A Dictionary of Musical Terms by John Stainer (editor), William Barrett (editor)

By John Stainer (editor), William Barrett (editor)

This illustrated dictionary, written through the prolific Victorian composer Sir John Stainer (1840-1901) - most sensible remembered at the present time for his oratorio The Crucifixion - and W. A. Barrett, was once first released by way of Novello in 1876. It offers definitions for 'the leader musical phrases met with in medical, theoretical, and functional treatises, and within the extra universal annotated programmes and newspaper criticisms', starting from brief reasons of the Italian phrases for tempi, via descriptions of old tools to expansive articles on such themes as acoustics, copyright, hymn tunes, the larynx and temperament. That it for that reason ran to numerous extra variants means that it supplied welcome advice for the concert-going public within the 19th century.

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A Dictionary of Musical Terms

This illustrated dictionary, written through the prolific Victorian composer Sir John Stainer (1840-1901) - most sensible remembered this present day for his oratorio The Crucifixion - and W. A. Barrett, used to be first released by means of Novello in 1876. It offers definitions for 'the leader musical phrases met with in medical, theoretical, and functional treatises, and within the extra universal annotated programmes and newspaper criticisms', starting from brief causes of the Italian phrases for tempi, via descriptions of historical tools to expansive articles on such issues as acoustics, copyright, hymn tunes, the larynx and temperament.

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A note leant upon which stringed instruments are played. v. ) To make ready, to pre- to have been invented about the year 1537 in Italy, described by Salinas as having each pare for playing, to set in tune. tone divided into parts, of which three were A p r e m i e r e v u e ( F r . ) ) .. c . • , . jf At first sight. ) With the end of one parts. the bow near the point. ] accurate. ) The bow. ) (&TTVKVOI). The notes Pros- bow, as opposed to Pizzicato, pinched by the lambanomenos (Trpoa\afijiav6fiivoQ), nete sy-finger.

Are of an invocatory character. (29) ANTHEMA ANTIPHON. JXV (d). Lastly, the word has been derived from m e n : * I ' . ). The thology. The ancient and still existing name custom of antiphonal singing seems to have for the book containing the words and notes been first introduced at Antioch by Diodorua of the anthems or aniiphons, is Anthologium and Flavian : dvrot irpwroi Stxfj SieXovrec roue or Antiphonarium, probably from the idea that xP x TOVTO iv a collection of such words might reasonably ididafav peXyStav cat be considered as a series of choice flowers xq irp&rov apt;afi£vov iravrotrs SiiSpafte ical from Holy writ, as the Anthem was formerly held to be the flower of the service, by those icarikafie rije 6ixovfiEvr)s rep/iara (Theod.

Devotion. ) Devotionally, devoutly. ) (i) An accessory idea, or episode ; an accessory part, in a Fugue. (2) In the style of an Andante. ) Walking. In the early part of the last century, music so marked was understood to be of a grand yet cheerful style, but in the present day it implies a movement which is slow, graceful, distinct and peaceful. The word is sometimes used as a substantive, in speaking of that portion of a symphony or sonata so marked. The many modifications both of pace and style are expressed as below: Andante affettuoso, in an easy, pathetic style.

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