. Schmerzlich (Ger. ). Painful; sorrowful. Schnell (tier ). Quick. Schneller (Ger.). An inverted mordent (called mordent in niost'r, organist; (iermany. \\. 178^; d. 1845. Schnyder von Wartensee, Xaver. Com- |)()ser, wriii'r; .Switzerland. It. 1786; d. 1868. Schoberlechner (<^ho' her lech ner). Com |>oser, pianist; .■\u%lria. It. f'<)7; d. 184J. Schrbder-Devrient, Wilhehnina. Soprano; Germany. It. I.S04; d. iStx). Schubert, Franz Peter. l'onipt)8er; Austria. It. 1797; d. 1828. Schuberth, Carl. C.imposer, 'cellist; Ger- many. It. 1811 ; d. 186;. Schulhoff, Julius (shool'ho/). ConiiM)ser, pianist ; Ii')lirmia. It. 1835 ; d. 1898. Schumann, Kobt. A. Composer, pianist; Gerniiuiy. I!. 1810; d. 1856. Schumann, Clara (Wicck) (wife of Kobt.). Pianist; Germany. It. 1819: d. 1896. SCHUSTERFLECK •I SENTITO Schusterfleck (Ger. ). See Rosalia. Schwach (Ger.j. Weak ; soft. Schwtbrmer (Ger.). See Kauscher. Schwebung (Ger.) {^shveh' -boonk). A beat. (Acoustic,) i. <"., produced by the simulta- neous vibration of two sounds, es|)ecially prominent in unisons and octaves when not in tune. Schweigezeichen ((ier.) {schvei geh tseuh en). Lit., " silence sign." A rest. Schwellen or Anschwellen (Ger.). To swell the tone. Schweller (Ger.). The swell organ. Schwellton (Ger.). See Messa di Voce. Schwellwerk (Ger.). See Schweller. Schw?r ((ier.). Heavy; difficult. Schwe.' mtitig (tier.) {sc/ivehr^-mee tig). Sad; pinsive. Schwindend (Ger.). See Morendo. Schwungvoll (Ger.) {schvoong' foil ). With elevated passion. Scintillante (It.) {shin-til Ian' teh),^z\M.\\- lante iKr.) {sintee-yong). Scmtillating; brilliant ; s|)urkling. Sciolto (It.) (shol'to), Scioltezza {shol tet'-za), con, Scioltamente {shol-tah men' teh). Freedom; fluency; with freedom; freely. Score. See Partitur. Scoring. See Instrumentation. Scorrendo (It.) {skorren' do), Scorrevole {skor-reh'-voleh). Gliding; glissando. Scotch Snap. .\ short note followed by a longer one ; thus Cj borrowed from Hungarian gypsy music. Scozzese (It.) {skotz-zeh'seh), alia. In Scotch style. Scroll. The head of the violin, etc. Sdegno (It.) (if/fZ/w'-vf;). Scorn; disdain. Sdegnosament* (It.) (sdehn' -yo • sa ■ men' - teh). Scornfully. Sdegnoso (It.) (sdehn-yo'-so). Scornful. Sdrucciolando (It.) {sdroot- sho-lan' do). See Glissando. Se (It.) ((.-A). As if. Sec (Fr.), S-«Cco (It.). Dry. See Reci- tative. Schuppapzigh, Ignaz (shit/''- pan ■ tzigh). Violinist; Austria. H. 1776; d. 1830. Schiltt, Ed. Pianist; Russia. B. 1856. SecHer, S. C'om]X)ser, organist ; Germany li. 1788; d. 1S67. Steeling, Hans. Pianist, com|X)ser ; Dohemia. B. 1828; d. 1862. Seguin, A. E. S. Basso; England. B. 1809; d. 1852. Second. (l) An interval embracing adjacent letters. (2) The lower of two equal voices or instruments. (3) The alto in a vocal quartet or chorus. Seconda Donna. Second lady ; the next in rank after the prima donna. Secondo (It.) (seh-con'-do). Second; the lower part in a duet for two voices or instru- ments ; the lower part in a four-hand piano- forte composition. Seele (Ger.) {seh'-leh), Ame (Fr.). Soul. The sound-|x>st of the violin. Seg (It.). Abbreviation of Se;^ue, f. ;'., and . of Segno. Segno (It.). See abbreviation S. Segue (It.) (sehg'-weh). Follows. Segue il coro, the chorus follows. Seguendo (It.) [sehg-wen' -do), Seguente [sehgwen'teh). Following. Attacca il seguente, attack what follows. Seguidilla (Sp.) {seh-gwee-deel' -ya). A dance in \ time. Sehnsucht (Ger.). Longing. rehnsUchtig (Ger.). Longingly. Sehr(Ger.). Very. Semi-breve. A whole note, o Semi-chorus. Half the chorus ; a small chorus. Semi-grand. A small (half ) grand pianoforte. Semi-^aaver. A sixteenth note. / u Semi-tone. A half ioiie. A chromatic semi- tone changes the pitch without changing the letter; as, C — CO; a diatonic semi-tone changes both, as, C — Dl?. Semplice (It.) {semplee'-cheh). Simple. Semplicimente (It.) (sempleecheemen'teh). Simply ; unaffectedly. Semplirita (It.) (scmplee' cheetah), con. With simplicity. Sempre (It.) {sem'-preh). Always. Sensibile (It.) {sen-see' heeleh). Sensible (Fr.) {songseehl). Nota sensibile, the leading; note. Note sensible, "sensitive" note. Sensibilita (It.) {senseebee'leetah), con. With feeling. Sentito (It.) {sen ■ tec' ■ to) , Sentimento (sentee-Dien'to), con. With feeling; with sentiment. Seguin, Ann Childc (wife of A. K. S.). Soprano; England. B. 18 — ; d. 1888. Seguin, W. H. (brotherof A. E. S.). Basso; E-.igland. B. 1814 ; d. 1850. Seidl, Anton. Conductor; Hungary. B. 1850; d. l8o8. Sembrich, Marzella. Soprano ; Germany. B. 1858. SENZA 8B SICII.IANO Senza (It.) {sfM-t:n). Without. Septet, Septuor. A composition for seven ■ solo voices or instruments. Septole (Cier. ). Septuplet ; a group of seven. Se piace (It.) {seh peah'-cheh). " I'lease yourself. ' ' AJ libitum. Sequence, Melodic. The repetition of a melodic phrase at rej^ular intervals. Har- monic Sequence, the repetition of a har- monic progression at regular intervals. Contrapuntal Sequence, a succe>sion of common chords with roots moving in a regular " pattern." i. 'ontrapimtal Seijueiice. Seraphine. A free reed instrument that preceded the harmonium. Serenade, Serenade (I'r.), Seren.ita (It.), StMndchen (tier.). Lit., an evening song. The Italian form, Seienata, is als > a|)plied to an instrumental symphonic composition, and by Milndel to his cantata, " Acis and (ialatea." Scxtno {U.) (sfhrfh' -lip). Serene; tranquil. Serio (It.) (seh-ir-o). Serious. Serioso (It). (Iravely; seriously. Serpent. A nearly obsolete in.strument made of wootl c<>veri'eil : — Sesqui-nona, / «*., the ratio of 9 to 10; minor whole tone. Sesqui-octava, S to 9 ; major whole tone. Sesqui-quinta, 5 to 6; minor third. Servais, A. Francois (.fcr-Tv/v). Composer, 'cellist ; France. H. 1807 ; d. i860, Servais, Joseph i^ff-Ttiv). Composer, 'cellist; France. H. 1850; d. 1885. Seyfried, J. X. Ritter von. Composer; Austria. " B. 1776; d. 1841. Sesqui-quarta, 4 to 5 ; major third. Sesqui-tertia, 3 to 4 ; perfect fourth. Sesqui-tone, a minor third. Sestet. See S,:xM. Sestetto (It.). See Sextet. Sestole. .See Sextiiflet. Seule (Fr. ) (jci'/). AU)ne. Seventeenth. \\\ organ stop sounding the octave of the major 3d alK)ve the diapason ; called also the tierce. Seventh. An interval including seven letters. Seventh Majo**. seven letters and eleven half-tones, as C — :s. Seventh Minor, seven letters and ten half-tones, as C — Bt?. Diminishes*. Seventh, seven letters and nine half-tones, as C)f — Bl?. Severamente (It.) {sehvehrahnien'- teh). Severely ; strictly. Severita (It.) {seh ver' eeta), con. With severity ; exactness. Sextet, Sestet, Sestetto (It.), Sextuor (Fr. ). A composition for six solo voices or instruments. Sextuplet. \ group of six notes occupying the time of four. Sfogato (It.) yifo-f^iih'-to) [from sfogaie. to evaporate]. .\ soprano voice of thin, light ([uality and unusually high range is calleil a soprano sfogato. Sforzando (It.) {sfortz-an'-do') or Sforzato, abbreviated Sf. or Sfz. "Forced." A strong accent immediately followed by piano. Shake. See Trill. Sharp. The sign, JJ, which raises the jiitch of a letter a half tone. Sharp is sometimes used in the sense of augmented, as sharp 6th for augmented 6lh ; popular name for the black keys of |)ianoforte and organ. Sharp Mixture. .\ mixture with shrill voiced pipes. Shawm. See Cluilanieau. Shift. \ change in the |K>sition of the left haiul on the fingerboard of the violin ; each shift is a fourth higher than the preiedmg one. Si. (Il The note B in French. Italian, .Tnd Spanish. (2) Tin' Italian iinjiersonal ))ro- noun, "one," or "they," as, si pidre, "one" pleases, /'. e., as you please. Siciliano (It.) {see-rheel yn'iio), Sicilienne (Fr. ) {sei-uY-li-e fii\. \ pastoral dance in slow J time; slow nuivcmeiils. vocal or instnnnental, are frc<|Ufntl y called Sicilianas. S.jambati, CJ. [.\t,'tiiii-/>iili'-tte). Composei, pianist; It.ily. ii. 1843; d. 1914. Shakespeare, Wm. 'I cnor, toacher; Fng- land. B. 1S40. Sherrington, II. I.emmens. Soprano; Kn^ land. B. 1834. SIDE DRUM SMINUENDO Side Drum. See Dnnti. Siegeslied (Ger.) {see'gesUed'). Song of victory. Signs. (Only the most important are here (^ivcn. C"()m]ilcte information may he oi)tained hy consulting; tiie " EmlK-ilisli- ments of Music," by Kusscil.) • • T ^ # Staccato, Vibrato. I'aus*.-. Alihreviatinn, siRiii- Spiccali). fyiiiK the- ic|ietitioti of the preceding fiKiire. S, \^ Segno. Repeat. Slur, wlicii over or urult-r sounds of (lin'crciit pitch, siKiiilyitiK U'Kaio. Tic, when the notes are on the same «k>Kree. Sharp. Dnuhle Sliarp. Khil. w Doul)le Khit. Natural. Crescendo. Decresccndo. //'v*v. =► A Sforzando. ArpcKgio. * ^ After Ped. means raise the foot from the pedal. Bract. 87 w. Octave higher. Trill. Turn. Mordent. ^va.Ba. v Octave Heel and Toe : lower. OrKan nnisic, — when aluive the notes, rishl foot; when below, left foot. Signature, Signatur (Ger.), Time. The signs E ^. etc. Key Signature, the sharps or flats marked at the i>egini)ing of a part or piece. Simile (It.) {seemee-Uh) The same; in the same way. Sinfonia (It.\ Sinfonie (der.). Symphonic (Fr.), Symphony [from k\\.,suh; phoueo, sounding tof;ethcr]. Originally had the .same meaning; that we attach to interval, i. f., two simullanpous soinids. (l) i!y the early writers of Italian opera it was used in the m<>r Singbar ((Jer.). Singing; can- tabile. Singhiozzando (It.) i^sin-ghee-otzan'-iiof. Sohbinjjly. Singspiel (Ger.) (shii^'-sprel). "Sinjj play. " ( )peretta , an opera without recitatives, the dialogue being spoken. " Dcr Freiscliiitz,' when tirst produced was of this chr.racter, which may be considered as one ol (ier- inanys contributions to the devel()i)n)ent of the opera, the Italian operas from the beginning being largely c<)nijx)sed of recita- tive, 'the ''Singspiel" form has found its most congenial home and its best exponents in France. Sinistra (It.). Left. Sino, Abbr., Sin. (It.) (.w '■//<>). As far as ; used after I). C., or al \ft; as al |p, Sin' al fine, go to the sign, then as far as "fine." D. C. sin' al '^\, fnin the beginning as far as the sign. Sixteenth Note. 5 Sixth. An interval including six letters. Sixth Major. Six letters, nine half tones. Sixth Minor. Six letters, eight half tones. Augmented Sixth, six letters, ten half tones. Diminished Sixth, six letiers, seven half tones. Sixty-fourth Note. ^ Slancio (It.) {slan' the-o), con. With im- petuosity. Slargando (It.) [slar-gan' -iio). Widening; growing slower. Slargandosi (It. ) {slargnn-do'see). Sluwer. Slentando (It ) {sUuttin'-iio). Gradually slower. Slide, (i) The movable tube of the trom- l)one. (2) See rortamt-nto. Slur. — — Legato sign. In vocal music signifies that all the notes it includes are to be sung to one syllable. Smanios > (It.) \^smane-o'so). Fr.intic; raging. Smaniante (It.) {sma-ntan'-teh). Frantic- ally. Sminucndo (It.) (^minoo tn'do), Sminuito {sM in ■ 00- ff' ■/(<), Smorcndo (snio-rfu'-ao). Same as Diniiiiuentio. Sloper, Lind>ay E. H. Composer, pianist ; Englaml. It. 1826; d. 1887. Smart, Sir G. T. Composer, organist ; Eng- land. B. 1776; d. 1867. Smart, Henry (brother of G.). Violinist; England. B. 1778; d. 1823. Smart, Henry (son of IL). Con)|)oser, organist; England. IS. 1813 ; d. 1879. Smetana, F'r. {snuh to/i'-na/i). Composer' Bohemia. B. 1824 ; d. 1884. SMORZANDO «T SONATA 1)1 CMIKSA Smorzando (It.) (smor- tziin' ■ Jo). Lit., "smotlierin}{ ; " morendo. Snare Drum. See Drum. Soave (It.) (j«(j'-7'c'/;). .Sweet. Soavemente (It.) {so ■ a ■ i,h men'- teh). Sweetly. Sogetto (It.). Subject ; theme df a fujjue. Sognando (It.) {sone yiin'-do). Dreaining ; • lieiiinily. Sol. The note (f in Italian, French, and .Spanisii ; tiltii .An-tiiiian >. Solmization. .