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Scan 114
Harvard Dictionary Of Music(1950), 1950
27 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1BRAZIL
2piano pieces that mark a new style of writing for the instrument. Among his larger works, especially notable are the Chôros No. 8 for orchestra, Chôros No. 10 for orchestra and chorus, the symphonic poem "Amazonas," "Dansas Africanas" for orchestra, and "Momo Precoce" for piano and orchestra. Among his most recent works are 5 suites, for various instrumental combinations, entitled "Bachianas Brasileiras," being compositions in which the spirit of Brazilian folk music is fused with that of J. S. Bach. Although Villa-Lobos' production is uneven in quality, and though he lacks a finished technique and a sense of organic form, at his best he creates works which are entirely sui generis and which, more than any others, seem to represent the music of the New World. Villa-Lobos has been very active in promoting musical education in Brazil and at present he is director of public school music in Rio de Janeiro.
4Most of the modern Brazilian composers have drawn freely upon the rich and colorful folk music of Brazil, which is composed of Portuguese (some Spanish), African, and Indian elements. Of these the African element is perhaps the most potent. A pioneer in the study and collecting of Brazilian folk music was Luciano Gallet, whose work in this field has been continued by such notable folklorists as Mario de Andrade and Luiz Heitor Correa de Azevedo, the latter professor of national folk music at the Escola Nacional de Música. Many Brazilian composers have written *modinhas, the characteristic love song of Brazil, of Portuguese origin, usually of a rather melancholy and sentimental nature. Popular dances are the *Maxixe and the *samba.
6Lit.: G. Pereira de Mello, A Música no Brasil (Bahia, 1908); R. Almeida, Historia da Música Brasileira (Rio de Janeiro, 1926); M. de Andrade, Ensaio sobre Música Brasileira (São Paulo, 1928); L. Gallet, Estudos do Folclore (Rio de Janeiro, 1934);† Musique Brésilienne Moderne, preface by Andrade Muricy (Rio de Janeiro, 1937); A. T. Luper, The Music of Brazil (1943).
8BRISÉ
9Breit [G.]. Broad. Breit gestrichen, broadly bowed.
11Breve, Brevis. An old note value, written or , and equal to two whole-notes. See *Notes; *Mensural notation. Also *Alla breve.
13Breviary, Breviarium. See *Liturgical books I (b).
15Bridge [F. chevalet, G. Steg· It. ponticello]. (1) In stringed instruments, the wooden support atop the table across which the strings are stretched. Its shape and size differ in the various instruments. The bridge of the double-bass has "legs." In spite of its symmetrical appearance, the two halves of the bridge serve somewhat different purposes. The right (treble) foot rests firmly upon the table, very nearly above the sound post, while the other, having no such support, transmits the vibrations of the string to the body of the instrument. The present-day shape of the violin bridge was developed in the time of Antonio and Gerolamo Amati (c. 1550–1630)
16(2) Short for *bridge passage.
18Bridge passage. In musical compositions a passage of subordinate importance serving as a connection between two themes. It consists of figurations, sequences, or other subsidiary material. Frequently it effects the modulation of key, e.g., from the first to the second theme in *sonata-form.
20Brillenbass [G., from Brille, spectacle]. Derogatory nickname for stereotyped accompanying figures in the manner of the *Alberti bass the abbreviated writing of which [see *Abbreviations, Ex. 4, 5] suggests a pair of spectacles.
22Brindisi [It.]. Drinking song, such as occurs in operas, e.g., in Verdi's Traviata ("Libiamo"), Mascagni's Cavalleria rusticana ("Viva il vino").
24Brio, Con [It.]. With vigor and spirit.
26Brisé [F.]. French 18th-century name for the *turn. In modern terminology, indication for arpeggio playing, or for detached bowing.
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