Dictionary of Music - Birding America

More documents

Recommendations

Info

Crawford Seeger, Ruth 97of two such strings tuned in unison. —triple courseA set of three strings tuned in unison. —octavecourse A pair of strings tuned an octave apart, such asone of the pairs of bass strings on certain lutes.cover 1 An understudy, that is, a musician oractor who is ready to replace another if necessary.2 In popular music, a second or subsequentversion of a composition, which may be much thesame as the original or completely different. Forexample, the same song recorded by another artistmay differ only slightly from the original, or apiece originally played as country music may beconverted into rock.cowbell A bell resembling the kind that is hungaround a cow’s neck to show its location. They occasionallyserve in the orchestra’s percussion sectionand in popular music; Mahler, Webern, and Adès areamong the serious composers who have scored forthem.Cowell (kou′əl), Henry, 1897–1965. An Americancomposer, pianist, teacher, and writer whobecame known for his innovative compositions butis remembered even more for publishing and writingabout new music. He founded and edited New MusicQuarterly, which published compositions by Ives,Schoenberg, Webern, Ruggles, and CrawfordSeeger, among others. As a pianist and composer, hebegan to explore the inside of the instrument, askingplayers to pluck, brush, or beat the strings directly.He also frequently used the tone cluster, a group ofadjacent notes played by pressing down the keyswith the fist, palm, elbow, or forearm. Though hewas not the first to use this device, he gave it itsname (in the 1920s) and used it frequently in hisearly music. In 1931, together with Leon Theremin,Cowell invented the Rhythmicon, an electricalinstrument that could produce different rhythms atthe same time. About this time he began to call forfree improvisation in his compositions; in hisMosaic Quartet for Strings the performers choosethe order of the sections. From about 1936 on hewrote mostly tonal music, abandoning the dissonantcounterpoint of his earlier works. In all he composednearly a thousand works, including sixteen symphonies.In keeping with his belief that composersshould draw on material from all possible sources,he sometimes combined Western with non-Westerntechniques (from Japan, India, and the like), wroteHymns and Fuguing Tunes, modern versions ofpieces written by William Billings in colonial times,used Irish folk music in his Irish Suite for chamberorchestra and Celtic Set for band, and scored musicfor such non-Western instruments as the Japanesekoto.crab canon Another term for retrograde canon(see under CANON).cracovienne (krA kō vyen′).KRAKOWIAK.crash cymbalSee under CYMBALS.The French term forCrawford Seeger (krô′fərd sē′gər), Ruth,1901–1953. An American composer who wrote arelatively small number of highly individual works,using techniques that anticipated by several decadesthe experiments of postserial composers after WorldWar II. Nearly all of her compositions were producedbetween 1924 and 1932. They include FivePreludes for piano (1924–25), without key signatures;Suite for Small Orchestra (1926), with toneclusters used as pedal tones; Suite for strings andpiano (1929), which features brief, interwovenchromatic motifs of a few notes each (instead ofconventional melody or theme) that are reworked ineach movement; Five Songs (1929), which usepanchromatic harmony (the simultaneous soundingof chromatic notes) and tone clusters; and StringQuartet (1933), with dissonant counterpoint(dissonant individual lines for each instrument)and special patterns of dynamics (loud-soft) andrhythms. After her marriage to musicologist andcomposer Charles Seeger in 1931 she devotedherself mainly to raising a family, teaching music tochildren, and transcribing some 1,000 folk songsfrom field recordings for the Library of CongressAmerican Folk Archive, for many of which she alsowrote piano arrangements. Crawford Seeger waslong unrecognized except for her work with folkmusic, but from about 1970 on she began to win
