Scan 918
A dictionary of music and musicians (1450-1889), 1900
56 lines. Read by computer on 11 September 2026. Printed page 78. See the scan on archive.org.
1IAMBIC, i. 765a; Accent, i. 12a; Metre, ii. 316b, etc.
2IASTIAN MODE. (See IONIAN, ii. 17b.)
3IDEA, i. 765a.
4IDOMENEIO, i. 765a; Mozart, ii. 388a, etc.
5IFFLAND; Haydn, i. 715a.
6IFIGENIA, i. 765a.
7IL CARPENTRASSO. (See CARPENTRAS, i. 317b.)
8ILE ENCHANTÉE, L', i. 765b; iv. 684a; Sullivan, iii. 761b.
9ILIFFE; University Soc., Oxford, iv. 206b.
10ILLUSTRATION; Form, i. 549b.
11IMBROGLIO, i. 765b.
12IMITATION, i. 765b; Augmentation, i. 104b; Canon, i. 303b; Fugue, i. 567a; Real Fugue, iii. 80b; Recte et Retro, iii. 87b; Rosalia, iii. 160b; Rovescio, Al, iii. 183b; Schools of Comp., iii. 263b, etc.; Subject, iii. 748a; Tonal Fugue, iv. 139b.
13IMMANUEL, i. 766a; Leslie, ii. 123b.
14IMMLER; Part Mus., ii. 657a.
15IMMYNS, i. 766a; Hawkins, i. 699b; Lutenist, ii. 178a; Mace (John), ii. 185b; Madrigal Soc., ii. 192b; Tallys, iv. 53a, note.
16IMPERFECT (TIME), i. 766b; Dot, i. 455b; Mode, ii. 340a; Notation, ii. 471a, etc.; Point, iii. 6a; Prolation, iii. 40a; Proportion, iii. 42b; Time, iv. 117b; Time-signature, iv. 126b, etc.
17IMPERFECT (CADENCE), i. 767a; iv. 684a; Cadence, i. 290b; Half-close, i. 646a; Harmony, i. 677b.
18IMPERFECT (INTERVAL). (See INTERVAL, ii. 11a, etc.)
19IMPRESARIO, L', i. 768b; Schauspieldirektor, iii. 242b.
20IMPROMPTU, i. 768b.
21IMPROPERIA, ii. 1a; Hymn, i. 760b, note; Palestrina, ii. 636b; Plain Song, ii. 767b; Proske, iii. 43b; Sistine Choir, iii. 523a.
22IMPROVISATION, ii. 2a; Beethoven, i. 165a, etc.; Cadenza, i. 294a; Cither, i. 359a; Cramer (J. B.), i. 414a; Extem-
23pore playing, i. 498b; Handel, i. 652a; Hummel, i. 757a; Kalkbrenner, ii. 46b; Kelway (J.), ii. 50a; Lefebure-Wély, ii. 112a; Mendelssohn, ii. 255b; Moscheles, ii. 370b; Mozart, ii. 389a, etc.; O'Carolan, ii. 490b; Ouseley, ii. 617b; PF.-playing, ii. 738b, etc.; Saint Saëns, iii. 216a, note; Schneider (J. G.), iii. 255b; Schumann, iii. 385a; Walter (G.), iv. 381a; Welsh Mus., iv. 438a; Wesley (S.), iv. 446a; Wesley (S. S.), iv. 448a; Woelfl, iv. 480a; Böhner, iv. 549b.
24IN EINEM KÜHLEN GRUNDE; Herz mein Herz, iv. 672b.
25IN NOMINE, ii. 3b; Virginal Mus., iv. 308b, etc.
26IN QUESTA TOMBA OSCURA, ii. 4a.
27INCLEDON, C. B., ii. 2b; Baker, i. 126a; Glee Club, i. 599a; Moore, ii. 361a; Singing, iii. 512a.
28INCLEDON, C. V., ii. 3a.
29INDIA, S. D'; Mus. Lib., iv. 726a.
