Books › Dictionary Of Music, 1896 › scan 117
Scan 117
Dictionary Of Music, 1896
37 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.
1Frivolo (frē-vō-lō), It. Frivolous, trifling, trashy.
2Fröhgesang (frō/għō-sāng'), Ger. A joyous song.
3Fröhlich (frō/līkh), Ger. Joyous, gay.
4Fröhlichkeit (frō/līkh-kit), Ger. Joyfulness, gaiety. one of two readings
5Fröhlichkeit (frō/līkh-kit), Ger. Joyfulness, gayety. one of two readings
6Fröhnamt (frōn-ām't), Ger. High Mass.
7Frösen (frōsh), Ger. The lower part, or nut, of a violin-bow.
8Frottola (frō/tō-lā), It. A ballad, a song, generally of erotic sentiment. Musically it was between the artistic madrigal and the entirely simple folksong called Villanella. Current in Italy during the fifteenth and sixteenth centuries.
9Frühlingslied (frū/līngs-lēd), Ger. Spring-song.
10Frühmesse frū/mēs-sē), Ger. Matins, early Frühstück (frū/stūk), Mass.
11F-Schlüssel (fē-shlūs's'l), Ger. The F or bass clef.
12Fuga (foo/gā), It. A flight; a chase. See Fugue.
13Fuga authentica (foo/gā ou-tēn'tī-kā), Lat. A fugue with an authentic theme or subject.
14Fuga canonica (foo/gā kā-nō'nī-kā), Lat. A canon.
15Fuga contraria (foo/gā kōn-trā'ri-ā), Lat. A fugue in which the answer is generally inverted.
16Fuga doppia (foo/gā dōp/pī-ā), It. A double fugue.
17Fuga irregularis (foo/gā īr-rēg-oo-lā'ris), Lat. An irregular fugue.
18Fuga libera (foo/gā lib/ē-ra), Lat. A free fugue.
19Fuga mixta (foo/gā mīx'tā), Lat. A mixed fugue.
20Fuga obligata (foo/gā ōb-li-gā-tā), Lat. A strict fugue.
21Fuga partialis (foo/gā pār-tāl-ā'tīlis), Lat. The common form of the fugue intermixed with passages of a different character.
22Fuga propria (foo/gā prō'pri-ā), Lat. A regular fugue strictly according to rule.
23Fuga plagale (foo/gā plā-gā/le), It. A fugue with a plagal theme or subject.
24Fuga ricercata (foo/gā rē-tshēr-kā'tā), It. An artificial fugue.
25Fuga sciolta (foo/gā shē-ōl'(ā), It. A free Fuga soluta (foo-gā sō-loo/tā), Lat. fugue.
26Fuga totalis (foo/gā tō-tā'tīlis), Lat. A canon.
27Fugara (foo-gā/rā), Lat. An organ-stop of the gamba species, of 4-feet tone.
28Fugato (foo-gā/tō), It. In the style of a fugue.
29Fuge (foo'ghē), Ger. A fugue.
30Fuge galante (foo'ghē gā-lān'tē), Ger. A free fugue in the style of chamber music.
31Fugha (foo/gā), It. A fugue.
32Fughetta (foo/gē't'tā), It. A short fugue.
33Fugirtes (foo-gēr'tēs), Ger. In the fugue Fugirt (foo-gērt), style; fugirt is also applied to the ranks of a mixture stop in an organ.
34Fugitive pieces. Ephemeral, short-lived compositions.
35Fugue. This word is derived from the Latin fuga, flight, and a certain kind of musical composition has been called thus because "one part, as it were, tries to flee and escape from the others; but it is pursued by them, until they afterwards meet in an amicable way, and finally come to a satisfactory understanding." The technical description must necessarily be less simple than this poetical one.
36There are fugues for instruments, for voices and for instruments and voices combined. A fugue may be in two, three, four, five, and more parts. The word fugue had not always the same meaning as in our time and since the days of J. S. Bach and Handel, the masters of masters; but it always signified an imitative form—a canon or something more or less like what we call a fugue. Various kinds of fugues are enumerated under fuga with its accompanying epithets. A fugue, in its final evolution, consists of an exposition and two or more developments, which generally are connected by episodes. In a fugue in four parts the exposition is somewhat like this: One part proposes the subject; a second part follows with the answer (i.e., the imitation of the subject at the fifth above or fourth below); a third part resumes the subject an octave higher or lower than the part which commenced; and a fourth part brings up the rear with the answer an octave higher or lower than the part which was second in the order of succession. The counterpoint with which the part that first enunciates the subject accompanies the answer is called countersubject, but it is properly so called only when it recurs as an accompaniment with the subsequent enunciations of the subject and answer. Sometimes the subject and countersubject are simultaneously introduced. When after an episode, short or long, the first development begins, the subject is taken up and answered by the parts in another order of succession. Supposing the alto to have begun before, the tenor or soprano or bass will begin now. Further, the imitations will be at different intervals of pitch and time. The drawing closer together of the subject and its answer, so that the latter begins before the former has completed its course, is called the stretto. This contrivance is especially resorted to in the last development. Other contrivances that may be utilized are the augmentation, diminution, inversion, and retrogression of the subject. The stretto is frequently followed by a pedal-point, on which the subject is piled up in various layers, so as to form a striking conclusion to the whole. The matter out of which the episodes are wrought may be new, but oftener (in order to insure unity) is derived
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