98 Credoacclaim, and she has come to be recognized as oneof the most original American composers of the firsthalf of the twentieth century.Credo (krā′dō) Latin: “I believe.” The third sectionof the Ordinary of the Roman Catholic Mass(see MASS).when they appear in different voice-parts (the D inthe alto, D-flat in the tenor) of adjacent chords or ofthe same chord. This device has been used since theRenaissance as a means of heightening expressiveness;William Byrd and his English contemporarieswere particularly fond of it. J. S. Bach and othersoccasionally used it to effect key changes.cresc.The abbreviation for CRESCENDO.crescendo (kre shen′dô) Italian. A direction toperform with increasing loudness, often indicated bythe sign
Page 4 and 5:
TheFACTS ON FILEDictionaryof MusicC
Page 6:
CONTENTSAuthor’s NoteAbbreviation
Page 10:
ABBREVIATIONSThe following abbrevia
Page 14:
TheFACTS ON FILEDictionaryof Music
Page 18 and 19:
acoustic 3ers the pitch one half to
Page 20 and 21:
African-American music 5with cowbel
Page 22 and 23:
allemande 7alborada (äl′′ bō
Page 24 and 25:
ancora 9the alto voice is from the
Page 26 and 27:
antiphon 11sometimes the SUBDOMINAN
Page 28 and 29:
ariette 13ACCIACCATURA, which is a
Page 30 and 31:
art rock 15heard (unamplified, ampl
Page 32 and 33:
auxiliary tone 17special gatherings
Page 34 and 35:
BB 1 One of the musical tones (see
Page 36 and 37:
agpipe 21book, Versuch über die wa
Page 38 and 39:
allet 23form (with the same music f
Page 40 and 41:
allet 25SOME FAMOUS BALLETSComposer
Page 42 and 43:
anjo 27among the civilian populatio
Page 44 and 45:
aroque 29baritone horn 1 In America
Page 46 and 47:
Bartók, Béla 31IMPORTANT BAROQUE
Page 48 and 49:
asse danse 33voice with a strong up
Page 50 and 51:
attuta 35now used in virtually ever
Page 52 and 53:
ell 37composers of Western music. B
Page 54 and 55:
Berlin, Irving 39twelve tones of th
Page 56 and 57:
Birtwhistle, Harrison 41B-flat A mu
Page 58 and 59:
lues 43certo, his Concerto Grosso n
Page 60 and 61:
ore 45of whom are Giuseppe Torelli
Page 62 and 63: owing 47effects, and heavy percussi
Page 64 and 65: evis 49brass instruments make up th
Page 66 and 67: Bull, John 51Bruch (broo KH), Max (
Page 68: Byzantine chant 53Buxtehude (books
Page 71 and 72: 56 Cabezón, Antonio detheatrical r
Page 73 and 74: 58 caesuraFor older music the missi
Page 75 and 76: 60 campanacampana (käm pä′nä).
Page 77 and 78: 62 canticleother baroque forms, rea
Page 79 and 80: 64 caposix voices, with or without
Page 81 and 82: 66 castanetscastanets (kas′′tə
Page 83 and 84: 68 celloWORKS FOR CELLO FROM 1800 O
Page 85 and 86: 70 chamber operaMendelssohn, and Br
Page 87 and 88: 72 chiaramenteA direc-chiaramente (
Page 89 and 90: 74 chorale motetchorale motet A pol
Page 91 and 92: 76 chordophonechordophone (kôr′d
Page 93 and 94: 78 cinellicinelli (chē nel′lē).
Page 95 and 96: 80 clarinettefig. 67 p/u from p. 84
Page 97 and 98: 82 claviervibrate. The strings’ v
Page 99 and 100: 84 collagerow neck, either two or t
Page 101 and 102: 86 concertanteconcertante (kôn′
Page 103 and 104: 88 concertoIMPORTANT PIANO CONCERTO
Page 105 and 106: 90 concert overtureA concerto gross
Page 107 and 108: 92 contrabasscontrabass (kon′trə
Page 109 and 110: 94 cornetta(the accompanying illust
Page 111: 96 country rockactivities such as q
Page 115 and 116: 100 Cui, Césarflat (see ENHARMONIC
Page 118 and 119: DD 1 One of the musical tones (see
Page 120 and 121: Delius, Frederick 105Debussy (dŒ b
Page 122 and 123: differential tone 107D-flat One of
Page 124 and 125: dissonance 109dim.Also, dimin. An a
Page 126 and 127: doo wop 111dodecupledoh (dō).See D
Page 128 and 129: double bass 113fig. 82 p/u from p.
