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 54
Scan 54
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
86 lines. Read by computer on 10 September 2026. Printed page 34. See the scan on archive.org.
1Assieme
3Assie'me (I.). Ensemble, concerted.
5ASS'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.
7Assolu'to,-a (I.). Absolute, chief. Teno're assolu'to, principal tenor.
9Assonance (F. and Eng.). (G., Assonanz', I., Assonan'za.) Agreement or resemblance in vowel sound; as rest, bless, men.
11Assourdir (F.). To muffle.
13ASTARIT'TA, Gennaro. Italian composer. Wrote Circe ed Ulisse (1777) and about 20 other operas.
15ASTON, Hugh. B. Lancashire abt. 1480; d. 1522. Wrote vocal and important instl. music.
17ASTOR'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 (Dajne), and several songs and duets.
19A su'o arbit'rio (I.). At one's will, or A su'o be'ne pla'cito (I.). pleasure; ad lib.
20A su'o com'(m)odo (I.). At the performer's convenience.
21A su'o luo'go (I.). Same as Loco (q.v.).
22A tem'po (I.). In strict time; used after a rallentando, accelerando, &c., to show that the original speed must be resumed.
23A tem'po com'(m)odo (I.). At a moderate, convenient speed.
24A tem'po di gavot'ta (I.). In the time of a gavotte.
25A tem'po di minuet'to (I.). In the time of a minuet.
26A tem'po giu'sto (I.). In just, i.e. strict, accurate time. (In Handel, 4-4 time.)
27A tem'po ordina'rio (I.). In ordinary time. At a moderate speed.
28A tem'po primo (I.). Return to the first, or original time.
29A tem'po ruba'to (I.). Irregular, robbed time. (See Tempo ruba'to.)
31ATHALIA'. Oratorio by Handel; 1733.
33A't(h)em (G.). Breath.
34A't(h)em ho'len. To take breath.
35A'themlos. Breathlessly.
36Ath'men. To blow softly, to breathe.
38ATKINS, Ivor A. B. Cardiff, 1869. Orgt. Worcester Cath., 1897.
40A tre (I.). For three voices or instruments.
41A tre cor'de. Release the soft pedal.
42A tre ma'ni. For three hands.
43A tre par'ti. In three parts.
44A tre vo'ci. For three voices.
46À trois (F.). For three voices or instruments.
47À trois mains. For three hands.
48À trois parties. In three parts.
49À trois voix. For three voices.
51Attac'ca (I.). Attack or begin the next movement or piece at once, or with a very short pause.
52Attac'ca su'bito
53Attacca'te su'bito
54Attac'ca su'bito il seguen'te. Go on at once with the next (movement).
55Attac'ca su'bito l'Allegro. Go on at once with the Allegro.
57Attacca're (I.), Attaquer (F.). To begin at once
59Attac'co (I.), Attaque (F.). (1) A short fugue-theme. (2) A short theme, or motiv, for imitation.
61SULLIVAN. "Lost Chord."
63The Attac'co is a characteristic feature of motets madrigals, and many anthems.
65Attack (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.
66Chef d'attaque (F.). The leading 1st violin of an orchestra.
67Chaque attaque assez en dehors (F.). Each entry (attack) to be made prominent.
69ATTAIGNANT, 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.
71Attasta're (I.). To touch; to strike.
73Attendant 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).
74Thus the attendant keys of C major are (1) G major, (2) F major, (3) A minor, (4) E minor, and (5) D minor.
75(2) Of a MINOR KEY.—The min. keys with Tonic a perf. 5th higher and a perf. 5th lower; and the 3 rel. majors.
76Thus the 5 attendant keys of C minor are (1) G min., (2) F min., (3) Éb maj., (4) Bb maj., and (5) Ab maj.
78AT'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.
79Well-known as a composer of men's-voice music. Cantatas: Hegelingenfahrt, 1890, and Frühlingsfeier; also masses, songs, violin-etudes, &c.
81ATTERBURY, George L. Celebrated English glee composer. B. about 1735; d. 1796. Composed an oratorio, Goliah.
83At'to (I.). An act (of an opera).
85Atto're, Attri'ce (I.). An actor; an actress.
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