Books › Harvard Dictionary Of Music(1950), 1950 › scan 102
Scan 102
Harvard Dictionary Of Music(1950), 1950
28 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1BOETHIAN NOTATION
3types of flutes and oboes are now obsolete, but clarinets with the older system are still used. Cf. H. C. Wysham, The Evolution of the Boehm Flute (1898). W. D. D.
5Boethian notation. See *Letter notation.
7Bogen [G.]. (1) The bow of a violin, etc.—(2) The tie. Bogenform, see *Forms, Musical (after A, I). Bogenführung, i.e., bowing. Bogenklavier, Bogenflügel, see *Sostenente pianoforte.
9Bohème, La. Grand opera by Giacomo Puccini (1858–1924), based on Henri Murger’s La Vie de Bohème, composed in 1896. The setting is Paris in the 1840’s, and the opera gives a touching though somewhat sentimental description of the Bohemian life of young artists, centering around the love between the poet Rodolfo (Tenor) and Mimi (Soprano) who, in the last act, dies of consumption. The lighter side of Bohemian life and love is represented by another couple, Marcel (Baritone) and Musetta (Soprano).
11The opera, one of the best-known examples of *Verismo, approximates, in its light texture, clarity of orchestration, and lyric style, the French rather than the typically Italian (Verdi) opera. Interesting are the *parallel chords in the opening to the second act. R. Leoncavallo wrote an unsuccessful opera on the same subject in 1897, without knowledge of Puccini’s score.
13Bohemian music. See *Czech music.
15Bois [F., wood]. Les bois, the wood winds.
17Boite de musique [F.]. Musical box. See *Mechanical instruments III.
19Bolero. A Spanish dance said to have been invented by Sebastián Cerezo, a celebrated dancer of Cádiz, around 1780. It is a solo or couple dance including many brilliant and difficult steps, quick movements, such as the entrechat of the classical ballet, as well as a sudden stop in a characteristic position with one arm held arched over the head (bien parado). The music is in moderate triple time, with accompaniment of the castanets and rhythms such as:
21Probably the earliest extant example is a “Bolero a solo” by Beethoven [cf. W. Hess, in DM xxx.12]. Operatic boleros occur in Auber’s La Muette de Portici and Le Domino noir, and in Weber’s Preziosa. Particularly famous are Chopin’s Bolero op. 19 for pianoforte, and Ravel’s Boléro for orchestra (1928). The Cuban bolero is in 2/4-meter.
23BOLOGNA SCHOOL
25Bologna School. A term applied to a 17th-century group of instrumental composers who were active in Bologna. Included among its members are Maurizio Cazzati (1620–77), Giov. Battista Vitali (1644?–92), Pietro degli Antonii (1648–1720), Giov. Battista Bassani (1657–1716), Domenico Gabrielli (1658–90), Giov. Battista Borri (?), Giuseppe Torelli (d. 1708), Tommaso Antonio Vitali (1665–1747), and Giuseppe Aldrovandini (1665 or 1673–1707). See *History of music V.
27The Bologna School was important in the formal development of the *trio sonata (Cazzati, Bassani, G. B. Vitali), solo violin sonata (degli Antonii, Aldrovandini), solo cello sonata (Gabrielli), *concerto grosso (Torelli, Gabrielli), and violin concerto (Torelli). The stylistic contributions of these men were in the direction of a disciplined formalism, an elegance of expression, and a pervasive lyricism. These characteristics, combined with their deliberate avoidance of virtuosity, were in reaction to the technical exuberance of the string composers of the early Baroque, Biagio Marini, Carlo Farina, Marco Uccellini (and their German successors Rosenmüller, Walther, Biber), who early developed such extreme features of violin playing as col legno, scordatura, sul ponticello, use of double and triple stops, and of higher positions (5th and 6th). The Bologna School thus constitutes a lyrical interlude between the virtuoso experimentation of the early Baroque and the
The computer misreads some letters and numbers. Where a name matters to you, read the scan.