Scan 85
Pronouncing and Defing Dictionary of Music, 1896
31 lines. Read by computer on 15 September 2026. No printed page number was found. See the scan on archive.org.
1Con calore (kōn kä-lō'rē), It. With warmth, with fire.
2Con carita (kōn kä-rē'tā), It. With tenderness.
3Con celerita (kōn tshā-lē-rī-tā'), It. With celerity, with rapidity.
4Concerto (kōn-tshēn'tō), It. Concord, agreement, harmony of voices and instruments.
5Concentrare (kōn-tshēn-trā'rē), It. To concentrate the sounds. It also means to veil the sounds in mystery.
6Concentus (kōn-tsēn'toos), Lat. Harmonious blending of sounds; concord.
7Concert. A performance in public of practical musicians, either vocal or instrumental, or both. (2) Harmony, unison.
8Concert, amateur. A concert of nonprofessional musicians.
9Concertando (kōn-tshēr-tān'dō), It. A concertante.
10Concertant (kōnh-sēr-tānh'), Fr. Performer in a concert, a musician.
11Concertante (kōn-tshēr-tān'tē), It. A piece in which each part is alternately principal and subordinate, as in a duo concertante. (2) A concerto for two or more instruments, with accompaniments for a full band. (3) A female concert singer.
12Concertato (kōn-tshēr-tā'tō), It. In an irregular and extemporaneous manner. See, also, Concertante.
13Concerted music. Music in which several voices or instruments are heard at the same time; in opposition to solo music.
14Concertgeber (kōn-tsērt'gā'bēr), Ger. One who gives a concert.
15Concertina (kōn-tshēr-tē'nā), It. A small musical instrument, hexagonal in form, which, as regards construction, is somewhat similar to the accordion (q. v.). The English treble concertina has a compass of about three and a half or four octaves (from g to g'''') with all the intermediate semitones, and is a double-action instrument—that is, on expanding and compressing the bellows the same note is produced. The tenor, bass, and double-bass concertina are, like the accordion, single-action instruments, producing different notes on expanding and compressing the bellows. Charles Wheatstone patented the concertina in 1829. The German concertina is a less perfect instrument than the English concertina; it is a single-action instrument, and its scale is not chromatic.
16Concertina, alto. A concertina having the compass of the viola.
17Concertina, bass. A concertina having the compass of the violoncello.
18Concertina, soprano. A concertina having the compass of the violin.
19Concertino (kōn-tshēr-tē'nō), It. A small concerto. (2) The opposite of ripieno—namely, principal, or concertante; for instance, violino concertino, principal violin. (3) The name concertino is sometimes applied to a first-violin part in which are entered the obligato passages of the other parts. (V. Concerto grosso.)
20Concertiren (kōn-tsēr-tē'r'n), Ger. To accord, to agree in sound; also a soli movement where each instrument or voice has in its turn the principal part.
21Concertmeister (kōn-tsērt' mis'tēr), Ger. The leader of the orchestra, the first of the first violins.
22Concerto (kōn-tshēr'tō), It. (1) A concert. (2) A composition consisting generally of three, rarely of four, movements, for one or more solo instruments, with orchestral accompaniment. Its form is, on the whole, that of the sonata; its distinctive features are the tutti (the orchestral ritornelli) and certain peculiarities arising from the intention to display the solo instrument and the powers of the player. As one of these peculiarities may be mentioned the cadenzas played by the performer of the solo part just before the concluding tutti of the first and the last movement. (V. Sonata and Cadenza.) The customary tutti, which, for instance, in Mozart's concertos, appear in diffusive fullness, are in more modern times often curtailed or altogether omitted. This is especially the case with the long introductory tutti, which generally presented both the first and the second subject, afterwards taken up by the solo part or solo parts. Also the cadenzas have lost much of their former importance. In other words, the concerto, at one time a show-piece, has more and more become a tone-poem. Concertos without orchestral accompaniment need hardly be mentioned; they are exceptional, and of very rare occurrence.
23In its earliest application the word "concerto" was synonymous with "concent," signifying not a definite form, but a composition in parts, either purely vocal or vocal and instrumental. Giuseppe Torelli, who died in 1708, is regarded as the inventor of the modern concerto. The development of the concerto runs parallel, one may say is identical, with that of the sonata. The earlier exemplifications of these forms differ indeed often only in name. With Mozart (1756-1791) the concerto reached, so to speak, maturity. (See the following articles):
24Concerto, a solo. A concerto written for the purpose of displaying the powers of a particular instrument, without accompaniment.
25Concerto da camera (kōn-tshēr'tō dā kä'mē-rā), It. Chamber concerto. Contra to Concerto grosso.
26Concerto di chiesa (kōn-tshēr'tō dē kē-ā'zā), It. A concerto for church use.
27Concerto doppio (kōn-tshēr'tō dōp'pī-ō), It. A concerto for two or more instruments.
28Concerto grande (kōn-tshēr'tō grānd), Fr. }
29Concerto grosso (kōn-tshēr'tō grōs-sō). It. }
30A grand orchestral composition for many instruments; a grand concert.
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