BIZZARO, (I.) a term which denotes that the movement to which this is prefixed is written in an irregular and fantastic style. BLANCHE, (F.) a minim. BLASEBALG, (G.) the bellows of an organ. BOCAL, (F.) BOCCHINO, (I.) the mouthpiece of a horn, trombone, or ser pent. BODEN, (G.) the back of a violin, tenor, &c. BOGEN, (G.) the bow. BOGENFÜHRUNG, (G.) the management of the bow. BOGENINSTRUMENT, (G.) a bow instrument. BOGENSTRICH, (G.) a stroke of the bow. BOLERO, a Spanish dance with castanets. BOMBARDE, (F.) Į an old wind instrument of the hautboy speBOMBARDO, (I.) cies. BOMBIX, a Greek instrument, formed of reeds. BORDONE, (I.) } the double open diapason stop in an organ. BOURREE, (F.) a lively dance, in common time, beginning with an odd crotchet. BOUTADE, an impromptu ballet in a fanciful style. BOW, a round stick having little projections at each end to hold the hairs which form the effective part. B QUADRATUM, (L.) a term applied by the older theorists to the character now called a natural. BRANLE, (F.) an old dance. BRATSCHE, (G.) the tenor violin. BRAVO, BRAVA, BRAVI, (I.) an exclamation of approval used in Italian theatres. The first term is masculine, the second feminine, and the third plural. BRAVURA, con, (I.) with vigor, with boldness. BRACED POINTS, points having braces over them, showing that the notes over which they are placed are to be performed in a style between that of legato and staccato. BRACES, curved or straight lines indicating that the notes which they connect are to be played or sung together. BRACIO, or BRAZZO, a term applied to certain instruments chas are played with a bow, and held up to the neck by the left arm, as the violin. BRIOSO, (I.) with brilliancy and spirit. BRIDGE, that part of a stringed instrument over which the strings are drawn. BRODERIES, an old term applied by the French to casual, unstudied ornaments in performance. B ROTUNDUM, (L.) A flat, (b.) BUCCINA, a wind instrument used by ancient soldiers. BUFFA, (I.) comic. An actor or singer who takes the light and humorous parts in the Italian comic opera. This epiBUFFO, thet is also applied to the pieces themselves; as, opera buffa, a comic opera. BUFFET ORGAN, a very small organ. BUFFO CARICATO, singing in caricature. BUON CANTATE, a well-informed vocalist. GUSTO, a performance in the best style, by one whose taste is unexceptionable. MANO, a performer having perfect command of the mo brilliant and effective styles. BURLANDO, (I.) in a jesting and playful manner. BURLESCO, (I.) with extravagant and even burlesque humor. BURLA, comical, with great humor. BURDEN, that part of a song which is repeated at the end of every stanza. BURLETTA, (I.) a light species of musical drama, somewhat in the nature of the English farce. C. CABALETTA, (I.) a simple melody, of a pleasing and attractive character. CACCIA, alla, (I.) in .he hunting style. CACOPHONY, a discordant combination of sounds, foming no regular harmony. CADENCE, (F.) a shake; also a cadence in harmony; as, cadence parfaite, a perfect cadence; cadence rompue, an interrupted: sdence. LADENCE, a close in melody or harmony. An ornamental and extemporaneous passage introduced at the close of a song of piece of music. CADENCE INTERROMPUE, ROMPUE, (F.) an interrupted cadence. IMPARFAITE, (F.) an imperfect cadence. PARFAITE, (F.) a perfect cadence. CADENZA, (1.) a cadence, or close, at the termination of a song or other movement, introducing some fanciful and extemporaneous embellishment. In modern music the cadenza is generally written in small notes. D'INGANNO, (I.) an interrupted cadence. SOSPESA, a suspended cadence. CÆSURA, (L.) the rhythmic termination of any passage consisting of more than one musical foot. The last accented note of a phrase, section, or period. CALAMUS