Books › Pronouncing dictionary of musical terms, giving the meaning, derivation, and pronunciation … of Italian, German, French, and other words; the names with date of birth and death and nationality of the leading musicians of the last two centuries; English vocabulary, with equivalents in Italian, Germ, 1896 › scan 20
Scan 20
Pronouncing dictionary of musical terms, giving the meaning, derivation, and pronunciation … of Italian, German, French, and other words; the names with date of birth and death and nationality of the leading musicians of the last two centuries; English vocabulary, with equivalents in Italian, Germ, 1896
100 lines. Read by computer on 24 September 2026. Printed page 16. See the scan on archive.org.
1Articolato (It.) (ar-tik-ko-lah'-to). Articulated distinctly.
3Artig (Ger.) (ahr-teech). Neat, pretty, unaffected.
5As (Ger.). A flat. As dur (doohr), A flat major. As moll, A flat minor.
7Assai (It.) (as-sah'-ee). Very, extremely, as Allegro assai, very fast. Adagio assai, very slow.
9Assez (Fr.) (as-seh). Rather, as Assez vite (veet), rather quick, or quick enough.
11Assoluto (masc.), Assoluta (fem.) (It.) (as-so-loo'-to). Absolute. Applied to the leading singers of an opera troupe, as Prima donna assoluta, first lady absolute; Prima uomo assoluto, first man absolute.
13Attacca (It.) (at-tak'-ka). Attack. Begin the next movement with slight or with no pause.
15Attacca subito (It.) (soo-bee-to). Attack quickly, without pause.
17Attacco (It.), Attaque (Fr.) (at-tak'). The motive or theme of an imitation or short fugal subject.
19Attaquer (Fr.) (at-tak'-keh). Same as Attacca.
21Attack. The manner of beginning a phrase or piece; refers generally to the promptness or firmness of the performer or performers.
23Attendant Keys. The keys of the 4th and 5th above, and the relative minors of the principal key and these two major relations, as:—
24C F G
25Rel. minors A D E
27Aubade (Fr.) (o-bad'). Morning music; the opposite of Serenade, evening music.
29Audace (Fr.) (o-dass). Bold, audacious.
31Aufführung (Ger.) (owf-fee-roonk). Performance; representation of an opera.
33Aufgeregt (Ger.) (geh-rehgt). With agitation.
35Aufgeweckt (Ger.) (geh-vekt). With animation.
37Aufhalten (Ger.) (hol-ten). To suspend (of dissonances). Also, to hold back or retard (of time).
39Aufhaltung (Ger.) (hol-toonk). Suspension.
41Auflösen (Ger.) (leh-zen). To let loose; resolve a dissonance.
43Auflösungszeichen (Ger.) (leh-soonks-tzeich-en). Releasing sign; the 4.
45Artôt (ar-to), Alex. I. Violinist; Brussels. B. 1815; d. 1845.
47Ascher, Joseph. Pianist. B. 1831; d. 1869.
49Astorga, Emmanuele Baron D. Composer; Sicily. B. 1681; d. 1736.
51Attwood, Thomas. Composer; England. B. 1765; d. 1838.
53Auber, Daniel François Esprit (o-behr, D. fran-
55Aufschlag (Ger.). Up-beat.
57Aufschwung (Ger.) (owf-shvoonk). Soaring, elevation.
59Aufstrich (Ger.). Up-bow.
61Auftakt (Ger.). The unaccented part of the measure, or the fraction of a measure, at the beginning of a piece.
63Augmentation. When the theme of a fugue or imitation is given in notes of double or quadruple the length of those in its original form.
65Augmented. (1) Any interval greater than perfect or major. (2) A theme written in notes of greater value than in its original form.
67Augmented Sixth Chord. Called also extreme sharp sixth; superfluous sixth; when formed thus, A2 C F#, the Italian sixth; thus, A2 C D F#, the French sixth; thus, A2 C E2 F#, the German sixth.
69Augmenter (Fr.) (og-mong-teh). To increase in force. Same as Crescendo.
71Ausarbeitung (Ger.) (ows'-ar-bye-toonk). Development; the working out of a fugue or sonata, etc.
73Ausdruck (Ger.) (drook). Expression.
75Ausdrucksvoll (Ger.). With expression; literally, full of expression.
77Ausführung (Ger.) (fee-roonk). Execution; manner of performance.
79Ausweichung (Ger.) (veich-oonk). Literally, evasion; modulation; change of key.
81Authentic. The Ambrosian scales. A melody that lies between the keynote and its octave is called authentic. One that lies between the fourth below and the fifth above the keynote is called plagal. These terms are only used in the ecclesiastical modes.
83Authentic. The church scales beginning and ending on any given tonic (except B).
85Authentic Cadence. Tonic preceded by dominant
87Autoharp. A modern instrument resembling a zither, of easy performance. The plectrum is drawn across all the strings at once, and those that it is not desired to sound are silenced by a series of dampers controlled by the left hand of the player.
89Auxiliary Note. Grace note; appoggiatura.
91Auxiliary Scales. Related scales.
93soa es-pree). Opera composer; France. B. 1784; d. 1871.
95Audran, Edmond (o-drong). France. B. 1842.
97Auer (our), Leopold. Violinist; Germany. B. 1845.
99Avison, Charles. Composer; England. B. 1710; d. 1770.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.