Dictionary of Music - Birding America

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aroque 29baritone horn 1 In American terminology, abrass instrument of the saxhorn family, very muchlike the EUPHONIUM but with only three valves and anarrower bore. It is pitched in C or B-flat and may beshaped either like a trumpet, with the bell pointingup, or with the bell turned back. (The French callthis instrument baryton, and the Germans call itBarytonhorn.) 2 The British name for a TENOR HORNin B-flat. (See also BRASS INSTRUMENTS.)baritone oboeSee under OBOE.bar line A vertical line through a musical staff (orgroup of staves) that separates two measures. Inaddition, a bar line is used at the beginning of apiece, before the clef and key signature, and a doublebar line marks the end (see DOUBLE BAR). Theuse of bar lines dates from the late fourteenth century,but until the seventeenth century they werefig. 20 p/u from p. 31used only to help the player’s eye follow the musicon different staves. Only in the seventeenth centurydid bar lines come to indicate the musical METER,marking off its regular pattern. In the twentieth century,composers sometimes change the meter manytimes within a composition and therefore either omitbar lines completely or use them, as in earlier times,simply to help the performer read the score.baroque (bə rōk′). A term borrowed from architectureto describe the style of music written inwestern Europe from about 1600 to about 1750.(The period preceding the baroque is called RENAIS-SANCE; the period following the baroque is calledPRECLASSIC or ROCOCO.) In the baroque periodmany new forms and styles were developed byFrench, German, Italian, and English composers.Among the outstanding figures are Monteverdi andFrescobaldi in the early baroque; Vivaldi, Couperin,and Purcell in the middle baroque; and Handel andBach at the end of the period. (See the accompanyingchart of major baroque composers; see alsoBOLOGNA SCHOOL.)The beginning of the baroque period is markedby a rebellion against the polyphonic style of theRenaissance, with its music in many voice-parts,all of equal importance. In its place came MONODY,in which one voice-part carries the melody and abasso continuo (see CONTINUO) supplies theaccompaniment. Polyphony was not wholly discarded,however; indeed, in the form of counterpoint(in which the individual melodic lines aresubordinate to the harmony they produce) itremained very important, especially in keyboardmusic. This resulted in the development of suchforms as the FUGUE, organ chorale (see CHORALEPRELUDE), and TOCCATA. Another important conceptin baroque music was the use of contrastingeffects between slow and fast, solo and fullchorus, and loud and soft, which is particularlyevident in such forms as the TRIO SONATA, CON-CERTO GROSSO, SINFONIA, and CANTATA. Duringthe baroque period performance was almost asimportant as composition; indeed, much of themusic was not fully written out and requiredimprovisation and ornamentation on the part of theperformer. (See also FIGURED BASS.)IMPORTANT BAROQUE COMPOSERSComposer Country Noted forTomaso Giovanni Albinoni (1671–1750) Italy Instrumental ensemble music (especially forstrings), operas, solo cantatas.Felice Anerio (c.1560–1614) Italy Madrigals, motets, other sacred music.Giovanni Francesco Anerio (c. 1567–1630) Italy Masses, motets, some of earliest oratorios in Italian.Jean-Henri d’Anglebert (c. 1628–1691) France Harpsichord music.Johann Sebastian Bach (1685–1750)* Germany Keyboard, instrumental, and church choral music.(Continues)
30 baroqueIMPORTANT BAROQUE COMPOSERS (continued)Composer Country Noted forHeinrich von Biber (1644–1704) Germany Violin virtuoso; violin music; sacred and secularinstrumental and choral works.John Blow (1649–1708)* England Church choral music, songs, a masque; teacherof Purcell.Georg Böhm (1661–1733) Germany Organ and harpsichord music.Giovanni Bononcini (1670–1755) Italy, England Many operas, Masses, oratorios; rival of Handel.Dietrich Buxtehude (c. 1637–1707)* Germany Organ music, church choral music.Giulio Caccini (c. 1546–1618)* Italy Solo madrigals, one of the first operas.Antonio Caldara (1670–1736) Italy Operas, oratorios, cantatas, Masses, arias,madrigals.Giacomo Carissimi (1605–1674)* Italy Cantatas, oratorios.Jacques Champion de Chambonnières France Harpsichord music; teacher of d’Anglebert.(c. 1602–1672)*Marc-Antoine Charpentier (c. 1648–1704) France Oratorios, operas, church choral music.Arcangelo Corelli (1653–1713)* Italy Concerti grossi, chamber music, violin music.François Couperin (1668–1733)* France Harpsichord and organ music, chamber music.Johann Kaspar Ferdinand Fischer (c. 1665–1746) Germany Harpsichord and organ music.Girolamo Frescobaldi (1583–1643)* Italy Harpsichord and organ music.Johann Jakob Froberger (1616–1667)* Germany Harpsichord and organ music.George Frideric Handel (1685–1759)* England Oratorios, operas, orchestral and chamber music,harpsichord music.Johann Philipp Krieger (1649–1725) Germany Operas, trio sonatas, church choral music.Johann Kuhnau (1660–1722) Germany Harpsichord and organ music, church cantatas;preceded J. S. Bach in Leipzig.Pietro Locatelli (1695–1764) Italy Violin and cello sonatas, concertos, concertigrossi.Matthew Locke (c. 1630–1677) England Masques, incidental music for plays.Jean-Baptiste Lully (1632–1687)* France Operas, ballets, orchestral music.Marin Marais (1656–1728) France Bass viol virtuoso (over 550 works for viol); alsofirst known French trio sonatas, operas.Biagio Marini (c. 1597–1665) Italy Violin music, sinfonias, canzonas, sonatas.Claudio Monteverdi (1567–1643)* Italy Operas, madrigals, church choral music.Georg Muffat (1653–1704) Germany Harpsichord and organ music, orchestral music;brought influence of Lully and Corelli toGermany.Johann Pachelbel (1653–1706) Germany Organ and harpsichord music; famous canonfrom Canon and Gigue in D for three violinsand continuo.Jacopo Peri (1561–1633)* Italy Composed one of the first operas.Henry Purcell (c. 1659–1695)* England Incidental music for plays, an opera, churchchoral music, chamber music, harpsichordmusic.Jean-Philippe Rameau (1683–1764)* France Operas, harpsichord music.Alessandro Scarlatti (1660–1725)* Italy Operas.Domenico Scarlatti (1685–1757)* Italy Harpsichord sonatas.
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 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).
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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).
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saxophone 363ferent sizes of saxhor
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scherzo 365later works he developed
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Schubert, Franz 367KLANGFARBENMELOD
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scoop 369Love and Life”) and Dich
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secondary dominant 371out separatel
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serenade 373best-known examples are
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service 375published in 1923), Erns
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shake 377teenth century), and James
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shofar 379board), seven string quar
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singing school 381sicilianosicilien
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sixty-fourth note British, hemidemi
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solmization 385himself, he took a c
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sonata 387players, the second playe
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song 389suite (see BINARY FORM). Th
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sonic environment 391NOTABLE SONG C
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chords (voice); (4) a solid body is
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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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