Scan 69
The American History and Encyclopedia of Music, 1908
49 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1Auflage
2Auflage (owf'-lä-khě) Ger. n.
3Edition.
4Auflösung (owf'-lä-zoongk) Ger. n.
5Dissolution; the solution of a discord, or the changing of a discord into a harmonious group of notes. Also the breaking of a chord, that is, the playing the notes of a chord successively instead of simultaneously.
6Auflösungzeichen (owf'-lä-zoongk-tsī'-khěn) Ger. n.
7Sign or mark of cancellation. A natural (♮) or sometimes a sharp (#) or flat (♭) restoring a note, which has been raised or lowered a half tone by accidentals, to its proper pitch in the scale in which it occurs. Naturals are often employed to resolve or release the effect of the preceding signature, when the key is changed in the progress of a piece.
8aufpfeifen (owf'-fi-fěn) Ger. v.
9To play on a pipe, fife or flute.
10aufs (owfs) Ger.
11To the, at the, in the. Contraction of auf das. Used before neuter singular words.
12Aufsatz (owf'-zäts) Ger. n.
13From the noun, Satz, the placing, and the preposition, auf, upon, hence, the headpiece, that is, the tube, of an organ pipe which is placed upon the lower part or foot.
14aufschallen (owf'-shäl-lěn) Ger. v.
15To sound loudly.
16Aufschlag (owf'-shläkh) Ger. n.
17Striking upwards. The up beat on the unaccented part of a measure in music. See also arsis.
18Aufschnitt (owf'-shnitt) Ger. n.
19A cut, opening. Mouth of an organ pipe.
20aufsingen (owf'-sīng-ěn) Ger. v.
21To sing out: to waken by singing.
22aufspielen (owf'-shpěl-ěn) Ger. v.
23To strike up: to play upon, play for a dance.
24aufsteigende Tonarten (owf-shtī'-khěn-dě tōn'-är-těn) Ger.
25Ascending scales, modes, or keys.
26Aufstrich (owf'-shtrīkh) Ger. n.
27Up stroke; up bow. A violin term.
28Auftakt (owf'-täkt) Ger. n.
29Up take, the unaccented portion of a measure of music. It is used especially of the up beat or incomplete measure at the beginning of a movement or composition. Equivalent to anakrusis and aufschlag. See also arsis.
30aufretend (owf'-trā-těnt) Ger. pres. part.
31Entering.
32augmented fifth.
33Auftritt (owf'-trīt) Ger. n.
34A scene.
35Aufzug (owf'-tzookh) Ger. n.
36Drawing up: procession, parade, pageant, hence the music to a pageant; also because of drawing up the curtain, an act of a play or opera.
37augmentatio (awg-měn-tā'-shi-ō) Lat. n.
38Augmentation, which see.
39augmentation
40Increase: a lengthening of time; opposed to diminution. In a contrapuntal composition or one in which melodies are combined, as fugue or canon, augmentation is the device used for prolongation of the principal theme or musical thought and consists of the doubling of the original value of the notes, using whole notes for half notes, half notes for quarter notes, and quarter notes for eighth notes. The term is chiefly confined to the description of fugal works in which augmentation is but one of the methods employed to give variety and at the same time permit the repetition of the central musical thought or subject. The changed value of notes brings about an increase in length of musical units, making measures into phrases, phrases into sections and sections into periods, still retaining the theme and by its new setting emphasizing it and increasing the interest of the listener. It is a method of varying a theme that has been used with good effect by some of the greatest composers. Each employed it in a number of his piano fugues. Handel in the first chorus of Samson and Leo and Cafaro in their Amens. Abbr. aug., augm.
41augmenté (ōg-mān-tā) Fr. past part.
42Augmented, increased, enlarged.
43augmented
44Increased, widened: applied to intervals increased by sharp, flat or natural until they are greater than the major or perfect interval.
45augmented chord
46A chord containing a major third, four half steps, and an augmented fifth, eight half steps. Same as redundant chord.
47augmented fifth
48An interval of five tones with the upper tone raised a chromatic semitone by an accidental, making an interval of four whole tones or steps instead of three and a half steps, as in the perfect or ordinary fifth.
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