30INDY, P. M. T. V. D', iv. 684a; Lamoureux, iv. 696b.
31INFLEXION; Accent, i. 16a.
32INGANNO, ii. 3a.
33INGEGNERUS, M. A.; Bodenschatz, i. 253a; Monteverde, ii. 357a; Mus. Lib., iv. 726a; Part-writing, iv. 741a.
34INGLOTT, W., ii. 3a; Virginal-playing, iv. 310a.
35INITIALS, ABSOLUTE, ii. 3a; Participant, ii. 656a.
36INNIG, ii. 3b; Affettuoso, i. 41a.
37INSCRIPTION, ii. 4a; Inversion, ii. 16a; L'homme armé, ii. 127b; Mass, ii. 228a; Motet, ii. 372b; Presa, iii. 29b; Recte et retro, iii. 88a.
38INSTITUT, Prix de l', ii. 5a.
39INSTRUMENT, ii. 5a; iv. 685a; Hist. of Mus., iv. 676a.
40INSTRUMENTATION. (See ORCHESTRATION, ii. 567a.)
41INTERLUDE, ii. 7b; Intermezzo, ii. 9b; Opera, ii. 513b; Zwischenspiel, iv. 515b.
42INTERMEZZO, ii. 7b; iv. 685a; Interlude, ii. 7b; Opera, ii. 513b; Passepied, ii. 662b; Pergolesi, ii. 687a; Saynète, iii. 234a; Serva Padrona, La, iii. 471a; Suite, iii. 759b.
43INTERMET; Maîtrise, ii. 199b.
44INTERRUPTED CADENCE, ii. 10a; Cadence, i. 290b; Harmony, i. 677b; Seventh, iii. 477a.
45INTERVAL, ii. 11a; Augmented Intervals, i. 104b; Degree, i. 439a; Diesis, i. 446b; Diminished Intervals, i. 447b; Fifth, i. 520b; Fourth, i. 557a; Hyper, i. 764b; Imperfect, i. 766b; Inversion, ii. 16b, etc.; Major, ii. 200a; Minor, ii. 333a; Ninth, ii. 459a; Octave, ii. 491b; Perfect, ii. 686a; Scale, iii. 235b, etc.; Second, iii. 456a; Semitone, iii. 460b; Seventh, iii. 476b, etc.; Sixth, iii. 523b; Schools of Comp., iii. 308b; String, iii. 745a; Temperament, iv. 70a, etc.; Third, iv. 102b.
46INTONATION, ii. 12a; Ambrosian Chant, i. 60a; Magnificat, ii. 195b; Mass, ii. 232a; Plain-song, ii. 768b; Gregorian Tones, iv. 656b.
47INTONATION, JUST, ii. 13a; Temperament, iv. 70b; Tetra-chord, iv. 94a, note; Tierce, iv. 114b; Zarlino, iv. 503a; Galilei, iv. 644b.
48INTONING, ii. 13a.
49INTRADA, ii. 13b; Entrée, i. 490a; Overture, ii. 623b; Suite, iii. 756a.
50INTRODUCTION, ii. 13b; iv. 685a; Entrée, i. 490a; Form, i. 554a; Overture, ii. 623b; Prelude, iii. 28a; Symphony, iv. 11a.
51INTRODUCTORY SYMPHONY. (See OVERTURE, ii. 618b.)
52INTROIT, ii. 15a; Communion Service, i. 381b; In Nomine, ii. 3b; Intonation, ii. 12b; Mass, ii. 231b; Plain Song, ii. 766b; Requiem, iii. 109a.
53INVENTION, ii. 15b; iv. 685a; Bach (J. S.), i. 117a.
54INVERARITY, Miss; Philh. Soc., ii. 699a.
55INVERSION, ii. 15b; Arsis and Thesis, i. 95b; Imitation, i. 766a; Pedal point, ii. 680a; Thoroughbass, iv. 109a; Tonal Fugue, iv. 137b.
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