Dictionary of Music - Birding America

12 antiphonalRegina coelorum (“Hail Queen of Heaven”), andRegina coeli laetare (“Rejoice, Queen of Heaven”).These hymns have often been given polyphonicsettings (with several voice-parts, in contrast toplainsong, with a single voice-part), for voices orfor organ, and the melodies also have served as thebasis for many polyphonic Mass settings.antiphonal (an tif′ə n ə l). 1 Sung by two singersor groups in alternation. See under ANTIPHON. 2 Thebook containing all the choral music sung in RomanCatholic services other than the Mass, the music forthe Mass being contained in a book called the GRAD-UAL. Also, antiphonale, antiphoner, antiphonary.anvil A percussion instrument consisting of one ortwo metal bars mounted on a resonating frame thatare struck with a hammer. Sometimes an actualblacksmith’s anvil, for which it is named, is used.Verdi’s famous Anvil Chorus, in his opera Il Trovatore,calls for two anvils. Wagner called for one anvilin the forging song in Siegfried and for eighteenanvils in Das Rheingold. More recent uses are inBritten’s The Burning Fiery Furnace and Walton’sBelshazzar’s Feast.Appalachian dulcimerSee under DULCIMER.appassionato (äp päs′′syô nä′tô) Italian.direction to perform with intense feeling.appoggiatura (äp pô′′ djä too — ′ rä) Italian:“leaning note.” A note dissonant (discordant) withthe prevailing harmony that is one step above (orbelow) the main note and resolves by moving down(or up) on the subsequent weak beat. For example,suppose that the basic harmony is a C-major chord,such as C–E–G. One possible appoggiatura wouldbe a D (dissonant with C and E) resolving to C:Ascale step away. In the example above, the first conditionwould be met if the note just before D was B;the second condition is already met, C being onescale step down from D. (See CAMBIATA for a similarexample of dissonance.)Originally the appoggiatura was an ornamentthat became so common in baroque music(1600–1750) that it often was not written out butsimply taken for granted in certain circumstances,especially in recitatives and arias. Later it took onsomewhat different forms, each performed somewhatdifferently. Since about 1750, there have beentwo main kinds of appoggiatura, the long appoggiaturaand the short appoggiatura. The longappoggiatura is played on the beat and takes awaysome of the time value of the main note (the note itprecedes); depending on the nature of the main note,it takes on half, two-thirds, or (when the main note isone of a tied pair) all of its value. The short appoggiatura(sometimes called a grace note) is soundedvery quickly before the main note; it is performedeither on or just before the beat and gives a sharpaccent to the main note. From the early eighteenth tothe early nineteenth century composers sometimesdistinguished between the two kinds of appoggiaturaby writing the long one as a small note with the precisetime value it should have (quarter note, eighthnote, sixteenth note), and by writing the shortappoggiatura as a note with a single or double strokethrough the stem. However, this was by no means auniversal practice. The examples immediately belowshow (A) a short appoggiatura from a piano sonataby Haydn and (B) a long appoggiatura from a pianosonata by Mozart. (See also ORNAMENTS.) In thenineteenth century, the long appoggiatura began tobe written out in ordinary notation, as it generally isfig. 9 p/u from p. 12fig. 8 p/u from p. 12Some authorities hold that a true appoggiatura mustbe preceded by a note more than one scale step away(usually two) and must resolve into a note only onetoday, and the short appoggiatura was indicated as asmall note with a stroke across the stem. The shortappoggiatura is sometimes mistakenly called an