\ method uf learning; to sin)j by the application of syllables to the scale The earliest invention ol' tlii-. method of fixin(» the succession of M)un), therefore from its inception "do" was "movable." Various modifications of these Myllabb's have at diflferent times In-en used for solmi/.ation. One extensively u.sed at one tinje was the practice of using only four of them, viz., mi, fa, sol, la. These svere so arranged that mi always fell upon the third note in the tetrachord, for example, the scale of C was solfaed thus : — TetriK-hord. Tetrachord. CUE F ! <; A w c sol la mi fa sol la mi fa It was owing to the dilficulty and, to ancient ears, harsiiness of the skip from the Smith, Sidney. Composer, pianist ; Eng- land. B. 1839 ; d. 1889. fa of the lower tetrachord to the mi of the up|H-r that the exjiression, " n>i contra la," came to have a |>roverliial meaning. '1 his interval, called the trilone (three tones), was by the ancient theorists stiginali/ed as " tritonus diabolus est." New syllables have at different times been proiK)s<'ocedi/ation ; another with da, me, ni, po, hi, la, be, was called damenization. 'The only miHJilica- tions ano- sition in which the princi|>al part is taken by one voice or in.strmnent. Solo Parts are lliosc sung or jjlayed by single \Htx- formers as di.stinyui.:>lit'd from chorus or tutii passages. Somma (It.). Utmost; as Con somma espressione, with the utmost e\j)ression. Sonabile (It.) {somih' hfe leh), Sonante ( so - tiitn' ■ tth ). Resonant ; souiulmg ; sonorous. Sonare (It.) (sonnh'teh). To sound; to play uiHjn. Sonata ( It.) (souah'-tah). " Sound piece." (I) 'The highest development of musical form. (2) In nxxlern Use, an extended composition with several movemeiiis for ]Manoforte, or pianoforte in conjuiiciion with one other instrument. A composiiion of this class for more than two instiuments is called trio, quartet, etc. ; for full orchestra, a symphony. 'The " fortn " of the sonata (see /•<"•«/) has undergone many modifica- tions since it was lirst adopted, about (he l)eginning of the 171!) century. .\t first it was applied indifferently I<> any instrumental piece, such, for example, as were cununonly called "airs." 'Those written for the harp- sichord or for viols were called " sonata da camera." Those for the organ (or frei|uci)tly those for harpsichord or viols, if written in grave .style), "sonata da chiesa " (church sonata). 'The distinguishing characteristic of the modern sonata form is the [Hissessiun of two tliemes in different keys (see Scheme in article /•orm). 'The gradual growth of this binary development may Ik.- traced in the works of Kuhnau, Scarlatti, .Mberti, I >urante, and others. The binary fornt was lirst delinitely settled by I'h. F. IJach The oidy changes made since have U'en the immense develo|iniciit given to the form by Meethoven, and the adojition of other keys for the .second theme. Sonata di chiesa (It.) {in' ■ i-A's.i). A church sonata ; organ sonata. Sodermann, j. A. poser; Sweilen. {iOOii' finiiiii). L'om- U. 1832; d. 1876. SONATILLA 88 SPANISCIIKS KKKUZ Sonatilla (It.> [somi lil'/o). Sonatina (It.) (so till tef' iiii), Sonatine {Vr.)(so mi Utn). A short, easy, uinlevelopcd sonata. Song, Gesang, Lied ((ler. ), Chant (I'r.), Canto (it.). (I) ( )ri({inally a |)oem. (2) A niii.sicul setting; of a |)oeni, especiallv for otu- voice. (3) l*oik-M>njj ((it-r. , /'f'/>6j/W). A siin|)i(> air ('uiilainiii(> but one nieinber, tiie word.s lyrical or iiarnitive (if ific iKiem i.s a lent»tliy narrative it is j»enerally called a ballad). (4) Art son){s contain .several members, and in many cases, as in the so!i(;s of Schubert, Franz, Schumann, and others, rise to the highest |)lane of art exjjression. Tlie ( iermans iiave a word, liutihkoiiiponierl, which is applied to sonjjs every stan'a of which has a separate musical betting;, so designed as to exalt and eii'.j)ha- sixe llie ex|)ressii)n of the words. Songs without words, Lieder ohne Worte ((ier). Chants sans paroles (Fr. ). A title invented by Meiulelssohn and ({iven by him to a set of pianoforte com|H>sitions. Songs fur several voices are called part songs, q. v. Sonoramente (It.). Sonorously. Sonore (It.), Sonoro (from l.at., sonus, sound]. Sonorous ; sounding. Sonorita (It.) ($0 ■ no' ■ ree ta) , con. With resonance. Sopra (It). On; above; upon. Soprano (It.), Sopran ((ier), Dessus ( I'r. ) (r/f.t .t(K)). 1 lie female or l)oy's voice of the highest range. Soprano Clef. (' clef on the 1st line. Soprano Sfogato (s/o ■ i^.f - f>rf leh' vo leh ) [from .uiio, a sigh]. Sighing; sobbing; niournful. Sonnleithncr, ("h. {son' lii^ht tin). Com- . Sontag, Ilemicita (J. W. Soprano; Gcr- poser; .\ustria. B. 1734; d. 1786. | many. H. 1806; d. 1854. So8tenuto(It.) {sostehnoo'-Zo), Sostenendo (sos ■ tih - tifn' - tio ) . Sustained: without haste. Sotto (It.). Kelow. Sotto voce, in an undertone. Soubasse (Fr.) (soobass). A 32-foot organ pedal -stop. Soubrette (Fr.) (soofurt). \ waiting maid; a minor female rOle in comic or comedy o|)era. Sound-board. \ thin sheet of spruce pine, or tir, upon which the bridge that supports the strings of the pianoforte rests. The function of the sound board is to increase the volume of the tone, which it does by taking up the vibration of the string. There are many unsolved problems in the relation which subsists between the string at)d the sound Imard, as to the manner in which this amplilicalion of the sound takes place. It is impossible to form a concep- tion of the complications in the niode of vibration of the sound Ixmrd that must take place when, for example, a full chord is struck. \'et all these complications are not only simultaneous, but they obey the chang- ing conditions of the most rai>id execution with such swiftness and certainly that not a note is h'st or a tone (jualily obscured. Sound-box. The Ixxly of the violin, guitar, etc. The |)robleins as to the function of the sound box are even more complicated than those connected with the sound'l>onrd, as a sound box is a comoination of a sound- boanl and an enclosed ina.ss of air the vibrations of which have an important bear- ing on the tjuality and intensity of the tone. Sound-hole. The orifice or orilices in the upper part, called technically the " belly," of the violin, guitar, etc. In the violin family they are called I-holes, from their resemblance to the letter f. Sound-post. .\ slender, cylindiical, woculen prop between the belly and the back in instruments of the violin family, placed under the foot of the bridge on the side of the highest string. Sourdine (Fr.) (soor-iiefH). See Soriiino. Spaces. The intervals between the lines t)f the staff or between the leger lines. Spalla (It). The shoulder. I'sed in the sentence, Viola da spalla, one of the viols in a " chest." Spanischer Reiter (tier.). See S/artirt, to ilivulij. Hence, a score. Spasshaft (Ger.). Jocose; merry; scher- zando. Spezzato (It) [spi-fs sa'-to) [from spftzarf,io break in pieces]. Oiviiietl ; broken. Spianato (It.) {spea-nah' ■ to). Leveled; triini|uillo. Spianto (It.) ij/^-jj/f/o). Level; smooth. Spiccato (It.) (spik kiih'-to). iJelached ; pointed. Spiel (Ger.) [spffl). Play. Spielart. Style ; touch. Spielbar. I'layai>le ; well adapted to the instrument. Spieloper. ( )|)cretta ; comic opera. Spieltenor. Lij»ht tenor; comic o|)era tenor. Spinet. The pre(lecfsst)r of the harpsichord, called also couched harp. Spirito (It.) {spff-reetc), con, Spiritoso (spc-frre-lo'so), Spiritosamente (spee-ree- to sa men'- Ifh). With spirit; spirited; lively ; animated. Spitzflote, Spindelfldte (Ger.). An organ- stop of reed like (juality, 8-, 4-, or 2 foot pitch. Squilla (It.) {iquil'la). Little bell. Squillante (It.) {squilUm'teh). Hell like Stabile (It.) (.!//ct't(e). 'Cellist; Italy. B. 1768; (1. iSj4. Speidel, Wil. Composer, pianist ; Germany. H. 1826; (1. 1899. Spindler, I-Vitz. Composer, jiianist ; Ger- many, li. 1817; d. 1905. Spofforth, K. Comix iser; I'!ngland. li. 1768; d. 1S27. Spohr, Louis. \ iolinist. composer; Ger- many. H. 1784; d. 1859. Stainer, Sir John. Com|X)ser, organist ; Kngland. H. 1840; d. 19 1. Stanford, Ch. Villiers. Composer, organist; Kn^liuul. I!. 1852; d. 11)24. Staudigl, l<)s. (s/i>7o' sit ion designed to "voice" or express some given inotxl or eniotion, e.^^., " Wurum," by Scliunjann. Staudigl, Jos (.(A>7t» i4. Sleffani, A {ste/'- I'a/i' ■ ne^). Com|)oser; Ii.ily. 1!. i()55; (1. I7JO. Steggall, Cli. CoiniK)ser, organist ; England. li. lS-(. ; <1. I;ih- chee can'- tio), Stracinando {strah - ch(e- nan' lio). A drag, or slur; sliding from one note to another and at the same time slightly slackening the time. Strain. Song, air, tune, or a part of one. Strathspey. A Scotch dflnce in \ time. Stravagante (It.) {sirah-vah gan'-tt). Ex- travagant ; fantastic. Stravaganza (It.) {strah-vahganf -sak). A fantastic composition. Streng (Ger ). Rigid; severe. Strepito (It.) {streh'- pee-to), con. With noise ; fury. Strepitosamente (It.) {^itreh-pee-to-sah-men' ■ tell). Furiously. Strepitoso (It.) {streh pee-to' -so). Furious. Stretta, Stretto (It.). " A throng." (l) Hurrying the time at the close. (2) In fugue, causing the voices to follow one another .it less distance so that the subject anil answer are brought closer together. Stridente (It.) {stree-den'-teh). Strident; noisy ; im|)etuous. String. .Abbreviation for Stringendo. Stigelli, Ci. {stee-jfl'-iee). Composer, tenor; (Jerinany. \\. 