Dictionary of Music - Birding America

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Renaissance 345IMPORTANT RENAISSANCE COMPOSERSComposer Origin/Active in Noted forCipriano de Rore (1516–1565) Flemish/Flanders, Venice, Ferrara, Parma Madrigals; also motets, Masses, other sacred music; pupil ofWillaert.Salamone Rossi (c. 1570–c. 1628) Mantua Jewish liturgical music, Italian madrigals; helped invent triosonata.Arnolt Schlick (c. 1460–after 1517) Germany/Netherlands, Strasbourg Organ music; also a treatise on organs and organ building.Ludwig Senfl (c. 1486–1543) Switzerland/Germany, Italy, Vienna Pupil of Isaac; Latin Masses and motets, German motets;over 250 German secular songs (lieder, mostly four-part).Claudin de Sermisy (c. 1490–1562) France/Paris 175 chansons, mostly four-part; 110 sacred works, includingMasses, motets, St. Matthew Passion.Thomas Tallis* (c. 1505–1585) England Motets, anthems, other sacred music.John Taverner (c. 1490–1545) England Masses, Magnificats, motets, other sacred music.Christopher Tye (c. 1500–1572) England Masses, motets, anthems; In nomines for string consort.Philippe Verdelot (died c. 1550) France/Italy Madrigals, motets.Tomás Luis de Victoria* (c. 1548–1611) Spain/Rome Masses, motets, other sacred music.Thomas Weelkes (c. 1575–1623) England Madrigals; also sacred music.Giaches de Wert (1535–1596) Flemish/Italy (Mantua, Novellara, Ferrara) 12 books of madrigals, other songs, sacred works.John Wilbye (1574–1638) England Madrigals.Adrian Willaert* (c. 1490–1562) Flemish/Netherlands, Venice, France Masses, motets, chansons, instrumental ricercars; pupil ofMouton.* See separate article on this composer for additional information.
346 repeatsecular vocal music was the MADRIGAL (def. 2). Latein the sixteenth century solo songs with instrumentalaccompaniment, especially by lute, became popular,foreshadowing the development of monody (accompaniedmelody) that became so important about1600 (see MONODY, def. 1). Another sixteenth-centurydevelopment was the Lutheran CHORALE, whichplayed an important role throughout the baroque.Finally, the Renaissance marks the beginning ofmodern music theory with the writings of JohannesTinctoris, Gioseffo Zarlino, Francino Gaforio, andothers, as well as the first printing of polyphonicmusic set in movable type (by Ottaviano Petrucciin Venice, beginning with Harmonice MusicesOdhecaton in 1501). The accompanying chart listsimportant composers of the Renaissance.repeat 1 A section of a composition that is to beperformed again, exactly the same as the first time(though occasionally with a different ending). Suchrepetitions are indicated by various signs:a at the end of a composition or section indicatesthat the entire composition or section shouldbe performed again, from the beginning to the sign.b within a composition, later followed by ,indicates that a section is to be performed again,fig. 198 p/u from p. 361beginning at the first sign and ending at thesecond.c The term da capo (“from the beginning”), orthe abbreviation D.C., shows that the first portion ofa composition is to be performed again after a middlesection has been performed; for example, in aminuet and trio, the minuet is repeated after the triohas been performed.d The term dal segno (“from the sign”), referringto the sign indicates that a section is to berepeated, beginning at the sign.2 Certain abbreviations indicating the repetitionof notes, groups of notes, or measures are used forconvenience in musical notation. These are illustratedin the left column.reprise (rŒ prēz′) French. 1 The repetition of asection of a composition after a later section hasbeen performed (see REPEAT, def. 1c). 2 Anothername for the recapitulation in SONATA FORM. 3 InSONATA FORM, the repetition of the exposition beforethe development.Requiem (rek′wē əm) Mass In the RomanCatholic rites, the Mass for the Dead, named for theopening words of the Latin text, Requiem aeternam(“Give them eternal rest”). Part of it belongs to theProper of the Mass, that is, for a special occasion, andpart of it belongs to the Ordinary, the unchanging partof the Mass (see MASS). The Requiem Mass consistsof the following sections: (1) the Introit (Requiemaeternam, “Give them eternal rest”); (2) the Kyrie(Kyrie eleison, “Lord, have mercy upon us”); (3) thesequence Dies irae (“Day of wrath”); (4) the Offertory(Domine Jesu Christe, “Lord Jesus Christ”); (5)the Sanctus (Sanctus, sanctus, sanctus, “Holy, holy,holy”), with a subsection, the Benedictus (Benedictusqui venit, “Blessed is he who comes”); (6) the AgnusDei (“O Lamb of God”); and the Communion (Luxaeterna, “Eternal light”). Occasionally a closingresponsory is added (Libera me, “Deliver me”). Thetwo joyful sections of the normal Mass, the Gloriaand the Credo, both are omitted.Composers began to write polyphonic settings(with several voice-parts, as opposed to the plainsongGregorian chant) of the Requiem Mass in the
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TheFACTS ON FILEDictionaryof MusicC
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CONTENTSAuthor’s NoteAbbreviation
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ABBREVIATIONSThe following abbrevia
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TheFACTS ON FILEDictionaryof Music
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acoustic 3ers the pitch one half to
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African-American music 5with cowbel
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allemande 7alborada (äl′′ bō
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ancora 9the alto voice is from the
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antiphon 11sometimes the SUBDOMINAN
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ariette 13ACCIACCATURA, which is a
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art rock 15heard (unamplified, ampl
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auxiliary tone 17special gatherings
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BB 1 One of the musical tones (see
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agpipe 21book, Versuch über die wa
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allet 23form (with the same music f
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allet 25SOME FAMOUS BALLETSComposer
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anjo 27among the civilian populatio
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aroque 29baritone horn 1 In America
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Bartók, Béla 31IMPORTANT BAROQUE
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asse danse 33voice with a strong up
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attuta 35now used in virtually ever
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ell 37composers of Western music. B
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Berlin, Irving 39twelve tones of th
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Birtwhistle, Harrison 41B-flat A mu
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lues 43certo, his Concerto Grosso n
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ore 45of whom are Giuseppe Torelli
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owing 47effects, and heavy percussi
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evis 49brass instruments make up th
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Bull, John 51Bruch (broo KH), Max (
