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Pronouncing dictionary and condensed encyclopedia of musical terms, instruments, composers and important works, 1880
68 lines. Read by computer on 15 September 2026. Printed page 69. See the scan on archive.org.
1Tastatur (Ger. täs'-tä-toor). The keyboard of the organ or piano-forte.
3Taste (Ger. täs'-tě). The touch of any instrument. Hence the key.
5Tasto solo (Ital. täs'-tō sō'-lō). One key alone; in organ or piano music this means the parts in unison, without harmony.
7Taubert, Ernst E., born 1838. Critic and composer in Berlin.
9Taubert, Wm. C. G., born 1811. Pianist and conductor of the Royal Opera and orchestra in Berlin. Composer of no great significance.
11Tausig, Carl, 1841-1871. Born in Warsaw. One of the very greatest of all pianists, with a technique so absolute and above all difficulties and so perfect as to defy criticism, and an innate fire and force hardly surpassed by the great Liszt himself, whose pupil he was. This fiery vigor was subdued and tempered by his intellectual tendencies and attainments, for Tausig was an earnest student of philosophy, and a lover of all higher intellectual pursuits. He was also an admirable teacher.
13Technic, skill or ability in the mechanical part of any art. Piano-forte technic, the perfect use of the fingers; pedal technic, proper use of the feet; vocal technic, correct use of the voice.
15Tedesco (Ital. tě-dās'-kō). In the German style.
17Te deum laudamus (Lat. tā dā-ūn law-dā'-mūs). "We praise Thee, O God," an old hymn of praise.
19Telemann, George P., 1681-1767. Born in Magdeburg. Was 46 years conductor in Hamburg. Played organ, piano, violin and other instruments. Was a highly educated man, and a teacher and composer. Developed a great musical interest in Hamburg; wrote many operas there, and also much instrumental music.
21Temperament, is a system of compromises by means of which twelve tones in an octave are made to do duty in place of about forty-eight which would be necessary to perfect intonation in all keys. Mathematically stated, temperament makes, for example, the major third equal to four-fifths divided by two octaves. That is, 3-2×1-2×3-2×3-2×1-2×3-2 =81-64=5-4. Temperament is, therefore, a system of imperfect tuning peculiar to the piano and organ, in which all intervals except the unison and octave are more or less imperfect. Its advantages are the simplicity of the key-board of the twelve keys to an octave in place of forty-eight. Music itself is written without respect to temperament.
23Tempestoso (Ital. těm-něs-tō'-zō). Tempestuous, stormy, boisterous.
25Tempo (Ital. tām'-pō). The time, the movement. The movement of music is approximately indicated by means of Italian terms, which refer generally to the unit of time, so that slow movements may yet have quick notes in them. Reissmann divides tempos into three classes: Slow, including Largo, Grave, Adagio, Lento, and Larghetto, which here stand in progressive order of speed, the slowest first. Medium, "going," Andante, Andantino, Moderato, Allegretto. Quick, Allegro, Vivace, Vivacissimo, Presto, and Prestissimo. Theorists are not agreed as to whether Larghetto is faster than Largo, or Andantino faster than Andante, but modern usage is as here indicated. For the meaning of the different terms look in the proper place.
27Tenebrae (Lat. tān'-ě-brā). Darkness, a Catholic service in holy week.
29Teneramente (Ital. těn-ěr-ă-mān'-tě). Tenderly, delicately.
31Tenerezza (Ital. těn-ě-rāt-tsā). Tenderness, softness, delicacy.
33Tenor, the highest male voice. Tenor robusto is a strong tenor.
35Tenor C, the C next below middle C.
37Tenuto (Ital. tě-noo'-tō). Held, sustained, held down its full time.
39Ter (Lat. těr). Thrice, three times.
41Terpander, a great Greek poet, composer and theorist, lived about the 7th century, B.C.
43Terschak, Adolf, Born 1832. Flute virtuoso. Lives in Vienna.
45Tertia (Lat. těr'-shī-ā). Third, tierce.
47Terz (Ger. tārts). A third.
49Terzetto (Ital. tār-tsāt'-tō). A short piece, or trio, for three voices.
51Teschner, G. W. Born 1800. Teacher of singing in Berlin. Accomplished musician and indefatigable investigator, and collector of old music, of which he has published much, especially songs, and valuable vocal studies.
53Testo (Ital. tās'-tō). The text, theme or subject.
55Tetrachord, a system or scale of four tones. An instrument producing four tones.
57Text, the words of a song, or opera.
59Thalberg, Sigismund, was born at Geneva in 1812, and died in Italy in 1871. He was a brilliant piano-forte virtuoso, and invented the peculiar style of playing which consists in carrying a melody supported by the pedal, while playing a rapid accompaniment in extended arpeggios. He was greatly admired as an executant in this peculiar style, but occupied himself very little with the works of masters, and was by no means a great interpretative or creative artist. His compositions are now little used.
61Thema or Theme (Ger. tā'-mā). The principal melodic subject in a work. An air, which is afterwards varied.
63Thematic Work, means literally, work on motives taken from the theme; it is now applied to any elaboration of motives, whether those of the principal theme of the piece or not. See Chapters I. and II.
65Theory of Music, includes Sound, the science of musical tone; Tonality, the doctrine of scales and keys; Harmony, the doctrine of chords and chord-successions. Counterpoint, voice-relation; Fugue, the logical development of a subject; Form, the symmetrical arrangement of the parts of a work; Orchestration, the proper method of employing and combining instruments; Technics, the principles of correct performance, and perhaps Aesthetics, or the principles of the beautiful.
67Thibaut, Anton, F. G., 1772-1840. Professor in Heidelberg University. Was a connoisseur in music, and wrote a valuable book on "Purity in Musical Art."
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