1819; d. 1868. Stockhausen, M. Soprano; Ccrmany. I?. 1S03 ; d. 1877. Stradella, A. Composer; Italy. I). 1645 ; d. 1681. Stradivari, A. {sira/i-itee-vnh-ree). Violin maker; Italy. H. 1644; d. 1737. Stradivari, F. Violin maker; Italy. H. 1670; d. 1743. Stradivari, O. Violin maker; Italy. B. 1679; (1. 1742. Strakosch, Maurice. Pianist; Germany. I). 1825 ; d. 1887. String. Cords made of wire, catgut, of silk, used for musical instruments. String Band. The violins, violas, violon- cellos, and double bass, also spoken of collectively as the "strings" or the string quartet. String Instruments. Those in which the tone is priMluced by the vilinilion of strings. They are classilied as follows: 1st, strings plucked by the lingers — harp, guitar, etc.; 2d, strings struck by plectra — manth of the scale. 1 2 :j t 4 T I. Tonic, 2. Mediant, 1. c, liair-way to dominant. 3. Dominant. 4. Suli-medlant, «'. c, half-way to sul>-ffl). A set or series of move- ments. The suite originally consisted solely of dance tunes to which "airs" or move- . ments, designated by the tempo terms, allegro, etc., were added. The classical suite contained : 1st, allemanJ; 2d,coranto; 3d, saraband ; 4th, gigue, preceded by a prelude. Occasionally the gavotte, pnvan, ioure, minuet, etc., may be found with or in place of .some of the above dances. .\c- cording to the rule of the suite, all the movements had to l)e in the same key. Suivez (I'"r.) (siueertry). Follow; a direc- tion for the accompanist to follow the soloist. Sujet (I'r.) (soozhay). Subject. Sullivan, Sir A. S li. 1842; d. 1900. Suppe, K. von ( soop'- peh ) . Austria. \\. 1820; d. 1895. Sussmayer, F. X. Com|)oser; Austria. 1766; d. 1803. Composer; Fiigland. Comix»ser ; B. Sul, Sull, Sulla (It.). Upon; on; by ; in violin nmsic a pas.suge to be played on a certain string is nutrked .Sul li, or A, or I>, or tj, as the case may be. Sul ponticello (It.). liy the bridge; in violin jilaying, a direction to play with the bow close to the bridge. Suonata. See Soiinla. Superfluous. Same as Aui^mentttl. Super-octave. (I) An organ stop of 2 f(Hit pitch, r.ame as fifteenth. (2) \ coupler in the organ that |ndls down the keys oni: octave alH)ve those struck. Super-tonic. Tlie 2d degree of the scale. Super-dominant. The (jtli degree of the scale. Supplichevole (It.) {suppUfkay' volih)^ Supplichevolmente (.(///• ploem or story. Syncopation. A shiftitig of the accent, cause«l by tying a weak beat to a strong beat. Syren, (i) .\n acou.stical apparatus fur determining the viliratiniial rates of .sounds. (2) A species of foghorn. Syrinx. See Puiuiniit I'ipf. Svendsen, J. S. ('oin]K)ser, violinist, con- ductor; Norway. H. 1S40; d. ii^n. Svendsen, ( >luf. Flutist; Sweden. l! 1832; d. 1888. Sweelenck [ The "jingle" f Taniburo (It.). Drum; side drum. Tamburone (It.) (lam-boo-ro'-neh). The great drum. Tam-tam. Gong. Tandelnd (Ger.) [tehn-delnd). Playful. Tangent. The brass pin in the action of the clavichord that was forced against the string when the key was struck. Tantino (tan-tee-no), very little. Tanto(Il.). So much; too much. Allegro non tanto, not so fast; lit., "fast, not too much." Tanz (Ger.) {(ants). Dance. Tanzlieder. Songs to accompany dancing. See Ballad. Tanzstiicke. Dancing pieces. Tanzweisen. Dancing tunes. Tarantella (It.), Tarantelle (Fr.). A rapid dance in \ time ; the name is derived from tarantula (the poisonous spider). The dance is popularly believed to be a remedy for the bite of this insect. Tardamente. (It.) (tar-dah-men'-teh). Slowly. Tardando (It.) {tar-dan' -do). Slowing; retarding. Tardato (It.) (tar-dah' -to). Made slower. Tardo (It.) {taj-^-do). Slow; dragging. Tartini Tone. An undertone produced by the simultaneous vibration of two strings, etc., first observed by Tartini, the violinist. Called also a differential tone. Tastatur (Ger.) (tas-tah-toor) . Tastatura (It.) [tastah-too'-ra). Keyboard. Tamburini, A. {tam-boo-ree'-nee). Baritone: I dy. B. 1800; d. 1876. Tansur, Will. Composer, organist ; Eng. land. B. 1706. d. 1783. Tartini, G. {tar-tee' -nee). Violinist, com- poser ; Italy. B. 1692 ; d. 1770. TASTE TEMPO MARCTA Taste (Ger.) {(as'-ieh). A pianoforte or organ key ; pedal key. Tastenbrett (Ger.), Tastenleiter. Key- board. Tastiera (It.) {tn^-tee-eh'-rn). Fingerboard of viol-n, guitar, eic. Sulla Tastiera, a direction in violin music to play with the liow near tiie fingerboard, — the opposite of Sul ponticello, q. v. Tasto (It.) A "touch." (i) A key. (2) A fret. (3) Touch. (4) Fingerboard. The preceding words from Tastntur are all derived from Tasto. Tasto Solo. Literally, "key alone," i.e., one key or note at a time. A direction in figured bass that the notes are to be jjlayed without chords, /. e., unison or octaves. Tattoo or Taptoo. The drumbeat ordering soldiers to retire for the night. Technic, Technik (Ger. ), Technique (Fr.). The purely mechanical part of playing or singing. Technicon. A mechanism for strengthening the fingers and increasing their flexibility. Techniphone. See Virgil Clavifi: Tedesco or Tedesca, alia (It.). In German style. Tema (It.) {teh'-inah). Theme; subject; melody. Temperament. The division of the octave. Equal Temperament. The modern sys- tem of tuning divides the octave into twelve equal parts, called semitones. Un- equal Temperament (which was formerly used for all keyed instruments, and retained until quite recently for the organ) tuned the natural notes true, and distributed the .superfluous interval among the "black" keys. The discovery of the art of equally tempering the scale lies at the foundation of modern music. Without it, the sudden ex- cursions into remote keys would be impos- sible. Although we have lost something in purity of intonation, the loss is more than made u[) in the gain of twelve keys, all equally well in tune. Some enthusiasts, generally acousticians, express great dissat- isfaction with our modern scale. A suffi- cient reply is, that the scale that satisfied the ears of, and made possilile the music of the great writers from Hach to Heetboven, must of necessity be the best njusical scale. Tempestosamente (It.) (/ww/w-Zo'-M-ww/'- teli). Impetuously. Tempestoso (It. ) [tem-pes-to' -so). Tempes- tuous. Tempftte (Fr) (Uxm-peht). Tempest. A French dance — formerly fashionable — re- sembling a quadrille. Taubert, Carl G. W. Com|)oser; Germany. B. 181I; d. 189I. Slow Slow Fast, Tempo (It.). Time. "Tempo" is univer- sally use(^ to signify " rate of movement." Tempo Indications — Jf 'g*'- f Andante, l2^^ Moderate ] Moderato, , J .' I Commodo. Adagio. '■ Fast \ ^•'eg''o« ^'^Hl'resto. Words used to modify the above : Poco., a little. Hefore a word meaning shnv., signifies an increase of speed, as poco lento, a little slow ; before a word meaning fait, it signi- fies a decrease of sj/eed, as poco alles^ro, a little fast. Pin, more, Hefore a word meaning shnv, signifies a decrease of speed, as pin lento, slower ; before a word mean- ing fast, it signifies an increase of speed, as piu allci^ro, faster. Assai, very. After a word meaning slow, decreases the speed, as adagio assai, very slow ; after a word mean- ing fast, increases the siieed, as allegro assai. Malta, much ; has the same meaning as assai. The Diminutivk Etio. Larghetto, a little faster than Largo. Adagietta, a little faster than [Adagio. Allegretto, a little slower than [.\llegro. The Superlative Issimo. ( Larghissimo, 1 Slow I Lentissimo, I As slow as possible. ( Adagissimo, j ^^'' { Prisfi's™' } ^'^'' ''' P^''''^'^- The Diminutive Ina. Slow, Andantino, faster than Andante. Andante means " going " [from andare, to go], therefore Andantino means "going a little." A large number of words are used in conjunction with the tempo indica- tions that refer more to the manner or style of the performance than to the speed, as Apjiassionata.with passion; Vivace, with life. I'he majority of these words are preceded by con, with ; a.s — Con brio, .... with vigor, "l Con calore, . . . willi warmth, I Con fuoco, . . . with fire, | Con moto, etc., with motion, J Con espressione with expression. I Con dolcezza, . with sweetness, \ Con (lolore, . . . with sadness, 1 Con tristezza . with sorrow, J Tempo commodo. Convenient ; easy move- ment. Tempo di ballo. Dance time. Tempo giusto. Strict ; exact time. Tempo marcia. March time. Tausig, Carl. Composer, pianist ; Poland, li. 184I ; d. 1871. After words meaning fast. After words nieaninx slow. TEMPO ORDINARIO 94 TETRACHORD Tempo ordinario. Ordinary ; usual. Tempo primo. First time, used after a ri- tard. or accel. to indicate a return to the original time. Tempo rubato. See Rubato. Tempo wie vorher (Gar.). Same as Tempo primo. Temps (Fr.) (tam). (i) Time. (2) Beat. Temps faible or levi. Weak beat ; up beat. Temps iort or frapp^. Strong beat; down beat, Tendrement (Fr.) {tondr-mong). Tenderly. Tenendo il canto (It.). Sustaining the melody. Teneramente (It.) {teh-neh-ra-men'-teh). Tenderly ; delicately. Tenerezza (It.) (teh-iieh-ret'-za), con. With tenderness, delicacy. Ttncvo^li.) {feh'->ieh-ro). Tender; delicate. Tenor, Tenore (It), Taille or Tinor (Fr.). (i) The highest natural male voice, (2) In the old system of music, the cantus or plain song. (3) A common name for the viola. The word tenor is supposed to lie derived from Lat., tetteo, to hold, as it held the melody. Tenor Clef. C clef on 4th line. Tenor Violin. Viola. Tenore buffo. A comic tenor singer. Tenore di grazia. A "smooth-singing" tenor singer. Tenore leggiero. A light tenor singer. Tenore robusto. A vigorous, strong tenor singer. Tenorino (It.) {ten-o-ree'-no). " Litile tenor." Falsetto tenor. Tenorist. A tenor singer; also viola player. Tenoroon. (l) ^te Oboe di cacdn. (2) Any organ-stop of 8foot tone that does not go . below middle C. Tenuto 1 It.) {teh-noo' ■to'). Abbreviated Ten. Hold ; a direction to sustain the notes for their full value. Sign ^. Tepidita (It.) {tehpee' -dee-fa), con. With indifTerence. Tepiditamente (It. ) (feh-pee-dee-fa-men'-teh). Coldly ; lukewarmly. Tercet. {Vr.) {tehr-say). A triplet. Ternary "^orm. Rondo with three themes. Ternary Measure. Simple triple time. Tertian. A two-rank stop, sounding the ma- jor 3d and Sth in the third octave above the fundamental. Telemann, G. P. [teh' - lehman). Com- poser, organist ; Germany. B. 1681 ; d. 1767. T' 'Ger.) {terts), (It.) Terza. Third. Tf ,etto (It.) {tert-set'-to). A vocal trio. Terzflote (Ger.). (i) A