Books › A cyclopædic dictionary of music .., 1925 › scan 58
Scan 58
A cyclopædic dictionary of music .., 1925
72 lines. Read by computer on 7 September 2026. Printed page 42. See the scan on archive.org.
1A suo arbitrio
3A suo arbitrio (I.). At one's will, or
4A suo bene plácito (I.). pleasure; ad lib.
5A suo com'(m)odo (I.). At the performer's convenience.
6A suo luo'go (I.). Same as Loco (q.v.).
7Atabal' (S.). A Kettle-drum.
8Atabale'iro (P.). Kettle-drum player.
9À table sec (or sèche) (F.). "Dry"; unaccompanied (as Recitative).
10Atambar. A Moorish drum.
11Ata'que (S.). Attack.
12A tem'po (I.). In strict time; used after a rallentando, accelerando, &c., to show that the original speed must be resumed.
13A tem'po com'(m)odo (I.). At a moderate, convenient speed.
14A tem'po di gavot'ta (I.). In the time of a gavotte.
15A tem'po di minuet'to (I.). In the time of a minuet.
16A tem'po giu'sto (I.). In just, i.e. strict, accurate time. (In Handel, 4-4 time.)
17A tem'po ordina'rio (I.). In ordinary time. At a moderate speed.
18A tem'po primo (I.). Return to the first, or original time.
19A tem'po ruba'to (I.). Irregular, robbed time. (See Tempo ruba'to.)
20ATHALI'A. Oratorio by Handel; 1733.
21A't(h)em (G.). Breath.
22A't(h)em ho'len. To take breath.
23A'themlos. Breathlessly.
24Ath'men. To blow softly, to breathe.
25ATHERTON, Percy L. American composer, b. 1871.
26A tiem'po (S.). In time; a tempo.
27ATKINS, Sir Ivor A. B. Cardiff, 1869. Orgt. Worcester Cath., 1897.
28Atmosphere. "The ambient air" surrounding our planet. Any pervading intellectual, moral, religious, or other influence by which one is surrounded. In painting, the general chiaroscuro (q.v.). In musical criticism—particularly with reference to the Modern French School—the term is used to express some special orchestral tone-colour, mode or scale, dynamic shading, characteristic harmonic, melodic, or rhythmic trait, grouping and balancing of nuances, &c., producing or suggesting some prevalent "mood" or "environment" analogous to the atmosphere of a picture.
29A'tonality. (See Tonality).
30À ton basse (F.). In a low tone.
31A tre (I.). For three voices or instruments.
32A tre cor'de. Release the soft pedal.
33A tre ma'ni. For three hands.
34A tre par'ti. In three parts.
35A tre stromen'ti. For three instruments.
36A tre vo'ci. For three voices.
38À trois (F.). For three voices or instruments.
39À trois mains. For three hands.
40À trois parties. In three parts.
41À trois voix. For three voices.
43Attac'ca (I.). Attack or begin the next movement or piece at once, or with a very short pause.
44Attac'ca su'bito { Go on immediately.
45Attac'ca su'bito il seguen'te. Go on at once with the next (movement).
46Attac'ca su'bito l'Allegro. Go on at once with the Allegro.
48Attac'ca-An'satz (G.). A strong sudden attack in pf. playing, for special accents, sf, &c.
50Attacca're (I.), Attaquer (F.). To begin at once.
52Attac'co (I.), Attaque (F.). (1) A short fugue-theme. (2) A short theme, or motiv, for imitation.
54SULLIVAN. "Lost Chord."
56The Attac'co is a characteristic feature of motets, madrigals, and many anthems. (See Point.)
58Attack (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.
59Chef d'attaque (F.). The leading 1st violin of an orchestra.
60Chaque attaque assez en dehors (F.). Each entry (attack) to be made prominent.
62ATTAIGNANT, 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.
64Attasta're (I.). To touch; to strike.
66Attendant 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).
67Thus the attendant keys of C major are (1) G major, (2) F major, (3) A minor, (4) E minor, and (5) D minor.
68(2) Of a Minor Key.—The min. keys with Tonic a perf. 5th higher and a perf. 5th lower; and the 3 rel. majors.
69Thus the 5 attendant keys of C minor are (1) G min., (2) F min., (3) Eb maj., (4) Bb maj., and (5) Ab maj.
71AT'TENHOFER, Karl. B. Wettingen, Switzerland, 1837. d. 1914. Studied Leipzig Cons., 1857-8. Conductor of Rapperswyl Men's Choral Union, 1863. Settled in Zurich, 1867. Has also held various
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