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Scan 40
Harvard Dictionary Of Music, 1944
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1ALTERATION
2tralto [see *Alto]. In connection with instruments (Altklarinette, Altsaxophon), the term denotes the second highest member of the family (alto clarinet, alto saxophone). See the various instruments. Altgeige is the viola alta [see *Violin family (d)], rarely the ordinary viola.
4Alteration. (1) See *Mensural notation.—(2) The raising or lowering of a note by means of a sharp or flat; also called chromatic alteration. See *Accidentals; *Chromaticism; *Altered chord.
6Altered chord. See *Harmonic analysis V.
8Alternativo [It.], alternativement [F.]. In the suites of the Bach period, an indication found with a pair of dances (e.g., Bourrée I, alternativement — Bourrée II), calling for repetition of the first dance after the second, thus leading to the ternary arrangement A B A [cf. Bach’s English Suite no. 2]. This structure persists in the Minuet (Scherzo) with Trio of the classical sonata [see *Trio].
10Altgeige [G.]. See under *Alt (2).
12Althorn. See *Brass instruments III (f).
14Altistin [G.]. A contralto singer.
16Alto [It., high]. (1) A female voice of low range, also called contralto. See *Voices, Range of.—(2) Originally the alto was a high male voice (hence the name) which by use of the *falsetto nearly reached the height of the female voice (contralto). This type of voice, also known as *counter-tenor, was especially cultivated in England, where the church music of the 16th and 17th centuries definitely implies its use. For the explanation of the term, see *Counter-tenor.—(3) The second-highest part of the normal four-part chorus; L. altus.—(4) In French and Italian, the second-highest instrument of the violin family, i.e., the viola.—(5) In connection with clarinet, flute, saxophone, etc., the term refers to the third- or fourth-highest member of the family.
18AMBROSIAN CHANT
19Lit.: G. E. Stubbs, The Adult Male Alto or Countertenor (1908); A. H. D. Prendergast, “The Man’s Alto in English Music” (ZIM i); J. Hough, “The Historical Significance of the Countertenor” (PMA lxiv).
21Alto clef. See *Clefs.
23Altra volta [It.]. Encore.
25Altschlüssel [G.]. Alto clef.
27Altus [L.]. See *Alto (3).
29Alzati [It.]. “Raised,” indication to take off the mutes.
31Amabile [It.]. Lovable.
33Amarevole [It.]. With bitterness, sadly.
35Ambitus [L., compass, range]. The range of the melodies of Gregorian chant. It varies from a fourth (in the psalm tones) to an octave or ninth in the more melismatic chants (graduals, alleluias) [see also *Gregorian chant V (b)]. In the theory of the church modes, the ambitus is the chief mark of distinction between an authentic and a plagal mode. See *Church modes. Cf. Krasucki, “Ueber den Ambitus der gregorianischen Messgesänge” (Veröffentlichungen der Gregorianischen Akademie zu Freiburg, Schweiz, I. Heft).
37Ambo. In early Christian churches a special platform on the steps of which the gradual was sung.
39Amboss [G.]. *Anvil.
41Ambrosian chant. The liturgical chant, established by St. Ambrose, bishop of Milan (333–397), and still in use today in the cathedral of that city; therefore also called Milanese chant. It is one of the four “dialects” of Christian chant [see *Chant], and probably is closer to its original form than *Gregorian (Roman) chant. The Ambrosian melodies are usually more ornamented than the corresponding Gregorian melodies [cf. the comparative examples in HAM, no. 10; SchGMB, no. 2; BeMMR, 58; LavE i.1, 561; O. Ursprung, Katholische Kir-
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