A Dictionary of Musical Terms: Containing Upwards of 9,000 English, French, German, Italian, Latin and Greek Words and Phrases Used in the Art and Science of Music, Carefully Defined, and with the Accent of the Foreign Words Marked, Preceded by Rules for the Pronunciation of Italian, German and French : with a Supplement Containing an English-Italian Vocabulary for Composers

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G. Schirmer, 1895 - Music - 257 pages
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Page 99 - The repetition of a motive, phrase or theme proposed by one part (the antecedent) in another part (the consequent), with or without modification...
Page 165 - Op. 53. (Also Rhapsody.) Rhythm. (Ger. Rhyth'mns; Fr. rythme; It. rit'mo.) i. The measured movement of similar tone-groups; ie, the effect produced by the systematic grouping of tones with reference to regularity both in their accentuation and in their succession as equal or unequal in timevalue. — A Rhythm is, therefore, a tonegroup serving as a pattern for succeeding groups identical with it as regards the accentuation and duration of the tones. The rhythm, being thus a thing apart from tonal...
Page 143 - Paralleftonart (Ger.), a relative (major or minor) key. Paraphrase. A transcription or rearrangement, of a vocal or instrumental composition, for some other instr. or instr.s, with more or less extended and brilliant variations. Parfait (Fr.) Perfect (of intervals) ; complete (of cadences); true, pure (of intonation) ; strong, accented (of beats). Parhyp'ate. See Lyre i. Par'te (It.) I. Part. . .Colla parte, a direction to accompanists to follow yieldingly and discreetly the solo part or voice.
Page 15 - angelic.") See Vox a. Angelique'. (Fr. ange'lique.) A keyboard instr. having I7 strings tuned in chromatic order ; inv. early in the I7th century. — Also, a kind of guitar. Angelophone. An earlier name for the harmonium or parlor-organ. An'gemessen (Ger.) Suitable, appropriate. Anglaise (Fr.) The English countrydance (contredanse), of lively character, sometimes in 2-4, at others in 3-4 or 3-8 time. It closely resembles the Ecossaise, and most probably took its origin from the older form of the...
Page 196 - ... fifth can in very few cases be regarded as objectionable. In the system of equal temperament the series of fifths, instead of going on indefinitely, returns to the startingpoint C, thus forming a circle, as it were ; this progression from end to end of the series is called the Circle of Fifths : Unequal temperament is a system in which the excess in the series of fifths is not equally apportioned, some intervals being purer, and others less pure, than in equal temperament. In the mean-tone system,...
Page 130 - Gregorian or plain-song note. . .N. roma'na, a neume. . . N. sensi'bile, the leading-note. Notation. Musical notation is the art of representing musical tones by means of written characters. Letters, numerals, and signs of different kinds, have been used. The signs now almost universally employed are called notes, and are written on a staff of 5 lines ; hence, this system of writing music is termed Staffnotation. (Comp.
Page 165 - ... possible and they were to be tested on the basis of rhythm performance, rather than discrimination. The first problem that presented Itself was: What Is meant by rhythm performance? Baker's Musical Dictionary (1) yielded the following definition: Rhythm Is the measured movement of similar tone groups; the effect produced by the systematic grouping of tones with reference to regularity both In accent and In their succession as equal or unequal in time values. Rhythm, therefore, Is a tone group...
Page 218 - 4 a four-way stop-cock turning in a cylindrical case in the plane of the instrument, 2 of its 4 ways...
Page 65 - Elevation. shading ; timbre like that of the stringorchestra ; the ordinary hammer-action may be employed alone, or in combination with the above. A peculiar (sustaining) pedal-mechanism permits a given tone, a full chord, or any harmony, to sound on as long as desired, even after lifting the fingers.
Page 166 - Rhythm, in a wider sense, is the accentuation marking and defining broader musical divisions in the flow and sweep of a composition by special emphasis at the entrance or culminating points of motives, themes, phrases, passages, sections, etc.

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