Scan 173
Dictionary of Music (Pronouncing and Defining), 1896
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1of the art, almost to an unrestricted degree. When there is a dramatic action progressing before the eyes of the spectator, many strange musical combinations become intelligible which without such explanation would seem far-fetched or impossible. Hence opera has had great influence upon the progress of music as an art.
3Opera is divided into schools according to the emphasis placed upon the different elements composing it. French opera, for instance, places the text in the foremost place, and the dramatic movement next; hence it does not permit itself the arias and long musical pieces of the Italians, or of the Germans. German opera places the drama first, and the music second, not only as an accompaniment, but still more as a musical interpreter of the inner spirit of the progressing actions, and of the drama as a whole. Italian opera places the voice and the art of singing first, and the drama second. Hence this school has produced the great bulk of arias which are available for concert performances, apart from the dramatic action. Most of the German arias existing are available for separate performance, having been composed after Italian principles.
5Opera was first invented about the year 1600, as a sort of revival of the classic Greek drama. Its greatest works have been composed within the present century, or immediately before it (1790 to 1895).
7Opera buffa (ō'pē-rä boof'fā), It. An opera upon a comic or farcical subject, in which music is treated lightly and for the purpose of pleasing. The farce is the main thing. Occasionally high-class opera is distinctly burlesqued, giving rise to buffa arias; the absurdity may be musical or may turn upon the text.
9Opera buffe (ō'pē-rä boof-fě), It. Comic opera.
11Opera, comic. An opera interspersed with light songs, amusing incidents, dances, etc.
13Opera di camera (ō'pē-rä dē kä'mē-rā), It. A short opera to be performed in a room.
15Opera, grand. An opera consisting of a deep and intricate plot and a great variety of incidental events.
17Opéra héroïque (ō-pā-rä hā-rō-ēk'), Fr. An heroic opera.
19Opera-libretto. The text of an opera; a small book containing the words of an opera.
21Opéra lyrique (ō-pā-rä leer-eek'). Fr. A lyric opera; an opera in which the songs are lyrical rather than dramatic; i.e., do not lend themselves to the progress of the action, but are simply pleasing and, perhaps, expressive pieces of music.
23Opera seria (ō'pē-rä sā'ri-ā), It. A seri-
24Opéra sérieux (ō-pā-rä sā-ri-ūh), Fr. ous, or tragic, opera.
26Operatic. In the style of an opera.
28Operetta (ō-pē-rē'tā), It. A small opera, of light and pleasing character. It may be simply comedy, or it may even degenerate into farce.
30Operndichter (ō'pärn-dīkh'tēr), Ger. An operatic poet; writer of operatic librettos.
32Ophicleide (ōf'ī-klīd). A large bass wind instrument of brass, of modern invention, sometimes used in large orchestras, but chiefly in military music. It has a compass of three octaves, and the tone is loud and of deep pitch.
34Ophicleide stop. The most powerful manual reed-stop known in an organ, of 8- or 4-feet scale, and is usually placed upon a separate soundboard, with a great pressure of wind.
36Ophicleidist. A performer on the ophicleide.
38Opus (ō'poos), Lat. Work, composition; as, Opus (ō'poos), Ger. Op. 1, the first work, or publication, of a composer.
40Opusculum (ō-poos'koo-loom), Lat. A short, or little, work.
42Opus posthumum (ō'poos pōst-hoo'moom), Lat. A posthumous work, published after the death of a composer.
44Orage (ō-rāzh'), Fr. A storm; a composition imitating a storm.
46Oratoire (ōr-ä-twär'), Fr. Oratorio.
48Oratorio. A musical work upon a Biblical subject, consisting of solos, choruses, orchestral accompaniment, and containing an implied action or story. Oratorio is part of the great "stilo rappresentativo" in music, the art of representing something by means of music, or accompanied by music. Originally the same as an opera with religious intention, and adapted for use as part of a festival church service, it has digressed into something much more elaborate. The great oratorios aim at the noble, the heroic, and the sublime in dramatic and historical conception no less than in musical execution. Hence it is in this department that music has found itself unfettered by the necessity of pleasing or of adapting itself to moderate conditions. The ideal has been sought, regardless of lesser considerations, hence such works as those of Handel, Bach, and many by later writers.
50Oratorio (ō-rā-tō'ri-ō), It.
51Oratorium (ō'rā-tō'ri-oom), Lat. Oratorio.
52Oratorium (ō'rā-tō'ri-oom), Ger.
54Orchestra (or'kēs-trā). A full company of instruments and players. A modern symphony orchestra consists of about 80 to 100 players, in the following proportions: Violins, 40; violas, 'cellos, and basses, 30; oboes, flutes, clarinets, and bassoons, 11; horns, trumpets, and trombones, 9; tympani and percussion, 4; total, 94. If further enlargement is desired, the strings are strengthened. In modern practice the orchestra is handled in groups, forming a string orchestra, the wood wind and the brass. These groups often contrast with each other throughout a work, playing all to-
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