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Scan 112
dictionary of music, 1896
92 lines. Read by computer on 12 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Falsett (fäl-sët'), Ger. } Falsetto. (1) The Falsetto (fäl-sët'tö), It. } head voice, as distinguished from the chest voice. (2) A singer who sings soprano or alto parts with such a voice. Falsetti must not be confounded with castrati. one of two readings
2Falsett (fäl-sët'), Ger. } Falsetto. (1) The Falsetto (fäl-sët'tō), It. } head voice, as distinguished from the chest voice. (2) A singer who sings soprano or alto parts with such a voice. Falsetti must not be confounded with castrati. one of two readings
4Falsette. } A false or artificial voice; that Falsetto. } part of a person's voice that lies above its natural compass.
6Falso (fäl'sö), It. False. one of two readings
7Falso (fäl'sō), It. False. one of two readings
9Falso bordone (fäl'sö bôr-dô-në), It. What the French call Faux-bourdon and the English Fa-burden. There are several kinds of falso bordone. The most important are: (1) The early manner of accompanying a melody (cantus firmus) in thirds and sixths, with the exception of the first and last note, with which the highest part took the octave and the middle part generally the fifth of the tenor—i.e., the part which "holds" the cantus firmus. Or the melody (cantus firmus) was in the highest part, and was accompanied by fourths and sixths below, except at the close, where the lowest part took the octave. (2) Rhythmically unmeasured vocal compositions in simple counterpoint, consisting of progressions of consonant chords, whose even course, however, is interrupted at the cadences by prepared suspensions. one of two readings
10Falso bordone (fäl'sō bôr-dō-nē), It. What the French call Faux-bourdon and the English Fa-burden. There are several kinds of falso bordone. The most important are: (1) The early manner of accompanying a melody (cantus firmus) in thirds and sixths, with the exception of the first and last note, with which the highest part took the octave and the middle part generally the fifth of the tenor—i.e., the part which "holds" the cantus firmus. Or the melody (cantus firmus) was in the highest part, and was accompanied by fourths and sixths below, except at the close, where the lowest part took the octave. (2) Rhythmically unmeasured vocal compositions in simple counterpoint, consisting of progressions of consonant chords, whose even course, however, is interrupted at the cadences by prepared suspensions. one of two readings
12Fa majeure (fä mä-zhü'r'), Fr. } The key of F Fa majore (fä mä-zhö'r'), } major. one of two readings
13Fa majeure (fä mä-zhür'), Fr. } The key of F Fa majore (fä mä-zhōr'), } major. one of two readings
15Fa mineur (fä mĩ-nûr'), Fr. Key of F minor. one of two readings
16Fa mineur (fä mī-nür'), Fr. Key of F minor. one of two readings
18Fanatico (fä-nä'ti-kö), It. A fanatic or passionate admirer. one of two readings
19Fanatico (fä-nä'tī-kō), It. A fanatic or passionate admirer. one of two readings
21Fancies. An old name for little lively airs or tunes. See Fantasia.
23Fandango (fän-dän'gô), Sp. A dance much used in Spain, in 3-4, 3-8, and also 6-8 measure, generally accompanied with castanets and having a strong emphasis upon the second beat of each bar. Its characteristic rhythm is this: one of two readings
24Fandango (fän-dän'gō), Sp. A dance much used in Spain, in 3-4, 3-8, and also 6-8 measure, generally accompanied with castanets and having a strong emphasis upon the second beat of each bar. Its characteristic rhythm is this: one of two readings
26Fanfare (fän-fär'), Fr. A short, lively, loud, and warlike piece of music, composed for trumpets and kettledrums. Also short, lively pieces performed on hunting-horns in the chase.