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Byzantine chant 53Buxtehude (books
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56 Cabezón, Antonio detheatrical r
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58 caesuraFor older music the missi
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60 campanacampana (käm pä′nä).
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62 canticleother baroque forms, rea
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64 caposix voices, with or without
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66 castanetscastanets (kas′′tə
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68 celloWORKS FOR CELLO FROM 1800 O
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70 chamber operaMendelssohn, and Br
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72 chiaramenteA direc-chiaramente (
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74 chorale motetchorale motet A pol
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76 chordophonechordophone (kôr′d
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78 cinellicinelli (chē nel′lē).
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80 clarinettefig. 67 p/u from p. 84
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82 claviervibrate. The strings’ v
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84 collagerow neck, either two or t
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86 concertanteconcertante (kôn′
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88 concertoIMPORTANT PIANO CONCERTO
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90 concert overtureA concerto gross
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92 contrabasscontrabass (kon′trə
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94 cornetta(the accompanying illust
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96 country rockactivities such as q
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98 Credoacclaim, and she has come t
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100 Cui, Césarflat (see ENHARMONIC
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DD 1 One of the musical tones (see
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Delius, Frederick 105Debussy (dŒ b
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differential tone 107D-flat One of
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dissonance 109dim.Also, dimin. An a
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doo wop 111dodecupledoh (dō).See D
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double bass 113fig. 82 p/u from p.
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Druckman, Jacob 115the most importa
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dulcimer 117early electronic compos
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Dynamophone 119duramente (doo —
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122 editingSchubert wrote écossais
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124 electronic instrumentsas to obt
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126 electronic musiccreate sounds w
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128 empresséempressé (äN pre sā
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130 entr’acteability, or of balan
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132 étudesome other instruments th
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FF 1 One of the musical tones (see
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fantasia 137written out and the cho
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fifth 139feroce (fe rô′che) Ital
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finger hole 141McBoing-Boing; and M
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Flemish school 143flageolet (flaj
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flute 145sizes, the most common of
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form 147songs by such composers as
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free reed 149considered American fo
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frottola 151F was the favorite inst
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funk 153The fugue is thought to be
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GG 1 One of the musical tones (see
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gehalten 157a fiddle called the RAB
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gioco, con 159Youmans, and Kurt Wei
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Glinka, Mikhail 161complete Borodin
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gong 163Gloria (glô′rē ä). 1 A
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great organ 165The chants for this
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Gubaidulina, Sofia 167medieval trad
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guitare 169guitar A stringed instru
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HHThe German term for the note B na
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harmonica 173symphonies, the opera
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harmonium 175beats of music are con
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harpsichord 177notes outside that s
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Haydn, Franz Joseph 179Some of his
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hexachord 181baroque instrumental s
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homophony 183the ballets Nobilissim
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hurdy-gurdy (hûr′dē gûr′dē)
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Hz. 187Hypoaeolian (hī′′ pō
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190 impressionismimpressionism The
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192 inniglong orchestral works, not
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194 interpretationLUDE, def. 2. 3 A
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196 intonationIn other systems of t
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198 Italian overtureas - = notes)
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200 Jaques-Dalcroze, ÉmileJaques-D
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202 jazz bandfingering instruments,
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KK. 1 Also, K.V. An abbreviation fo
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key bugle 207than between two less
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Kodály, Zoltán 209The kithara con
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Ll. Also, L. An abbreviation for ei
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ledger lines 213rina, one of the tw
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lied 215bered chiefly for a single
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Liszt, Franz 217pitch, especially r
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lullaby 219may have been programmed
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lute 221originally have been made f
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lyric soprano 223Lyres were played
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226 madrigalstanzas of three lines
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228 mainmain (maN) pl. mains (maN)