flute sounding a 3d above the written notes. (2) An organ stop sounding the major 3d in third octave. Tessitura (It.) {tes-see-tu'-rah). Texture The general range of the voice included in a given song, etc. Testo (It.) {tehs'-to). Text. (i) The " words" of any vocal composition. (2) The theme or subject. Tetrachord [from Gr., tetra, chordott]. Four strings ; hence, a succession of four sounds. The tetrachord always consists of two whole tones and one half-tone. These intervals may l^e arranged in three ways. The oldest arrangement, called the Pythagorean tetra- chord, began with the half-tone, thus : — It is generally supposed that the original four-string lyre (called the tetrachordon) was tuned to these sounds. The addition of another tetraciiord, beginning with the highest note of this one, gives the scale of the heptachord, or seven-string lyre, thus: — ^^ -js:. -6>- -JSL -^9— 19- -fefi- This is called the scale of conjunct tetra- chords, the A being the note common to both. The addition of a note behnv this scale, thus : — 1. JSL -/9- -JSZZ^Z >ff. ^ gives the original octave scale of the lyre, 'i'his scale is the normal Greek scale, called the Dorian. It is doubtless the origin of the modern minor scale. The tetrachord known as Hi'cbald's had the half-tone in the middle, thus : D E F G. The Hexachord scales {q. 7'.) were formed from this tetrachord by adding one letter above and one below, thus : — C D E~F G A. In the modern major scale the halftone lies between the third and fourth letters of the tetrachord, thus : C D E F, and the scale consists of two of these tetrachords separ- ated by a whole i jne. Terschak, Ad. Composer, flutist ; Germany. B. 1832; d. 1907. TETRACHORDAL SYSTEM 95 TIME Tetrachordal System. The orijjinal name of the Tonic Sol I'a, ./. v. . Theil or Teil (Ger.). A part (portion, not " voice "). Theme, Thfeme (Fr.) {tehm), Thema (Ger.) {teh-ma). The subject of a fugue ; one of the subjects of a sonata or rondo. The subject of a set of variations. The " can- tus " to which counterpoint is added. Theorbo, Theorbe (Fr.). A large variety of lute. Third. An interval including three letters, and, if major, two whole tones ; if minor, three halftones; if diminished, two half- tones : — sign must be repeated for each one, thus :— P :g=fc=S T.iirty-second Note ^ . Thorough Bass, Figured Bass, Contin- ujd Bass. A system of musical short- hand originally ; now used as a means of te.iching harmony. Threnody [Or. tltrenos\. A song of mourn- ing ; dirge. Thumb Position. Violoncello music ; sign 1, the thumb is laid across the strings, making a temporary bridge. Tibia (Lat.). The "shinbone." Latin name for the flute, which was originally made from the bone, the name of which it bears. Tibia Utricularis. Bagpipe. Tibicen (Lat.). A flute player. Tie, Fascia (It.), Bindebogen (Ger.), Liai- son (Fr. ). A curved line joining two notes on the same degree. The first note is sounded, the second is "held." In old editions, in place of the tie, it was custom- ary to write a single note on the bar-line, equal in value to the two notes that in mod- ern practice are tied. Thus: — i ^z:^ ±: for pi a Any number of notes may be tied. The Thalberg, S. {talherif). Composer, pianist; Switzerland. B. 1812 ; d. 1871. Thayer, A. W. Writer; U. S. A. B. 1S17 ; d. 1897. Thayer, Fugene. Organist, composer ; U. S. A. B. 1838; d. 1889. Thomas, C. Amhroise {lomah, avi bro-az). Composer; F'rance. H. 1811; d. 1896. Thomas, Theo. VioIini>t, conductor; Gei- inanv. B. 1835 ; d. Igos. r r » The first note is struck, but the sound is pro- longed until the lime value of all has ex- pired. Tief (Ger.). Deep; low. Tierce, (i) A third. (2) .\n organ stop. See Ti'iz. Tierce de picardie (Fr.). The major 3d in place of the minor in the linal chord of a piece in the minor key. At one time this manner of ending was the rule. Tierce Position. A common chord witb root in bass and third at top. Timbale (Fr.), Timballo (It.). Kettle- drum. Timbre, (Fr.) (A/w/';). Quality of tone. In German K/a>i};f(ir/ie, for whicii Chnii^^lint has been proposed as an English equivalent. Timbrel. Tambourine. Time. (l) The division of music into por- tion.s marked by the regular return of an accent. All varieties of time are founded on two units — the Binary ^=12, and Ter- nary = 123. Time signatures for the most part are formed from figures written like fractions, the upper figure giving the rhythmic units and the numlier of times the value of the note indicated by the lower figure occurs in the measure, 'rime is Sim- ple Binary when the upper figure is 2 ; Simple Ternary, when the upper figure is 3, Compound times are formed l)y adding to- gether two or more of the time units. When the number of accents resulting from this combination are ertu, it is called Compound Common time ; when they are odd. Com- pound Triple time. Simple Duple time is indicated by this sign (JJ. As now used, it always means the value of a whole note in the measure, and is called Alia C'apella time. Like all duple times, it must have but one accent in the measure, no matter how the time value of the measure may l)e divided. The first compound of Duple time, viz., * time, is often marked f^ and is called Common time, under the impression that the sign is the letter C, whereas it is Thom6, I''. L. J. (tohmeh). Composer; Mauritius. 1!. 1850; d. 1910. Thunder, Henry. Organist, composer ; Ire- land. B. 1832; d. 1881. Thursby, Emma. Soprano ; U. S. A. B. 1857- Titjens, T. C. J. (tfe-fee'eus). Soprano; Germany. B. "1831 ; d. 1877. TIMIDEZZA 96 TOUCHE the old sign for Imperfect time, viz., a broken circle, and originally meant two beats in the measure. Tiiree beats was called Perfect time ; the sign was fj . With the exception of the times with 4 for the upper ligure, all the compound times are multiples of the ternary unit, as ^, 6 6 — ^^, \^, \q, etc.. Compound Common; 4 ' 8 ' I'^G ' ^o'npound Triple. The accents in compound times are determined by the number of units in the measure. The iirst is the strongest, third next, the second is weak, the fourth weaker. 12 8 rf tluLu % '^ ^ 5 5 5 •• as Lutii as In Compound Triple, the second and third are both weak. Llt Llt Lcj Timiflezza ( It. ) {Ue - mee - tkt'- za) , con. With timidity. Timorosamente (It. ) {tee - mo - ro-sa-nien'- teh). Timorously. Timoroso (It.) (tee-mo-ro'-so). Timorous; hesitating. Timpani (It.) {iim'-pa-uee). Kettle-drums. Abbreviated Timp. Timpanista (It.). Player on the kettle- drums. Tirade (Fr.) {(ee-rad). A rapid run or scale passage. Tirasse (Fr.) [Ue-rnss). A pedal keyboard that " draws down " the manual keys. Tirata (It.) {tee-rahf-tali). .See Tirade. Tirato (It.), Tiri (Fr.) {tee-reh). " Drawn " bow, i. e. , down bow. Toccata (It.) {tok kah' -taK) [touched, from /(7rra;r, to touch]. (l) A prelude or over- ture. (2) A iirilliant composition resembling somewhat the modern " fetude " for piano or organ. Toccatina (It.) {tok-kah-tee'-nah). A little toccata. Toccato (It.). A bass trumpet part. Todtenmarsch (Cier. ) {tote' ■ ten tnarsh). Funeral march. Ton (Ger.), Ton (Fr.). Tone; sound; pitch; 'ts with tile oilier tiuthod of trill delivery (from upper tone), and most editions of Hee- thoven, Mozart, Haydn, etc., having anno- tations, give this manner of perfoiniaiue as correct. It is to be remarked, however, that modern performers (virtuosi), who really create the style and through vvhoni we expect the better elements of traditions to be conserved, do not, as a rule, testify in their performances to the absolute truth of this manner of trilling. More modern composers (Cho])in, .Schu- mann, etc.) have so positively written their trills, with the accent uixin the principal tone, as to have cultivated almost beyond recall, even in the greater virtuosi, the feel- ing for such a manner of performance rather than with the accented upper auxil- iary. f=(t=?I Written. ^ ( Mozart. ) Execution, Examples.— The T.ill. t- m - ^-r-?- "^ li-'ritten, c J - (Haydn.) Execution. ^^^^^35 '^^^^^TS^S. fF^E :*=i=*: i — H 1 — -1— i^ii— iintrp: ^ ? H ^- IVritten. e 1 ^^= =^t :;sc (Handel.) Execution. ~, :f=p: iGit Written. .^ ^ ^^^ ilrjrzfz^^:^ With Appoggiatura or slurred note. Written. ra.i* -■ --*5 1 1 I r__i . I I 1 ; I I i_ I ' I Ft ^■^^ ^ -ff-v v * ^ES:; ( Hach.) Execution (Haydn. T^f I Unusual prefixes and closes. (Double After-beat, etc.) Written. a tr f> tr r-jE^- -y^ — h i TRILL 105 TRILL i Written, d fe- F*!6 tr W ^5EE -in- Execution, or I etc. etc. d ^ d » d *^ d * 1^ •■ :f=p: "^^"=T^ (i Written. f tr tr -^— r -t ^Mozart.) Execution. S- — r -:>-^ (©-i- (i ip: i ^^■ ^ V^ f ^-j r^ ^ — -+- -«*- -ZiT'-lf-*-^ .^ d ^ Written. g tr Jt=*=t w s ^^ (Bach.) Execution. P ^3-.=^^ :^ i^^^SSS ^ P^ ^■^^ I Written. Alkip-o. ^fV">r^-V>if^>n-VV^-^'^V «r :£ -t I ffi: -1^ (Mozart.) Execution. ^^ fi^f^- etc. Written, i Allegro.^ Execution. ( Ilamlel.) -^ ^^ J^pfe^^^^P 106 TROPPO 1 ( Handel.) Execution. ,, Writlen. ti=,y=^fees I* fr ^ ^^^m^ { Mozart.) F.xecnlion. :«^E^g2 :^^ Written. m tr -N-i ti ^ -__i — - — _ 1 ■;■ f=a=-.ii Old style. Execution. 4=t Modern. ^^ "j -i 1 1 1! 