Catalog of RCA Victor Records (1948)

Alto [A/-toh]. The high (falsetto) voice of men. Boys singing at this pitch are also called Alto. Women singing at this pitch are called Contralto. . Andante [An-dan-fe]. Literally, "going," i.e., neither fast nor slow Andantino f An-dan-fee-noh], At a gently-moving pace. Often used as the title for a piece or movement in this style. It is a matter o dispute whether Andantino means slightly slower or slightly quicker than Andante: composers vary in their use of the word, and t e performer must use his judgment. In general, we take "Andant.no to mean quicker than "Andante." Answer [Fugue]. See Fugue. ... , , Anthem. A piece of choral music (with or without solos) intended tor performance by the choir— in the Anglican Church at the point indicated in the Prayer Book, and in the other Protestant Englishspeaking churches at any point indicated by their customs. Appassionato [Ap-ass-ee-on-oh-toh], Passionately. . , Arabesque [Arr-ah-besk]. An ornamental figure in melody (the equivalent in music of the arabesque in linear design or architec¬ ture). Or a piece employing melodic figures of this character. Aria [Ahr-yah]. An Air or Song, generally on somewhat extended scale, and in form as follows: first part, second part, first part repeated. The songs in 18th century operas and oratorios were generally in this form. , , Arpeggio Passage [Ahr-pej-jee-oh] . A piece of passage work based on arpeggio playing. . ... . ,,, «/ Atonal. Music possessing no key (i.e., having no perceptible chief note, etc.). , , . . , . , •> Aubade [Oh-bad]. A morning song (e.g., under one s lady s window). A fancy title sometimes applied to short, bright instrumental com¬ positions. Badinerie [Bad-een-air-ee] . The word means "pleasant fooling" or something of the kind. It is occasionally applied (as once or twice by Bach) to a light, bright, jocular composition. Bagatelle [Bag-a-tel]. A trifle, a short piece of instrumental music. Beethoven wrote three sets of Bagatellen for piano. Ballade [Bal-lad]. In piano music a romantic type of composition perhaps rather fancifully intended to suggest the general idea ot vivid narration. . ,. Bamboula [accent on first syllable]. Literally "doll." A rhapsodic negro dance of the West Indies. . , Barcarolle [Barr-kah-rol]. A boat-song, or instrumental imitation ot such, with a rowing, six-in-a-measure rhythm, or sometimes mne-ma-measure or twelve-in-a-measure. Basso Continuo. See Harpsichord. „ Basso Ostinato [Bas-soh oss-tee-nah-toh]. Literally, obstinate bass ; applied to music employing the device of repeating the same short passage of bass over and over again, and rebuilding upon it different superstructures. , . Binary Form. Two sections, balancing. In the 17th and 18th cen¬ turies a great proportion of instrumental music was in this form, e.q. nearly all Bach's dance-style movements (Allemandes, bar abandes). These begin in one key, and at last reach another, there coming to a momentary cadence or point of rest: then the second section begins in the new key and works back to a final c°de"ce in the original one. If the starting key is major, the half-way will be its dominant: if the starting key is minor, the half-way key will ’ generally be its relative major. Bolero [Bol-oy-ro]. A lively Spanish three-in-a-measure dance. The use of the castanets is a feature. Bridge or Bridge Passage. A connecting passage, as between the first and second subjects in "Sonata Form." Cadence. The various melodic and harmonic progressions which in¬ troduce a feeling of more or less finality, and are therefore suit¬ able to close phrases, sentences, and longer sections of the music, are called Cadences or Closes. They bear various names, as Perfect Cadence (or Full Close), Imperfect Cadence (or Half Close), Plagal Cadence, Interrupted Cadence, etc. .... ... . Cadenza [Cad-en-tsa]. A passage of mere vocal display introduced near the end of a song in older operas, etc. A similar instrumental passage in a Concerto, designed to allow the solo performer to show off. Formerly a mere blank space (so to speak) was left for him by the composer in his score, near the end of a movement, and the soloist was left to fill in as he liked. _ . Canon. The device of making one melodic strand of music strictly imitate another strand, following it at a distance of time and over¬ lapping it all the way. Cantabile [Can-tah-bee-lay]. In a singing style. Cantata [Can-fah-tah], The word has taken on different meanings at different periods. Its usual meaning today is, in effect, an unacted opera or briefer oratorio— in either case with a good deal of chorus work. Many of Bach's Church Cantatas are, in effect, ex¬ tended Anthems. In the 18th century purely solo^ cantatas were common. Cantata de Chiesa meant such a work for church use, and Cantata da Camera such a work for Chamber use, i.e., perform¬ ance in the home. Canzonetta [Cand-zoh-nef-tah]. A piece with marked melody, i.e.. Song without Words style, but most commonly for solo voice or choral body; often a short madrigal. Cavatina [Cah-vah-tee-nah | . A short simple song (not in three parts like the Aria) or an instrumental piece in that style. Beethoven, in his String Quartet, Op. 130, applies the term to a piece on more extended lines. Cembalo [Chembal-oh]. The word is really short for "Clavicem¬ balo," i.e., literally "Keyed Dulcimer," but is applied to the Harp¬ sichord. Chaconne [Shak-on]. This is, in origin, a dance (three-in-a-measure, slow time), the music framed upon a basso ostinato. The type was taken up into pure instrumental music, and developed in all man¬ ner of ways, so that it is now very difficult to frame a precise defi¬ nition. The most immediately observable and invariable character¬ istic is the division into even sections of four or eight measures, deriving from the basso ostinato origin. Choral [Koh-rah/]. The traditional German hymn-tune. Choral (or Chorale) Prelude [Koh-rah/]. An organ composition based, in one of many different ways, on one of the traditional hymn-tune melodies, ostensibly as a preparation for the congre¬ gation's singing of the hymn. Chromatic Scale. The scale of nothing but semitones. In a sense, then, there is only one chromatic scale, but it can be begun at any pitch, and is then considered to be the chromatic scale of the note on which it begins. Coda [Coh-dah], A passage added to a piece to make a good end¬ ing. From Beethoven onwards it often takes on high importance. Con Amore [Am-oh-ray], With love. Concertante [Con-chair-fan-tay]. This is the adjective corresponding to Concerto, and means "in concert." When it enters into the de¬ scription of a piece it generally indicates the combination of one or more solo instruments with orchestra. Concerto [Con-chair-toh], Literally a performance "in concert," i.e., any group of instruments playing together is, in this old sense, executing a Concerto. Continuo. See Harpsichord. Contralto [Con-fra/-toh]. The lowest voice of women. Counterpoint. Literally "Many voiced" music, i.e., music which con¬ sists of several strands, each with his own melodic interest, and the whole fitting together in an effective combination. Courante [Coo-rantJ. A dance piece in three-in-a-measure time, found as a constituent member of the 18th-Century Suite. The Italian style of Courante is simpler than the French style, which has certain rhythmic complexities (mixture of duple and triple time). Some of Bach's Courantes are French, some Italian. Czardas [Char-dash]. One of the native dances of Hungary. It has two parts: Lassu, the slow melancholy element, and the Friss, the quick, fiery element, and these are heard in alternation. Descant. (Properly) an extemporary new melody contrived to go with an existing melody in good counterpoint. The art of so con¬ triving was much cultivated in the 15th, 16th and early 17th cen¬ turies. The term is now used more freely; for instance, a hymn tune will be so rearranged that whilst the congregation carry on the proper melody, the trebles of the choir (or a body of them) ramble melodiously above and about it, and this is called Descant, or sometimes Fauxbourdon. Diapason. The Foundation "stops" of the Pipe Organ. Diatonic. The major and minor scales are called the Diatonic scales in distinction from the chromatic scale. Intervals and chords made from the material of the diatonic scale in use at the moment are called diatonic intervals and chords, whilst others which draw upon material not in that scale are called chromatic. Dithyramb [ Dith-i-ramb | . A wild choral song of Ancient Greece. Thus the word has occasionally been used as a fancy title for some composition of a passionate nature. Divertimento | Di-vair-tee-ment-oh]. A light composition, for amuse¬ ment rather than the good of the soul. Often a fantasia or pot¬ pourri on popular melodies. In Mozart's day the term was some¬ times applied to a Suite of more than the ordinary number of movements. Dolce | DoZ-chay] . Sweetly. Dominant. The fifth note of the key (in key C the note G). Dumka. A type of Slavonic foik-ballad music, usually slow and ele¬ giac. Dvorak uses it often for an alternation of quick and slow movement. Enharmonics. See Major Scale. Entries. See fugue. Etude [Ay-tewd] A study, i.e., a short solo instrumental piece devel¬ oping some particular point in technique as an exercise for the player. 545