Scan 68
The American History and Encyclopedia of Music, 1908
61 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1attacca subito
2ately, go on to the next movement without stopping or after but a little pause.
3attaccare (ät-täk-kä'-rē) It. v.
4To join, attach: to begin a new phrase or movement immediately after ending the preceding so as to join the two without perceptible break. Equivalent to attaquer (Fr.).
5attacco (ät-täk'-kō) It. n.
6A short motive for imitation in a fugal composition, consisting of a phrase, sometimes only a few notes, taken from the real subject to form a basis for the middle portion of the composition. It not only adds interest to the work but binds the parts more closely together. It is no longer used to signify the subject of a fugue. Also attack, the manner of beginning the first, or a new phrase or movement.
7attack
8The manner in which a note, phrase or movement is begun. It is used of vocal and instrumental music, both solo and concerted. The attack should always be clear and prompt.
9attaquer (ät-tä-kä') Fr. v.
10To join, attach: to begin a new phrase or movement immediately after ending the preceding, so as to join the two without perceptible break. Equivalent to attaccare (It.).
11attastare (ät-täs-tä'-rē) It. v.
12To touch; to strike.
13attendant chords
14Related chords: chords that contain one or more tones in common. See also relative chords.
15attendant keys
16Relative keys: those keys which have the most tones in common with any specified key. See also key.
17attillatamente (ät-til-lä-tä-měn'-tě) It. adv.
18Affectedly; with affectation.
19atto (ät'-tō) It. n.
20Act of an opera or play. Equivalent of act.
21atto di cadenza (ät'-tō dē kā-děn'-tsā) It.
22The act of forming a cadence; the disposition of the parts which form a cadence. Also the place where a cadence may be introduced into a piece.
23attore (ät-tö'-rē) It. n.
24Actor, singer, actors or singers in an opera.
25au (ō) Fr.
26In the; at the; to the; in the style of.
27Aufhaltung
28Used instead of à le before masculine singular nouns.
29au dessous (ō dūs-soo') Fr.
30Below.
31au dessus (ō dūs-sū') Fr.
32Above.
33au lever du rideau (ō lū-vā dū rē-dō) Fr.
34At the rising of the curtain.
35aubade (ō-bād) Fr. n.
36A morning concert in the open air as opposed to a serenade or evening music. Originally it was a love song of the troubadour, but afterwards, especially in the Seventeenth and Eighteenth Centuries, the name was applied to instrumental music. It frequently designates a morning concert of a military band. The term is also used in a deprecatory sense of a callithumpian concert of horns, tin pans, cat-calls and other offensive noises held under the window of an especially objectionable person, as a reproof for his conduct.
37audace (ä-oo-dät'-chě) It. adj.
38Bold, audacious, spirited.
39audition
40The sensation from an impression upon the auditory nerve produced by the vibrations created in the air by a sonorous body.
41auf (owf) Ger. prep., adv. and int.
42On, in, at, by, into, onto, up, upward, open. Up: rise.
43aufblasen (owf'-blä-zěn) Ger.
44To blow on; to sound a wind instrument.
45auf dem Oberwerk (owf dām ō'-běr-věrk) Ger.
46Upon the upper work, the highest row of keys in the organ.
47Auffassung (owf'-fäs-zoongk) Ger. n.
48The interpretation, reading, conception of a work.
49Aufführung (owf'-fū-roongk) Ger. n.
50Performance, execution of a work.
51aufgeregt (owf'-gě-rākht) Ger. past part.
52Literally, being on the high ropes: excited; agitated.
53aufgeweckt (owf'-gě-věkt) Ger. adj.
54Awakened, aroused: gay, brisk, jovial, lively, merry.
55Aufgewecktheit (owf'-gě-věkt-hit) Ger. n.
56Gaiety; briskness.
57aufhalten (owf'-häl-těn) Ger. n.
58To retard; suspend.
59Aufhaltung (owf'-häl-toongk) Ger. n.
60Suspension. The more usual term is Vorhalt.
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