28Fantaisie (fän-tä-zë'), Fr. } Fantasy, fancy, Fantasia (fän-tä-zë'ä), It. } caprice, whim. (1) Fantasie (fän-tä-së'), Ger. } The name of Fantasia is given to various kinds of composition—to preludes consisting of a few arpeggios and runs, to lengthy works full of thought and learning, to potpourris of operatic tunes, etc., which, however, all agree in being free in style, not restricted by any definite form. (2) An improvisation. (3) The instrumental pieces called Fantasias (also written Fantazias and Phantasias), Fancies (or Fansies), etc., were at first mostly of a fugal nature. Those which Dr. Burney had in his possession were for viols, and "consisted more of motets, madrigals, and in nomines (q. v.), originally designed for voices, than of fantasie made expressly for instruments." Christopher Simpson writes in 1667 that "this kind of music is now much neglected, by reason of the scarcity of auditors that understand it; their ears being better acquainted and more delighted with light, airy music." He names as the best composers of Fancies in England, Alfonso Ferabosco, Coperario, Lupo, Mico, White, Ward, Dr. Colman, and Jenkins. (4) We find the term Fancies also applied to vocal compositions and to short, lively tunes. one of two readings
29Fantaisie (fän-tä-zē'), Fr. } Fantasy, fancy, Fantasia (fän-tä-zē'ä), It. } caprice, whim. (1) Fantasie (fän-tä-sē'), Ger. } The name of Fantasia is given to various kinds of composition—to preludes consisting of a few arpeggios and runs, to lengthy works full of thought and learning, to potpourris of operatic tunes, etc., which, however, all agree in being free in style, not restricted by any definite form. (2) An improvisation. (3) The instrumental pieces called Fantasias (also written Fantazias and Phantasias), Fancies (or Fansies), etc., were at first mostly of a fugal nature. Those which Dr. Burney had in his possession were for viols, and "consisted more of motets, madrigals, and in nomines (q. v.), originally designed for voices, than of fantasie made expressly for instruments." Christopher Simpson writes in 1667 that "this kind of music is now much neglected, by reason of the scarcity of auditors that understand it; their ears being better acquainted and more delighted with light, airy music." He names as the best composers of Fancies in England, Alfonso Ferabosco, Coperario, Lupo, Mico, White, Ward, Dr. Colman, and Jenkins. (4) We find the term Fancies also applied to vocal compositions and to short, lively tunes. one of two readings
31Fantasioso (fän-tä-zë'-özö), It. Fantastic, capricious. one of two readings
32Fantasioso (fän-tä-zī'-ō'zō), It. Fantastic, capricious. one of two readings
34Fantasiren (fän-tä-zë'r'n), Ger. To improvise, to play extemporaneously. one of two readings
35Fantasiren (fän-tä-zē'r'n), Ger. To improvise, to play extemporaneously. one of two readings
37Fantasticamente (fän-täs-ti-kä-mën'të), It. In a fantastic style. one of two readings
38Fantasticamente (fän-täs-tī-kä-měn'tě), It. In a fantastic style. one of two readings
40Fantastico (fän-täs'ti-kö), It. } Fantastical, Fantastique (fän-täs-tëk'), Fr. } whimsical, ca-Fantastisch (fän-täs'tish), Ger. } pricious in relation to style, form, modulation, etc. one of two readings
41Fantastico (fän-täs'tī-kō), It. } Fantastical, Fantastique (fän-täs-tēk'), Fr. } whimsical, ca-Fantastisch (fän-täs'tish), Ger. } pricious in relation to style, form, modulation, etc. one of two readings
43Farandole (fä-ränh-dôl'), Fr. } A lively Farandoule (fä-ränh-dool'), Fr. } dance in 6 8 time, peculiar to Provence. one of two readings
44Farandole (fä-ränh-dōl'), Fr. } A lively Farandoule (fä-ränh-dool'), Fr. } dance in 6 8 time, peculiar to Provence. one of two readings
46Farce. A short, extravagant comedy, interspersed with airs or songs with instrumental accompaniments.
48Farsa (färs'sä), It. } Farce. one of two readings
49Farsa (fär'sā), It. } Farce. one of two readings
50Farsa (färs'sä), Sp. } one of two readings
51Farsa (fär'sā), Sp. } one of two readings
53Farsa in musica (färs'sä in moo'zi-kä), It. Musical farce; a species of little comic opera, in one act. one of two readings
54Farsa in musica (fär'sā in moo'zi-kä), It. Musical farce; a species of little comic opera, in one act. one of two readings
56Fascie (fä's'tshë-ë), It. pl. The sides, or hoops, of a violin, viola, etc. one of two readings
57Fascie (fäs'tshī-ē), It. pl. The sides, or hoops, of a violin, viola, etc. one of two readings
59Fastosamente (fä's-tô-zä-mën'të), It. Pompously, proudly. one of two readings
60Fastosamente (fäs-tō-zä-měn'tě), It. Pompously, proudly. one of two readings
62Fastoso (fä's-tô'zö), It. Proud, stately, in a lofty and pompous style. one of two readings
63Fastoso (fäs-tō'zō), It. Proud, stately, in a lofty and pompous style. one of two readings
65Faucette (fô-së't'), Fr. } Falsetto. one of two readings
66Faucette (fō-së't'), Fr. } Falsetto. one of two readings
67Fausset (fô-sä'/), one of two readings
68Fausset (fō-sā'), } one of two readings
70Faux (fô), Fr. False, out of tune. one of two readings
71Faux (fō), Fr. False, out of tune. one of two readings
73Faux accord (fô zäh-körd'), Fr. A dissonance. one of two readings
74Faux accord (fō zāh-körd'), Fr. A dissonance. one of two readings
76Faux bourdon (fô boor-dönh), Fr. See Fa-burden. one of two readings
77Faux bourdon (fō boor-dōnh), Fr. See Fa-burden. one of two readings
79F clef. The bass clef; a character placed on the fourth line of the staff so that the two dots are in the third and fourth spaces.
81F-dur (fë-door), Ger. The key of F major.
83Feathering. A term sometimes applied to a particularly delicate and lightly detached manner of bowing certain rapid passages on the violin.
85Feeders. Small bellows sometimes employed to supply the large bellows of an organ with wind.
87Feier (fë'ër), Ger. Festival, celebration. one of two readings
88Feier (fī'ēr), Ger. Festival, celebration. one of two readings
90Feiergesang (fë'ër-ghë-säng), Ger. Solemn hymn, anthem. one of two readings
91Feiergesang (fī'ēr-ghē-säng), Ger. Solemn hymn, anthem. one of two readings
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