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symphony 413invented the name (sinfonische Dichtung in German).His first symphonic poem was Ce qu’onentend sur la montagne (“What One Hears on aMountaintop”; 1848), after a poem by Victor Hugo,and he went on to write eleven more symphonicpoems. Notable symphonic poems were producedby Tchaikovsky, Saint-Saëns, Scriabin, Franck, and,later, by Richard Strauss, whom many consider thesupreme master of the form (Strauss called hisworks tone poem, in German, Tondichtung). Thesymphonic poem also appealed to nationalist composers,who found in it an outlet for national legendsand traditions; among those who used the form inthis way are Smetana, Dvořák, Sibelius, Borodin,Mussorgsky, and in the twentieth century, Respighiand Gershwin. The chart on page 412 lists some ofthe symphonic poems still frequently performed.symphony A long composition for orchestra,usually divided into four major sections calledmovements (see MOVEMENT). The general order ofmovements resembles that of the classical sonata(see SONATA, def. 1), and indeed, many authoritiesdefine a symphony as “a sonata for orchestra.” Likethe sonata, the symphony developed during the mideighteenthcentury. Although the name “symphony,”especially in its Italian form (sinfonia), had beenused much earlier, the works to which it was appliedwere quite different. It was used for music for instrumentsand voices (by Schütz), for instrumental interludesin an opera, and for various kinds of introductorymusic for cantatas, suites, songs, and operas(see SINFONIA). The classical symphony grew out ofseveral older forms, chief among them the Italianoverture, an instrumental work in three movements,fast-slow-fast (see under OVERTURE). Various eighteenth-centurycomposers, among them those of theMannheim school (see MANNHEIM SCHOOL),inserted a minuet before the final movement, creatingthe four-movement form that became customaryin the 1760s. In style the movements drew on featuresof the overture, concerto grosso, baroque suite,and operatic aria.Although many composers contributed to thisearly development (among them Stamitz and FranzXaver Richter of Mannheim, George Monn andGeorg Wagenseil of Vienna, Giovanni Bastista Sammartiniof Italy, and Johann Christian Bach of London),the first classical symphonies were written byHaydn. In all, Haydn wrote 104 symphonies, over aperiod of thirty-six years (1759–1795). His contemporary,Mozart, wrote 41 symphonies. In the case ofboth composers, it is their last dozen or so symphoniesthat established the form of the classicalsymphony. This type of symphony begins with anallegro (fast) movement in SONATA FORM, sometimespreceded by a slow introduction. It is followed by aslow, song-like movement, then a minuet with trio,and finally a fast, often brilliant closing movement. Itis scored for a relatively small orchestra, consistingof strings, one or two flutes, two oboes, two bassoons,and two horns; later, trumpets, timpani, andclarinets were added. Beethoven expanded both theform and the instrumentation of the symphony. In thefirst movement he lengthened both introduction andcoda (ending) and greatly expanded the developmentsection (see under SONATA FORM). He used a scherzoin place of the minuet, sometimes as the secondmovement instead of the third. To the orchestra headded piccolo, trombones, double bassoon, andnumerous percussion instruments. He also enlargedthe string section and doubled the number of horns.In his last symphony (no. 9) he included a choral sectionin the last movement.The expansion of the symphony, both in lengthand in orchestration, continued throughout the nineteenthcentury. The movements became longer andmore complex, occasionally one or two additionalmovements were included, and the orchestra becamehuge, with sometimes as many as 200 performers.Although many of the nineteenth-century composersconcentrated more on shorter works and on programmusic (see PROGRAM SYMPHONY), the central traditionof the symphony was continued by such composersas Schubert, Mendelssohn, Schumann,Bruckner, Brahms, Tchaikovsky, and Mahler, aswell as some of the nationalist composers, especiallyBorodin, Dvořák, and Sibelius.The first half of the twentieth century saw a reactionagainst the huge forces of the romantic composers(see NEOCLASSICISM), and composers againturned to symphonies for chamber (small) orchestra,among them Milhaud, Schoenberg, Webern, andHindemith. Until about 1950, when many composers
