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Scan 55
Harvard Dictionary Of Music, 1944
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1ANREISSEN
3Anonymus (abbreviated Anon.) is applied to unknown writers of medieval treatises in the collections of Gerbert and Coussemaker [see *Scriptores], in which they are referred to as Anon. I, Anon. II, etc. It should be noticed, however, that the same numbering occurs in several volumes of Coussemaker and Gerbert. Therefore, the famous treatise known as Coussemaker's Anon. IV should more accurately be referred to as Anon. IV of Coussemaker i (CS i).
5Anreissen [G.]. Forceful pizzicato.
7Ansatz [G.]. (1) In singing, the proper adjustment of the vocal apparatus. — (2) In the playing of wind instruments, the proper adjustment of the lips [see *Embouchure (2)]. — (3) *Crook or shank of brass instruments. — (4) In violin playing, *attack.
9Anschlag [G.]. (1) In piano playing, touch. — (2) Of a pianoforte, action (heavy or light). — (3) An ornament explained by K. P. E. Bach [see *Appoggatura, Double III].
11Anschwellend [G.]. Crescendo.
13Anstrich [G.]. Up-bow.
15Answer. In fugal writing the answer is the second (and fourth) statement of the subject, so called because of its relationship to the first (and third) statement. Therefore, the succession of statements is subject – answer – subject – answer. See *Fugue; *Tonal and real; *Antecedent and consequent.
17Antecedent and consequent. The terms are usually applied to melodic phrases which stand in the relationship of question and answer or statement and confirmation, as in the accompanying example (Beethoven, String Quartet op. 18, no. 2). Here, as in other examples, the dialogue character of the melody is emphasized by its distribution between two instruments [see *Durchbrochene Arbeit]. The terms are also used as synonymous with subject and answer in fugues [see *Answer].
19ANTHEM
21Anthem [from Gr. *antiphona; Romanic antefena; Old English antefn, antempne]. An English choral composition written to English words from the Scriptures or to another sacred text and performed in the worship of the Anglican Church, where it holds a position similar to that of the *motet in the Roman rites. An anthem usually is with accompaniment, preferably by the organ. If it includes parts for solo singers it is called verse anthem; otherwise, full anthem.
23The history of the anthem begins with the Reformation and the consequent establishment of English as the liturgical language. Although the anthem developed from the Latin motet, the first anthems, written by Tye and Tallis (c. 1560), show a marked difference in style from the previous and contemporary motets. They are rhythmically square, more harmonically conceived, more syllabic and in shorter phrases, features all of which result from the greater consideration given to matters of text and pronunciation. Towards the end of the 16th century a new form, the verse anthem, was introduced by Byrd (regarding an isolated earlier example, by Richard Farrant, cf. G. E. P. Arkwright, in MA i, p. 65 note) and developed by Orlando Gibbons [cf. HAM, nos. 151, 169, 171]. This form, in which sections for full chorus alternate with sections for one or more solo voices, was preferred throughout the 17th century, with the full anthem coming into prominence again in the subsequent period. While in the Elizabethan anthem the vocal part (or parts) of the verse-sections are contrapuntally conceived (i.e., as parts of a contrapuntal fabric the other voices of which are played on the organ), a new declamatory arioso-style of Italian origin [see *Monody] was introduced for the verse-sections around 1630, in the anthems of Monteverdi's pupil Walter Porter (c. 1595–1659; cf. Arkwright, in MA iv, 247) and, particularly, of William Child (1606–97; cf. the list of
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