1-^-*-* — •W^ -*— ; -In J=tiii=:L Trinklied (Ger. ). Drinking song. Trio (It.) (tree-o). (i) A composition for three voices or instruments. (2) One of the parts of a minuet or march, etc. The origin of its application is very uncertain. Triole (Ger), Triolet (Fr.). A triplet. Triomphale(/y(V-(7;«-/?7/), Triomphant ( Fr. ) {fri-om-font), Trionfale (tree-on-fah'-ie/t), Trionfante (It.) (free-on-fan'-teh). Trium- ])liant ; triumphal. Triple Counterpoint. One so contrived that the three parts may change places, each one serving as bass, middle, or upper part. Triplet, Triole 'Ger. ), Triolet (Fr.), Tripla (It.) or Tripola. Three notes played in the lime of two of the same value. Triple Time. See Time. Tristezza (It.) {tris-tet'-za), con. With sad- ness ; sadly. Tritone [l.at. . tritonm, three tones], Triton (Fr.), Tiitono (It.). The interval of the augmented 4th, as — :st m Trebelli, Lelia (treh-bel'-lee). Alto ; France. B. 1838; d. 1893. Trois (Fr.) {tro-a). Three. Trois temps. Triple time. Troll [from Ger., trollen, to roll about], (l) (verb) To sing a catch or round. (2) (noun) A catch or round. Tromba (It.). Trumpet; a brass instru- ment of piercing, brilliant tone quality. Tromba marina (It.). See Nonnengeige. Trombetta (It.). A small trumpet. Trombone, Posaune (Ger.). (i) A brass instrument with a sliding tube, by means of which the ,iitch may be varied. Three trombones are used in the modern orches- tra, viz., alto, tenor, and bass. A smr.der trombone formerly used was called the Des- cant Trombone. (2) A reed stop of 8-, l6-, or 32 foot pitch in the organ. Trommel (Ger.). Drum. Trompe (Fr. ). Hunting horn. Trompe de beam. Jews-harp. Tron-pette (Fr.). Trumpet. Troppo (It.). Too much. Allegro non troppo, "Allegro," not too much. Tschaikowsky, P. I. (c/ii-ko'di'-skce). Com' poser; Poland. B. 1840; d. 1893. TRnUHADOUR 107 TURN Troubadour, Trouvire (Kr.), Trovatore (It.). The poet musicians of the eleventh century, in southern France, Italy, and Spain. The troubadours originated in Troven^e. From thence their "gentle art," or "gay science," as it was called, spread over Europe. Troveur, Trouverre (Fr.). A writer of romances, fabliaux, etc.; also a troubadour. Triibe (Ger.) (tree'-beh). Gloomy; dismal. Trumpet. See Tromba. Tuba (Lat.). (i) Trumpet. (2) A bass instrument of the saxhorn family, frequently used with, or in place of, the bass trom- bone. Tuba mirabilis (Lat.). Tuba " wonderful." A reed-stop in the organ with heavy wind pressure, 8- or l6-foot tone. Tumultuoso (It.) {too-mul-too-o' -so). Agi- tated ; tumultuous. Tune. (l) Air ; melody. (2) Just intona- tion. Tuner. One who adjusts the sounds of an instrument to the standard and relative pitch. Tuono (It.), (i) Sound. (2) Mode. Turca, alia (It.). In the Turkish manner. Turkish Music or Jannisary Music. Drums, cymbals, gongs, etc., to produce noise. Turn. (.\ bridged from Russell's "Embellish- ments of Music") The Turn partakes in its delivery some- what of the character of the composition in which it appears, and should be played (or sung), according to Louis Koehler, broad in slow tempo, light and flowing in brighter movements, and always legato. It may l)e hioadly divided into four classes: — I. The symbol 7^^lfth. An organ stop sou iding the 1 2th above the diapason. Tympani. See Timpani. Tyrolienne(Fr.) [tee-rol-yeii). (i; ATyrolese song for dancing. (2) Tyrolese song with jodel. u U. C. Abbreviation of Una corda, one string. Uebergang (Ger.) (e'-ber-gangk). Passage; transition ; modulation. Uebung (Get.) (e'-l/oonk). Exercise ; study; practice. Uguale (It.) {oo-g7vah'-leh). Equal. Ugualmente (It.) (po-gwahl-nien' - teli). Equally ; evenly. Umfang (Ger.) (pom-fangk). Compass. Umore (It.) {oo-mo'-reh), con. With humor. Umstimmung {Gtr.){oomstim-moonk). The change of the pitch of a brass instrument by the addition or change of "crooks;" the change of the pitch of kettledrums. Un (It.) {oon), Una {oo'-nah), Uno {oo'-no). One ; as, Una voce, one voice. Unor Une (Fr.) {ong, oon). One. Unda maris (Lat.). "Wave of the sea." The vox celestis, an organ stop, 8-foot pitch, with a tremulous tone. Unessential Dissonances. Those that oc- cur by suspension, the essential dissonances being the 7th and 9th, and, according to some authorities, the llth and 13th over the dominant. Ulrich, Hugo, d. 1872. Composer; Silesia. B. 1827; Unessential Notes. Passing and changing notes. Ungarisch (Ger.). Hungarian. Ungeduldig (Ger.). Impatiently. Ungestiim (Ger. ). Impetuous; con impeto. Unison. Sounds consisting of the same number of vibrations per second. The term " unison passage " is applied to vocal or instrumental parts in the octave also. Unisono (It ) [oo-nee-so-no). Unison. Unisson (Fr.) (oo-nis-son^). Unison. Unpoco(It.). A little. Un pochino (It.) [po-Ave'-no), Un pochet> tino {^po-ket-tee'-7io'). A very little. Unruhig (Ger. ) (ponroo' -ig). Restless. Unschuldig (Ger.) (oon-shool-dig). Inno- cent. Up-bow. In violin playing the motion of the bow from the point to the nut. The sign is V; the down- bow LJ ■ Ut (Fr.) (pot). The note C ; the first of the Aretinian syllables, changed in Italy to do, a better vowel sound for solfeggio. Ut (Lat). As; like. Ut supra, as before. Urspruch, Anton. 1850; d. 1907. Pianist, composer. B. V. Abbreviation of Violino, Voce, Volta. V-cello. Abbreviation of Violoncello. Via. Abbreviation of Viola. Va(It.). Go; as, Va crescendo, go on get- ting louder. Vacillando (It.) {vat-chil-lan'-do). "Vacil- lating." A direction to play without strict regard to time. Vago (It.). Vague ; dreamy. Valce (It.) {val-cheh\, Valse (Fr.) {vah). Waltz ; a dance of German origin in \ time. Vaccaj, N. {vak-kah' -ee). B. 1790; d. 1848. Composer; Italy. Valse & deux temps (Fr.) {doo tomp). A species of waltz with two steps to each measure. Value. The value of a note or rest is its rela- tive duration, the standard being the whole note or rest, which may be divided into half, quarter, eighth, sixteenth, thirty-second notes, etc. The value of a note is increased one-half by placing a dot after it ; a second dot adds to its value an amount equal to half that of the first. The absolute value of a note depends Uf)on the tempo, /'. e., rate of movement of the piece in which it occurs. Verdi. G. {vehr'-det). B. 1813; d. I901. Comixjser ; Italy. VALVE 109 VIOL Valve. See Piston. Variante (Fr ) (yah-ree-ongt). A variant; other reading. Variations, Variationen (Ger.) {fah-ree a- tse-o'-nen), Variazioni (It.) [va-ree-at-zee- o'-nee). Melodic, rhythmic, and harmonic modifications of a simple theme, each one more elaborate than the last. Varie (Fr.) {vah-ree), Variato (It.) (var- ya'-to). Varied ; with variations. Varsovienne (Fr.) (yar-so-vee-en), Varso- vianna (It.) \var-so-vee-an' -no). A dance in \ time resembling the mazurka, invented in France. Vaudeville (Fr.) {vode-vee/). A light oper- etta consisting of dialogue interspersed with songs ; the name is said to come from Vaux de Vire in Normandy. Veemente (it.) (veh-eh-men'-teh). Vehe- ment ; forceful. Veemenza (It.) {veh-eh-men'-tza), con. With vehemence. Velato (It.) \veh-lah'-to). Voce velato, a veiled voice, i. e. , lacking in clearness and resonance. Vellutata (It.) {vel-loo-tah' -tah). Velvety; smooth. Veloce (It.) {veh-lo'-cheh). Rapid; swift. Velocissimamente (It. ) (yeh-lo-chis-see-ma- men' -tell). Very swiftly. Velocissimente (It) {veh-lo-chis-see-men'- teh). Swiftly. Velocita (It.) (veh-lo'-chee-tah), con. With rapidity. Ventage. The holes in the tubes of wind in.struments, the opening or closing of which by the finger-tip or by valves worked by keys alters the pitch by varying the sounding length of the tube. Ventil. (i) Valve; piston. (2) In the organ a contrivance for cutting off the wind from a part of the organ. Venusto (It.) {veh-noos'-to). Graceful ; fine. Veranderungen (Ger. ) {fer - an'- de - roong- eti). Variations. Vergniigt (Ger.) {fehr-gneegt' ) . Pleasant; cheerful. Verhallend (Ger.). See Morendo. Vestris, L. E. Alto; England. B. 1797; d. 1856. Viadana, L. {7>ee-ah-dah' naJi). Composer; Italy. B. 1565 ; d. 164-. Viardot-Garcia, M. F. P. {vee-ar'-do-gar- sAe-ii). Composer, soprano. B. 1821 ; d. I910. Vieuxtemps, H. {x'ee-oo-tom). Composer, violinist; France. B. 1820; d. 1881. Vilbac, A. C. R. Composer, pianist ; France. B. 1829 ; d. 1884. Verloschend (Ger.) {fehr-Ush' -end). See Morendo. Vermittclungsatz (Ger.) {/ehr-mit'-teloonk- sotz). A subsidiary part ; episode in sonata, etc. Verschiebung (Ger. ) (fehr - shee'- boonk), mit. Use "soft pedal." Verschwindend (Ger.) {fehr-shwin' -dend). Dying away. Versetzung (Ger.) [fe/ir-set'-soonk). Trans- position. Verspatung (Ger.) {fehr-spay'-toonk),V^x- weilend (fehr -7vei'- lent ), Verzbgernd {fehr-tseh'-gernt). Delaying; retarding. Verve (Fr.) {vehrz'). Spirit. Avec verve, with spirit. VerzweiflungsvoU ( Ger. ) ( fe/ir ■ Isvy ' - Jloonks-foll). Lit., full of desperation. Despairingly. Vezzoso (It.) {vets- so' -so), Vezzosamente [vets-so-sa-inen'-teh). Beautiful ; graceful ; gracefully. Vibration. The rapid motion to and fro that produces the phenomena of sound by setting up a wave-motion in the air. Vibrato (It.) {vee-brah'-to), Vibrante [vee- bran' - teh). "Vibrating" with strong, " intense " tone ; vocal music, heavy accent in piano playing. Viel (Ger.) (/^^/). Much; many. WicWs [Yr.) [vee-el'). Rote; hurdy-gurdy. Vier (Ger. ) (Jeer) . Four. Vierstimmig. F^our - voiced. Vierfach, fourfold. Vif(Fr.). Lively. Vigorosamente (It.) (vee-go-ro-sa-men' -teh). Vigorously ; boldly. 'W\^oxo%o {\\..) {vee-go-ro' -so). Vigor; force. Villancico (Sp.) {vcel-lan'-thee-co). Origi- nally a species of song or madrigal, later a motet sung in church at certain services. Villanella (It.). An ancient Italian folk- song. Viol. The precursor of the violin. Viols were made in sets of six called a " che.st of viols; " the smallest was about the size of the modern viola, and all were provided with frets. Villaume, J. B. {vee-yome). Violin maker; France. B. 1798; d. 1875. Villaume, N. (nephew of J. B.). Violin maker; France. B. 1800; d. 1871. Villaume, N. F. (nephew of J. B.). Violin maker; France. B. 1812 ; d. 1876. Villaume, S. (nephew of J. B.). Violin maker; France B. 1835 ; d. 1875. Viotti, Cj. B. (vee-ot'-tee). Composer, v ioliw' ist; Italy. B. 1753; d. 1824. VIOLA 110 VOLTA Viola. The alto violin, generally called the tenor. The viola is slightly larger than the violin, and has lour strings tuned as fol- lows : — U Music for it is written with the C clef on the third line. Viola da braccia (arm viola), Viola da gamba (leg viola), Viola da spalla (shoulder viola), Viola pomposa. Ubso- lete varieties of the viola family. The last was the invention of Sebastian liach. Viole (Fr.). Viola. Viole d'amour (Kr.) {d" ah- moor'), Viola d'amore (It.) [d'ah-mo-rcli). A variety of the viola with wire sympathetic .strings in addition to the usual gut strings. Violin, Violon (Fr.), Violino (It.), Fiddle, GeigeiGer. ). The words "violin" and " fiddle " both come from the Latin nittila or fitu/d, a mediieval form of string instrument played with a bow. The violin has lour strings, tuned rs follows : — m z^ -a- The strings are string of ;,tn, the lowest, or covered with thJn wire. Violin Clef. The G clef ffi on the second line. 1^ Violina. A 4-foot organ-stop with string-like tone. Violino principale (It.) {prin-chee-pah' -leh). The solo violin, or leader of the violins. Violino ripieno. A violin part only used to till up the tutti. Violoncello (It.). The "little violone." The violoncello has four strings of gut, tuned an octave below the viola : — ^ -«>- -f»- The C and G strings are covered with wire. Violonar (l'"r. ). Double bass. Violonaro (Fr.). See Octo Bass. Violone (It.). The double bass, (j. v. Virgil Clavier. A .soundless keyboard for jjiactice. Virginal. A small instrument of the harpsi- chord family. Vivier, K. II. {vee-vee-eJi). Horn player; Corsica. \\. 