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230 marching bandnearly always in d
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232 Massfamous masque, John Milton
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234 mechanical instruments3 In fift
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236 medleyNOTABLE MEDIEVAL MUSICIAN
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238 melody typeis the basis of rhyt
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240 mestoof tone is apparent in his
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242 MIDIbelow the treble staff and
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244 minor intervaland both left the
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246 modern musicmodern musicFROM 19
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248 Moravian musiccomposing and tea
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250 motiftrend was more toward chor
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252 mplearned the art of quartet wr
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254 musicologyled the audience in c
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256 mystical minimalismshaped piece
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258 naturalcould combine both folkl
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260 new age musicthe eleventh centu
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262 notes and restsuntil the mid-tw
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Oo 1 In scores, a sign placed over
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ode 267known composers to write pur
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opera 269op.Also, Op. An abbreviati
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opera 271SOME IMPORTANT OPERASTitle
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opéra-comique 279tury, with the ou
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opus 281SOME FAMOUS OPERETTASTitle
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orchestra 283SOME NOTABLE ORATORIOS
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orchestra 285II. Brasses (13 to 18)
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organ 287Shortly after World War I
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organ 289this family of pipes, amon
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organ Mass 291those of the baroque,
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ôtez 293ornaments, especially in k
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Page 333 and 334: 318 polaccaA Polish dance, usu-pola
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Page 349 and 350: 334 racket bassoonseventeenth centu
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Page 353 and 354: 338 recitalrecital A public perform
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Page 363 and 364: 348 restrest A silence or pause in
Page 365 and 366: 350 ribibleribibleAnother name for
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Page 369 and 370: 354 romanticismNarváez, Antonio de
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spatial music 395neglected instrume
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sruti 397spirito, conSee SPIRITOSO.
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stem 399not the pitches but the ins
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stopping 401Stockhausen (shtok′ho
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stretta 403“Four Last Songs,” w
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string quartet 405string orchestra
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subject Also, theme. A melody, usua
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superius 409Couperin and Rameau. Th
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symphonic poem 411tures of both. A
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symphony 413invented the name (sinf
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symphony 415NOTABLE SYMPHONIES (176
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synthesizer 417first beat for the l
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TT 1 In choral music, an abbreviati
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tanbur 421talon, au (ō tA lôN′)
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Te Deum 423fingerboard (of violins,
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tenor clef 425most of the “errors
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theme and variations 427G A B C. Th
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Thomson, Virgil 429frets were too f
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timpani 431time signature A sign co
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tonality 433sections, used a few at
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transpose 435tonic accentSee under
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triangle 437son, for example, the f
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tritone 439and the bottom part is a
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troubadour 441In addition, at vario
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tuba 443all have piston valves but
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twentieth-century music—from 1900
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tyrolienne 447OTHER COMPOSERS FROM
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UÜbung (Y′boo nk) German. 1 An
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VV. 1 An abbreviation for VIOLIN. 2
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Verdi, Giuseppe 457his interest in
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Victoria, Tomás Luis de 459which a
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vina 461vihuela de arco (vē wā′
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viola d’amore 463great virtuoso,
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violin 465the tailpiece (the ordina
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Vitry, Philippe de 467important sch
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volume 469voice 1 Another term for
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WWagner (väg′nər), Richard (riK
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Weber, Carl Maria von 473appeal lie
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wind instruments 475eighth, etc.—
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Wuorinen, Charles 477bassoon are pl
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XYZXenakis (ze nak′əs), Iannis (
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Zwilich, Ellen Taaffe 481twenty-one
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INDEX OF COMPOSERSThis index direct
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Index of Composers 485Elgar, Edward
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Index of Composers 487Moore, Dougla
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Index of Composers 489Weill, Kurt 4
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492 The Facts On File Dictionary of
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494 The Facts On File Dictionary of
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Dictionary of Music - Birding America

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