Scan 34
Stokes Encyclopedia Of Music And Musicians, 1908
70 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1tioch, 2d century, of having the Psalms sung in alternate verses by distinct choirs of men, and of women and children. The term also applies to short scriptural sentences sung before and after the Psalms or Canticles and appropriate to the church season; to collections of Versicles and Responses; to anthems, on the theory that the English word was corrupted from the Latin antiphona.
3Antiphonal. L. A collection of antiphonals; Missarum, to be sung at Mass (now called Graduale or Cantatorium); Responsoriale, to be sung at Hours or Breviary offices.
5Antiquis, d' (Giovanni) edited "Vilanelle alla Napolitana," Venice, 1574, to which he contributed madrigals.
7Anwachsend. Ger. Crescendo.
9A Piacere. It. At pleasure as to time.
11Aperto. It. Use damper pedal.
13Apfelregal. Ger. An obsolete organ stop.
15Aplomb. Fr. Steadily.
17A Poco. It. More; Piu Lento, slowly; Piu Mosso, rapidly.
19Apollo-Lyra. An improved PSALMMELODICON.
21Apollonicon. An automatic organ with 1900 pipes and 45 stops, some of which imitated orchestral instruments, on which six performers could play in the ordinary way. It was invented by John Henry Völler, of Hesse Darmstadt, and set up in London by Flight and Robson, 1817, and employed for concert purposes until 1840.
23Apotome. Gr. Major semitone.
25Appassionata. It. With passion or feeling.
27Appassionata. Beethoven's superb sonata, Op. 57, was so named by the publisher, Cranz, or at any rate not by Beethoven himself.
29Appenato. It. With suffering or grief.
31Applicatur. Ger. Fingerling.
33Appoggiando. It. Leaning on; drawn out.
35Appoggiato. It. Notes which suspend resolution.
37Appoggiatura. It. "To lean upon." An ornamental note, either short or long, which takes its time from the principal note, in the one case too brief to be accented, in the other played louder than the principal note. The same rules apply to double appoggiatura.
39Aprile (Giuseppe) sang con. at the principal European opera houses; taught Cimarosa and others; wrote a system of solfeggi still used, and composed songs. B. Apulia, Oct. 29, 1738; d. 1814.
41A Prima Vista. It. At first sight.
43A Punta d'Arco. It. With the bow's point.
45Apthorp (W. Foster) wrote "Hector Berlioz," "Opera and Opera Singers"; criticism; taught theory. B. Boston, Oct. 24, 1848; Harvard, '69; studied with J. K. Paine and B. J. Lang; add. Boston.
47A Quatre Mains. Fr. For four hands.
49A Quatre Seuls. Fr. For four soloists.
51A Quatre Voix. Fr. For four voices.
53A Quattro Mani. It. For four hands.
55A Quattro Soli. It. For four soloists.
57A Quattro Voci. It. For four voices.
59Arabesque. In Arabic style; a graceful composition in rondo fashion.
61Araja (Francesco) composed "Procris and Cephalus" for Empress Elizabeth, 1755, the first opera sung in the Russian language; chapelmaster at St. Petersburg, 1734-1759. B. Naples, 1700; d. 1770.
63Aranaz (Pedro) composed church music, conducted at Cuenca Cathedral. B. Soria, Spain; d. Cuenca, 1825.
65Arbeau (Thoinot) nom de plume of Jehan Tabourot, a French priest who wrote a dialogue on dancing reprinted in Paris, 1888, which contains many tunes with appropriate words; 16th century.
67Arbitrio. It. Will, pleasure.
69Arbós (E. Fernandez) taught violin at the Royal Conservatory, Madrid; studied with Joachim; con-
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