Books › A dictionary of musical terms, 1891 › scan 21
Scan 21
A dictionary of musical terms, 1891
48 lines. Read by computer on 16 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Attack. (1) A vigorous entry of voices or instruments at a leading point. (2) A courageous rendering.
2Attendant keys. Relative keys, keys of affinity.
3Atto (I.) An act in an opera.
4Attore or Attrice (I.) An actor or actress; the chief singers in an opera.
5Aubade (F.) An open-air morning concert; the antithesis of a serenade.
6Audace (I.) Audacious, bold; con audacia, with boldness, vigour.
7Audace, con (I.) With vigour, boldness.
8Auferions (old E.) Wire-strings.
9Aufgeregt (G.) Agitated. [Agitato.]
10Aufgeweckt (G.) Brisk, lively, sprightly, cheerful.
11Aufgewecktheit (G.) Sprightliness, liveliness.
12Aufhalten (G.) To stop, to keep back, retard.
13Aufhaltung (G.) Suspension.
14Auflebend (G.) Reviving.
15Auflösung (G.) Resolution of a discord.
16Aufschlag (G.) Unaccented beat.
17Aufstrich (G.) An up-bow in violin-playing.
18Auftakt (G.) The unaccented part of a bar.
19Augmentatio (med. L.) The lengthening of a note by the addition of half its length.
20Augmentation. The introduction of the subject of a Fugue or Canon, in the course of its progress, in notes of longer duration than those in which it was first proposed.
21Augmented interval. Intervals one semitone greater than major are augmented. Thus C to D# is an augmented second, C to G# an augmented fifth, and so on.
22Augmented subject. [Augmentation.]
23Aulæum (L.) The curtain of a theatre.
24Auletes (Gk.) A player on the Aulos or flute.
25Auletrides (Gk.) Female players on the Aulos or flute
26Aulos (Gk.) The most important wind instrument of the Greeks. Though generally rendered flute, there is much reason for supposing that the term included instruments of the oboe family. one of two readings
27Aulos (Gk.) The most important wind instrument of the Greeks. Though generally rendered flute, there is much reason for supposing that the term included instruments of the oboc family. one of two readings
28A una corda (I.) With or on one string. A direction in pianoforte music to use the soft pedal.
29Ausarbeitung (G.) The working out of a theme; the climax of a composition.
30Ausdrück (G.) Expression, q.v.
31Ausdrucksvoll (G.) With expression.
32Ausführung (G.) (1) Performance or execution. (2) The working out of a subject in composition.
33Ausgabe (G.) Edition.
34Aushalten (G.) To hold; to sustain a note.
35Aushaltung (G.) The duration of a note; sustaining a sound.
36Aushaltungszeichen (G.) A pause
37Ausweichung (G.) Change, modulation.
38Authentic cadence. A perfect cadence, formed by a progression from the chord of the dominant to the chord of the tonic.
39Authentic mode. The name given to those modes on which were afterwards constructed other modes called Plagal, by an alteration of the pitch to a fourth below.
40Authentic part of the scale, in counterpoint and fugue, is that which lies between a note and its dominant.
41Autos sacramentales (S.) One of the early forms of Spanish drama.
42Auxiliary notes. Notes not essential to the harmony.
43Auxiliary scales. The scales of relative or attendant keys, q.v.
44Ave Maria (L.) Hail, Mary! A hymn to the Blessed Virgin Mary.
45Avena (L.) An oaten pipe; the syrinx or pan-pipes, reeds joined together with wax.
46A vista (I.) At sight; used instead of a prima vista, at first sight.
47Azione sacra (I.) Sacred dramas.
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