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 51
Scan 51
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
81 lines. Read by computer on 11 September 2026, twice; the two readings disagreed in places. Printed page 31. See the scan on archive.org.
1ARMBRUST, Karl F. 1849-1896. German musician; organist St. Peter's, Hamburg, 1869; teacher and musical critic.
3ARMBRUSTER, Carl. B. Andernach, 1846. Settled in London, 1863; d. 1917. Esteemed Wagnerian conductor.
5Armer la clef (F.). To indicate the key by means of the signature.
7ARMES, Philip. B. Norwich, 1836; d. 1908. Mus.Doc.Oxon. Orgt. Durham Cathedral, 1862-1907. University Prof. of Music. Works: Oratorio, Hezekiah; church music, &c.
9Arm'geige (G.). (See Viola da Braccio.)
11ARMIDE (ARMI'DA). One of Gluck's greatest operas; produced 1777.
13ARMINGAUD, Jules. 1820-1900. Renowned French violinist. Leader of a celebrated string quartet (with L. Lacquard, E. Lalo, and Masq), which, by adding other instruments, became the Société Classique.
15Armonia (I.). Harmony.
17Armonia Militaire (I.). Military band.
19Armonica (I.). (1) The Harmonica. (2) Harmonic.
21Armonie (F.). An old instrument—12th and 13th centuries. Probably the Vielle.
23Armoniosamente (I.) Harmoniously.
25(no line here) one of two readings
26Armonico (I.).
28ARMSTRONG, Mrs. C. (See Melba.)
30Armure (F.). (1) The key-signature. (2) The action or mechanism of an instrument.
32ARNAUD, Abbé Francois. 1721-1784. French ecclesiastic, scholar, and writer on music. Specially noted for his zealous defence of Gluck's innovations in opera.
34ARNAUD, Jean E. G. 1807-1863. French composer of favourite songs (Romances).
36ARNE, Thomas Augustine. Mus. D. Oxon. B. London, March 12, 1710; d. March 5, 1778. Distinguished English musician; composer of "Rule, Britannia" and other well-known songs. Married Cecilia, daughter of Young the organist. (She was a pupil of Geminiani, and a renowned opera singer.) Arne's compositions include Oratorios: Abel, 1744; Judith, 1761. Operas: Dido and Æneas, 1733; Eliza, 1755; Artaxerxes, 1762; and several others. Music to Love in a Village, As You Like It, Twelfth Night, Merchant of Venice, The Tempest, Romeo and Juliet, and many other plays. He also published several collections of songs, and music for orchestra, organ, harpsichord, violin, &c.
38ARNE, Michael. Son of the above. 1740-1786. Produced operas, and other theatrical music; wasted his fortune in an attempt to discover the Philosopher's Stone. Introduced Handel's Messiah to Germany, 1772.
40ARNIERO, José A. F. V. Vicomte d'. Eminent Portuguese composer. B. 1838. Chief works: Te Deum (Lisbon, 1871); operas, L'Elisire di Giovinezza and La Derelitta.
42ARNOLD, Georg. B. 17th century (Tyrol). Organist; composed motets, masses, &c.
44ARNOLD, Ignaz E. F. Erfurt, 1774 – 1812. Published biographies of Mozart, Haydn, and other composers.
46ARNOLD, Johann G. 'Cellist and composer; b. Niedernhall, 1773; d. 1806.
48ARNOLD, Carl. 1794-1873. Son of Johann G. Conductor Christiania Philharmonic Society, 1849. Composed an opera, Irene (Berlin, 1832), chamber music, &c.
50ARNOLD, Maurice. Composer; b. St. Louis, 1865.
52ARNOLD, Samuel. London, 1740 – 1802, Chorister, Chapel Royal. Mus.Doc.Oxon. 1773. Organist, Westminster Abbey, 1793. Wrote over 40 works for the stage, including The Maid of the Mill (1765), and five oratorios. Chief works: "Cathedral Music" (4 vols., 1790)—a continuation of Boyce's three volumes—and an edition of Handel in 36 volumes.
54ARNOLD, Yourij von. Composer and musical critic. B. Petersburg, 1811; d. 1898. Composed Russian operas, The Gipsy (1853) and Swätlanà (1854), besides overtures, songs, &c. Professor of singing, Moscow Conservatoire, 1870.
56AR'NOLDSON, Sigrid. Brilliant dramatic soprano. B. Stockholm, 1863.
58ARNOTT, A. Davidson. Mus.Doc. Dunelm. B. Glasgow, 1870; d. 1910. Composed Young Lochinvar, The Ballad of Carmilhan, &c.
60A rove'scio (I.). Same as Al rove'scio (q.v.).
62Ar'pa (I.). The harp. Ar'pa dop'pia: a double harp. (See Spitzharfe.)
64Arpanet'ta, Arpanel'la (I.). A small harp.
66Arpégé (F.). Arpeggio.
68Arpégement (F.). In arpeggio style.
70Arpégé (F.). To arpeggio.
72Arpeggian'do (I.). In harp style, or arpeggiated chords (called also broken chords).
74Arpeggia'to (I.). Also broken chords.
76Arpeggia're (I.). To play on the harp.
78Arpeggiatu'ra (I.). A series of arpeggios.
80Arpeg'gio (I.) (Plural Arpeg'gi, Eng. plural Arpeg'gios.) In harp style; i.e., playing the notes of a chord in succession (generally beginning with the lowest) instead of striking them together. The chord is said to be "broken" or "spread." There is no hard and fast rule for the treatment of arpeggios, either as to the speed at which the successive notes should follow one another or as to what notes should be held after being struck.
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