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GLOSSARY AND PRONUNCIATION GUIDE
Musical Terms, Composers, Compositions and Artists
AsneNpLIED—(Ah’-bent-leed). Song.
A Capetta—(Ah cap-pel’-lah). Liter
ally, “in the church style,” 1.€., conforming to the 16th-century ideal of choral singing without instrumental accompaniment (or, at all events, without independent instrumental accompaniment).
AcCELERANDO — (At-shel-ay-ran’-doh). Gradually accelerating.
Apacio—(Ad-ahj'-yo). Slow.
Arrretanpo—(Af-fray-tan’-doh). Hurrying.
Arricana, L’—(Laf’-ree-kah-nah).
Aipa—(Ah-ee’-dah).
Arseniz—(Al-bay'-neth).
Areorapa—(Al-bo-rah’-dah). A morning song (e.g., under one’s lady's window). A fancy title, sometimes applied to short, light instrumental ‘compositions. “A Spanish morning song.”
ALtBuMBLATT—(Al'-boom-blatt). Literally “Album Leaf”: hence a short instrumental composition of lighter character (a survival from the days when ladies’ albums were a society nuisance, kind-hearted composers being induced to contribute).
Arpa—(Ahl'-dah) Frances.
Atiarcanpo — (AIlahr gan -doh). Broadening down, i.e., getting slower and slower.
Attecretto — (AIlay gret’ toh). Rather lively and bright (though it has nowadays come to mean no more than “rather quick”).
ALLEMANDE—(Al-mahnd’'). A piece in dance rhythm in quadruple time and of moderately lively character. It found a place in the 17th and 18th-century Suites, generally as the
opening movement,
Arto—(Al-toh). The lowest of the three types of female or boys’ voices. Also, the high (falsetto) voice of men. Boys singing at this pitch are also called Alto. Women singing at this pitch are called Contralto.
AnpANTE — (An-dan’-te). Literally, “coing,” i.e., neither fast nor slow.
Evening
Anpantino—(An-dan-tee’-noh). At a gently-moving pace. Often used as the title for a piece or movement in this style. It is a matter of dispute whether Andantino means slightly slower or slightly quicker than Andante; composers vary in their use of the word, and the performer must use his judgment. In general, we take “Andantino” to mean quicker» than “Andante.”
Anprea CHENIER — (Ahn drayah Shen’-yea).
ANSWER—( Fugue).
APpPASSIONATO. — toh). Passionately.
Arapesque—(Arr’-ah-besk.). An ornamental figure in melody (the equivalent in music of the arabesque in linear design or architecture). Or a piece employing melodic figures of this character.
Arensky—(Ah-ren’-skee).
Arta—(Ahr'-yah).: An Air or Song, generally on somewhat extended scale, and in form as follows: A— first part, B—second part, A—first part repeated. The songs in 18th century operas and oratorios ‘were generally in this form.
Arpeccio PassacE—(Ahr-pej'-jee-oh). A piece of passage work based on arpeggio playing. :
AronaL. Music possessing no actual key center.
AupapeE—(Oh-bad’). A morning song (originally a piece of concert music performed in the morning). A fancy title sometimes applied to short instrumental compositions.
Austrat—(Aw’-strall).
BacH—(Bahkh).
Bacuaus—(Bahkh’-house).
BapINERIE — (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, carefree composition.
BaLLADE—(Bal-lad’). In piano music a romantic type of composition, perhaps rather fancifully intended to
See FucuE. Ap-ass-ee-on-ah’