MUSI ASY 2886-1 DICTIONARY OF MUSICAL TERMS. ABBREVIATIONS, denoting the language in which the terms are written, or from which they are derived: F., French; G., German; Gk., Greek; H., Hebrew; I., Italian; L., Latin; S., Spanish; Pl., Plural. A. A, the alphabetical name given to the sixth note of the scale of C in ascending. A, (I.) to, for, by, at, &c.; as, a tre, for three. AANES, a Greek term, applied to modes and tones. ABACUS, an ancient instrument for dividing the intervals of an octave. A BALLATA, (I.) in the manner of a ballad. A BATTUTA, (I.) by beating, or in strict time, after an ad libitum. ABBANDONASI, ABBANDONATEMENTE, ABBANDONE, con, ABBANDONO, con, (I.) with self-negation and abandonment. Despondingly; without restraint, making the time subordinate to the expression. ABBASSIMENTO DI MANO, (I.) the falling of the hand in beating time. ABBREVIATURE, (I. Pl.) contractions or abbreviations in musical notations. ARBELLIMENTI, (I.) ornaments introduced to set off a plain melody. A RENE PLACITO, (I.) at the pleasure of the performer. ABB URZUNGEN, (G.) abbreviations. ABSETZEN, (G.) These words imply a style of performance } ABWECHSELEND, (G.) alternating, as mit Abwechselendon Man ualen, alternately from the great choir to the organ, &c. ACADEMIE ROYALE DE MUSIQUE, (F.) the name given to the French Opera House. A CAPELLA, (I.) in the church style. A CAPRICCIO, (I.) at will, agreeable to our fancy. ACATHISTUS, a hymn sung in the ancient Greek church in honor of the Virgin. ACADEMIA MUSICALE, (I.) Musical academy. The first one was instituted at Vicenza, A. D. 1500. ACADEMIE ROYALE, (F.) an academy of music, instituted at Paris, A. D. 1669. ACADEMY, (MUSICAL,) musical meetings, held under a directing leader. The first of these in England took place A. D. 1710. ACCADEMIA, (I.) a concert. ACCAREZZEVOLE, in a persuasive and caressing manner. ACCELERANDO, (I.) with gradually increasing velocity of move ment. ACCELERATO, (I.) accelerated, increased in rapidity. ACCENT, a slight stress placed upon a note to mark its place and relative importance in the bar. ACCENTUARE, (I.) to accentuate; to perform with expressive accentuation. ACCIACCATURA, (I.) a species of arpeggio. ACCIDENTS, occasional sharps, flats, and naturals placed before notes in the course of a piece. ACCIDENTAL CHORDS, those chords containing one or more notes foreign to its proper harmony. ACCOLADE, (F.) the brace employed to connect two or more staves in piano-forte or harp music, and in scores. ACCOMPAGNAMENTO, (1) an accompaniment. ACCOMPAGNEMENT, (F.) ACCOMPAGNEMENS, (F. Pl.) accompaniments. ACCOMPAGNATORE, (I.) ACCOMPAGNATEUR, (Fan accompanist. ACCOMPANIMENT, a part added to a principal, by way of enancing the effect of the composition. Accompaniments are sometimes ad libitum, that is, they may be dispensed with in the performance; and sometimes obligato, that is, indispensable to the proper effect of the whole. ACCORD, (F.) a chord. ACCOMPANIMENT OBLIGATO, the accompaniment must be used. ACCOMPANIMENT AD LIBITUM, use the accompaniment or not, at pleasure. ACCOMPANIST, the person playing the accompaniment. A CEMBALO, or A CEMB., (I.) for the harpsichord. ACCENTOR, an old term, signifying the performer who took the principal part in a duet, trio, &c. ACCORD, TO, to agree in pitch and tone. ACCORDATORE, (a piano-forte tuner. ACCORDEUR, (F.) ACCORDO, (1.) a chord. ACCORDATURA, (I.) the scale of notes, according to which the open strings of any instrument are tuned. Thus, C, G, D, A, form the accordatura of the tenor and of the violoncello; G, D, A, E, that