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Scan 9
Pronouncing dictionary and condensed encyclopedia of musical terms, instruments, composers and important works, 1880
91 lines. Read by computer on 15 September 2026, twice; the two readings disagreed in places. Printed page 5. See the scan on archive.org.
1Antecedent, a phrase proposed for imitation. The first section in a period.
3Anthem, a sacred motet for use in Divine service.
5Anticipation, the entrance of a single note of a chord in advance of the remaining notes, thus making a dissonance with the chord into which it thrusts itself.
7Antienne (Fr.) An anthem. Also used as the name of a soft and quiet organ piece.
9Antiphony, responsive singing, between two choirs or the priest and choir.
11Antiphonarium Romanum, Roman Antiphonary, the Romish collection of antiphons.
13A piacere (Ital. ä pē-ä-tshā'-rē) At pleasure, faster or slower.
15Appassionato (Ital. äp-päs-sē-ō-nä'-tō). Impassioned; passionately. Beethoven's sonata op. 57 was thus named by Cranz, the publisher.
17Applicatur (Ger. ap-plik'-a-tūr). Application, as pedal applicatur; pedal marks for applying the toe and heel.
19Appoggiatura (Ital. ap-pod'-jī-ā-tū'-rā), from appoggiare to lean upon. A melodic ornament consisting of a dissonant tone occurring on the accent and resolving into the true melodic tone one degree above or below. The long A. occupies half the time of the note it leans upon, and is written as a grace note. The short A. is played as quickly as possible; written as a grace note with a stroke through the stem. See Appendix, pp. 78 and 79.
21Appoggiatura Double, a melodic ornament consisting of two grace notes before a melody note. Played rapidly, and in time taken from the principal note.
23Aptommas, two Welsh brothers, harpists. B. 1826 and 1829.
25Arcadelt, Jacob, a singer, teacher and composer, at Rome about 1539. Born in the Netherlands. Author of madrigals, masses, etc.
27Arco (Ital. är'-kō). The bow of stringed instruments. Coll'arco, or arcato, with the bow, as opposed to pizzicato, which see.
29Arditi, Luigi (loo ee'gee är-dee'-tee). Born at Crescentino in Piedmont, 1822. Author of several operas, overtures, songs, etc. Conductor of Italian opera in London, Vienna, etc. Visited America several times.
31Ardito (Ital. är-dee'-tō). Warmth; ardor.
33Aria (Ital. är'-Ī-ā). Air. See Lessons xxx, xxxv.
35Arietta (Ital. är-Ī-ēt'-tā). A little air. Lesson xiv.
37Arioso (Ital. är-Ī-ō'-zō). In style of an aria. Lesson xxvii.
39Arion, a Greek musician, fabled to be the son of Neptune and Oncea. Lived about 620 B. C.
41Armide (är-meed'). One of Gluck's greatest operas. Produced in Paris Sept. 23, 1777.
43Arne, Thomas A., Mus. Doc. An English composer of glees, anthems, and the music of several operas or stage pieces, music to Shakespeare's "Tempest," two oratorios "Judith" and "Abell," etc. 1710-1778.
45Arne, Michael, son of preceding, 1741-1806. A conductor and popular composer of operas, etc., in his day.
47Arpeggio (Ital. är-pēd-jō). A melodic figure composed of the tones of a chord struck successively. A broken chord.
49Arnold, Samuel, Mus. Doc., born in London, 1740. Died 1802. An organist, conductor and author. Composed many dramatic works.
51Art of Fugue, The (Die Kunst der Fuge), a wonderful work of Sebastian Bach's, containing eighteen fugues, all on one subject. Composed in the last year of his life.
53Ascher, Joseph, born in London, in 1831. Died 1860. A fashionable pianist and composer of drawing-room pieces.
55As (Ger.) A flat. (Ab.)
57Assai (Ital. äs-sā'). Very, e. g., Allegro assai, very fast, etc.
59Assoluto (Ital. äs-sō-lū'-tō). Absolute. Prima donna assoluto, absolute, or first, prima donna.
61Athalia (äth-ăl-ī'-ă). The third of Handel's oratorios. 1733 one of two readings
62Athalia (äth-äl-ī'-ä). The third of Handel's oratorios. 1733 one of two readings
64Athalie (Ger. ät'-tăl-y). Overture, march and six vocal pieces (op. 74) to Racine's drama, composed by Mendelssohn, 1843. one of two readings
65Athalie (Ger. ät'-täl-y). Overture, march and six vocal pieces (op. 74) to Racine's drama, composed by Mendelssohn, 1843. one of two readings
67A tempo (Ital. ä tēm'-pō). In time.
69Attwood, Thomas, English composer of dramatic and cathedral music; conductor and organist; a favorite pupil of Mozart, and one of the first English musicians to recognize the genius of Mendelssohn. 1767-1838. Buried in St. Paul's Cathedral, under the organ.
71Attacca (Ital. ät-tăk'-kă). Attack. Attacca subito, attack the following immediately. one of two readings
72Attacca (Ital. ät-tāk'-kā). Attack. Attacca subito, attack the following immediately. one of two readings
74Atto (Ital. ät'-tō). Act.
76Auber, Daniel-François-Esprit, born 1784 at Caen. Died 1871. Auber was the most popular of the French composers of this century. Auber was composer of a large number of operas, among the best of which are "Crown Diamond," "Fra iavolo," and "La Muette de Portici" (Masaniello). His works are characterized by bright and sparkling melody, and pleasant and piquant instrumentation, though Wagner says he uses the orchestra like a mighty guitar (implying Auber's lack of thematic treatment). He was made Director of the Conservatoire by Louis Phillippe, and remained so until his death. A. was genial and witty.
78Audace (Ital. ä-oo-dä'-tshē). Same as ardito.
80Auflösung (Ger. ouf-lō'-sūng). Resolution (of dissonances).
82Auftakt (Ger. ouf-tăkt). The unaccented beat of the measure. one of two readings
83Auftakt (Ger. ouf-tākt). The unaccented beat of the measure. one of two readings
85Augmentation, the extension of a phrase or subject by lengthening the time of all its notes, imitating quarter notes by halves, etc.
87Ausdruck (Ger. ous'-drūk). Expression.
89Ave Maria (Lat. ä' vē măr-ee'-ă). "Hail Mary." The angel's salutation, Luke i, 28. one of two readings
90Ave Maria (Lat. ä' vē mär-ee'-ä). "Hail Mary." The angel's salutation, Luke i, 28. one of two readings
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