A Dictionary of Musical Terms by John Stainer (editor), William Barrett (editor)

By John Stainer (editor), William Barrett (editor)

This illustrated dictionary, written by way of the prolific Victorian composer Sir John Stainer (1840-1901) - top remembered at the present time for his oratorio The Crucifixion - and W. A. Barrett, used to be first released by means of Novello in 1876. It presents definitions for 'the leader musical phrases met with in medical, theoretical, and functional treatises, and within the extra universal annotated programmes and newspaper criticisms', starting from brief reasons of the Italian phrases for tempi, via descriptions of historic tools to expansive articles on such subject matters as acoustics, copyright, hymn tunes, the larynx and temperament. That it thus ran to numerous additional variations means that it supplied welcome counsel for the concert-going public within the 19th century.

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1664, and thus described by Pepys in his Diary, under the date October 5th, in that Sane - te Jo - an -nes. year: " To the Musique meeting at the From the system of over-lapping HexaPost Office, where I was once before. And chords, arise the compound names of notes thither anon came all the Gresham College, such as E-la-mi, A-la-mi-re, &c, which are and a great deal of noble company; and the explained under Notation. (33 ) ARGHOO1 -ARIA FUGATA. Arghool. A simply constructed wind instrument, now used in Egypt.

As 8va alta, an octave higher. ) A name given to those scales into which notes were introduced foreign to the old church modes. ) In mediaeval music, the doubling of the value of a note. "Alteratio est proprii valoris alicujus notse duplicatio" (Tinctor). , if,two longs preceded a maxim "in modo majori perfecto " [Modus] the latter of them underwent alteration: and if two breves " in modb minore perfecto " preceded a long, the latter underwent alteration ; and so on. A perusal of the eight general, and four particular rules which governed alteration, will cause the reader to be thankful that modern music has been relieved of such complications.

Ambrosian H y m n . The " Te Deum" In a mournful, sorrowful style. ) A lover of music; one is attributed to Bishop Ambrose. who pursues the practice of any art for pure Ambrosian T e Deum. A musical setlove, in distinction to one who is engaged ting of the Te Deum in plain-song, called after in its employment for pay. ) A kind of drum or pulsatile and the possibility of its having been the first instrument, made of wood, in cylindrical setting of the Hymn after the introduction of form, upon which a series of tongues of iron, properly-regulated song into Christian worcane, or wood are so arranged that they may ship.

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