Books › A Cyclopaedic Dictionary of Music, 1908 › scan 50
Scan 50
A Cyclopaedic Dictionary of Music, 1908
128 lines. Read by computer on 10 September 2026, twice; the two readings disagreed in places. Printed page 34. See the scan on archive.org.
1Assieme
2(no line here) one of two readings
4Assie'me (I.). Ensemble, concerted.
5(no line here) one of two readings
7ASS'MAYER, Ignaz. Austrian organist and composer; 1790-1862. Studied under M. Haydn. Imperial organist, Vienna, 1825; second Court-capellmeister, 1846. Wrote the oratorios Saul's Tod, David and Saul, and several masses and other church works.
8(no line here) one of two readings
10Assolu'to,-a (I.). Absolute, chief. Teno're assolu'to, principal tenor.
11(no line here) one of two readings
13Assonance (F. and Eng.). (G., Assonanz', I., Assonan'za.) Agreement or resemblance in vowel sound; as rest, bless, men.
14(no line here) one of two readings
16Assourdir (F.). To muffle.
17(no line here) one of two readings
19ASTARIT'TA, Gennaro. Italian composer. Wrote Circe ed Ulisse (1777) and about 20 other operas.
20(no line here) one of two readings
22ASTON, Hugh. B. Lancashire abt. 1480; d. 1522. Wrote vocal and important instl. music.
23(no line here) one of two readings
25ASTOR'GA, Emanuele d'. B. Palermo, 1681; d. Prague, 1736. Trained in the Spanish Monastery of Astorga. Made Baron d'Astorga, 1704. By his songs and singing became a general favourite. Visited Portugal, Italy, England, Vienna, and Prague (where he spent his last years in a monastery). Wrote a celebrated Stabat Mater for four voices and orchestra, an opera (Dafne), and several songs and duets.
26(no line here) one of two readings
28A su'o arbit'rio (I.). At one's will, or A su'o be'ne pla'cito (I.). pleasure; ad lib.
29A su'o com'(m)odo (I.). At the performer's convenience.
30(no line here) one of two readings
32A tem'po (I.). In strict time; used after a rallentando, accelerando, &c., to show that the original speed must be resumed.
33(no line here) one of two readings
35A tem'po com'(m)odo (I.). At a moderate, convenient speed.
36(no line here) one of two readings
38A tem'po di gavot'ta (I.). In the time of a gavotte.
39(no line here) one of two readings
41A tem'po di minuet'to (I.). In the time of a minuet.
42(no line here) one of two readings
44A tem'po giu'sto (I.). In just, i.e. strict, accurate time. (In Handel, 4-4 time.)
45(no line here) one of two readings
47A tem'po ordina'rio (I.). In ordinary time. At a moderate speed.
48(no line here) one of two readings
50A tem'po pri'mo (I.). Return to the first, or original time.
51(no line here) one of two readings
53A tem'po ruba'to (I.). Irregular, robbed time. (See Tempo ruba'to.)
54(no line here) one of two readings
56ATHALI'A. Oratorio by Handel; 1733.
57(no line here) one of two readings
59A't(h)em (G.). Breath.
60A't(h)em ho'len. To take breath.
61A'themlos. Breathlessly.
62A'th'men. To blow softly, to breathe.
63(no line here) one of two readings
65ATKINS, Ivor A. B. Cardiff, 1869. Orgt. Worcester Cath., 1897.
66(no line here) one of two readings
68A tre (I.). For three voices or instruments.
69A tre cor'de. Release the soft pedal.
70A tre ma'ni. For three hands.
71A tre par'ti. In three parts.
72A tre vo'ci. For three voices.
73(no line here) one of two readings
75À trois (F.). For three voices or instruments.
76À trois mains. For three hands.
77À trois parties. In three parts.
78À trois voix. For three voices.
79(no line here) one of two readings
81Attac'ca (I.). Attack or begin the next movement or piece at once, or with a very short pause.
82Attac'ca su'bito { Go on immediately.
83Attacca'te su'bito { Go on at once with the next (movement).
84Attac'ca su'bito il seguen'te. Go on at once with the next (movement).
85Attac'ca su'bito l'Allegro. Go on at once with the Allegro.
86(no line here) one of two readings
88Attacca're (I.), Attaquer (F.). To begin at once.
89(no line here) one of two readings
91Attac'co (I.), Attaque (F.). (1) A short fugue-theme. (2) A short theme, or motiv, for imitation.
92(no line here) one of two readings
94SULLIVAN. "Lost Chord."
95(no line here) one of two readings
97The Attac'co is a characteristic feature of motets, madrigals, and many anthems.
98(no line here) one of two readings
100Attack (E.), Attaque (F.). (1) The act or style of beginning either a solo or ensemble passage. (2) The clear and distinct commencement of a vowel sound in singing.
101Chef d'attaque (F.). The leading 1st violin of an orchestra.
102Chaque attaque assez en dehors (F.). Each entry (attack) to be made prominent.
103(no line here) one of two readings
105ATTAIGNANT, Pierre (also Attaingnant, Atteignant). Music printer, first half of 16th cent.; first, in Paris, to employ movable types. Printed 20 books of motets (1525-50), &c., now very rare.
106(no line here) one of two readings
108Attasta're (I.). To touch; to strike.
109Attendant keys. (1) Of a MAJOR KEY.—The maj. keys with Tonic a perf. 5th higher and a perf. 5th lower; and the 3 rel. minors (including that of the prin. key). Thus the attendant keys of C major are (1) G major, (2) F major, (3) A minor, (4) E minor, and (5) D minor. one of two readings
110(2) Of a MINOR KEY.—The min. keys with Tonic a perf. 5th higher and a perf. 5th lower; and the 3 rel. majors. Thus the 5 attendant keys of C minor are (1) G min., (2) F min., (3) Eb maj., (4) Bb maj., and (5) Ab maj. one of two readings
112Attendant keys. (1) Of a MAJOR KEY.—The maj. keys with Tonic a perf. 5th higher and a perf. 5th lower; and the 3 rel. minors (including that of the prin. key). one of two readings
113Thus the attendant keys of C major are (1) G major, (2) F major, (3) A minor, (4) E minor, and (5) D minor. one of two readings
114(2) Of a MINOR KEY.—The min. keys with Tonic a perf. 5th higher and a perf. 5th lower; and the 3 rel. majors. one of two readings
115Thus the 5 attendant keys of C minor are (1) G min., (2) F min., (3) Eb maj., (4) Bb maj., and (5) Ab maj. one of two readings
117AT'TENHOFER, Karl. B. Wettingen, Switzerland, 1837. Studied Leipzig Cons., 1857-8. Conductor of Rapperswyl Men's Choral Union, 1863. Settled in Zurich, 1867. Has also held various positions as organist, teacher of singing, &c.
118Well-known as a composer of men's-voice music. Cantatas: Hegelingenfahrt, 1890, and Frühlingsfeier; also masses, songs, violin-etudes, &c.
119(no line here) one of two readings
121ATTERBURY, George L. Celebrated English glee composer. B. about 1735; d. 1796. Composed an oratorio, Goliah.
122(no line here) one of two readings
124At'to (I.). An act (of an opera).
125(no line here) one of two readings
127Atto're, Attri'ce (I.). An actor; an actress.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.