1821; d. 1900. Vogl, Heinrich Tenor; Bavaria. B. 1845; t^. iqoo. V ., Theresa (wife of IL). Soprano. j'.Ji4t>. B. Virtuoso (masc.) (It.) (^vir-too-o'-su), Virtu- osa (fern.) (inr-too-o'-sah). An eminent skilled singer or player. The word was formerly used in the same sense as " ama- teur." Virtuos (Ger.), Virtuosin (fem.) (Ger.), Virtuose (Fr.). Virtuoso. Vista (It.). Sight. A prima vista, at tirst sight. Vistamente (It.) {vis-tah-men'-teh), Vita- tnente (It.) {vec-tah-men'-teh), Vive (Fr. ) (nen') , Vivente (It. ) ( vee - ven' - teh ) , Vivido (It.) [z'ee'-vee-(io), Vivszza (iw- vet-za), con. Lively; briskly; with anima- tion ; vividly. Vivace (It.) [I'ee-vah'-c/ieh), Vivacemente (vee-vah - cluk ■ men'- teh), Vivacita {x'ee- vah'-chee-tah), con, Vivacezza (vee-vah- chet'-zah). Lively; rapid; with anima- tion ; with vivacity. Vivacissimo (vec-vah-chis'-sce-mo). Very lively and fast. Vi'.'o (It.) [z't'e-vo). Alive; brisk. Vocal, lielonging to the voice; music meant to be sung or well designed for singing. Vocalion. A variety of reed organ in which the (]uality and power of the tone is much modified by resonators. Vocalise (Fr.) {z'o-cal-ees), Vocalizzi (It.) (vo-cah-lit'-zee). Vocal exercises. Vocalization. (1) The manner of singing. (2) The singing of studies — solfeggio — to one or more vowel sounds. Voce (It.) {7!o-cheh). The voice. Voice, (i) The sound produced by the human organs of sjieech. (2) A part in a polyphonic composition. There are three well-nin.rked varieties of the male and female voice. Male voices are divided into bass, baritone, and tenor; the analogues in the female voice are alto, meEzo-so[)rano, and soprano. Voicing. Regulating the quality and power of the tone of organ-pipes. Voix (Fr.) {vo-a). Voice. Voix celeste (Fr.). Vox angelica. Volante (It.) (7'<)-/f?«'-/'<'/i). "Flying." The rajiid, light execution of a series of notes. Volkslied (Ger.) {folks - leeJ). Popular song. Voll (C;er.) (/('//). Full. Volontfe (Fr.) (vo-hn-teh), A volont6. At will ; a piacere. Volta (It.). Turn. Una volta, first turn or first time. Vogl, J. M. Baritone. B. 1768; d. 1840. Volckmar, \Vil. {folk'- mar). Composer, organist; Germany. B. t8l2; d. 1887. Volkmann, F. R. {folk' -man). Composer; Bohemia. B. 1S15 ; d. 1883. VOLTI 111 WIND BAND Volti (It.) {vol-tee) (verb). Turn. Volti subito, abbreviated V. S., turn over (the page) rapidly. Voluntary. An organ solo before, during, or after church service, frequently extempo- rary. Vordersatz (Ger.) [for^-der-sots). Princi- pal theme ; sonata. Vorspiel (Ger.) \^fi>r-speel). Prelude; over- ture ; introduction. Vogler, Abb6 G. J. writer; Germany. Composer, organist, li. 1749; d. I"i4. Vox (Lat.). Voice. Vox celestis, Vox angelica. See UnJa maris. Vox humana. An organ stop inii'iting the human voice. (Fr., / oix humane^ Vuide (Fr.) (voo-eeti), Vuoto (It.) (voo-o-to). Open. Corde vuide, Corda vuide, open siring, /. e., a string of instruments of violin family sounded without Ijcing touched by the finger. Voss, Carl. 1882. Pianist ; Poland. 1{. 1815 ; d. w Waits, Waytes, Waightes. Watchmen who "piped the hours" at night on a species of hautboy called a wait, or shawm. In modern times "Christmas waits " are parties of singers who go from house to house collecting pennies on Ch" -stmas Kve. WaldHote ((Jer.) {voU-Jlay- Forest flute ; a 4-foot open organ Wald- quinte is a 12th with the san. iie quality. Waldhorn (Ger.). Forest horn; hunting horn ; the French horn without valves. Waltz, See Valse. Walze (Ger.) [rvl'-tseh). A run, alternately ascending and descending ; a " roller." Wankend ^Ger.). Hesitating. Warme (Ger.) (t'M^^-wM). Ardor; warmth. Wehmut (Ger.) (veh' -moot). Sadness. Wehmiitig (Ger.). Sad ; melancholy. Welch (Ger.). Weak; soft; minor. Weinend (Ger.). Weeping; lamenting. Wachtel, Theodor. Tenor ; Germany. B. 1823; d. 1895. Vi^agenseil, G. C. (vah'-f;en-sUe). Com- poser, pianist. Austria. 15. 1715 ; d. 1777. Wagner, W. Richard. Composer ; Ger- many. I?. 1813; d. 1883. Wagner, Johanna (niece of R.). Soprano; Germany. B. 1828; d. 1894. Wallace, Wm. V. Composer, pianist; Ire- land. B. 1814; d. 1865. Warren, S. P Composer, organist, pianist; i Canada. B. 1841 ; d. 1915. j Webbe, Sam. Composer, organist ; Minorca. [ B. 1740 : d. 1816. I Webbe, Sam (son of first). Composer, organist; England. B. 1770; d. 1843. Weber, Aloysia {veh-ber). Soprano; Ger- ■ many. B. 1750 ; d. 1839. Weber, Carl M. von. Composer; Germany. ' B. 1786; d. 1826. Weber, Gottfried. Theorist; Germany. B. 1779; d. 1839. Well-tempered (Wohltemperiertes) Cla- vier (Ger.). A title given by Bach to a set of preludes and fugues in all the keys. See Tempeiaiiient. Wenig (tier.), l-ittle; un poco. Whistle. A small fiue-pi|)e or flageolet; the first step in advance of the pandean pipe, /. e. , a tube blown across the top. Whole Note . Whole Step. A whole tone. Wie (Ger. ). As; the same. Wie vorher, as before. Wiederholung (Ger.) {wee-Jthr-ho'-loonk). Repetition. Wiegenlied (Ger.) {wee'g(n-Ued). Cradle song ; berceuse. Wind Band, (i) The wind instruments in the orchestra. (?) A band composed ot wind instruments only, called also a har- mony band. Wehle, Carl {veh'-leh). Pianist; Bohemia. B. 1825; d. 1887. Weigl, Joseph. Composer ; Austria. B. 1766; d. 1846. Weigl, Thad. (brother of J.). Composer; Germany. B. 1777; d. 182-. Weitzmann, C. Y. [vites'-man). Theorist ; Germany. B. 1808; d. 1880. Wesley, S. S. Composer, organist ; Eng- land. B. 1810; d. 1876. Whiting, Geo. E. Composer, organist ; U. S. A. B. 1842. Widor, Ch. M. {vee-dor). Composer, organ- ist ; France. B. 1844. Wieck, Fred. Pianist, writer; Germany. B. 1785; d. 1875. Wieniawski, H. {vee-nee-av'skee). Violin- ist, composer ; Poland. B. 1835; d. 1880. Wilhelmj, A. E. D. F. V. {vil-hel'-mee). Violinist; Germany. B 1845; d. 1908. Willaert, Adrien. Composer; Belgium. B. 1490; d. 1562. WOLF 112 ZWISCHENSHEL Wolf. (l) The dissonant effect of certain chords on the organ or pianoforte tuned in unequal teniperament. See Temperament. (2) Certain notes on the vioHn or other bow instruments that do not produce a steady, pure tone. Woof^-stops. Organ-stops with wooden pipes. Willmers, H. Rudolf. Composer, pianist ; Germany. B. 1821 ; d. 1878. Woelfl, Jos. {velji ). Pianist, composer; Austria. B. 1772; d. 1814. Wood-wind. The flute, oboe, clarionet, and fagotto in the orchestra. Wuchtig (Ger. ). Weighty; emphatic. WUrde (Ger.). Dignity. Mit Einfalt und Wiirde, with simplicity and dignity. Wlitend (Ger.). Raging; furioso. WoUenhaupt, H. A. (vol' - len • kowpi). Composir, pianist; Germany. B. 1827; d. 1863. Wraniczky, Paul {rah-nit^- skee). Com- poser; Moravia. B. 1756; d. 1808. Xylophone, Strohfiedel (Ger.), Claquebois (Fr.), Gigelira (It.). An instrument con- stating of strips of wood graduated to pro- duce the diatonic scale. They are supported on ropes of straw, etc. , and are struck by hammers held one in each hand. An ingenious form of the xylophone is found in ■ Africa, called the marimba. From Africa it was brought to South Amcica, where it has been greatly enlarged by the Negroes of Guatemala. Yodel. See Jodel. Zampogna (It.) {zam-pone'-ya). A bag- pipe ; also a harsh-toned species of hautboy. Zapateado ( Sp. ) ( t/ta - pah - te -a' - do). "Stamping." A Spanish dance in which the rhythm is marked by stamping. Zarabanda (Sp.) (tha-ra - ban' -da'). See Sara hand. Zart, Zartlich (Ger.). Tender; tenderly; suave. Zartflote (Ger.). A soft-toned flute in the organ. Zeitmass (Ger.). Tempo. Zt\o (\\..) (zeh'-lo). Zeal; earnestness. Zelosamente (It.) {zeh-lo-sah -men'-teh). Earnestly. ZtXo^o {\i.) (zeh-lo' -so). Zealous; energetic. Ziemlich (Ger.) [tseem'-lich). Moderately. Ziemlich langsam, moderately slow. Ziganka. A Russian peasant dance in | time. Yriarte, S. (e-ree-ar' -teh). Writer; Tene- riffe. B. 1750; d. 1791. Ysaye, E. {e-sah'-ee). Violinist; Belgium. B. 1858. Zachau, F. W. (tsah-ccnv). Composer, organ- ist; Germany. B. 1663; d. 171 7. Zandt, Marie van. Soprano; U. S. A. B. 1861; d. 1920. Zarlino, G. (zar-lee'-no). Composer, theo- rist; Italy. B. 1517; d. 1590. Zelter, Carl F. Composer, writer ; Germany. B. 1758; d. 1832. Zimbalon, Cymbal, Czimbal. The Hun- garian dulcimer. Zingaresca (It.) {zin-gah-res'-ca), Zigeu* nerartig (Ger.) [tsee-goy'-ner-ar-tig). In Gypsy style. Zinke (Ger.). Cornet; an obsolete variety of hautboy. Zither (Ger.) (tsit'-ter). A string instrument consisting of a shallow box over which pass two sets of strings,— one set of gut for the accompaniment, the other, of steel and brass, pass over a fretted fingerboard ; on these the melody is played. The notes are stopped by the left hand, and the melody strings are struck by a plectrum attached to a ring on the thumb of the right hand ; thf; accompaniment is played by the first, second, and third fingers of the right hand. Zitternd (Ger,). Trembling. Zogernd (Ger.). Hesitating; retarding. Zoppo (It.). Lame. Alia zoppo, halting; limping; syncopated. Zukunftsmusik (Ger.). Music of the future. The music of Wagner and his disciples is thus called by both friend and enemy, but with different meanings. Zunehmend (Ger.). Crescendo. Zuriickhaltend (Ger.) {tsoo-reek'-hal-tend). Retarding. Zwischensatz (Ger.). An episode. Zwischenspiel (Ger). " Between play ; " interlude. Zerrahn, Carl. Conductor; Germany. B. 1826; d. 1910. Zeuner, Ch. {tsoy'-ner). Organist; Ger- many. B. 1797 ; d. 1857. Zimmermann, Agnes. Composer, pianist; Germany. B. 1847. Zingarelli, N. A. (zing-ak-rel'-lee). Com- ix)ser; Italy. B. 1752; d. 1837. Zutnsteeg, J. R. Composer, 'cellist ; Ger- many. B. 1760; d. 1802. Zundel, Johann. Composer, organist ; Ger- many. B. 1815 ; d. 1882. ENGLISH WORDS IN CONSTANT USE, WITH THEIR EQUIVA- LENTS IN ITALIAN, FRENCH, AND GERMAN. A. La (Fr. and It.). A (Ger.). A Flat. La b6mol (Fr.). La bemolle (It.). As ((Jer.). A Sharp. La diese (Fr.). La diesis (It.). Ais (Ger.). A Major. La niajeur (Fr.). La maggiore (It.). Adur(Ger.). A Minor. La mineur (Fr.). La minore (It.). A moll (Ger.). Accelerate. See Grmving Faster. Accidental. Accidente (It.). Accident (Fr. ). ZufUliiges Zeichen (Ger.). Accented. Marcato; Ben marcato (It.). Marque; Bien marqu6 (Fr.). Vietont; Markiert (Ger.). Accompaniment. Acconipagnimento (It.). Accompagnement (P'r. ). Begleitung (Ger.). AfTectionately. See Tender. Again. Ancora; Ancor (It.). Encore (Fr. ). Wieder (Ger.). Agility. Agilita; Velocita (It.); (used with con ^ with). Hurtigkeit, (mit) (Ger.). Agitated. Agitato (It.). Agit6 (Fr.). Bewegt ; Aufgeregt (Ger.). Agreeable. Piacevole (It.). Agr6able (Fr.). Angenehm (Ger.). Air. Canto; Aria (Tt-V Chant; Air; M61odie (Fr.). Weise ; Lied (Ger.). A Little Faster. Poco piu nio.sso (It.). Un peu plus vite (Fr.). Ein wenig schneller (Ger.). A Little Slower. Poco meno mosso (It.). Un peu plus lent (Fr.). Ein wenig langsamer (Ger.). AH Together. Tutti (It.). 