Page 130 and 131: Druckman, Jacob 115the most importa
Page 132 and 133: dulcimer 117early electronic compos
Page 134: Dynamophone 119duramente (doo —
Page 137 and 138: 122 editingSchubert wrote écossais
Page 139 and 140: 124 electronic instrumentsas to obt
Page 141 and 142: 126 electronic musiccreate sounds w
Page 143 and 144: 128 empresséempressé (äN pre sā
Page 145 and 146: 130 entr’acteability, or of balan
Page 147 and 148: 132 étudesome other instruments th
Page 150 and 151: FF 1 One of the musical tones (see
Page 152 and 153: fantasia 137written out and the cho
Page 154 and 155: fifth 139feroce (fe rô′che) Ital
Page 156 and 157: finger hole 141McBoing-Boing; and M
Page 158 and 159: Flemish school 143flageolet (flaj
Page 160 and 161: flute 145sizes, the most common of
Page 162 and 163:
form 147songs by such composers as
Page 164 and 165:
free reed 149considered American fo
Page 166 and 167:
frottola 151F was the favorite inst
Page 168 and 169:
funk 153The fugue is thought to be
Page 170 and 171:
GG 1 One of the musical tones (see
Page 172 and 173:
gehalten 157a fiddle called the RAB
Page 174 and 175:
gioco, con 159Youmans, and Kurt Wei
Page 176 and 177:
Glinka, Mikhail 161complete Borodin
Page 178 and 179:
gong 163Gloria (glô′rē ä). 1 A
Page 180 and 181:
great organ 165The chants for this
Page 182 and 183:
Gubaidulina, Sofia 167medieval trad
Page 184 and 185:
guitare 169guitar A stringed instru
Page 186 and 187:
HHThe German term for the note B na
Page 188 and 189:
harmonica 173symphonies, the opera
Page 190 and 191:
harmonium 175beats of music are con
Page 192 and 193:
harpsichord 177notes outside that s
Page 194 and 195:
Haydn, Franz Joseph 179Some of his
Page 196 and 197:
hexachord 181baroque instrumental s
Page 198 and 199:
homophony 183the ballets Nobilissim
Page 200 and 201:
hurdy-gurdy (hûr′dē gûr′dē)
Page 202:
Hz. 187Hypoaeolian (hī′′ pō
Page 205 and 206:
190 impressionismimpressionism The
Page 207 and 208:
192 inniglong orchestral works, not
Page 209 and 210:
194 interpretationLUDE, def. 2. 3 A
Page 211 and 212:
196 intonationIn other systems of t
Page 213 and 214:
198 Italian overtureas - = notes)
Page 215 and 216:
200 Jaques-Dalcroze, ÉmileJaques-D
Page 217 and 218:
202 jazz bandfingering instruments,
Page 220 and 221:
KK. 1 Also, K.V. An abbreviation fo
Page 222 and 223:
key bugle 207than between two less
Page 224 and 225:
Kodály, Zoltán 209The kithara con
Page 226 and 227:
Ll. Also, L. An abbreviation for ei
Page 228 and 229:
ledger lines 213rina, one of the tw
Page 230 and 231:
lied 215bered chiefly for a single
Page 232 and 233:
Liszt, Franz 217pitch, especially r
Page 234 and 235:
lullaby 219may have been programmed
Page 236 and 237:
lute 221originally have been made f
Page 238:
lyric soprano 223Lyres were played
Page 241 and 242:
226 madrigalstanzas of three lines
Page 243 and 244:
228 mainmain (maN) pl. mains (maN)
Page 245 and 246:
230 marching bandnearly always in d
Page 247 and 248:
232 Massfamous masque, John Milton
Page 249 and 250:
234 mechanical instruments3 In fift
Page 251 and 252:
236 medleyNOTABLE MEDIEVAL MUSICIAN
Page 253 and 254:
