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Dictionary of Music - Birding America

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Flemish school 143flageolet (flaj′′ə let′, flaj′′ə lā′). A small FIPPLEFLUTE with a narrow bore and six finger holes, fourin front for the fingers and two in back for thethumbs. In range and tone it is similar to the PIC-COLO. The flageolet, dating from the late sixteenthcentury, became quite popular in France andEngland during the next hundred years. Versionscontinued to be made through the nineteenthcentury, among them a French type with keys.flageolet tone See HARMONIC, def. 3.flam (flam). A drumbeat in which the accentedstroke is preceded by one quick, unaccented stroke.It is usually performed on the snare drum.flamenco (flä men′kô) Spanish. A type <strong>of</strong> musicfrom Andalusia, in southern Spain, that is thought todate from the nineteenth century. Although it may beused to accompany dancing, flamenco usually consists<strong>of</strong> singing with guitar accompaniment, assistedby castanets to punctuate the rhythm. The mood <strong>of</strong>flamenco music ranges from sad and plaintive t<strong>of</strong>iery and brilliantly accented. The flamenco style <strong>of</strong>guitar playing is more dramatic than the classicalstyle, and it employs different fingerings. Frequentlya slightly different kind <strong>of</strong> guitar is used, one that issomewhat narrower, has fourteen to nineteen frets(in contrast to the twelve <strong>of</strong> the classical guitar), andhas a sharper, more brilliant tone (owing to the use<strong>of</strong> cypress wood for the back and sides). The flamencoguitar <strong>of</strong>ten has one or two plastic or woodenplates next to the sound hole, which the guitaristtaps with the fingernails for a percussive effect.flat 1 An accidental that lowers the pitch <strong>of</strong> a noteby one half tone, indicated by the sign ♭. 2 A termused to describe a tone, either sung or played, that isslightly below the correct pitch, as well as for instrumentstuned slightly below normal pitch.flautandoSee FLAUTATO.fig. 102 p/u from p. 146flautato (flou tä′tô) Italian: “flutelike.” Also,flautando (flou tän′dô). A light tone, produced bybowing gently but rapidly over the fingerboard (seealso TASTIERA, SULLA).flautistBritish term for flutist (flute player).flauto (flou′tô) Italian: “flute.” 1 After about1750, the side-blown orchestral FLUTE. 2 Also,flauto dolce. Before about 1750, the RECORDER, theside-blown flute being called flauto traverso.flauto piccolo (flou′tô pē′kô lô).term for PICCOLO.The Italianflauto traverso (flou′tô trä ver′sô) Italian:“transverse flute.” An Italian term for the side-blownorchestral flute, used to distinguish it from theRECORDER.flebile (fle′bē le) Italian. A direction to performin a plaintive, mournful manner.Flemish school A large group <strong>of</strong> composers whoworked from about 1450 to 1600 and are consideredthe successors <strong>of</strong> the BURGUNDIAN SCHOOL.Although called “Flemish,” these men came from aregion much larger than present-day Flanders, consistingat that time <strong>of</strong> all <strong>of</strong> present-day Belgium,central and southern Holland, and the adjoiningportions <strong>of</strong> northern France. (It therefore is alsocalled the Franco-Flemish school or Netherlandsschool.) The Flemish school, together with the Burgundianschool, includes nearly all <strong>of</strong> the importantcomposers <strong>of</strong> the Renaissance, since many <strong>of</strong> theFlemish composers traveled and worked throughoutEurope. (See the chart <strong>of</strong> composers accompanyingRENAISSANCE.) The first great master <strong>of</strong> the Flemishschool was Johannes Ockeghem (c. 1420–1495),known for his church music, especially Masses andmotets. Among his contemporaries were AntoineBusnois (died 1492), known for his chansonsand other secular (nonreligious) compositions, andthe theorist Johannes Tinctoris (1436–1511), whosetreatises include the first printed dictionary <strong>of</strong>music, Terminorum musicae diffinitorium (“Definition<strong>of</strong> <strong>Music</strong>al Terms”), written in the 1470sand printed about 1494. The next generationbrought Jacob Obrecht (c. 1450–1505), Heinrich

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