Scan 52
The American history and encyclopedia of music, 1908
36 lines. Read by computer on 9 September 2026, twice; the two readings disagreed in places. Printed page 29. See the scan on archive.org.
1amateur
2ly termed cognoscenti. Equivalent to amatore or dilettante (It.), dilettant (Ger.).
3ambitus (ăm'-bi-tŭs) Lat. n.
4Literally, a going around: hence compass or range; the distance between the highest and lowest notes. Formerly the compass of an ancient church chant.
5Ambrosian chant
6The method of intoning the mass and Scripture selections introduced by St. Ambrose, Bishop of Milan, during the latter part of the Fourth Century. Ambrose feared the loss or corruption of the old melodies, the origin of which is unknown and which before this had been handed down by oral teaching. His efforts to restore them to their primitive purity and to train the clergy in singing them correctly resulted in the establishment of the so-called Ambrosian chants. These forms have been used in modern times only in the diocese of Milan, having been supplanted elsewhere by the Gregorian chants. The Ambrosian chant is a kind of plain-song and differs from modern music in that it is not written in the major and minor scales, but in modes. These correspond somewhat to the Greek manner of writing music and differ from the modern in the placing of the semitones. There are fourteen modes, but Ambrose used only four of them.
7Ambrosian hymn
8This term is applied to the Te Deum Laudamus, We praise thee, O God, a hymn of praise which takes its title from the name of its reputed author, St. Ambrose, Bishop of Milan, who lived during the latter part of the Fourth Century. It is very likely of Greek origin and only translated by St. Ambrose. He introduced many beautiful hymns into the service of the Milan Cathedral. They were really the first metrical or rhythmical hymns used and soon became of equal importance with psalms and canticles.
9Ambrosianus cantus (ăm-brō-zĭ-ā'-nŭs kăn-tŭs.) Lat.
10Ambrosian chant.
11Ambrosianus hymnus
12The Ambrosian chant.
13ambubajae (ăm-bū-bā'-jē) Lat. n. plu.
14A name given to a society of itinerant Greek flute-players; doubtless a corrupted form of a noun derived from the Latin verb, ambulare, meaning to walk.
15American organ
16ambulant (ăn-bü-lăn) Fr. pres. part. one of two readings
17ambulant (än-bü-lăn) Fr. pres. part. one of two readings
18Walking; wandering: as itinerant musicians or strolling players.
19âme (äm) Fr. n.
201. Soul; spirit; feeling, emotion.
212. In violins, violas, and other stringed instruments of that class, the sounding-post or prop is called the âme.
22amen (ä'-mĕn in the ritual of the church, otherwise (ä'-mĕn) Heb.
23So be it: used at the end of psalms, hymns, anthems and other sacred music.
24amen chorus
25A chorus which is written chiefly on the word Amen. Many composers from the early Italians to the present day have written long settings to this word to show their skill in counterpoint and fugue. The most famous, perhaps, of all these compositions is Handel's Amen chorus in the "Messiah."
26amenno (ä-mā'-nō) It. adj.
27Pleasing; agreeable; charming; sweet.
28America
29See My Country 'Tis of Thee.
30American concert pitch
31The pitch adopted for the note A on the second space of the G or treble clef, by which it has 435 double vibrations per second. This pitch was adopted in 1891 by a committee appointed by the National Music Teachers' Association.
32American fingering
33The system of fingering in which the thumb is marked X and the fingers 1, 2, 3, 4, as opposed to the present German system, which counts the thumb as the first finger. Its origin, however, is German or English. When fingering was first used the Germans indicated the thumb by 0, but when the system came into use in England this sign, easily mistaken for a whole note, was changed to and finally X, hence this fingering is more properly termed English.
34American organ
35A keyboard instrument rather similar to the harmonium but having important differences. The chief difference is that the bellows suck the air in through the reeds instead of forcing it out through them. The reeds are more curved and twisted and considerably smaller than those of the harmonium and have larger space in
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