of the violin; E, A, D, G, B, E, that of the guitar &. ACCORDER, (F.) to tune an instrument. ACCRESCIMENTO, (I.) an increase, or augmentation. ACCRESCIUTO, (I.) superfluous; augmented in respect to intervals. ACETABULUM, an instrument of the ancients. ACHTELNOTE, (G.) a quaver. A CHULA, a Portuguese dance, resembling the fandango. A CINQUE, (I.) for five voices or instruments. ACOUSTICS, from the Greek, denoting the science of sound. ACUTE, high, shrill, as to pitch. ADAGIO, (I.) very slow and expressive, admitting of much grace and exbellishment. ADAGIO ASSAI OR MOLTO, (I.) extremely slow ind ex pressive. ADAGIO CANTABILE E SOSTENUTO, (I.) a very slow mɔve ment, in a sustained or singing style. ADAGIO PATETICO, (I.) in a slow time, and with plaintiv pression. ADAGISSIMO, (I.) excessively slow. ADASIO, (I.) same as Adagio. ADDITATO, (I.) fingered. ADDITIONAL KEYS, an epithet applied to the keys of a piano forte when they run above F in altissimo. A DEMI VOIX, (F.) synonymous with mezza voce : see that A DEUX TEMPS, (F.) two equal times or measure notes in a bar. AD LIBITUM, (L.) at will, or discretion. This expression implies that the time of some particular passage is left to the pleasure of the performer; or that he is at liberty to introduce whatever embellishments his fancy may suggest. AD LONGUM, (L.) applied by the early reformers to compositions consisting of notes of equal duration, and those the longest in use. AD OMNEM TONUM, (L.) from every note. ADORNAMENTO, (I.) an ornament. A DUE CORDE, instruments having two strings. A DUE, (I.) for two voices or instruments. A DUR, (G.) the key of A major. ADQUISTA, applied by the Greeks to the sound added at the bottom of the scale in each of the modes. ÆOLIAN PIANO-FORTE, a piano-forte so conjoined with the EOLIAN HARP, an instrument the tones of which are caused by a vibration of the strings by the air. ÆQUIVAGANS, (L.) a term used to signify that all the parts in the passage deviated from the natural order of the measure at the same time. EQUISONANS, AQUISONANT, } of the same or like sound; a unison ASTHETICS, from the Greek; the doctrine of taste as applied to the fine arts; musical expression; causing sensations of beauty sublinity, or pleasure. AEUSSERSTE STIMMEN, (G. Pl.) the extreme parts. AFFABILE, in manner kind and courteous. AFFANNOSO, con, (I.) with mournful expression. AFFETTUOSO, AFFETTUOSAMENTE, } (I.) with tenderness and pathos. AFFETTO, con, AFFLIZIONE, con, (I.) sorrowfully, with affliction. AFFRETTANDO, AFFRETTATE, (I.) accelerating, hurrying the time. A FOFA, a Portuguese dance resembling the fandango. AGIA, used by the Greeks in characterizing modes or tones. ance. AGILITA, con, (I.) with lightness and agility. AGITATO, AGITAZIONE, con, (I.) with agitation, anxiously. AGNUS DEI, (L.) one of the principal movements of the mass. AGOGE, employed by the Greeks as a name for one of the sub Àvisions of their Melopœia. A GRAND CHŒUR, (F.) for the entire chorus. A GRAND ORCHESTRE, (F.) for the entire or complete orchestra. AGREMENS, (F. Pl.) embellishments. A IN ALT, the A placed on the first upper added line. A IN ALTISSIMO, an octave above A in Alt. AIR VARIÉ, (F.) an air with variations. AIR, (F.) an air or tune with or without words; as Air Italien, an Italian air, &c. AIRS TENDRES, (F.) songs of an amatory description. AIS, (G.) a sharp. A LA MESURE, (F.) in time; synonymous with the Italian words A tempo. ALBERTI BASS, a bass formed by taking the notes of chords in Arpeggios; this kind of bass is said to have been invented by ene Dominico Alberti. |