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Scan 107
Harvard Dictionary Of Music, 1944
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1BOMBARDE
3bravura style of the later Baroque (Vivaldi, Tartini, Handel).
5The most illustrious proponent of the Bologna style, although not a member proper of the school, was Arcangelo Corelli (1653–1713), who studied and worked at Bologna from 1666 till 1671, becoming a member of the famous Accademia Filarmonica of Bologna [see *Accademia] in 1670. His identification with the Bologna School is evident from the restrained classicism of his style as well as from the title "detto il bolognese" which appears in his op. 1 (1681), op. 2 (1685), and op. 3 (1689).
7Much of the activity of the Bologna School centered around the chapel of San Petronio, which was organized by Cazzati in 1657. The reorganization of this institution, in 1701, in conformity with the new Neapolitan taste, probably marked the end of the Bologna School.
9Lit.: G. Gaspari, La Musica in San Petronio (1868/70); id., Musicisti bolognesi (1875/80); F. Vatielli, Arte e vita musicale a Bologna (1927); id., †Antichi maestri Bolognesi, vol. ii; L. Frati, in RMI xxi, xxiv, xxvi, xxxii. Musical examples in †SchGMB, nos. 228, 241, 257; HAM, nos. 219, 244–246; Torchi, †L’Arte musicale in Italia, vol. vii; J. W. Wasielewski, Die Violine im 17. Jahrhundert (Instrumentalsätze, 1905). H. G. Mishkin, "The Solo Violin Sonata of the Bologna School" (MQ xxix, Jan.). H. G. M.
11Bombarde, bombarda. (1) French (Italian) name for the *shawm, particularly the bass size of this instrument. In Germany, the perverted names Bomhart, Pomhart, Pumhart, Pommer, occur. See *Oboe family III. — (2). Same as *bombardon.
13Bombardon. See *Brass instruments III(e).
15Bombo [It.]. See *Tremolo (1).
17Bomhart [G.]. See *Bombarde (1).
19Bonang. See *Javanese music I.
21Boogie-woogie. See *Jazz IV; *Divisions; *Ostinato.
23BOUCHE FERMÉE
25Bordun [G.], bordone [It.]. See *Bourdon.
27Boris Godunov. Opera by Modest Moussorgsky (1839–81), produced in 1874; orchestral revision by N. Rimsky-Korsakov, 1896. The setting is Moscow of c. 1600, where Boris Godunov (Bass), after having murdered Dmitri, the rightful heir to the throne, rules over Russia, but, suffering from a sense of guilt (in the Prologue he is in a convent in order to gain expiation), and frightened by the appearance of a "false Dmitri" (the young monk Gregory, Tenor), finally prays for forgiveness of his sin and, bequeathing the crown to his young son Feodor (Mezzo-soprano), falls dead.
29Boris Godunov is the outstanding masterpiece of Russian national opera. Its musical style is remarkably advanced for the time it was written, and although its unconventional boldness aroused great resentment in professional circles, many innovations of a more recent date have been traced back to this work, e.g., the use of *parallel chords, of *modality, and other unorthodox devices. Particularly striking is the prominence of the chorus, representing the Russian people who, it has been said, are the real protagonist of the opera, rather than Boris himself.
31Borre, borry, borea [It.]. See *Bourrée.
33Boston, valse Boston. An American ballroom dance which was in vogue around 1915. It is in the character of a slow waltz, with a more subtle rhythm and a more sophisticated accompaniment than the ordinary waltz. In post-war Germany it acquired a prominent position as an "American importation" and was imbued with jazz-like elements. Numerous composers used the type, e.g. Hindemith (1st String Quartet; Suite 1922); Erwin Schulhoff (Esquisses de Jazz, 1927; Partita, 1925); Louis Gruenberg (Jazzberries, 1925); Conrad Beck (Zwei Tanzstücke).
35Bouché [F.]. See Horn I.
37Bouche fermée [F.], bocca chiusa [It.]. Singing without words and with
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