414 symphonyNOTABLE SYMPHONIES (1765–1969)Composer* Symphony DateLudwig van Beethoven (9) No. 1 in C major, op. 21 1800No. 2 in D major, op. 36 1803No. 3 in E-flat major, op. 55 (Eroica) comp. 1804No. 4 in B-flat major, op. 60 1807No. 5 in C minor, op. 67 1808No. 6 in F major, op. 68 (Pastoral) 1808No. 7 in A major, op. 92 1813No. 8 in F major, op. 93 1814No. 9 in D major, op. 125 (Choral) comp. 1817–1823Alexander Borodin (3) No. 2 in B minor completed 1876Johannes Brahms (4) No. 1 in C minor, op. 68 comp. 1876No. 2 in D major, op. 73 comp. 1877No. 3 in F major, op. 90 comp. 1883No. 4 in E minor, op. 98 1885Anton Bruckner (10) No. 4 in E-flat major (Romantic) comp. 1874; rev. several timesNo. 7 in E major 1884No. 9 in D minorunfinishedErnest Chausson (1) Symphony in B-flat major, op. 20 completed 1890Aaron Copland (3) No. 3 1946Antonin Dvořák (9) No. 7 in D minor comp. 1884–1885No. 8 in G major comp. 1889No. 9 in E minor (From the New World) 1893César Franck (1) Symphony in D minor 1888Howard Hanson (7) No. 1 in E minor (Nordic) 1922No. 2 (Romantic) 1930Roy Harris (14) No. 3 1939Franz Joseph Haydn (104) No. 31 in D (Horn Signal) 1765?No. 45 in F-sharp minor (Farewell) 1772?No. 48 (Maria Theresa) 1769?No. 53 (L’Impériale) comp. 1778–1779No. 69 in C major (Laudon) 1779No. 85 in B-flat major (Queen of France) pub. 1788No. 88 in G major 1787No. 92 in G major (Oxford) 1791No. 94 in G major (Surprise) 1791No. 100 in G major (Military) 1794No. 101 in D major (Clock) 1794No. 103 in E-flat major (Drum Roll) 1794?No. 104 in D major (London) 1795Paul Hindemith (5) Symphony in E-flat 1941Mathis der Maler (“Matthias the Painter”) 1934Die Harmonie der Welt (“The Harmony of the World”) 1951Arthur Honegger (5) No. 2 for string orchestra 1943No. 3 (Liturgical) 1946No. 5 (Di tre re) 1951
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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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ovvero 295Scarlatti. This form, whi
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298 palletgreatest composers of chu
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300 parody MassMozart’s Ein Musik
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302 passecaillewell as to fill in t
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304 pastoralkind of pasticcio is as
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306 pedal organpedal organ The divi
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308 performance practicewhich usual
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310 Phrygianpitch, just as a play o
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312 pianoMUSIC FOR TWO PIANOSCompos
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314 piano duetpiano duet A piece fo
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316 pitch bendhave been internation
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318 polaccaA Polish dance, usu-pola
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320 portamentoon include BLUES, COU
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322 pousséremarkable gift for writ
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324 principal(first oboe, first flu
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326 proportionproportion In MENSURA
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328 pulsethat is outstanding. Arias
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330 quality, tonequality, toneSee T
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332 quotation, musicalmelody in one
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334 racket bassoonseventeenth centu
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336 rappresentativo, stileimprovise
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338 recitalrecital A public perform
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340 reelreel A lively dance for two
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342 related keycreated with a score
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344 RenaissanceIMPORTANT RENAISSANC
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346 repeatsecular vocal music was t
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348 restrest A silence or pause in
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350 ribibleribibleAnother name for
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352 rocklove ballads but deal also
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354 romanticismNarváez, Antonio de
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356 rounding the next fifteen years
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SS. 1 In choral music, an abbreviat
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Satie, Erik 361sansa (sän′sä).
Page 378 and 379: saxophone 363ferent sizes of saxhor
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Page 384 and 385: scoop 369Love and Life”) and Dich
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Page 408 and 409: chords (voice); (4) a solid body is
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Page 414 and 415: stem 399not the pitches but the ins
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Page 420 and 421: string quartet 405string orchestra
Page 422 and 423: subject Also, theme. A melody, usua
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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′)
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Page 444 and 445: Thomson, Virgil 429frets were too f
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Page 450 and 451: transpose 435tonic accentSee under
Page 452 and 453: triangle 437son, for example, the f
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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 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
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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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