Books › A cyclopaedic dictionary of music; comprising 18,000 musical terms and phrases, over 6,000 biographical notices of musicians, and 500 articles on musical topics, with an appendix .., 1919 › scan 44
Scan 44
A cyclopaedic dictionary of music; comprising 18,000 musical terms and phrases, over 6,000 biographical notices of musicians, and 500 articles on musical topics, with an appendix .., 1919
117 lines. Read by computer on 11 September 2026, twice; the two readings disagreed in places. Printed page 24. See the scan on archive.org.
1whose 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." one of two readings
7—Stainer and Barrett. one of two readings
8"The raised platform in Eastern churches, on which the singers mounted when they sang." —Stainer and Barrett. one of two readings
10AMBROS, August W. Bohemian composer and renowned musical historian; 1816-1876.
12AMBROSE, 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.)
14Ambrosian Chant. (See Plain Song.)
16Ambrosian Hymn. (See Te Deum laudamus.)
18Âme (F.). "Soul." The sound-post of a violin, 'cello, &c.
20AM'ERBACH (Ammerbach), E. N. German 16th century organist. Wrote an historically valuable treatise on "Tablature."
21Bach's copy is in the British Museum.
23American Organ. An instrument of the harmonium class, but with the reeds more curved.
24The tone is produced by drawing the air inwards instead of forcing it outwards as in the harmonium.
26AMES, J. Carlowitz. Composer; b. Bristol, 1860.
28A mesure (F.): By the beat; in strict time.
30A mez'za for'za (I.) With half the force of the voice (or instrument).
31A mez'za a'ria (I.) Same as Aria Parlante (q.v.). one of two readings
32A mez'za vo'ce (I.) Same as Aria Parlante (q.v.). one of two readings
33A mez'za ma'nico. (Bow) at the middle of the finger-board. one of two readings
34A mez'za ma'nico. (Bow) at the middle of the fingerboard. one of two readings
36A minor. (1) The relative minor of key C, requiring no flats or sharps in the signature. (2) The chord
38AMIOT, Père. Jesuit missionary and writer on Chinese music. B. Toulon, 1718.
40A mi voix (F.). With half voice (loudness).
42AMMON, Blasius. Tyrolese contrapuntist and church composer; d. Vienna, 1590.
44AMNER, John. Church composer. Organist Ely Cathedral, 1610-1641.
46A moll (G.). The key of A minor.
48A'MON, John A. German composer and French-horn player; 1763-1825.
50A monocorde (F.). On one string.
52Amo're (I.). Love, affection.
53Con amo're. With tenderness; lovingly.
55A Mores'co (I.). In the Moorish style.
57Amore'vole (I.).
59Amorevolmen'te (I.). Fondly, lovingly, affectionately, tenderly.
60Amorosamen'te (I.).
62Amoro'so (I.).
64A'morschall, A'morsklang (G.). A French horn with valves; invented by Kölbel, 1760.
66AMOTT, John. English composer; organist Gloucester Cathedral, 1832-1865; d. 1865.
68Am'phibrach. A metrical foot of three syllables—short, long, short (u — u), as delightful, domestic.
70Amphim'acer. A metrical foot of three syllables — long, short, long (— u —); the opposite of Am'phibrach.
72Amplitude. The extent of a musical vibration. (See Acoustics.)
74Ampollosamen'te (I.)., Ampollo'so (I.)., Ampoulé (F.). In an inflated, bombastic style.
76Amt (G.). Office, ecclesiastical duty; mass. Hoch'amt. High mass.
78Amusement (F.). Same as Divertissement (q.v.).
80Amu'sia. Loss of musical faculty.
82An (G.). On; add; at, against, to; from.
83An der Spit'ze. At the point (of the bow).
85Anab'asis (Gk.). A series of ascending sounds.
87A'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.
89ANACREON. Opera-ballet by Cherubini; produced 1803.
91Anaka'ra (Gk.). The ancient kettledrum.
93Anakru'sis (G. from Gk.). (F., Anacrouse.) The up-beat preceding the first accented note of a phrase (or rhythm). (See Auftakt.)
95Analysis. (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.
97Analytical Programmes. (See Ella.)
99An'apest (An'apaest). A metrical foot of three syllables—two short and one long—(u u —); as
101The Anapest is the reverse of the Dactyl.
103In 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.
105ANATO'LIUS (St.). 8th and 9th centuries. Author of the hymn "The day is past and over" (translated by Dr. Neale).
107An'blasen (G.). To blow, to sound.
108Stark an'blasen. To blow loudly; to blare.
110Anche (F.). (I., An'cia.) The reed or mouthpiece of an instrument. A reed of an harmonium.
111Anche d'orgue. Reed stop of an organ.
112Anche libre. A free reed. Jeu d'anche, a reed stop.
114An'che (I.). Also, too, likewise; even.
116Ancient Modes. The modes or scales of the Greeks, Romans, Egyptians, &c.
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