8 • Always. Senipre (It.). Toujours (Fr.). Immer (Ger.). Always Loud. Senipre forte (It.). Toujours fort (Fr. ). Iinmer stark (Ger.). And. E (before a consonant) ; ed (before a vowel) (It.). Et (Fr.). Und (Ger.). Animated. Animate; Vivo; Con anima; Svegliato; Resvigliato (It.). Anim6 (Fr. ). Belebt; Aufgeweckt (Ger.). Answer (in fugue). Riposla; Consequente (It.). Comes (Lat.). R^ponse; R6plique (Fr.). Antwort; GefUhrte (Ger.). As. Come (It.). Comme (Fr. ). Wie (Ger.). At Pleasure. A Piacere ; A bene placito (It.). Ad libitum (Lat.). A volont^ (Fr. ). Nach Belieben (Ger.). B B. Si (Fr. and it.). H (Ger.). B Flat. Si b6mol (Fr.). Si bemolle (It.). B (Ger.). B Sharp. Si di6se (Fr.). Si diesis (It.). His (Ger.). B Major. Si majeur (Fr.). Si maggiore (It.). Hdur(Ger.). B Minor. Si mineur (Fr.). Si minore (It.). H moll (Ger.). Bagpipe. Cornemusa; Sampogna (It.). Comemuse (Fr.). Sackpfeife ; Dudelsack (Ger.). Ballad. Ballata (It.). Ballade (Fr.). Ballade (Ger.). Bar. Linea ; Barra (It.). Barre (Fr. ). Taktstrich (Ger.) 113 114 Beat. Hattuta (It.). liattement cle mesure, or de temps (Fr.). Taktschlag ((ier.). Beginning. Capo; Principio (It.). Anfang (Cier. ). Belly (of violin, etc.). Tavola ; Paiicia (It.). Table (Fr.). Decke (Ger.). ' Boat Song. Harcaruolla; Ciondoliera (It.). HarcaroUe (Fr.). Gondellied ((Jer.). Bold. Fiero ; Ardito (It.). Fier (Fr.). Heflig (Ger.). Book (number or volume). Libro (It.). Cahier (Fr.). Heft (Ger.). Book (containing words of opera, etc.). Libretto (It.). Bow. Arco (It.). Archet (Fr.). Bogen (Ger.). Bound. Legato (It.). Li6 (Fr.). Geb'inden (Ger.). Bridge. ronticello (It.). Chevalet (Fr.). Steg (Ger.). By Degrees. I'oco a poco (It.). . Peu k peu (Fr.). Nach und nacb ; Allmihlich (Ger.). C. Ut (Fr.). Do (It.). V (Ger). C Flat. Ut b6mol (Fr.). Do bemolle (It.). Ces (Ger.). C Sharp. Ut di6se (Fr.). Do diesis (It.). Cis (Ger.). C Major. Ut majeur (Fr.). Do maggiore (It.). Cis dur (Ger.). C Minor. Ut mineur (Fr.). Do minore (It.). Cis moll (Ger.). Calm. Calmato; Tranquillo (It.). kuhig (Ger.). Caprice. Capriccio (It.). Caprice (Fr.). Grille (CJer. ). Coquettishly Con civetteria (It.) Cradle Song. Ninnerella (It.). Berceuse (Fr. ). Wiegenlied (Ger.). D D. Re (It.). R6 (Fr.). D (Ger.). D Flat. Re bemolle (It.). R6 bemol (Fr.). Des (Ger.). D Sharp. Re diesis (It.). R6 diese (Fr.). iJis (Ger.). D Major. Re maggiore (It.). R6 majeur (Fr.). D dur (Ger.). D Minor. Re minore (It.). R& mineur (Fr.). D moll (Ger.). Decided. Deciso; Risoluto (It.). Avec decision (Fr. ). Bestimmt; Entschlossen (Ger.). Decreasing (in movement). See Grotving Slinver. Decreasing (in loudness). See Growing Softer. Decreasing (in movement and loudness). See Groiving Softer and Slower. Detached. Staccato; Spiccato (It.). D6tach6 (Fr.). Abgestossen (Ger.). . . , Distinctly. See Accented. Divided. Divisi (It.). Divis6 (Fr.). Doleful. Con dolore; Tristamente; Mesto (It.). Dying Away. Morendo ; Espirando ; Estinguendo ; Sminuendo ; Smorendo ; Sniorzando ; Mancando; Diminuendo (It. ). Schwindend ; Sterbend ; Verhallend ; VerlSschend; Verschwindend (Ger.). E E. Mi (It.). Mi (Fr.). E (Ger.). E Flat. Mi bemolle (It.). Mi b6mol (Fr.). Es (Ger.). E Sharp. Mi die;;is (It.). Mi di^se (Fr.). Els (Ger.). E Major. Mi maggiore (It.). Mi majeur (Fr.). Edur (Ger.). E Minor. Mi minore (It.). Mi mineur (Fr.). Emoll. Easy. Facile (It.). Facile (Fr.). Leicht (Ger.). Emphatic. Marcato ; Sforzato (It.). Bien marque , Bien rhythm^ (F""-)* Betont (Ger.). 115 End. Fine (It.). Fin (Fr.). Schluss (Ger.). Equal. Fguale ; Spianato. Even, Evenly. See Equal. Emotion. Einozione (It.). Fmplindung; ErgrifTenheit ; Gefilbl; In- nigkcil (tier.). Exercise. Exercizio (It.). Exercice (Fr. ). Uebung (Ger.). Expression. Espressione (It.) (con = withj. Expression (Fr ) (avec= with). Ausdruck (Ger.) (mit = with). Extreme, Extremely. Molto; I)i molto (It.). Tr^s (Fr.). Sehr; Ausserst (Ger.). F F. Fa (It.). Fa (Fr.). F (Ger.). F Flat. Fa bemolle (It.). Fa Wmol (Fr.). Fes (Ger.). F Sharp. Fa diesis (It.). Fa di6se (Fr.). Fis (Ger.). F Major. Fa maggiore (It.). Fa majeur (Fr.). Fdur(Ger.). F Minor. Fa minore (It.). Fa mineur (Fr.). F moll (Ger. ). Fading Away. See Grcnving Softer and Slower. Fast. Allegro; Vivace; Vivo; Presto (It. ). Vif (Fr.). Rasch ; Schnell ; Geschwind ; Hurtig (Ger.). Faster. The words above with Piu before them ; Piu niosso (It.). Plus vif (Fr.). Schneller; Kascher (Ger.). Faster by Degrees. See Growing Faster. Faster and Louder. Stringendo ; AfTrettando ; Incalzando (It.). Starker und schneller (Ger.). Festive. Festivo (It.) Feierlich (Ger.). Fiery, Con fuoco; Con calore (It.). Avec ardeur (Fr.). Feuerig (Ger.). First Part or Voice. Prime (It.). Premier (Fr.). Erste (Get.). Flowing. .Scorrendo (It.). Forcibly. Con forza (It.). Avec force (Fr. ). Mit Kraft; Kraftig (Ger.). Forcing. Forzando; .Sforzaiido; Sforzato (It.). From. Da (It.). From the Beginning. Da cajK) (It.). Vom Anfang (Ger.). From the Sign. Dal segno (It.). From the Beginning to the Sign. Da capo al segno (It.) From the Beginning to the End. Da capo al fine (It.). Furious. Furioso; Con furia (It.). Wiltend (Ger.). G. Sol (It.). Sol (Fr.). G(Ger.). G Flat. Sol bemolle (It.). Sol b^mol (Fr.). Ges (Ger.). G Sharp. Sol diesis (It.). Sol di^se (Fr.). Gis (Ger.). G Major. Sol maggiore (It.). Sol majeur (Fr.). G dur (Ger.). . G Minor. .Sol minore (It.). Sol mineur (Fr.). G moll (Ger.). Gay. Giojoso (It.). Gai (Fr.). Frohlich; Heiter; Munter (Ger.). Gondola Song. Gondoliera (It.). Gondellied (Ger.). " Going." -Andante (It.). Geheiid (Ger.). Graceful. Grazioso ; Con grazia (It.). Avec grace (Fr.). Lieblich (Ger.). Gradual. See By Degrees. Grand. Grandioso ; Nobile (It.). Grand (F"r.). Erhaben (Ger.). Growing Faster. Accelerando ; Calcando ; Pressante ; Pressando il tempo ; Ravvivando il tempo (It.). En serrant; Pressez (Fr.). Belebend; Eilend; Drangend; Treibend (Ger.). 116 Qrowing Louder. Crescendo; Piu forte (It.). Anwachsend; Gestcigert; Zunehtnend (Ger.). Growing Softer. Decrescendo ; Diminuendo ; Diluendo ; I'erdendo; Perdendosi (It.). Abnehmend ; Abschwellend (Ger.). Growing Slower. Kalientando; Kitenuto ; Kitardando; Relasciando; Rimettendo ; Ritenendo; 'V Siargando ; Slentando ; .Stiracchiato ; Stirato; Tratteniito (It.). Schleppend; Verweilend ; ZSgernd ; I'uriickhaltend (Ger.). Growing Slower and Softer. See Dying Away, Growing Louder and Faster. Stringendo; Incalzando (It.). H Half. Mezzo (It.). Demi (Fr.). Halb (Ger.). Hastening. See Grcnving Faster. Heartfelt. AffetUQSo ; Con afifetto (It.). Herzlich; Innig (Ger.). Held Back. Ritenuto (It.). Retenu (Fr. ). Zuriickhaltend (Ger.). Held, Held Down. Tenuto (It.). Hurrying. See Growing taster. I Impetuous. Impetuoso; Con impeio ; Con slancio; Smanioso ; Snianiante (It.). Ungestiim (Ger.). In Haste. Con fretta (It.). In the Same Manner. Simile (It.). In the Same Time. L'istesso temix) (It.). Au mSine temps (Fr.). Dasselbe Zeitniass (Ger.). In Time. A tempo (It.). In the Previous Time. A tempo prinio (It.). In vorigem Zeitmass (Ger.). Increasing. See Grmviug Faster ; Growing Louder ; Gnnviug Softer ; Growing Slower. Jestingly. Scherzando (It.). Launig (Ger.). Joyously, Jubilant. Giojoso; Giubiloso (It.). Fr6hlic'< ; Freudenvoll ; Jubelnd (Ger.). Lamenting. Piangendo ; Lamentoso (It.) Left Hand. Mano sinistra (It.). Main gauche (Fr. ). Linke Hand (Ger.). Less. Meno (It.). Lightly. Leggiero; Con legerezza (It.) Little by Little. See By Degrees. Lively. See Animated. Longing. Desiderio (con) (It.). Sehnsucht (niit) (Ger.). Loud. Forte (It.). Fort (Fr.). Stark (Ger.). Louder. Piu forte (It.). Plus fort (Fr.). Starker (Ger.). Loud, Always. Serapre forte (It.). Toujours fort (Fr.). Imnier stark (Ger.). Loud as Possible. Forte possibile; Con tutta forza \Tt.). Avec toute force (Fr. ). Stark wie moglich (Ger.). Lullaby. See Cradle Song. M Majestic. Maestoso; Pomposo (It.). Majestique (Fr. ). Majestatisch (Ger.). Many-voiced. Mehrstimmig (Ger.). Marked. See Accented. Mark (Accent) the Melody. Ben marcalo la melodia, or il canto (It.) March. Marcia (It.). Marche (Fr.). Marsch (Ger.). Melody. Melodia; Canto (It.). M61odie ; Chant (Fr.). Melodic (Ger.). Moderate (in tempo). Moderate (It.). Massig ; Gemassigt (Ger.). 117 More. I'iu (It.). I'lus(Fr.). Mehr (Ger.). Motion, Faster. Plus vite (Vr.). Motion, More. I'iu moto (It.). Much. Molto (It.). Hien (Fr.). Viel (Ger.). N Night-piece. Notturno (It.). Nocturne (Fr.). Nachtstiick (Ger.). Not so Fast. Meno mosso (It.). Nicht so schnell (Ger.). Not too Fast. Non troppo allegro, or Presto ma non tnnto (It.). Nicht zu schnell (Ger,). Obliged, Indispensable. Obbligato(It.). Oblig6 (Fr.). ■ Di (It.). De (Fr.V Von (Ger.). Or, Otbcnvise. Ossia; Oppure; Owero (It.). p Passionate. Passionato ; Appassionato (It.). Passion^ (Fr.). Leidenschaftlich (Ger.). Pastoral. Pastorale (It.). Pastoral (Fr.). Pastoral (Ger.). Pathetic. Patetico (It.). Pathetique (Fr.). Pathetisch (Ger.). Piece. Pezzo (It.). Morceau (Fr.). Stuck (Ger.). Placid. Placido (It.). Tranquille (Fr.). " Ruhig (Ger.). Plaintive. Lamentando; Dolendo; Dolente; Dolo- roso ; Con dolore ; Flebile : Piangendo (It.). Avec doleur ; Plaintif (Fr.). Klagend; Traurig (Ger.). Playful. (iiocoso; Scherzoso; Scher/.ando (It.). Plaisant ; Avec plaisanterie (Fr. ). .Spielend ; Scherzhafl ; l^ichtfertig ((Jer). Possible. Possibile (It.). Possible (Fr.). Moglich ((ier). Prayer. Prc'ghiera (It.). Pri^re (Fr.). tiebet 'Ger.). Pressing (ihe teniiio). See Grooving Faster. Pronounced. Hen pronunciato ; Ben marcato (It.). Hien jirononct* ; JJien niarqu6 (Fr.). Sflir iTiarkiert (Ger.). Psalm. .Salmo (It.). Psaume (Fr ). Psalm (Ger.). Q Quiet. See Placid. R Rapid. Rapido ; Celere ; Veloce (It.). Rapide ; Avec cel6rit6 ; Vite (P'r.). Schnell ; Geschwind ; Rasch (Ger.). Rather. Quasi (It.). Etwas (Ger.). Rather Fast. Quasi presto (It.). Etwas rasch (Ger.). Religious. Religioso; Uevoto (It.). D6vot (Fr.). Religios (Ger.). Right Hand. Mano destra (It.). Main droite (Fr.). Rechte Hand (Ger.). Sad. Sea Plaintive. Second. Secondo (It.). Second (Fr. ). Zweite (Ger.). Singing. Caiitaiido ; Cantabile (It). Chantant (Fr.). Singend (Ger.). Slow. Lento; Adagio (It.). Lent (Fr.). Langsam (Ger.). Slower. Piu lento ; Meno mosso (It.). Plus lent (Fr.). Langsamer (Ger.). 