238 melody typeis the basis of rhyt
Page 255 and 256:
240 mestoof tone is apparent in his
Page 257 and 258:
242 MIDIbelow the treble staff and
Page 259 and 260:
244 minor intervaland both left the
Page 261 and 262:
246 modern musicmodern musicFROM 19
Page 263 and 264:
248 Moravian musiccomposing and tea
Page 265 and 266:
250 motiftrend was more toward chor
Page 267 and 268:
252 mplearned the art of quartet wr
Page 269 and 270:
254 musicologyled the audience in c
Page 271 and 272:
256 mystical minimalismshaped piece
Page 273 and 274:
258 naturalcould combine both folkl
Page 275 and 276:
260 new age musicthe eleventh centu
Page 277 and 278:
262 notes and restsuntil the mid-tw
Page 280 and 281:
Oo 1 In scores, a sign placed over
Page 282 and 283:
ode 267known composers to write pur
Page 284 and 285:
opera 269op.Also, Op. An abbreviati
Page 286 and 287:
opera 271SOME IMPORTANT OPERASTitle
Page 288 and 289:
Page 290 and 291:
Page 292 and 293:
Page 294 and 295:
opéra-comique 279tury, with the ou
Page 296 and 297:
opus 281SOME FAMOUS OPERETTASTitle
Page 298 and 299:
orchestra 283SOME NOTABLE ORATORIOS
Page 300 and 301:
orchestra 285II. Brasses (13 to 18)
Page 302 and 303:
organ 287Shortly after World War I
Page 304 and 305:
organ 289this family of pipes, amon
Page 306 and 307:
organ Mass 291those of the baroque,
Page 308 and 309:
ôtez 293ornaments, especially in k
Page 310:
ovvero 295Scarlatti. This form, whi
Page 313 and 314:
298 palletgreatest composers of chu
Page 315 and 316:
300 parody MassMozart’s Ein Musik
Page 317 and 318:
302 passecaillewell as to fill in t
Page 319 and 320:
304 pastoralkind of pasticcio is as
Page 321 and 322:
306 pedal organpedal organ The divi
Page 323 and 324:
308 performance practicewhich usual
Page 325 and 326:
310 Phrygianpitch, just as a play o
Page 327 and 328:
312 pianoMUSIC FOR TWO PIANOSCompos
Page 329 and 330:
314 piano duetpiano duet A piece fo
Page 331 and 332:
316 pitch bendhave been internation
Page 333 and 334:
318 polaccaA Polish dance, usu-pola
Page 335 and 336:
320 portamentoon include BLUES, COU
Page 337 and 338:
322 pousséremarkable gift for writ
Page 339 and 340:
324 principal(first oboe, first flu
Page 341 and 342:
326 proportionproportion In MENSURA
Page 343 and 344:
328 pulsethat is outstanding. Arias
Page 345 and 346:
330 quality, tonequality, toneSee T
Page 347 and 348:
332 quotation, musicalmelody in one
Page 349 and 350:
334 racket bassoonseventeenth centu
Page 351 and 352:
336 rappresentativo, stileimprovise
Page 353 and 354:
338 recitalrecital A public perform
Page 355 and 356:
340 reelreel A lively dance for two
Page 357 and 358:
342 related keycreated with a score
Page 359 and 360:
344 RenaissanceIMPORTANT RENAISSANC
Page 361 and 362:
346 repeatsecular vocal music was t
Page 363 and 364:
348 restrest A silence or pause in
Page 365 and 366:
350 ribibleribibleAnother name for
Page 367 and 368:
352 rocklove ballads but deal also
Page 369 and 370:
354 romanticismNarváez, Antonio de
Page 371 and 372:
356 rounding the next fifteen years
Page 374 and 375:
SS. 1 In choral music, an abbreviat
Page 376 and 377:
Satie, Erik 361sansa (sän′sä).