PASTORALIS, (one of the first instruments used,) a simple reed or cane. CALANDO, (I.) gradually diminishing in tone and quickness, be coming softer and slower by degrees. CALASCIONE, (I.) a species of guitar. CALCANDO, (I.) pressing upon, hurrying the time. CALMA, con, CALMATO, }(1.) with tranquillity and repose. CALOROSO, (I.) with much warmth and animation. CAMBIARE, (I.) to change. CAMERA, (I.) the chamber; as, musica di camera, chamber musiq CAMINARDO, (I.) flowing, with gentle and easy progression. CAMPANELLA, CAMPANELLO, (L.) a little bell. CAMPANELLINO, (I.) a very little bell. ́ CANCRIZANS, retrograde movement. CANON, a species of uninterrupted imitation. CANONE, (I.) a canon, or catch for several voices or instru ments. CANONE AL SOSPIRO, (I.) a canon, the parts of what come in at the distance of a crotchet rest from each other. APERTO, (I.) an open canon. CHIUSO, (I.) a canon in which the solution must be discovered, sometimes an enigmatic canon. CANTABILE, (I) in a melodious, graceful, and singing style. The performance should be smooth, elegant, and replete with feeling. CANTANDO, (I.) This word, placed over a piano-forte passage, indicates that the sounds must be blended softly into each other, as in singing. CANTANTE, (I.) a part which is intended for the voice. A ORECCHIO, (I.) to sing by ear; that is, without A ARIA, (I.) to sing without confining one's self to the music written. DI MANIERA, (I.) to sing with a profusion of em bellishments, without taste or discernment. CANTATA, (I.) a species of composition for one voice, consisting of an intermixture of air and recitative. CANTATRICE, (I.) a female singer. CANTATILLA, ('ANTATINA, }(I.) a short cantata. CANTICA, (L.)} CANTICI, (I.) canticles, or devotional songs. CANTICLE, a hymn, or divine song. CANTICUM, (L.) a canticle, or divine song. CANTILENA, (I.) the melody, air, or principal part in any com. position, generally the highest vocal part. CANTO, (I.) the highest vocal part in choral music. FERMO, (I.) a chant or melody; as also any subject con sisting of a few long, plain notes, given as a theme for counterpoint. FIGURATO, (I.) a figured melody. GREGORIANO, (I.) the Gregorian Chant. PLANO, (S) the plain song or chant. PIANO, (I.) PRIMO, (I.) the first treble. CANTO RECITATIVE, the combination of an air and a recitative. CANTOR, SECONDO, (I.) the second treble. CANTORE, (I.) a singer. CANTORIS, a term used in cathedral music, to indicate the pas sages intended to be taken by those singers wno are placed ca that side of the building where the cantor or presentor sits; that is, on the left hand side on entering the choir from the nave. CANTUS, (L.) a song, chant, or melody; as, AMBROSIANUS, the melodies or chants introduced into the church by St. Ambrose. MENSURABILIS, a measured melody. FIRMUS, (L.) the plain song, or chant. FIGURATUS, (L.) embellished or figurate melodies of chants. GREGORIANUS, the chants collected by St Gregory CANTADOURS, strolling singers. CANTICÆ, short interludes. CANTILENA SCOTICA, an old and favorite Scotch air. CANUN, a Turkish stringed instrument. CANZONE, (I.) an air in two or three parts. CANCHERIZANTE, (I.) This term denotes that the piece in played in a retrograde style, beginning at the end and going back to the commencement. CANZONET, CANZONETTA, (I.) a short canzone, or song. CAOINAN, an Irish requiem. CAPO, (I.) the head or beginning. CAPOTASTO, (I.) the nut of the finger-board of a violin, violon cello, &c. CAPRICCIO, (I.) a fanciful and irregular species of compositior. CAPRICCIOSO, A CAPRICCIO, (I.) in a fanciful, capricious sty CAPRICCIETTO, (I.) a short capriccio. CAPRICE, (F.) a capriccio. CAPISCOLUS, the leader of a band or choir. CAPO D' ASTRO, sometimes used instead of capotasto, to signif the principal bridge |