118 Slurred, Smooth. Legato; Portamento (It.). Lie (Fr.). Gebunden (Ger.) Soft. Piano; Dolce (It.). Doux (Vr.). Leise ; Schwach (Ger.). Softer. Meno forte; Piu piano (It.). Plus doux (Fr.). Schwiicher (Ger.). Solennn. Solenne (It.). Soleninel (I'r. ). Feierlich (Ger.). Somewhat. See Rather. Song Canto (It.). Chant (Fr.). Ges-ing ; Lied (Ger.). Sorrowful. See Plaintive. Sparkling. Prillante; .Scintillante (It.). Hrillant; Scintillant (Fr.). Funkelnd (Ger.). Spirit, Poirited. Con spirito ; Con brio (It ). Avec dme (Fr. ). Mit Geist ; Geistlich (Ger.). Still, Yet. Ancora (It.). Encore (Fr.). Noch (Ger.). Still Faster. Ancor piu mos.so (It.). Encore plus vite (Fr.). Noch gesch winder (Ger.). Sustained. Sostenuto (It.). Soutenu (Fr. ). Getragen (Ger.). Sweet. Dolce ; Amabile (It.). Doux (Fr.). Siiss; Lieblich (Ger.). Swift. See Rapid. Taste. Con gusto; (nistoso (It.). Avec goflt (Fr.). Mit Geschmack (Ger.). Tearfully. I.agrimando (It.). See Plaintive. Tenderly. Tenerosa ; Con aflfetto (It.). 'I'endre (Fr.). Zartlich (Ger.). Thoughtful. To. A; Ad (It.). To the. Al ; Alia (It.). Too. Tro'-'po (It.). Trop (Fr.). Zu (Ger.). Too Slow, Not. Non troppo lento (It.). Pas trop lent (Fr.). Nicht zu langsam (Ger.). Tranquil. See Placid. Trembling. Tremolo; Tremolando (It.). Tremblement; Balancement (Fr.). Kebung; Zitternd (Ger.). Tune. See Sow.;. Twice as Past. Doppio movimento (It.). Undulating. Ondeggiante (It.). u See Tremolo. Pensicroso (It.). Pensif (Fr.). Tiefsinnig (Ger.). Very. Moito; Assai (It.). Tr6s ( Fr. ). Sehr (Ger. ). Very Fast. Allegro assai (It.). Tr6s vite (Fr.). Sehr rasch (Ger.). Vivacious. See Animated. Voice. Voce (It.). Voix(Fr.). Stimme (Ger.). w Wailing. See Plaintive. Warmly. Con calore (It.). Avec chaleur (Fr.). Feurig (Ger.). Wavering. See Trembling. Well. Hen ; Bene (It.). Bien (Fr.U Wohl ; Gut (Ger.). Whim. Cihiribizzo : Capriccio (It.). Caprice (Fr. ). Grille (Ger.). With. Con ; Col ; Colla (It.). Avec (Fr. ). Mit (Ger.). Without Growing Slower. Senza rallentare (It.). Sans ralentir (P"r.). Ohne Zurllckhaltung (Ger.). ALPHABETICAL LIST OF THE MOST CELEBRATED OPERA COMPOSERS, WITH THE TITLES OF THEIR BEST- KNOWN WORKS. Many names of operas will be found that are almost unknown in America, but are stitl performed in Europe. , Some are given because they have a liistorical interest. Complete lists are not K'ven, except in the case of the great masters ; in other cases only those works that sti.l keep the stage are given. Adam. Postilion de Longjumeau {pos-tee-yon de long-zhu-mo). Le Chalet. Le Brasseur de Preston. Roi d' V'vetot. Cagliostro. Giselle. Auber. Le Magon. La Muette de Portici (Massaniello) (/« mtiette de por-tce-chee). Fra Diavolo. Le Domino Noir (The Black Domino). Lestocq . Les Diamants de la Couronne (Crown Diamonds). le Cheval de Bronze (The Bronze Horse). Balfe. Bohemian Girl (La Zingara). Satanella (Power of Love). Rose of Castile. Siege of Rochelle. Puritan's Daughter. The Talisman. Barnett, John. The Mountain Sylph. Beethoven. Fidelio (first called Leonora). The origi- nal Cierman title is Fidelio oder die eheliche Liebe (Fidelio or Conjugal Love). Bellini. Norma. Capuletti e Montecchi. La Sonnanibula. I Puritani. II Pirata. Beatrice di Tenda. La Straniera. Benedict. Gypsies' Warning, Brides of Venice. Crusaders. Lily of.Killarney. Berlioz. Benvenuto Cellini (ben-vth-noo' -to chtl- lee' nee). Beatrice et B6n6dict. I Bishop, H. R. Knight of Snowdon. Guy Mannering. Clari. The song, " Home, Sweet Home," is from this opera. Bizet. Carmen. Pearl Fishers. Vasco di Gama. Fair Maid of Perth. Boieldieu. La Dame Blanche (The White Lady). Tiie story is taken from Sir Walter Scott's novel, "The Moiia.stery." Chaperon Rouge (Red Riding Hood). Calif of Bagdad. Boito. Mefistofele. Boito is better known as the author of the librettos of several of Verdi's later operas. Caccini. Daphne (the first opera coin|K)sed). Euridice ^eii-ree-dee-cheh\. '1 hese operas were produced in Florence at the Ijc- ginning of the 17th century. Cherubini. Loduiska. Les Deux Journ^es {leh doo zhotir-neK) (The Two Days). Wassertrager (The Water-carriers). Faniska. Cimarosa. II Matrimonio Segreto. The only one of his seventy-six operas remembered. Clay, F. Princess Toto. Don (Quixote. Dalayrac. Le Corsaire. Fanchette. Nina. Azcimia. Damrosch, W. The Scarlet Letter. David, F. La Perle du Br^sil. Lalla Rookh. Le Saphir. A 119 120 ~-^ - Dslibes. Jean r^ t Nivelle. Lakm6. Donizetti. Anna Bolena. Lucia di Lammermoor {loo-che-a"). La Favorita. Figlia del Regimento (Daughter of the Regiment). Lucrezia Borgia. ] inda di Chamounix {sha' -moo-nee). Don Pasquale. L'Elisire d'Amore {eh- lee-see- reh cfah- mo-reh) (The Elixir of Love). Dvorak. Manda. Dimitrij (tiee-mee-lree^). Der Bauer ein Schelm. Der Konig und der Kohler. Die Dickschadel. Flotow. Martha. Stradella. Indra. L'Ombre. Gevaert. Georgette. Le Billet de Marguerite. Quentin Durward. Chateau Trompette. Le Capitaine Henriot. Glinka. La/VJB-4?our le Tzar (Life for the Czar). Rus^au it Ludmilla. Gluck. Orpheus. Alce.stis. Iphigdnie en Tauride (if-ee-zheh-nee ong taw-reed). Antigone. Goldmark. La Reii.e de Saba (la rane de saba). Gossec. Les PScheurs [leh peh-shoor). Gounod. Faust. Mereille. Cinq Mars. Romeo et Juliette, Polyeucte. La Reine de Saba (Queen of Sheba). Gretry. Richard. The only one now performed of the fifty he v/rote. Gjrrowetz. Agnes Sorel. Die PrUfung (The Trial). Der Augenarzt (The Oculist). Halevy. La Juive. L' Eclair. La Reine de Chypre {la rane de keepr). Hslndel. Rinaldo. Radamisto. Rodelinda, etc. Never jjerformed now ; chiefly remembered as the source of many beautiful songs. Herold. Zampa. Pr6 aux Clercs. Humperdinck. Hansel und Gretel. Children of the King. Jonciires. Dimitri. Kreutzer, C. Das Nachtlager in Granada (Siege of Granada). KUcken. Die Flucht nach der Schweiz (Flight into Switzerland). Der Pratendent (The Pretender). Lassen. Le Roi Edgard \ „ i j • nr • Frauenlob I rrod^ced in Weimar Der Gefangene J ""'^^ ^'"' ^ direction. Lecocq. Fleur de Th6. Fille de Madame Angot. Girofl6 Girofla. Leoncavallo. I Pagliacci {e pal-yatch'-ee) (The Mounte- bank.s). Lortzing. Czar und Zimmermaim. Der Waffenschmidt {waffen-schmW). Undine. Macfarren, G. A. Don Quixote. Robin Hood. Helvellyn. Marschner. The Vampyre. Hans Hailing. Ivanhoe (The Templar and the Jewess). Mascagni. Cavalleria Rusticana {cah-vah-lehree'-a rus-tee-cah'-nah) (Rustic Chivalry). Mass6. Galath^e {t^ah-lah-teJi). Les Noces de Jeannette {leh noce de zhan- net) (Jeannette' s Marriage). Paul et Virginie. Massenet. Roi de Lahore. Manon. Le Cid {le thid). Don C6sar de Bazan. Mehul. Two Blind Men of Toledo. ioseph. -e Jeune Henri. 121 Mendelssohn. Lorelei (unfinished). Camacho's V/edding. Heimkehr aus der Fremde. Known as Son and Stranger in English. Mercadante. II Giuramento {eel ju-rah-mento), Elisa e Claudio. Meyerbeer. Les Huguenots. L'Africaine. L'Etoile du Nord (Star of the North). Le Proph^te. Dinorah. Robert le Diable. Monteverdi. Arianna. Monteverdi was the second in the succession of opera composers, and the father of the Italian school of opera. Mozart. Don Giovanni, or II Dissoluto Punito. Le Nozze di I igaro [leh not-zeh dee fig' - ah-ro) (The Marriage of Figaro). Idomeneo (e-do-meh-neh' -o). Die Entfiihrung aus dem Serail [dee ent- feer-unk ous dehm seh-rahl) (The Escape from the Seraglio). Cosi fan Tutti ((.ierman title, Weiber- treue). II Flauto Magico (Geminn title, Zauber- flote). Mozart was the author of a large number of operas and operettas, but this list includes all that are now per- formed. Nicolai. The Merry Wives of Windsor. The Templar. OfTenbach. Barbe Bleue. La Belle Heldne. Genevieve de Brabant. Grande Duchesse de G^rolstein. Perichole. And about seventy others. The above list gives the titles of those that were most popular — a popularity that is now rapidly on the wane, and deservedly so. Pacini, G. Medea. Saffo. Paisiello. La Molinara. Paladilhe. Suzanne. Piccinni. Dido. Atys. Pepusch. Beggar's Opera. Libretto by the poet Gay, written as a travesty of the Italian opera of the l8th century. Ponchielli. La Gioconda [jo-con' -dak). Marion Delorme. Promessi Sposi [promes-see spo-see). Planquette. Les Cloches de Corneville (Chimes of Normantly). Ricci. Crispino e la Comare [cris-pee'-no eh l). Theorist; Italy. B. 995 (?) ; d. 1050 (?). Hadley, Henry K. Composer; U. S. A. B. 1S71. Herbert, Victor. Composer ; Ireland. B. 1859. Holbrook, Joseph C. Composer; England. B. 1878. Holmes, Augusta Mary. Compo.ser ; France. B. 1847; d. 1903. Humperdinck, Engelbert {htimper-dink). Composer ; Germany. B. 1854. Kubelik, Johann {koo-beh-lik). Violinist ; Bohemia. B. 1880. Lack, Theodore. Composer ; France. B. 1846. Lehmann, Lilli [ieh-man). Soprano; Ger- many, B. 1848, Lehmann, Liza, Com{X)ser ; England. B. 1858. Lemare, Edwin H. Organist ; England. B. 1865. Leoncavallo, Ruggiero {leh-on-ca-vdllo). Composer; Italy. B. 1858. Mascagni, Y\^\xoi^mas-cAn-yee^. Composer; Italy. B. 1863. Melba, Nellie. Soprano ; Australia. B, 1859. Nevin, Ethelbert, Composer; U.S.A. B. 1862; d. 1901. 123 134 APPENDIX Nikisch, Arthur. Conductor; Hungary. B. 1855. Norris, Homer A. Composer ; U. S. A. B. i860. Perosi, Don Lorenzo {pek-ro-see). Com- poser; Italy. B. 1872. Powell, Maud. Violinist; U. S. A. B. 1868. Puccini, Giacomo {^put-chee-nee jah-co-mo). Composer; Italy. B. 1858. Rachmaninoff, Sergei. Composer; Russia. B. 1873. Reger, Max (reh-ge/ir). Composer; Ger- many. B. 1873. Rimski-KorsakofT, Nikolas A. {^rimsket-kdr- sa-kojf). Composer; Russia. B. 1844. Safonoff, Wassili. Conductor; Russia. B. 1852. Sauer, Emil. Pianist ; Germany. B. 1862. Schradieck, Henry (shrah-deek). Violinist; Germany. B. 1846 Schutnann-Heink, Frnestine. Contralto ; Germiiny. B. 1861. {Continued'). Schytte, Ludwig T. {skit-teh). Pianist and composer; Denmark. B. 1850; d. 19^ Scriabine, Alexander {skree -a-beeyne^. Pianist; Russia. B. 1872. \„^ Sgambati, Giovanni {sgam-bdh-tee). Pianist ; B. 1843. Sibelius, Jean {see-bie-lee-us). Composer; Finland. B. 1865. Sinding, Christian. Composer; Norway. B. 1656. Smith, Wilson G. Composer; U. S. A. B. 1855. Sousa, John Philip. Composer ; U. S. A. B. 1854. Strauss, Richard {straws). Composer ; Ger- many. B. 1864. Szumowska, Antoinette (Szumowska-Adam- owski) {skoo-mor-ska). Pianist; Poland. B. 1868. Tetrazzini, Luisa {te-traht-zie-nee). Soprano; Italy. B. 1874. Van der Stucken, Frank. Composer ; U. S. A. B. 183S.