Page 378 and 379:
saxophone 363ferent sizes of saxhor
Page 380 and 381:
scherzo 365later works he developed
Page 382 and 383:
Schubert, Franz 367KLANGFARBENMELOD
Page 384 and 385:
scoop 369Love and Life”) and Dich
Page 386 and 387:
secondary dominant 371out separatel
Page 388 and 389:
serenade 373best-known examples are
Page 390 and 391:
service 375published in 1923), Erns
Page 392 and 393:
shake 377teenth century), and James
Page 394 and 395:
shofar 379board), seven string quar
Page 396 and 397:
singing school 381sicilianosicilien
Page 398 and 399:
sixty-fourth note British, hemidemi
Page 400 and 401:
solmization 385himself, he took a c
Page 402 and 403:
sonata 387players, the second playe
Page 404 and 405:
song 389suite (see BINARY FORM). Th
Page 406 and 407:
sonic environment 391NOTABLE SONG C
Page 408 and 409:
chords (voice); (4) a solid body is
Page 410 and 411:
spatial music 395neglected instrume
Page 412 and 413:
sruti 397spirito, conSee SPIRITOSO.
Page 414 and 415:
stem 399not the pitches but the ins
Page 416 and 417:
stopping 401Stockhausen (shtok′ho
Page 418 and 419:
stretta 403“Four Last Songs,” w
Page 420 and 421:
string quartet 405string orchestra
Page 422 and 423:
subject Also, theme. A melody, usua
Page 424 and 425:
superius 409Couperin and Rameau. Th
Page 426 and 427:
symphonic poem 411tures of both. A
Page 428 and 429:
symphony 413invented the name (sinf
Page 430 and 431:
symphony 415NOTABLE SYMPHONIES (176
Page 432 and 433:
synthesizer 417first beat for the l
Page 434 and 435:
TT 1 In choral music, an abbreviati
Page 436 and 437:
tanbur 421talon, au (ō tA lôN′)
Page 438 and 439:
Te Deum 423fingerboard (of violins,
Page 440 and 441:
tenor clef 425most of the “errors
Page 442 and 443:
theme and variations 427G A B C. Th
Page 444 and 445:
Thomson, Virgil 429frets were too f
Page 446 and 447:
timpani 431time signature A sign co
Page 448 and 449:
tonality 433sections, used a few at
Page 450 and 451:
transpose 435tonic accentSee under
Page 452 and 453:
triangle 437son, for example, the f
Page 454 and 455:
tritone 439and the bottom part is a
Page 456 and 457:
troubadour 441In addition, at vario
Page 458 and 459:
tuba 443all have piston valves but
Page 460 and 461:
twentieth-century music—from 1900
Page 462 and 463:
tyrolienne 447OTHER COMPOSERS FROM
Page 464 and 465:
Page 466 and 467:
Page 468 and 469:
UÜbung (Y′boo nk) German. 1 An
Page 470 and 471:
VV. 1 An abbreviation for VIOLIN. 2
Page 472 and 473:
Verdi, Giuseppe 457his interest in
Page 474 and 475:
Victoria, Tomás Luis de 459which a
Page 476 and 477:
vina 461vihuela de arco (vē wā′
Page 478 and 479:
viola d’amore 463great virtuoso,
Page 480 and 481:
violin 465the tailpiece (the ordina
Page 482 and 483:
Vitry, Philippe de 467important sch
Page 484 and 485:
volume 469voice 1 Another term for
Page 486 and 487:
WWagner (väg′nər), Richard (riK
Page 488 and 489:
Weber, Carl Maria von 473appeal lie
Page 490 and 491:
wind instruments 475eighth, etc.—
Page 492 and 493:
Wuorinen, Charles 477bassoon are pl
Page 494 and 495:
XYZXenakis (ze nak′əs), Iannis (
Page 496 and 497:
Zwilich, Ellen Taaffe 481twenty-one
Page 498 and 499:
INDEX OF COMPOSERSThis index direct
Page 500 and 501:
Index of Composers 485Elgar, Edward
Page 502 and 503:
Index of Composers 487Moore, Dougla
Page 504:
Index of Composers 489Weill, Kurt 4
Page 507 and 508:
492 The Facts On File Dictionary of
Page 509 and 510:
494 The Facts On File Dictionary of
show all

Dictionary of Music - Birding America

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?