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Scan 40
A Cyclopaedic Dictionary of Music, 1908
111 lines. Read by computer on 12 September 2026. Printed page 24. See the scan on archive.org.
1and 17th centuries. The most famous was Nicola Amati, 1596-1684, among whose pupils were Andrea Guarneri and Antonio Stradivari.
3Am'bitus (L.). The compass or range of an ecclesiastical mode or tone. (See Mode.)
5Am'bo, or Am'bon (Gk.). A desk or pulpit.
6"The raised platform in Eastern churches, on which the singers mounted when they sang."
7—Stainer and Barrett.
9AMBROS, August W. Bohemian composer and renowned musical historian; 1816-1876.
11AMBROSE, St. (Ambrosius). Bishop of Milan, 374-397. (B. 333.) Arranged the ritual of church music, and is the reputed writer of a number of hymns, including "Once more the sun is beaming bright." (See Plain Song.)
13Ambrosian Chant. (See Plain Song.)
15Ambrosian Hymn. (See Te Deum laudamus.)
17Âme (F.). "Soul." The sound-post of a violin, 'cello, &c.
19AM'ERBACH (Ammerbach), E. N. German 16th century organist. Wrote an historically valuable treatise on "Tablature."
20Bach's copy is in the British Museum.
22American Organ. An instrument of the harmonium class, but with the reeds more curved.
23The tone is produced by drawing the air inwards instead of forcing it outwards as in the harmonium.
25AMES, J. Carlowitz. Composer; b. Bristol, 1860.
27A mesure (F.). By the beat; in strict time.
29A mez'za for'za (I.) With half the force of the voice (or instrument).
30A mez'za vo'ce (I.) (Bow) at the middle of the finger-board.
32A minor. (1) The relative minor of key C, requiring no flats or sharps in the signature. (2) The chord
34AMIOT, Père. Jesuit missionary and writer on Chinese music. B. Toulon, 1718.
36AMMON, Blasius. Tyrolese contrapunctist and church composer; d. Vienna, 1590.
38AMNER, John. Church composer. Organist Ely Cathedral, 1610-1641.
40A moll (G.). The key of A minor.
42A'MON, John A. German composer and French-horn player; 1763-1825.
44A monocorde (F.). On one string.
46Amo're (I.). Love, affection.
47Con amo're. With tenderness; lovingly.
49A Mores'co (I.). In the Moorish style.
51Amore'vole (I.).
53Amorevolmen'te (I.). Fondly, lovingly, affectionately, tenderly.
54Amorosamen'te (I.). Affectionately, tenderly.
55Amoro'so (I.).
57A'morschall, A'morsklang (G.). A French horn with valves; invented by Kölbel, 1760.
59AMOTT, John. English composer; organist Gloucester Cathedral, 1832-1865; d. 1865.
61Am'phibrach. A metrical foot of three syllables—short, long, short (u — u), as delightful, domestic.
63Amphim'acer. A metrical foot of three syllables — long, short, long (— u —); the opposite of Am'phibrach.
65Amplitude. The extent of a musical vibration. (See Acoustics.)
67Ampollosamen'te (I.), Ampollo'so (I.), Ampoulé (F.). In an inflated, bombastic style.
69Amt (G.). Office, ecclesiastical duty; mass.
70Hoch'amt. High mass.
72Amusement (F.). Same as Divertissement (q.v.).
74Amu'sia. Loss of musical faculty.
76An (G.). On; add; at, against, to; from.
77An der Spit'ze. At the point (of the bow).
79Anab'asis (Gk.). A series of ascending sounds.
81A'NACKER, A. F. Conductor and composer; b. Freiberg, 1790; d. 1854. Conducted the "miners' wind band," Freiberg, 1827; and also did much to promote the study of vocal music.
83ANACREON. Opera-ballet by Cherubini; produced 1803.
85Anaka'ra (Gk.). The ancient kettledrum.
87Anakru'sis (G. from Gk.). (F., Anacrouse.) The up-beat preceding the first accented note of a phrase (or rhythm). (See Auftakt.)
89Anal'yisis. (1) Of sound: the resolution of a sound into its constituent partials, (See Acoustics.) (2) Of harmony: an explanation of the construction (roots, inversions, suspensions, auxiliary notes, &c.) and progressions of chords. (3) Of musical compositions: an enquiry into their form, style, harmony, modulations, &c.; and the development of their principal themes.
91Analytical Programmes. (See Ella.)
93An'apest (An'apaest). A metrical foot of three syllables—two short and one long—(u u —); as
95The Anapest is the reverse of the Dactyl.
97In setting Anapestic verse to music the long accent need not necessarily fall on a longer note than the others, but it must be on a stronger accent; and this principle is universal in setting words to music.
99ANATO'LIUS (St.). 8th and 9th centuries. Author of the hymn "The day is past and over" (translated by Dr. Neale).
101An'blasen (G.). To blow, to sound.
102Stark an'blasen. To blow loudly; to blare.
104Anche (F.). (I., An'cia.) The reed or mouth-piece of an instrument. A reed of an harmonium.
105Anche d'orgue. Reed stop of an organ.
106Anche libre. A free reed. Jeu d'anche, a reed stop.
108An'che (I.). Also, too, likewise; even.
110Ancient Modes. The modes or scales of the Greeks, Romans, Egyptians, &c.
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