Books › A dictionary of musical terms : containing upwards of 9,000 English, French, German, Italian, Latin and Greek words and phrases … with a supplement containing an English-Italian vocabulary for composers, 1904 › scan 22
Scan 22
A dictionary of musical terms : containing upwards of 9,000 English, French, German, Italian, Latin and Greek words and phrases … with a supplement containing an English-Italian vocabulary for composers, 1904
41 lines. Read by computer on 16 September 2026. No printed page number was found. See the scan on archive.org.
1ascending or descending as the voice was to rise or fall.—Our present theoretical division of the octave is first found fully developed in the works of Praetorius (1619); side by side with which the old method of writing music (A–G, a–g etc.) still occurred, until the various systems of tablature were given up (comp. Tablature).—Letters are no longer used in practical mus. notation, except by Tonic Sol-fa, in which, however, they represent no fixed pitch, as formerly, but are mere abbreviations of the movable solmisation-syllables. In modern theory, letters are variously employed (comp. Pitch, absolute).
3Alt (Ger.) Alto (voice or part)…In compound words, the alto instr. of any family, as Alt'geige, Alt'horn, Alt'klarinette, Alt'boe, Alt'viole, etc.—(Engl.) Hence, the same employment in English usage [alt-clarinet, alt-horn]…Notes "in alt" are those of the next octave (g²–f³) above f² ; notes in the octave above this are said to be "in altissimo".
5Alterare (It.) To alter, change.
6Alteratio (Lat.) See Notation, §3.
7Alteration. 1. Same as Alteratio.—2. Chromatic alteration of the pitch of a note.
8Alterato (It.), Altéré (Fr.) Chromatically altered.
9Alterez'za (It.) Pride, loftiness.—Con a., in a lofty and dignified style.
10Alternamen'te (It.) Alternatively… Alternan'do, alternating.
11Alternati'vo (It.) See Trio 2.
12Alt-horn. (Fr. saxhorn alto; Ger. Alt'-horn.) One of the Saxhorns.
13Altieramen'te (It.) In a lofty and majestic style.
14Alti natura'li (Lat.) Natural (male) altos, or counter-tenors. (See Alto.)
15Altis'simo (It.) Highest. (See Alt.)
16Alti'sta (It.) An alto or contralto singer.
17Alt'klausel (Ger.) The leading of the alto part in a perfect close.
18Alto. 1. (Fr. haute-contre; Ger. Alt, Alt'stimme; It. al'to.) The deeper of the two main divisions of women's or boys' voices, the contralto; (in Germany a distinction is sometimes made between Alt and Kon'traalt, the latter term being reserved for the lower alto voice). Ordinary compass from g to c² which, in voices of unusual range, may be extended down to d and up to f², or even higher.—2. A high head-voice in men (It. al'ti natura'li) formerly cultivated for the performance of church-music (in England for secular music as well, e. g. glees), but now generally superseded by the female alto or high tenor.—3. (Ger. Bra'tsche, Alt'-viole; Fr. alto, quinte, basse de violon; It. al'to, vio'la.) The tenor violin, or viola.
20Al'to,-a (It.) High…Otta'va alla, an octave higher…Alta vio'la, tenor violin. …Alto bas'so, an obsolete variety of dulcimer, consisting of a square wooden box set on legs and strung with gut. It was generally employed to accompany simple melodies played by the performer on a flageolet held in his right hand, the left striking the strings.
22Alto-clef. See Clef.
23Alt'posaune (Ger.) Alto trombone.
24Al'tro,-a (It.) Other…Altra vol'ta, "encore!"
26Alt'schlüssel (Ger.) Alto-clef.
27Alt'viole (Ger.) Viola.
28Alzamen'to (It.) A raising or lifting (opp. to Abbassamento). Abbrev. Alz.
29Ama'bile (It.) Sweet, tender.
30Amare'vole (It.) Bitterly, mournfully. (Sometimes written mistakenly for Amore'vole, lovingly.)…Amarez'za, bitterness, sadness; con a., grievingly.
31Amateur (Fr.) A "lover" of art, who, while possessing an understanding for and a certain knowledge of it, does not pursue it as a profession.
32Am'bitus (Lat.) Compass.
33Ambrosian chant. The style of church-music introduced by St. Ambrose (d. 397) from the Eastern Church, and established by him in the cathedral at Milan, towards the end of the 4th century. It was based on the 4 authentic modes
35d e f g a b c¹ d¹
36e f g a b c¹ d¹ e¹
37f g a b c¹ d¹ e¹ f¹
38g a b c¹ d¹ e¹ f¹ g¹
40and was thus essentially diatonic, although embellished with occasional chromatic graces; it was probably rhythmical, in contrast to the later de-
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